Seprona – Trap Door

Seprona_RingMaster Review

Emerging in 2014, British indie pop/rock band Seprona is proving to be one of the new breed of bands lighting up the Liverpool music scene. Certainly they are one of the eagerly talked about and recommended propositions thanks to songs like new single Trap Door. A lively melodic romancing of ears with a catchiness to take care of the physical side of persuasion, the track is a broader invitation focusing on national ears to back up the fine live reputation already earned.

Initially locking themselves away in an abandoned pub on the outskirts of Liverpool city centre where they practised and honed their sound in conjunction with a prolific writing of songs, Seprona soon made their first step and subsequently mark on the local live scene. Since then they have ignited numerous venues like Sound City last May where they played with the likes of The Flaming Lips, The Vaccines, and Belle & Sebastian and at festivals such as FestEVOL alongside Serpent Power and Dave McCabe & the Ramifications. Musically inspirations from the likes of Arctic Monkeys, The Black Keys, Interpol, and Radiohead into a sound, go into their sound, spices which, going by the new single alone, nurtures an individualism which is also instantly ear friendly.

artwork_RingMaster ReviewNow in a development deal with Rooftop Records, a label owned by Parr Street Recording Studio’s Chris Taylor, which gives Seprona access to recording time as well as valuable mentoring, the band is ready to whip up more attention with Trap Door. A crystalline melody erupts around a pulse of beats first to entice ears, a coaxing soon enhanced as a brief cinematic sample emerges alongside the throbbing groan of Tom Larkin’s bass. Within another breath, the potent tones of Daniel Badger lay invitingly upon the melodic veining spreading across the song, his and fellow guitarist Sammy Issa’s poetic enterprise a gentle but potent suggestiveness for the imagination and emotions to embrace.

As boisterously mellow as it is, the song also has an infectiousness which is impossible to ignore. It is perpetual bait which is only highlighted further by the great framing rhythms of drummer Joe Grove, and with everything combined, plays its part in a weave of sound which, even as brief as the song is at under three minutes, leaves a lingering imprint.

Enthralled by the tantalising touch of Trap Door it is fair to say that we, as many more, are very much looking forward to hearing more from Seprona, something you cannot say about every embrace of sound you meet.

Trap Door is out now via Rooftop Records from iTunes and other online stores.

https://www.facebook.com/seprona/   https://twitter.com/SepronaMusic

Pete RingMaster 26/02/2016

Copyright RingMaster: MyFreeCopyright

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Steaming Satellites – Self Titled

Steaming Satellites_RingMaster Review

Steaming Satellites is an Austrian band that for the past ten years has been a major lure and adventure in their country’s music scene, underground and within stronger spotlights. The fact that it has taken their new and third album to find, like for so many others, our attention shows how little of the vast music world anyone has a hold on at any given time. We can only be thankful that the Salzburg band’s new self-titled release has found its way through to thrill ears and ignite the imagination though because it is simply bewitching.

Consisting of Max Borchardt (vocals/guitar), Emanuel Krimplstätter (keys/bass), Matthäus Weber (drums, programming, keys), and the recently joined Manfred Mader (bass), Steaming Satellites casts a sound bred from indie rock but welcoming to an array of flavours from blues, funk, soul, and electronic enterprise. Their previous pair of albums were strongly acclaimed propositions whilst live, with shows alongside bands such as Thin Lizzy, The Ravonettes, and Portugal. The Man amongst a great many, the band has earned a potent reputation for sound and performance. Now it is the turn of album three to stir things up and as for the umpteenth time the release lights our ears and revitalises emotions, the thought of Steaming Satellites becoming a ‘household’ name across numerous territories seems a thick possibility.

It opens with Together and a caress of acoustic guitar; a gentle coaxing aided by the immediately enticing and expressive tones of Borchardt. Soon stringed tempting wraps around ears and in turn a dark moody bassline strolls through the emerging colourful and creative landscape of the song. As keys jab and harmonies unite, the song blossoms into an infectious romance for the imagination and a swiftly open appetite for the release. As catchiness and shadow kissed drama similarly grows within the fascinating proposal, feet and hips become eager whilst thoughts only greedily consume the impressive entrance of the album.

cover_RingMaster Review   Its indie rock swing is emulated in the following Rocket, though electro tempting is the first bait to engage ears to lead them into the military funk of the rhythms and the fiery dance of the guitar. Its air becomes a sultry breath at certain points, always returning to its lively endeavour though as varied spices burst from the festive heart of the track, again with feet and voice in eager involvement. Like The Flaming Lips trying on the psych rock of The Doors and the creative intimacy of Billy Momo, the song excites before departing, leaving lingering trails behind it though the fuzzy revelry of Unreal soon has attention all to itself thanks to jangly hooks and a deliciously roaming, slightly grouchy bassline which toys with the melodic radiance of the keys and harmonies. At its heart, the track is a funk bred romp but as already shown, Steaming Satellites never leave anything to settle into predictability, always keeping invention and surprises potently shimmering.

Both Honey and Restless Robot keep pleasure high and enterprise blooming, the first with its tangy Arctic Monkeys/Kings of Leon shuffle within a flirtatious smile and the second through a rhythmically dark and sonically sultry Portugal. The Man meets Futureheads tango. There are many other slithers of spice bringing a whisper of varied bands to the song, and album, but in the hands of Steaming Satellites all get turned inside out and honed into something unique and as here forcibly captivating.

Door is a heavier emotive croon which, without matching the successes before it, enthrals with its evocative textures and instinctive bounce aligning perfectly with the song’s moodier atmosphere and vocal heart whilst Circles slips into a bluesy Black Keys-esque character with stomping riffs, crisp rhythms, and spicy grooving. It too pleases without tapping up the lustier reactions found by earlier songs and definitely ignited by the outstanding Unfold straight after. The track is pure magnetism, a resourceful serenade of intimate vocals and emotive smouldering which just gets bigger and more persuasively spellbinding with every passing chord and melodic spice. It is as much an anthem as any raucous sing-a-long rocker, a compelling contagion of sixties keys, seventies melodic drama, and indie imagination.

Through the raunchier funk ‘n’ roll of Back And Forth, the feisty post punk meets indie/electro rock of Phone, and the dark White Stripes rock ‘n’ roll of Fill The Cup, album and listener continue to be fully involved in each other whilst Secret Desire employs a more restrained stride and melodic haze to its crystalline sparkle of keys and guitar to further engage the imagination. Tempered by the earthier tones of the bass and the grounded delivery of Borchardt, the track is the perfect blend of dark and light; maybe a slower burn on the passions than other treats within the album but another leaving long term hooks in its wake.

The album is completed by Move On, a gorgeous slice of lively balladry cored by ever impressing vocals and coloured by a virulent and imaginative tapestry of melodic and sonic colour. The track is a tremendous end to an outstanding release, an encounter which gets more commanding with every listen. It is hard to imagine Steaming Satellites being a relative secret from now on, but then as we said music is so big that the ease with which one can miss things is inescapable. Our suggestion is that band and album, is not another you allow to pass you by though.

The Steaming Satellites album is out from October 30th

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

Pete Ringmaster 29/10/2015

Copyright RingMaster: MyFreeCopyright

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The Winachi Tribe – Time For Love

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Fancy giving feet and hips a healthy work out? Then take Time For Love, the new single from The Winachi Tribe, out for a ride. Consisting of two electro funk bred shuffles as soulful as they are blessed with a varied weave of additional flavours, the band’s debut release is the perfect incitement for those with the need to dance in their heart.

The Warrington / Leeds based funk driven collective emerged earlier this year out of Northern D.Funk collective China White, entangling inspirations from the likes of Sly & The Family Stone, Happy Mondays, Black Grape, Primal Scream, Massive Attack, The Rolling Stones, The Beatles, and Ian Brown into their own diverse and fresh sounds. As young a band as it is, experiences across its members are deep, collaborations and tours with a range of artists from Alabama 3 and Keith Allen to The Furious Five included on the overall CV whilst percussionist Inder Goldfinger alone has been a member of Ian Brown’s band for thirteen years. With a line-up completed by vocalist Liam Croker, guitarist Jamie Mcgregor, bassist Richie Rich, keyboardist Antony Egerton, and drummer Sam Tushingham, The Winachi Tribe have hit the ground running with their first release, unleashing a soulfully infectious party at the same time.

Time For Love opens with inviting beats and a guitar jangle reminiscent of Talking Heads; The Tom Tom Club further coming to mind as percussion and vocals breathe their lively enticing into the expanding swing and flirtation of the song. A dark and pulsating bassline only adds to the draw whilst developing guitar enterprise and the ever captivating rhythms make a puppeteer to feet and body movement. The song saunters along with eighties/nineties funk revelry, the flames of horn provided by Tim Hutton alongside warm harmonies and the enticing lead vocals of Croker, further lighting up the song’s bustling scenery. With everything combined, Time For Love is a magnetism of nostalgia and originality. Manna for those with a passion of funk ‘n’ soul and pleasing temptation for those maybe less inclined to swing a hip or two.

Second song Plant The Seed, instantly offers a darker atmosphere and tone, but again with a virulence which only spreads the catchiness oozing from its second breath. Vocally Croker is soon mixing up his delivery too, enticing raps and mellow smouldering escaping his throat to match the similarly lively and varied sounds hugging his every word. As with its predecessor, a hint of Heaven 17 and additionally here Rip Rig & Panic plays with thoughts, especially around the great and thick temptation of female vocals. Emerging for personal tastes our favourite of the equally fine pair, the track reveals more of the depth and imagination within The Winachi Tribe songwriting and sound.

Completed by the Love Maze 4DD remix of Time For Love, the single is a masterful persuasion for ears and body, and an introduction to take even those of us generally lacking the keenest appetite for its style of music on a highly satisfying and eager adventure.

Time For Love is available via A1M Records from July 20th

https://www.facebook.com/thewinachitribe https://twitter.com/winachitribe

Upcoming Live Dates:

18th July – Single launch at Water Rats, London with Alabama 3 DJ set and support from Italian Band La Strange http://www.wegottickets.com/event/319583

27th August – Vinyl launch, The Ruby Lounge

29th August – Victorious Festival, Portsmouth, opening for Primal Scream & The Flaming Lips

5th September – Manchester Met Uni, ‘The Second Coming’ with Aziz Ibrahim, The Clone Roses, Cressa (DJ Set)

7th November – Shiiine On Weekender, Minehead Arena, Somerset with Happy Mondays, Stereo MCs, 808 State

RingMaster 20/07/2015

Copyright RingMaster: MyFreeCopyright

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Desert Ships – Skyliner

Desert Ships press image 2014

Four mesmeric flights flooded with celestial hauntings and shoegaze fascination, the Skyliner EP from UK band Desert Ships is as both band and release names suggest, an expansive and sultrily aired adventure. A release which is cinematic in its touch on the imagination and warmly sensuous in its lure on the senses, Skyliner shimmers and radiates like a mix of The Horrors, House Of Love, and Brian Jonestown Massacre with just a tinge of Inspiral Carpets for spicy measure. To be honest that is still a loose description of the psychedelic fuelled exploration found within the release but a good starting point for something distinct to Desert Ships.

Formed in 2012, the London trio of Mikey (vocals/guitar), Daniel (bass/vocals), and Claude (drums/vocals) swiftly sparked attention and acclaim with the release of their debut album that same year. The Mark Gardener (ex- Ride) produced Doll Skin Flag soon drew regular comparisons to the likes of Brian Jonestown Massacre, The Flaming Lips, Tame Impala, and occasionally the film scores of John Barry. Its success was backed by the band’s equally praised live presence which saw them tour with bands such as The Prodigy, Band of Skulls, The Rifles, and Babyshambles as well as play numerous festivals over the past couple of years. Reuniting with Gardener again in the studio, Desert Ships now unveil their new EP, a release taking its predecessor as a launch pad for broader and more expressive aurally visual experiences.

The release opens with its epic title track, a seven minute plus excursion into magnetic harmonies, sonic exploration, and fuzzy show gaze seducing. From its first breath there is a fresh and smouldering temptation at work, guitar coaxing Desert Ships-Skyliner-artwork -Final-HRthe lead into a weave of vocal harmonies and expression from across the band. That in turn is cradled by a tapestry of keys bred elegance and enterprise. The song emerges as a gentle maelstrom of gripping ideation and aural fascination, the vocals as varied and riveting as the spatial grooves and rhythmic shuffle courting their narrative whilst every immersive note is an exotic kiss upon the senses. Like soaring through a refreshingly muggy landscape, the track is enthralling leaving body and emotions submerged in blissful exploration.

The slightly slimmer length of Shell Shock is no less eventful next, embracing ears with a synth pop spiced temptation straight away. Laying down an eighties flavoured yet modern canvas of melodic hues, bands like China Crisis, Modern English, and The Flaming Lips coming to mind, the track croons with cosmic lustre and psychedelic colour. Again the imagination is sparked by and emotions immersed in an ethereal tapestry of sound and voice, the song the perfect pop proposition. It is a description which almost applies to the following Heart Beats and it’s more grounded but no less transfixing splendour too, though the magnetic offering does not quite have the infectious glow and compelling grandeur of its predecessor. All the same the feistier track is a masterfully and enticingly grooved invitation which is hard to resist as it reveals further shades and turns in the band’s creativity.

Skyliner is concluded by another epic holding of ears with its longest and relentlessly suggestive track, Ausgang. Somewhere between cheerfully funereal and livelily meditative, the persistent breeze of sonic and melodic enticing is a vibrantly repetitive affair which probably outstays its welcome but still provides an instrumental soundscape to create imaginative tales within. Though the EP is not one of two halves, like the previous track the closer lacks something of the first pair of songs but has plenty to entice and feed an already keen appetite for release and band.

Desert Ships has provided a treat of an encounter which is at its stunning best at the start and whilst slipping a level of persuasion or two in its latter part, perpetually leaves expectations and anticipation of big things from and for the band ahead rife. Ultimately Skyliner is a gorgeous flight which more than deserves a full investigation.

The Skyliner EP is available now @ http://desertships.bandcamp.com/

http://www.desertships.com

RingMaster 11/11/2014

Copyright RingMaster: MyFreeCopyright

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The Capsules – The Long Goodbye

the capsules pic

Having been seduced by US electro pop band The Capsules through their previous album Northern Lights & Southern Skies, anticipation for its successor The Long Goodbye has been excitable and at times impatient especially when having the honour of a sneak preview a short while ago, and the album does not let any expectations and hopes down now that it is finally ready to immerse the world into its mesmeric embrace. Its predecessor was an enthralling proposition which did not ignite a fire in the passions though it had them bubbling nicely with its enchanting charm and qualities; The Long Goodbye though does both. At times it has emotions and satisfaction simmering vivaciously but more often than not it leads them to raging flames of pleasure and rapture whilst revealing a thrilling evolution in the band’s sound, craft, and songwriting maturity.

Originally from Kansas but now Dallas based, The Capsules’ seeds began in high school with Julie and Jason Shields. Coming together to write music, it subsequently led to romance, marriage, and first band Shallow as well as the first bloom of their breath-takingly textured sounds. Next the pair enlisted drummer Kevin Trevino as they looked to expand and further refine their sound, a potent move resulting in the emergence of The Capsules. As the trio grew in sound and presence so did attention towards them, debut album Reverser sparking a focus upon them followed by two more increasingly captivating full-lengths before Northern Lights & Southern Skies brought in all into a much greater spotlight. Along the way the band has also grabbed an increasingly growing legion of fans including SpongeBob SquarePants creator Steven Hillenburg who asked them to write a song for the show. Understandable comparisons to the likes of Cocteau Twins, Blonde Redhead, Metric, Phantasmogram, and My Bloody Valentine have graced the band over releases and their performances with bands such as The Flaming Lips, Garbage, Mercury Rev, and Low, but it is honest to say that The Long Goodbye places the band into their own unique centre of attraction with its invigorating electronic caresses and seductive vocal temptations. Released via Saint Marie Records, the album quite simply is one ridiculously potent siren.

The entrancing flight of the album starts with The Beginning and its initial jangling enticement, guitars offering more tangible bait in 10364099_10152403884081346_7913373131760722158_nan increasingly immersive ambience bred by the keys. Instantly there is a whisper of drama to the song, a colourful essence which erupts into an eager breath to a lively and in comparison to its start, urgent stroll to the song. The crisp beats of Kevin bring a coaxing spine to the song as the increasingly mesmeric tones of Julie wrap and envelope the senses but it is the teasing melody crafted by Jason which lays down the strongest trap, its Altered Images intrigue, simulated by haunted yet warm harmonies, simply delicious. It is a rousing anthemic start to the album, a scenic evocative contagion which takes the imagination and passions into bright aural views.

Super Symmetry takes over and just as quickly has ears and thoughts transfixed with its expressive electro courting, its breath a mix of melancholy and elation. Julie’s voice smoulders as she glides over the minimalistic yet fully hued landscape of the song, noir kissed shadows and lapping incitements of melodies filling the unfussy and infectious premise. There is a hazy light which soaks the song, one which flirts as it soaks every note and syllable to help create a presence which simply absorbs mind and soul before making way for the thicker narrative of Monsters. Like the opener it has an eighties synth pop like spice to its cloudy wash of acidic guitar enterprise and smothering melodies, but truly comes alive when the band opens up its chorus with a rhythmic crescendo matched by elevated sonic flames.

Both the title track and Death Of A Comet steer the senses into a spatial climate, the first soaring with rapturous vocal flumes and magnetic rhythmic enticement within expansive and emotionally invasive weaves of keys laced together by the intricate guitar sewing of Jason. The second provides an initial emotional dawning which slowly spreads its colour and aural heart until finding itself casting a gentle stroll beneath a moonlit smile. Both tracks light up ears and air, bulging melodies aligned to soaring beauty and a spellbinding croon respectively showing just two more twists in the diversity seeding the songwriting and album, an aspect pushed again by the outstanding Hollywood. With a thick and glorious dark bass prowl stealing attention as the song radiates its entrancing suasion whilst again celestial flavouring breeds sonic fascination, the track is an impossibly beguiling and infectious flight into shadowed climes and compelling sunspots, much like its namesake.

The brooding grandeur of You Are A Metaphor keenly kisses ears next, again layers of dark and light converging into an enriching provocative ambience sculpted in reflection and thought, before being put in the shade just a little by Signals, a song where from its first scattering of Numan-esque trappings steals undiluted attention especially when it brings a heavier and no less welcome OMD expression to its electro stirring. Gripping and mouthwatering the song is itself just a very tasty appetiser for the highlight of the album, The Lonely End. The song is just majestic pop alchemy which stands as one of the best song unveiled this year. From its first strands of electro infection aligned to loudly vocal melodic emotion, the track swarms around seducing senses and imagination like a dark temptress, one needing no assistance but getting it with a just as potent sultriness from the fabulous tones of Julie. Robust but as finely crafted as porcelain, the spellbinding encounter with its earthy bass sound and scorched sonic guitar bred flames aligned to breath-taking melodies is simply stunning.

The height of its glory leaves songs like With Every Hour and Don’t Look Down which follow a thankless task but both without truthfully coming near still enrol the listener in a masterclass of picturesque melodies and imagination painting keys embraced in possessive harmonies and vocals. Neither song admittedly takes the bull by the horns either, both in distinct ways exploring their own independent emotional investigations without the same contagious toxins found elsewhere, though that virulence is soon rediscovered by the almost imposingly dramatic The Forgotten Days. There is a nagging essence and potency to the song which like a dog with a pig’s ear never relinquishes the instant hook it places in the passions early on. With guitars and drums steering the encounter as powerfully as the vocals, the track is a formidable provocateur, one which never truly explodes as expected but still provides a gem of an incitement.

The Long Goodbye closes with the excellent version of I Will Survive, a slowly awakening temptation which once more prefers to croon than romp but still finds a level of energy and enticement which leaves breath gasping. The song is one which has never found favour here but in the hand of The Capsules has become a firm favourite. The Long Goodbye is easily one of the special treats of the year so far suggesting that from being compared to many others The Capsules from this point on will be who others are compared to.

The Long Goodbye is available via Saint Marie Records now!

http://www.thecapsules.com/

9.5/10

RingMaster 20/05/2014

Copyright RingMaster: MyFreeCopyright

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

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