Ded Rabbit – Better On the Day

Ded Rabbit new pic 5

Bounding in with all the enthusiasm of a young pup and the craft of a mature temptress, Better On the Day from Scottish alternative rockers Ded Rabbit, is one of those ridiculously infectious exploits which you cannot escape from. Taken from the bands new EP Wake Up In A Dream, the new single is released just a couple of days before its source, and alone leaves ears ablaze and appetite for the accompanying release hungry.

Based in Edinburgh but Yorkshire bred, Ded Rabbit is a family affair, consisting of four brothers (Eugene, Fergus, Eoin, and Donal Gaine) who know how to write and then deliver a vivacious indie rock proposition or two. The evidence has already been shown and acknowledged with previous EP Wash Away and a live presence which has seen the band play alongside the likes of The 1975 and Man Made, again to potent responses. Influences for the band are cited as including Led Zeppelin, The Beatles, Queens Of The Stone Age, Fugazi, Ian Dury and the Blockheads, Gang Of Four, Interpol, The Cribs, The Libertines and many more, all spices you can pick out in brief aspects of their songs, though we would venture to say that Better On the Day is the most original song from Ded Rabbit yet, and their most potent.

Straight away it seems to have a new maturity compared to the previous EP, the groove clad heavy bassline opening it up, an immediate rich enticing which just seems bigger and bolder than anything from the foursome before. It is a potency swiftly enhanced by the short jangles of guitar and the excellent vocals, the latter distinctly expressive and unique but most of all magnetic. Just as the sounds tease ears and melodies show their charming face, thoughts of The Farmers Boys comes to the fore, never a bad thing, and as the song explodes into more rigorous exertions thereafter it offers hints of Miniature Dinosaurs.

Better On the Day is a thumping romp showing intricate craft and rampant tenacity in varying bursts of energy whilst never letting expectations get a foot hold. With feet and emotions bursting for more by its close, time to leap on the new EP we say.

Better On the Day is available from February 9th whilst the Wake Up In A Dream EP is out on February 7th.

Both are supported by live dates @…

Feb 7th Edinburgh (The Jazz Bar) – EP Launch.

Feb 9th Glasgow (Broadcast)

Feb 13th Blackburn (Live Lounge)

Feb 14th London (Proud Camden)

Feb 15th London (Tipsy Bar)

Feb 16th – Brighton – Hotel Pelirocco

http://www.ded-rabbit.com

RingMaster 03/02/2015

 

 

Silhouettes – Ever Moving Happiness Machines

   Silhouettes pic

    Silhouettes last single Gold Tag offered a sizeable hint and thrilling teaser for the UK indie/electro band’s debut album, a taster which itself has continued to grow and impress since our coverage of its charms. Now that Ever Moving Happiness Machines has arrived all anticipations and expectations of the release have been fed and fully satisfied. The ten track encounter is an intriguing and inspiring slice of creative diversity and poetic imagination, a proposition which ignites the senses and thoughts in a richly varied and at times challenging way for an enthralling incitement which never leaves a moment devoid of emotive provocation or absent from riveting drama.

Hailing from Wolverhampton and formed in 2008, Silhouettes has earned themselves a sizeable reputation for their sound and live performances, a presence more than complemented by a couple of EPs. It was Gold Tag though which has arguably been the spark to a greater spotlight, its more electronic seeded presence a fascinating and tantalising evolution in the band’s sound. Created by Nathan Till (vocals, guitars), Jay Cuthill (guitars, keyboards, drums), and Ben Blewitt (keyboards), Ever Moving Happiness Machines has the potential and certainly the invention to push the band to the next level, and with a line-up completed by Xander Roberts (bass, vocals) and Ben Dargue (drums) live, Silhouettes is poised to take intensely emotive electronic music by storm.

Ever Moving Happiness Machines does not come without the occasional less impacting twist or turn but from the opening Gold Silhouettes coverTag it is an unrelenting feast of striking enterprise and emotional exploration which has ears and imagination hungry for the album’s impressive offerings. The first track immediately unveils an eighties influence, a flavouring which occurs throughout the album, as small but vivacious guitar crafted melodies entice the ears. As they find themselves joined by a magnificent and robustly throaty bassline there is a strong essence of The Farmers Boys at play, a spice which takes on a definite Orange Juice tang as keys and the great vocals of Till add to the exotically vibrant picture. The song strolls with a masterful confidence which in turn recruits a bold reaction from feet and emotions, its crystalline key sculpted melodies and expressive harmonies a seductive glaze to the contagious waltz. It is a glorious entrance which in its fullest form has appetite and imagination aflame especially through its ridiculously addictive rhythmic closing stretch.

From the lively enticement the album glides into the glistening evocative embrace of Creaking Universe. Its initial lure sparkles like sonic crystal, the keys erupting like dust in a shaft of light before a melancholic shadow and croon clouds over ears to tempt them with its darker touch vocally and musically. Slipping into a seductive breeze which soothes the ears and intrigues emotions, the song from a decent beginning becomes a potent magnet, its ever increasing pull through string orchestrated melodies and brooding textures masterful. Imagine The National meets the Walker Brothers and you have an idea of the voice and might of the track.

The next up Sacrifice is another track which needs time to grow but does so with immense success. It opens with a celestial blaze of electronic persuasion, an Orchestral Manoeuvres in the Dark like wind hugging the senses before the falsetto charm of the vocals lie romantically upon the ears. First impressions are strong and rewarding but as with quite a few tracks on the album, it is one which deviously works away leaving a haunting toxin which repeats time and time again, to return at any moment unannounced. The exciting track is instantly emulated by Cold Water/Grey Flesh, its chillier climate and singular expression a bewitching temptation which again is strong at first but masterful over time. With the keys casting an almost intrusive web which the guitars and vocals unveil colourful and poignant hues over, the song dances elegantly seeping a stark breath of lost hope and scenery. It is a highly evocative narrative which could be described as Joy Division meets Sigur Ros.

The intensive melancholy of I Miss You, I Want You, I Need You, I Love You carries a rich Radiohead vein to its despondent emotion and cold breath. It is an impressively crafted and presented piece of music and emotion but for personal demands fails to strike the flame other songs on the release do so easily, though the flume of strings create a resonating tempting for the imagination to immerse within. It is not a low point but one personal taste cannot connect with, something the brilliant Prufrock’s Dream has no trouble achieving. The new single from band and album is an enthralling adventure of sound and imagination. Written as the sequel to the TS Eliot poem The Love Song of J Alfred Prufrock, the song teases ears with a sultry guitar weave at first before expanding into an exotically rhythmic and mystique soaked flame of sonic and melodic seduction. The guitars continue to bind the senses in a psychedelic glaze of Eastern promise and thought inciting majesty whilst the voice of Till croons with potent expression and absorbing texture. As it persistently flirts with ears and emotions entwining radiance and shadows, whispers of the likes of Teardrop Explodes, The Verve, and Nick Cave make their presence known in a song which is scintillatingly original and unique to Silhouettes.

Both Scuff Marks and Ferry Me Away slip in the wake of their glorious predecessor, though again it is primarily down to preferences. The first has a pulsating core and evocative ambience which increases potently over the length of the song for an enveloping climax, but again with a Radiohead similar breath it fails to spark any real reaction, though Silhouettes is a much more exciting proposition to be fair. Its successor also carries that Thom Yorke and co breeding but evolves into an emotionally infectious play with melodic toxins which seduce with wanton ease and a folk bred gentleness which elevates it to a stronger footing. Neither are songs to pass over swiftly but possibly suffer being stuck between the triumphs of Prufrock’s Dream and the outstanding Black Within The Black, a track unafraid to show its roots in the early days of The Cure. With the bass rapturous bait and rhythms pure anthemic lure, the track is an unbridled temptress to which Till brings his own style of haunted tones and expression for exceptional success. The song invades and seduces every pore and thought to provide another heady pinnacle.

Closing with the climactic Boys, a track from small melodic and expressive seeds grows into an epically shaped tower of intense emotion and powerfully evocative colour, Ever Moving Happiness Machines is a gripping adventure which provides a kaleidoscope of invention and imagination, not forgetting creative passion. It is not an album which quite succeeds with every chapter, but is a radiant success across its whole body as Silhouettes more than delivers on their original promise.

Ever Moving Happiness Machines is available via Integrity Records now!

http://silhouettesmusic.net/

8.5/10

RingMaster 02/06/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

The Toniks – Rise And Shine

298211_10151353433777610_2002698253_n

Listening to Rise And Shine the debut album from UK popsters The Toniks you cannot help at times thinking this is a band which has the misfortune to have missed their time slot in music history. Certainly they have a potent place in the now as their album shows but with songs ripe with sixties melodic and pop sensibility which sits easily within the pop mischief of Herman’s Hermits and the Englishness of The Kinks, and a new wave soaked infectiousness which is a close cousin to bands such as The Farmers Boys and Jim Jiminee, you can only imagine the Guildford quintet would have found a potent place those eras. In a never ending torrent of new and existing bands all fighting for attention, real and online, any band is in for a greater struggle than ever to just cross the gaze of fans though with Rise And Shine, The Toniks have given themselves a definite fighting chance.

The brainchild of vocalist/bassist Mark Taylor and guitarist Jez Parish, The Toniks has been making a solid ascent for quite a while now; their infection loaded pop songs gripping ears and emotions. With the current line-up of guitarist Tom Yates, drummer Colin Marshall, and Jessica English on keys alongside Taylor and Parish in place since last year, the band has continued to draw acclaim for their strong live performances, which recently has seen the band playing across Europe and in Canada. Since forming they have also gained support from the likes of Graham Dominy (Eurythmics, Razorlight, Imelda May) who provided them with free studio time after hearing their music. It has all added to a slow but potent rise which the album can only increase as it sweeps across greater numbers.

The band is no stranger to this site, The Toniks a constant on the playlist of shows from our associates Audioburger.com for the 1235338_10151581120132610_2076276580_npast few years. This meant that the album faced expectations but it is fair to say it pushed them aside to emerge an even more vibrant and irrepressible encounter than imagined. Produced by Dominy alongside Taylor and Parish and released on Smile Records, Rise And Shine goes straight for the feet and passions with its title track. The song is total contagion, from the moment the opening soar of harmonies and keys behind the mellow tones of Taylor stroke the ear it teases with a seducing wantonness which explodes into one of the catchiest tunes heard this year. Bred from the seeds of sixties pop, the song romps and strolls with a massive smile in its melodies kissed by brass spawned sunspots. The eighties reference is most apt and virulent right away as the starter has voice in league with its stomp and like the best pop songs, becomes an old friend within moments.

The following Won’t Let You Down is much the same in its individual character, guitars and keys coaxing the imagination as they craft hooks and melodies which sparkle as they tempt. The backing vocals of English along with Parish make a great compliment to the delivery of Taylor, her voices especially soothing and one hopefully the band employ more ahead. More restrained than its predecessor but still a catchy saunter to capture the imagination it easily continues the pleasing start as does next up You and I and Simple Things. Like the first pair they are songs very familiar to us but each finding a new freshness and energy to their suasion and presence through the new recordings and re-workings brought by the band for the album. You and I is a bouncy incitement of respectfully jabbing beats and cheery guitar swipes tempered by darker bass tones. It has a harder rock core to its bewitchment but one which submits to the inventive and sultry flumes of brass as well as the continually persuasive melodic weaves which lie around the addiction causing hooks. Its successor comes with a slower croon to its presence as well as a gentle caress vocally and musically. The bass stands potently to the fore of the song, its steady heavy presence seemingly given preference upon the song and actually works well adding variety to the simple but wholly effective melodic colour which engages the imagination and lures another belt of hard to resist involvement from the body.

After passing the charms of Weather quickly the album settles into a steady enticing with Figure It Out and Never Real, both songs a spark to fill the appetite further though a shade below the standards set. Going back to the first of these three, Weather is another ridiculously ear catching invitation to participate with and enjoy slice of pop which most will drool over but it has never found a place here, it one of those irritants which niggles though it is simply down to personal taste alone. Of the other two, the first builds from emotive keys and expressive vocals into a more than decent ballad which grows and expands as it plays out its narrative and the second a satisfying rock pop breeze, both providing healthy appetising treats to mull over and return to before making way for another highlight.

Secret’s Safe also hits the rockier depths of the band, a blues whisper to the guitars equally egging on the thumping rhythms and hard hitting vocals, though Taylor has a voice where snarls never rear their head to be honest. There is an essence of The Jam and The Motors to the energetic and rampant charge of the song, a pop punk quality which sets it to the top of the release, well until, after the thoroughly enjoyable and infectious There You Go, the outstanding Scapegoat steps forward. The scuzziest track on the album with a punk breeding to its creativity, the track is a riveting blaze of rock ‘n’ roll with all the contagiousness the band can conjure reaping the heat of the blues kissed guitar flames on top of barbed melodic hooks.  It is a magnificent track, The Tonik’s finest moment yet.

The closing Wonderful Then concludes the album with a classic pop song graced by mesmeric strings, the cello caresses especially delicious, and resourceful evocative keys behind stirring harmonies. It is a final reminder of the depths of the songwriting of Taylor and Parish and though you cannot talk of them in the same breath yet as Difford and Tilbrook there are some familiarities at times to the construct and melodic structures of songs.

Rise And Shine exceeded expectations to stand as one of the better real pop albums out this year. If The Toniks have yet to touch your ears their debut album is the perfect way to put that right.

http://www.thetoniks.com/

8.5/10

RingMaster 05/12/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

Silhouettes – Gold Tag

Silhouettes

Silhouettes

Ahead of their debut album release early next year, UK indie electronic band Silhouettes unveil their new single Gold Tag. A rich magnetic call, the release easily tickles the taste buds and lights a smouldering fire of anticipation for the band’s upcoming debut album Ever Moving Happiness Machines, a teaser which suggests the upcoming full-length will be one to pay close attention to.

Silhouettes consists of Nathan Till (vocals, guitars), Jay Cuthill (samples, keyboards, production), Ben Blewitt (keyboards), and Xander Roberts (bass, vocals), the line-up expanding to a sextet for live shows. Formed in 2008 the band has earned a strong reputation for their live performances building a potent fanbase around home town of Wolverhampton and Birmingham. Their two previous EPs also drew good attention to the band but as their sound has evolved and shifted focus to a more enthralling electronic premise, the suspicion that Gold Tag and the subsequent album will take the band to greater recognition is unavoidable.

    Gold Tag opens with a sample of a child before guitars begin casting the air with simmering melodic drizzle, the crystalline rain mesmerising around electronic beats which punctuate their effect. It is a tantalising lure taken up numerous levels by the outstanding bass dance provided by Roberts, its tone throaty, bulbous, and contagious. As keys add their flavoursome potency the vocals of Till bring an expressive emotive spice which only goes to increase the temptation of the song. With the strong bass and rhythmic bait amidst melodies and hooks which infect the passions, there is a big feel of eighties indie pop band The Farmers Boys to the track, a suggestive spice that adds to the immense contagion. It is a masterful slice of electro and guitar pop merged into something attention seeking and winning.

The release comes with a longer version of the single, its added tail a hypnotic rhythmic fascination which does not bring anything majorly extra to the single but neither leaves it a lesser enticement, and an acoustic version of Creaking Universe, a song which shows the skilled craft of songwriting and presentation of Silhouettes. With references to the likes of M83, John Grant, Massive Attack, Bon Iver, Sigur Ros, and Radiohead placed around the band and that of Bukowski, Nick Cave, and Matt Berninger of The National to the lyrical side of the band, Silhouettes is a rising presence and attraction which has taken another potent step through the Integrity Records released Gold Tag, a single well worth investing time in.

http://silhouettesmusic.net/

8/10

RingMaster 25/11/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

theLights – Dust and Stone

1395436_10151963950004793_1257258786_n

Whisked from the forthcoming successor to their acclaimed debut album Teenager Of The Century, UK melodic alternative pop band theLights begin tempting anticipation with new song Dust and Stone. Building on the sound and presence established and keenly received by media and fans alike with their previous album, the Birmingham quintet make a rather potent and captivating invitation to check out their impending arrival with the single. It is not a song which leaves you breathless or reeling from something exceptionally unique but with a sound which is distinctly theLights and a rich infectious breath to its full bodied melodic colour and structure, it is an invitation which lays down a bait simply impossible to ignore.

The band has returned to the studio for the single and upcoming album with renowned producer Gavin Monaghan (Bloc Party, The 1378147_10151925055689793_265662188_nTwang, Kings Of Leon) who also worked on its predecessor. The result with Dust and Stone is a song which makes easy work of drawing full attention and inspiring up strong intrigue for what the band has in store. From its opening seconds the track dances gently with ears and thoughts, the guitars of Dan Tombs and Shaun Kelly weaving an elegant pattern around the expressive vocals of Kelly backed by the smouldering vocals of Liz Sheils. The rhythm section upon the track is respectful and generous to the woven melodic beauty and though relatively understated veins the adventure with evocative dark lines and firm beats from Gaz Worton and Woz Meadows respectively. There is a country rock tease to the song throughout which adds to the rich hues of the song but equally the guitar invention and enticement provides a sense of Lightning Seeds and in little ways, The Farmers Boys which only enhances the flirtation with the passions.

Dust and Stone is an extremely satisfying track which though it does not spark the passions into any rigorous activity, enjoyably simmers away inspiring a keen appetite for the arrival of theLights’ new album. If you are looking for some folk seeded melodic pop which is a little different and beautifully crafted this single is a gateway to a new melodic exploit to get very excited over and it is hard to imagine the band providing anything less with their sophomore full length ahead.

https://www.facebook.com/theLightsUK

http://www.thelights.co.uk

7.5/10

RingMaster 25/10/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com