Carnival Club – Magdalena’s Cape

Woven from the threads of numerous flavours which alone instinctively grab attention, the Carnival Club sound is a tapestry which certainly on the UK rocker’s debut EP, Magdalena’s Cape, blossoms from a rich first temptation to a lustfully devoured introduction thereon in. It is an infestation of the imagination nurtured in the creative mystique of prog rock, the hearty emotion of blues rock, the bold roar of sixties punk, and the hazy climate of psych rock. In truth, it is all that and more in a proposal and release which is as fresh and striking as it is the return of familiar sonic strains; an EP which offers the potential of a new essential force from within the ever pregnant Manchester music scene.

Emerging April 2016, the quartet of Eddie Moxon, George Peel, Joe Lodge, and Kai Jon Roberts quickly made a potent impression on the local scene. Now national awareness is being readied and stirred by the outfit’s maiden EP, its mature presence and rich web of sound belying the youth of its creators whilst consuming ears in an adventure bordering on the essential.

Opener House of Cards instantly entwines ears in one spicy groove, its psych blues tang soon aligned to the heavy throb of bass and crisply landing beats. Vocals make for just as potent bait as the song almost crawls into view before settling into a boisterous rock ‘n’ roll shuffle. With every groove and melodic tendril seemingly becoming thicker and richer in psychedelic/hard rock tenacity as impressive vocals equally grow in energy and presence, the EP quickly becomes a captivating proposal only increasing its grip as Mistakes Troubles and Kisses takes over.

The second track has a lighter touch compared to the heavy presence of its predecessor but an infectious swing built on pure rock muscle and emotive intensity. Its pop rock temptation is as much modern indie as it is seventies heavy rock, another fusion already revealing the kaleidoscopic canvas of the Carnival Club songwriting and sound. Its inescapably catchy body and unpredictable but fluid twists only seduce, passing on a willing submission to its bold charms to the following You’re So Hostile. It is a track even more virulently infectious with its eighties pop hooks and brooding rhythmic seducing which within seconds has the body bouncing and hips swerving with its flirtatiously weighty stroll while roaming the psyche like a blend of The Cult, My Baby, and The Doors; essences of Hendrix and goth rock only adding to its best track grabbing magnificence.

The EP’s title track steps forward next, Magdalena’s Cape a mellow caress wrapped in psychedelic wooziness and prog rock musing but with a tart spicing to its melodic  tempting, kind of like a distantly related fusion of The Jesus and Mary Chain and The Electric Prunes to try and give an impression of its sultry beauty.

Another mighty moment comes with the EP’s closing track, Headache a web of crunchy riffs and imposing textures around prowling vocals and stalking rhythms complete with sixties bred punk rapacity. Those stabbing riffs alone ignite the passions, the scythes of guitar and predacious grooves of bass escalating the primal attraction as the ever magnetic vocals seal the devilish deal on offer between song and listener.

It is a masterful and irresistible end to a just as successful release, one still carrying the potential of bigger, bolder, and greater successes ahead for Carnival Club. Magdalena’s Cape is the declaration of something mouth-watering and truly exciting breaking out within the northern music scene. With more of the same, national attention is surely guaranteed and with the realisation of the raw promise within, watch out world.

Magdalena’s Cape is out now through Demolition Diner Records as a digital download, on CD with an additional Ltd Gatefold CD version, and on Ltd Vinyl @ https://carnivalclub.bandcamp.com/track/magdalenas-cape

https://www.facebook.com/carnivalclubuk    https://twitter.com/carnivalclubuk

Pete RingMaster 16/05/2017

Copyright RingMaster: MyFreeCopyright

The Devil In Faust – Come Apart

Grabbing ears straightaway is not the easiest thing to achieve as numerous music fans can testify but to truly and swiftly catch the imagination is a rare success but something Brit goth rockers The Devil In Faust have done with their debut EP, Come Apart. It is not necessarily the most unique encounter though its web of enterprise and temptation is certainly individual to the Shrewsbury hailing trio, but it has open freshness to its creative drama and virulent adventure which just clicked with our ears and appetites.

Formed late 2014 by old school friends in vocalist/guitarist Al Pritchard and drummer Ben Codd, The Devil In Faust soon made a strong impression on their local live scene whilst their debut video single, Dark Places, found potent online success. Subsequent sharing of stages with the likes of Dani Filth’s Devilment and Sinnergod only furthered their growing reputation as too following singles, all a spark to the band receiving an invitation to record in Aarhus, Denmark with Tue Madsen (Moonspell, Meshuggah, Sick of it All) where they demoed twelve tracks then whittled down to the four making up band’s first EP. With a stable line-up now in place with the addition of bassist Jess Lomas, the trio are ready to impose on bigger spotlights with Come Apart leading the way.

The EP opens with the outstanding Cross Your Heart, a slice of virulent temptation working away at ears and imagination from its first breath. Swiftly, there is a familiarity to the band’s sound yet as suggested earlier, it is woven into a boldness of invention belonging to The Devil In Faust. Like a blend of Flesh For Lulu and Clan of Xymox with a touch of Southern Death Cult and 1919, the track strolls in with a seductive shimmer around rhythmic incitement. Pritchard’s potent voice is soon in the midst of the compelling bait, directing the virulence with his distinctive tones as his guitar spins a web of chords and hooks. Quickly infectious and increasingly virulent, the track has attention in its creative palms in no time, physical participation enticed soon after.

The excellent start is backed by the equally alluring presence of Soulmate. Dark melancholic strings and gothic keys caress the imagination initially; from within their theatre a tenacious dance of energy and infection simmers and boils sparking a rousing rock ‘n’ roll stroll part Psychedelic Furs, part The Lords of the New Church, and just a little Alice In Chains but again boisterously The Devil In Faust in nature and devilment. Its fluid flow through lively and mellower moments comes drenched in catchy contagion, the calmer passages emulated and expanded in next up In My Eyes, an acoustic led slice of captivating balladry cast in a hug of emotive shadows which soon has the body rocking and passions entangled in its inventive landscape. There is a whiff of The Only Ones to the song and not for the first time a thought arises that if The Devil In Faust had arisen three or so decades back their success would be guaranteed.

Those dark shadows cloak next up Seed, its instinctive growl lining another increasingly contagious escapade coloured with sultry psychedelic rock hues. Adding essences not too far removed from a fusion of The Doors and The Birthday Party, the song simply and swiftly beguiles ears with again familiarity and new enterprise entangling for a thoroughly gripping adventure.

If The Devil In Faust never realises the potential rich within Come Apart, more of the same will go down a treat next time around but growth there will be and that is something we are eagerly anticipating; something hard to imagine we will be alone in.

Come Apart is out now on all major platforms.

http://www.thedevilinfaust.com/   https://www.facebook.com/TheDevilInFaustOnline   https://twitter.com/@Thedevilinfaust

Pete RingMaster 03/05/2017

Copyright RingMaster: MyFreeCopyright

King Colobus – Self Titled EP

king-colobus-promo-shot_RingMasterReview

There are times when something just clicks with ears and imagination, instincts instantly seizing the day and directing responses with almost lustful energy. That is what happened to The RR when facing the self-titled debut EP from UK rockers King Colobus. From virtually its first breath on the opening listen, the four-track theatre of blues and alternative rock trespassed and seduced the imagination and passions. It is pure drama, creative adventure as bold and ballsy as it is imaginatively intricate and sinisterly persuasive.

With its seeds sown in 2013, King Colobus officially stepped forward two years later. Vocalist/guitarist Stewart MacPherson and bassist James Bailes had already collaborated on ideas and songs for a future project when independently they both relocated to Devon. There they linked up with Plymouth based guitarist Gavin Huck and drummer Simon Marsh, uniting as King Colobus.

There is no escaping inspirations found in the likes of Queens Of The Stone Age, Soundgarden, Johnny Cash, and Interpol in the band’s sound but equally they have a personality and character to their music and songwriting which is sure to intrigue fans of others like Japanese Fighting Fish, Damn Vandals, and Inca Babies. There is uniqueness to their sound though which is most vocal and suggests why the quartet has already earned a potent live reputation whilst taking in shows supporting artists such as Sea Sick Steve, Band Of Skulls, De Staat, and Crazy Arm.

king-colobus-cover-artwork_RingMasterReviewRe-released this past week, the first King Colobus EP is a majestic introduction to the band and needs mere seconds to grip attention and appetite through opener Get Up. From its initial dark minatory melody, its texture wiry and tone ominous yet pure enticement, the track bounds in with swinging rhythms and a growling bassline supported by just as primal riffs. MacPherson instantly engages and recruits already persuaded ears, the song itself bluesy in air but pure virulent rock ‘n’ roll with an underlying punk snarl. It is a controlled web though, teasing and taunting rather than assaulting and only increasing its grip as a shimmer of guitar around alluring vocals breaks the tenacious trespass before breaking into an even bolder compelling incitement.

It is a stunning start swiftly reinforced by the song King Colobus, it too opening with a juicy lure before uncaging its heavy blues rock saunter. Bass and vocals stand individual in tone but equal in temptation as beats jab with relish at the senses, the song’s flames waiting to erupt in a sizzling blaze before settling down again until further incendiary expulsions throughout its compelling body. Showing an array of flavours making up their sound, at times the track reminds thoughts of Josh Homme and co and indeed The Doors but again the result is individual to the foursome.

Tits and Teeth steals its fine share of the passions next, its dark vaudevillian devilry carrying an air of sadly demised circus punks The Shanklin Freak Show, further evidence of the host of spices in the King Colobus invention. The song as good as stalks its victim but relishing its creative invasion of ears and imagination with energy eager to consume its prey whilst, with virulent catchiness, recruiting their participation.

Final track Wait immediately reminds of nineties band Skyscraper, having their instinctive rock ‘n’ roll infectiousness and tenacity to command attention; invention and imagination blossoming in its success. Grooves and hooks tangle the senses as rhythms ground out an easily given submission to their insistent prowess, vocals leading it all with their own rousing presence.

It is a glorious end to a must hear release not only bringing King Colobus to wider attention for the first time but suggesting there is really something major brewing down on the south coast.

The King Colobus EP is out now through all stores.

http://www.kingcolobus.com/    https://www.facebook.com/kingcolobus/

Pete RingMaster 07/02/2017

Copyright RingMaster: MyFreeCopyright

Kobadelta – The Metaphysical

photography-by-adam-kennedy

photography-by-adam-kennedy

It is fair to say that their quartet of previous EPs have established Kobadelta as one of the most intriguing and captivating prospects to emerge on the British music scene in recent years and also that listening to the evolution of their seriously tantalising sound has captivated almost as much as the noise itself. October sees the release of the Newcastle bred outfit’s new encounter and another growth in songwriting, music, and temptation.

Their five-track EP, The Metaphysical, sees the band’s psych rock spiced sound reveal its richest and most adventurous landscape yet with an even greater weave of textures and flavours. Melodies are imposing, harmonies bewitching yet both offering magnetic warmth which shimmers and radiates against the instinctive dark tones and emotive shadows which breed the band’s songs. It is a tapestry which lays the Kobadelta sound somewhere between Echo and The Bunnymen and The Doors with an almost gothic Nick Cave essence for extra flavouring.

Formed in 2010, the quintet soon built a potent live reputation locally, nudging on wider recognition with the release of debut EP Ritual (Time Flies) three years later. 2014 saw the band make bigger strides towards national awareness and in sound through both the Hidden Door and Remain Distracted EPs, their success subsequently eclipsed by the Open Visions EP last year. It was a dark and compelling encounter pushing the band’s sound to another level which now The Metaphysical cements and takes on again while still showing the potential of even more adventures to be discovered and explored within the band. With shows alongside the likes of Temples, Allusondrugs, We Were Promised Jetpacks, Demob Happy, Splashh, The Temperance Movement, The Weeks, Lola Colt, and The Voyeurs among many more, and those aforementioned releases, sparking a real appetite for the band’s sound, The Metaphysical might just be the moment Kobadelta hits the broadest spotlights.

The EP swiftly captures ears and imagination with opener Hold Yr’self, the track seducing initially with the caress of suggested pipes before the song tumbles into view with tangy grooves and swinging rhythms. There is no escaping The Doors scenting to any of the band’s song, though Ian McCulloch and co are probably a stronger spicing to what soon shows itself to be distinctly Kobadelta. With the synths of Jordan Robson dancing around the magnetic melodic weave cast by guitarist Alex Malliris, the imagination is soon hooked, gripped tighter as the potent vocals of Dom Noble bring a darker edge in collusion with the rapier swings of drummer Jon Marley and Chris Malliris’ brooding basslines.

It is a compelling start matched by the infectious stroll of the similarly shadow rich and sonically fiery Ride By The Light. Mixing mellower seducing with those dynamic flames of sound and energy, the song is a whirlpool of adventure and drama. There are moments which remind of early   but again as keys wrap the predacious tone of the bass in just one of the track’s major attractions, Kobadelta unveil something unique to themselves.

Bathsheba raises the energy and sultriness of the band’s sound next; its raw mystique and fuzzy climate a feisty wrapping to the tenacious rhythms driving yet another irresistible proposal from the EP. As lyrics and vocals tell a story so does the music, both colluding in a spirit rousing incitement which seems to become darker and more volatile with every enjoyable listen; a potency emulated in the following Is This The Start Of Something Beautiful? and its ferine adventure. So easy to get physically and mentally sucked into its suggestive kaleidoscope of sound, the song trespasses and transfixes the senses as each band member unleashes their fiery enterprise.

Bringing the EP to a magnificent close is You Don’t Need To Ask…, a slow prowl of a headily dark song which borders on demonic even with its theatre of catchy charm, spellbinding melodies, and predacious rhythms. There is a definite occult rock air to the track and its dark romance with the minimal but powerful presence of piano icing on another mighty and increasingly tempestuous highlight of the release.

There are a few bands which have emerged in recent years for which it is hard not to find a touch of real excitement to go along with anticipation upon word of a new proposition from them. The Metaphysical is the perfect example as to why Kobadelta is firmly one of them.

The Metaphysical EP is released in October with its launch show on Friday 4th November in Newcastle at Think Tank – Underground with support from local bands Hazels and FOTO.

https://www.facebook.com/Kobadelta

Pete RingMaster 28/09/2016

Pearl Handled Revolver – If The Devil Cast His Net

Pearl Handled Revolver _RingMasterReview

This month British rockers Pearl Handled Revolver release their third album, a collection of dark rock ‘n’ roll encounters which almost deviously seduce ears as they work their way into the psyche. The band spins tales of mystery and intrigue graced shadows, creative episodes shaped and coloured by the magnetic hues of blues and psych rock, though that is simplifying the enthralling tapestries of sound and imagination making up If The Devil Cast His Net.

Since forming, Pearl Handled Revolver has released four EPs and two full length albums, all between 2010 and 2013, and shared stages on tour at shows with the likes of The Black Crowes, Stray, The Blockheads, FM, The Quireboys, Black Star Riders, Toots and the Maytalls, Donovan, and Focus along the way. It is fair to say that the quartet has not been lost for acclaim and attention but equally with If The Devil Cast His Net, they have breached a new plateau on creativity and sound which you can only see being rewarded by a similar increase in attention and reward.

With the gravelly tones of Lee Vernon fronting the house of blues mystery, a Tom Waits like comparison is easy to offer but equally the band’s sound has tantalising hues reminding of The Doors, Nick Cave, and Japanese Fighting Fish to its magnetic body and invention. It is a rich temptation working away at seducing ears from the start of If The Devil Cast His Net, opener Help Me Down From The Trees gripping the imagination within seconds as the pulsating lure of Simon Rinaldo’s peddle bass is immersed in the mystique soaked suggestiveness of his keys. It is a quite mesmeric coaxing driven by the great nagging beats of Chris Thatcher and only increasing in temptation as the scythes of guitarist Andy Paris seem to spark a new weave of organ cast enterprise. Dark and brooding yet simultaneously warm and celebratory, the song beguiles as it intrigues, Vernon’s dusty tones opening up the narrative for greater captivating drama.  It is mesmeric stuff, the bass a perpetually enjoyable nagging and the spicy lilt of the keys a dark temptation within a fiery dance of sound and creative theatre.

Pearl Handled Revolver Front Cover_RingMasterReviewThe sensational start is followed by the more straight forward rock ‘n’ roll of Don’t Throw It Away. A cleaner tone to the vocals is matched by a lighter spring in the step and voice of the psychedelia lined sounds around them. A sixties/seventies mixed scent potently adds to the inviting lure of the song and though it cannot live up to its brilliant predecessor, it has ears and body rocking before they are faced with the tantalising seduction of Someone Like You. It’s surf rock spiced melodies and ambience is a swift bewitchment, as too the rolling rhythmic bait of Thatcher; all caressing  and coaxing the senses as Vernon’s sandy tones paint an evocative picture in word and tone. It is a hex of a song, a spellbinding incitement of appetite and imagination to bind listener and release closer together.

The rhythmic design of the track is emulated in the album’s title track, though around it the guitar and keys weave their own distinct episode of encroaching shadows and sultry flavours around the devil’s lyrical play. A compelling persuasion, it is matched in success by the melancholic hug of Walk These Streets. Reflective and emotive, the song is a smouldering serenade painted by the cleaner side of Vernon’s voice, provocative strings, and the sombre yet graceful caress of keys. As expected, shadows court this cast of emotive protagonists, bass and drums guiding their intervention as much as the sorrowful scent of voice and word.

Current single, Absinthe In Adelaide stirs air and spirit up again with its almost rapacious growl of voice and steely grooves whilst Loverman is a primal shuffle of blues courted rock ‘n’ roll; both tracks basking in the unique psych and classic rock imagination of keys and guitar. The second of the pair is especially irresistible; a heady, almost muggy trip into the dark psychedelic backwaters of mysterious deeds and lives. We have not really touched on the cinematic side of the album, each song tempting the imagination to conjure their own at times almost pagan-esque adventures to accompany the rich tales of the band with this proposition a prime example.

The album closes with Into The Blue, a groove entangled romp luring the listener into a salty tango of organ spun melodies and wonderfully niggly hooks, all driven by the ever compelling rhythmic persuasion of Thatcher and Rinaldo. It is an impossible to resist flirtation bringing the album to a riveting anthemic conclusion.

Some tracks shine over others within If The Devil Cast His Net, but from start to finish it feeds the spirit and ignites a hungry appetite for more; almost as if the Devil had a hand it.

If The Devil Cast His Net is released April 29th through all platforms.

http://www.pearlhandledrevolver.co.uk/   https://www.facebook.com/pearlhandledrevolver/   https://twitter.com/PearlHandledRev

Pete RingMaster 27/04/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Phobophobes – No Flavour

 

Photo by Keira Cullinane

Photo by Keira Cullinane

Phobophobes is a British quintet releasing their debut single this month and though it is only one song heard, it is hard not to join the clamour of suggestion that the Londoners are going to provide the UK music scene with a new and fresh spark over coming years.

No Flavour is the name of the band’s first single, a track which shares its virulent psych pop/garage rock enterprise with a vaudevillian like mischief whilst instantly shedding light on many reasons why the band is causing a stir. Formed in 2014 within the creative belly of Brixton, Phobophobes consists of vocalist Jamie Taylor, guitarist George Russell, bassist Elliot Nash, drummer Dan Lyons who played in the original line-up of Fat White Family, and keyboardist Chris OC also plays in Meat Raffle. Fair to say, the band has earned a glowing reputation across the capital and beyond for their stage presence and sound, something sure to blossom just as eagerly elsewhere once No Flavour escapes the shadows.

Thick swinging beats hit ears first, their resonance as enticing as the fuzzy edge to the emerging guitar. Once keys dance in with flirtatious melodies, that carnival-esque hue is working away on ears and imagination, being only enhanced by the controlled barker like tones of Taylor. The virulence of sound is echoed in the vocals, especially in their broader prowess in a chorus for which there is no antidote for its incitement of listener involvement.

Continuing to bounce and enslave, the song swings and thrills like something akin to The Doors meets early Horrors meets Tankus The Henge, with added Cardiacs like mischief, to match that of the lyrical side, for keen measure. The track is manna to ears and imagination, with no complaints from feet and hips either. Coupled with a reportedly “extraordinary version” of Leonard Cohen’s Tower of Song on the B-side, a pleasure we have yet to hear, No Flavour is a mighty introduction to Phobophobes, a band as mentioned earlier, it is easy to suggest has a very potent future ahead of them.

No Flavour is released March 25th on 7” vinyl and download on BAM Records (via Republic of Music).

https://www.facebook.com/Phobophobes/   https://twitter.com/PPhobes

Pete RingMaster 21/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

MountainJam – Waiting

image1_RingMasterReview

Following the success of recent single Lemon and Lime, which itself cemented the prowess and potency of MountainJam as first discovered within the band’s debut EP and its singles of last year, the UK band now have its successor Waiting in line to please ears. The new single reveals another shade to the band’s persistently enticing sound, an emotively sculpted landscape of melodic rock with just a tinge of Americana to its alternative bred rock ‘n’ roll.

There also seems a broader depth to the flavouring building the sultry climate of sound and atmospheric enterprise and climate embracing ears. It is nothing overwhelming but as suggested a new shade of melodic and sonic colour to intrigue, fascinate, and as it proves again, excite. Influences to the Midlands hailing quartet of vocalist/rhythm guitarist Dean Dovey, lead guitarist Andy Varden, bassist Nick Roberts, and drummer Pez include the likes of The Rolling Stones, The Doors, Neil Young, Small Faces, Cream, The Verve, The Stone Roses, and The Who. Many are influences which arguably make a stronger showing within Waiting than some of the band’s previous songs to date, aiding the new hue to the becoming renowned MountainJam sound.

Emerging on the warm ambience of keys, the song soon strolls through ears with a melodic smoulder to its trails of sultry guitar and a feisty edge to its rhythmic tempting. Dovey as so often in songs becomes a potent focal point upon his entrance, but as usual too, his expressive voice is soon hugged by the strength of the sounds which here reveal a touch of psyche rock lacing and an almost sweltering atmosphere through guitar and keys.

With it all, also comes an infectiousness which, especially in the rousing roar of the chorus, has body and imagination as involved as the sonic swathes of sound which seduce in the track’s mellowest moments.

It is fair to say that Waiting does not infest the psyche as immediately as other MountainJam songs, though ears are thoroughly contented in moments, but with its magnetic layers and almost epic structure of emotion and sonic enterprise, the single is another richly and increasingly enticing lure to a band which just seems to grow with each and every track written.

Waiting is out now through most online stores.

https://www.facebook.com/MountainJam2015   https://twitter.com/mountainjam2015

Pete RingMaster 29/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/