Escapade – Red Sky

With the attention and praise grabbing success of their debut EP, Stepping Stones, still fresh as that of its title track as lead single, British rock band Escapade have given their strong emergence a new potent boost with their new track. Second single Red Sky is a rousing slice of melodic rock bred on the mix of Brit pop and psychedelic rock which lit up its predecessors. More than that though, it is the Leicester outfit hitting a new plateau in sound and creative energy while dishing up their most potent and rousing song yet.

Emerging from the creative linking up of singer/songwriter Sam Wyatt and guitarist/songwriter Adam Bailey, Escapade stepped forward in the autumn of 2015 with the band growing from an acoustic pairing of the two with the addition of bassist Jordan Alleston and drummer Martin Wenham the following year. Their first EP and its single stirred up a wave of praise and support the way the band, including that of Kasabian’s Tom Meighan, and is sure to be matched and easy to suspect eclipsed by the reaction to Red Sky.

The single makes a low key start, sweeping in from distance with a great flirtatious bassline and angular swipes of guitars as percussion and beats dance. Wyatt’s vocals are just as enticing, his delivery lively as the sounds around him and like them carrying an instinctive catchiness which flows from song to imagination with energy and adventure. Though inspirations to the band spring from the sixties to bands such as Oasis, The Stone Roses, Nirvana, Green Day, and Black Sabbath, Red Sky soon has thoughts casting back to eighties bands like The Mighty Lemon Drops and The House Of Love during its adventurous canter; every passing second of the song seeming to draw a new twist and flavour of sound; psych and indie rock conspiring with mod and Brit pop in a web of stirring and melodically inflamed enterprise.

Listening to Red Sky, there is a realisation that as enjoyable and striking as they were, previous tracks were missing a certain spark, one Escapade has found and ignited within their new and seriously impressive single.

Red Sky is out June 2^nd

Upcoming Escapade live shows:

June 10th – The Shed, Leicester

July 28th – The Music Cafe, Leicester

http://escapadeband.co.uk    https://www.facebook.com/escapadeuk/

Pete RingMaster 02/06/2017

Copyright RingMaster: MyFreeCopyright

Liberty Ship – Learning to Fly

by Ost

From a music scene which over the decades has perpetually produced some striking and inventive bands, Sheffield hailing Liberty Ship make a big suggestion that they could be another to add to the list of successes with the release of new single Learning to Fly.

Creating a mix of indie and melodic rock, the band since emerging at the beginning of 2012, has built a potent reputation for their sound and a live presence which has seen them play alongside amongst many the likes of King Charles, Reverend and The Makers, and just recently The Carnabys. They have also opened up the main stage at last year’s Tramlines Festival and found tracks like What Point come under close attention from BBC Introducing Sheffield. Now it is the turn of Learning to Fly to stir up a greater number of ears and fuss the way of the band; a success easy to see being swift and sure.

A guitar jangle entices ears first, swinging rhythms and further melodic enterprise in tow as the lead vocals of acoustic guitarist Lewis Hancock bring their potent tempting and expression to the swiftly brewing party. In no time into a vivacious stroll led by the catchy exploits of lead guitarist Jack Eddison and Hancock’s emotive strums, the song offers up a vibrant and increasingly infectiously proposal akin to a fusion of The Housemartins and The Mighty Lemon Drops.

There is no escaping the catchy prowess and adventure of the song, its melodic eagerness contrasted yet accentuated by the darker roam of James Brown’s bassline and the firmly landing beats of Kierran Bond. It is a captivating mix added to by the great harmonies across the rest of the band which back up Hancock’s lead.

A feel good single sure to enliven the spirit of any day, Learning to Fly has plenty to suggest why there is such a keenly growing awareness around Liberty Ship and to spark an appetite for more of their tenacious rock ‘n’ roll in those it arouses.

Learning to Fly is self-released April 1^st @ http://libertyshipband.bandcamp.com/album/learning-to-fly-single

http://www.libertyshipband.com/   https://www.facebook.com/LibertyShipBand/   https://twitter.com/LibertyShipBand

Pete RingMaster 01/04/2016

Copyright RingMaster: MyFreeCopyright

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

Silver Coast – Seasons

Breeding a loyal fan-base and earning a potent reputation for their sound and live presence in their home city of Inverness and beyond, Scottish quartet Silver Coast is now getting to grips with stirring up broader attention across the UK. Latest mini album Seasons is leading the persuasion, the release an emotive roar of alternative and melodic rock with an invitation for ears which commands to be taken notice of. It is an introduction to a wider spread audience which will certainly not stir any real surprise if and when it sparks a new flood of eager ears the way of Silver Coast.

Formed late 2012, Silver Coast was soon lighting up appetites on the local live scene with highlights including supporting the likes of Fatherson, lostAlone, and King Charles in the city. Over time they began sharing their presence and sound further afield, backed by the release of the highly praised 2014 single Believe. Last year saw the foursome of vocalist/guitarist/keyboardist Aaron Murray, guitarist Andrew Thomas, bassist Jason Simpson, and drummer Michael Cappie playing the main stage at Belladrum and end 2015 with a show at Glasgow’s King Tuts, and with Seasons already beginning to stir things up, this year looks like following suit in success and raising attention.

As Seasons opens with Pictures, there is an immediate lure of popping guitar strings as a seductive melody wraps around ears. It is a swiftly engaging entrance to release and song reinforced by the strong melodic tones of Murray and subsequently the darker heavy hues of bass amidst crisp beats. As things evolve, a sultry country tinged twang escapes guitars, sparking brightly against the sombre yet warm atmospheric sky of the song. As it continues, ears are lured deeper into the song’s creative heart, every passing minute a discovery of subtle but openly inventive twists and elements which have laid in wait for their moment to please and intrigue. The band has cited inspirations as coming from bands such as Feeder, You Me at Six, and Twin Atlantic, and similar spices, if not direct comparisons, certainly colour the opener and its following companions.

Needing You Needing Me slips in next and instantly builds upon the great start with its magnetic coaxing of sonic enterprise and vocal prowess. Through never nearing an explosion of energy, the track is as catchy as hell, even in its quietest moments, and even more compelling when it raises its creative and emotional temperature. Again without exactly sounding like them, the song brings thoughts of The Mighty Lemon Drops to the fore and also frees a scent of Orange Juice to its jangling resourcefulness before making way for the similarly infectious Wake Up. Enticing ears into following its title, the song saunters along with a melodic smile and emotive edge; further feeding an already keen appetite for the band’s highly engaging rock ‘n’ roll.

A beefier intensity is uncaged by Taking Chances next, its tempestuous air thick drama around the emerging melodic and harmonic contagiousness of the song. Rhythms add a punch and imposing shadowing whilst Thomas spins a web of sonic expression with his fingers as Murray potently croons. It is fair to say that each Silver Coast song is a kaleidoscope of flavour and textures, here light and dark colliding and colluding for another arousal of air and ears before parting for the album’s title track. A calmer hug of emotive sound, the final song is a reflective serenade of voice and piano wrapped in the expressive arms of guitar. It too bares new sides to its inventive and emotive soul with rhythms building up a brooding atmosphere which becomes subsequently laced with the provocative romancing of keys and melodies.

It is a fine end to a release which is certainly thoroughly enjoyable on the first listen or two but really comes into its own over time and with further exploration. At times it feels like Silver Coast pull back on their boldness, hinting at losing any creative restraints but in the end keeping that final spark which anticipations wants under wraps. Nevertheless Seasons is a potent first look for a great many at a band really beginning to creatively blossom.

Seasons is out now @ http://silvercoast.bigcartel.com/product/seasons-ep-pre-order-now

http://www.silvercoastmusic.com/   https://www.facebook.com/silvercoastmusic   https://twitter.com/silvercoastband

Pete RingMaster 15/03/2016

Copyright RingMaster: MyFreeCopyright

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

Savannah – Music Is My High

Music Is My High is the third single from UK indie/rock band Savannah, and reason alone to be excited about the emergence of the Telford hailing quartet. The song shows a tantalising mix of flavours which no doubt will lure references to Brit pop bands of the nineties but its uniting of sound has seeds further back in music history whether by intention or coincidence.

Recorded with Gavin Monaghan, Music Is My High is like a delicious collusion between eighties indie band The Mighty Lemon Drops and the slightly earlier sixties garage rock inspired adventures of bands like Purple Hearts and Nine Below Zero. Certainly the scent of an Oasis or Inspiral Carpets comes into play at times, but the single is a masterful weave of many spices which has the imagination and emotions onside very quickly.

Music Is My High follows the successful releases of the double A-sided single/video Back Street Robber / Live Your Life and a self-titled EP. They were big parts in a potent 2015 for Savannah, the year seeing the band playing over 200 live dates across the UK including three sold out 250 capacity gigs and make history with a record breaking show on The Wrekin.

It is easy to see that success continuing into 2016 if Music Is My High is the sign of things to come, and it takes little time in gripping attention as a thick bass lure sparks the clash of jangly guitar aligned to the magnetic tones of vocalist Liam Ball. Already thoughts are reminded of The Mighty Lemon Drops as melodies and harmonies unite with infectious hooks, though Savannah soon shares a quality to their sound which has their name all over it.

Tom Jones’ basslines continue to grip and incite, but equally the swinging and scything chords of guitarist Jason Lewis take their fair share of attention, as too the tenacious rhythms of drummer Harry Neat and the increasingly potent vocals of Ball. Together they create a proposal which instinctively seems to feed all the wants from a slice of infection soaked rock ‘n’ roll.

A persistent blaze of sound and enterprise from start to finish, Music Is My High is one of those songs which demands and quickly receives attention. Yes 2016 is looking another very healthy year for Savannah, and in turn, our ears.

Music Is My High is out now via Hartfield Records @ https://midlandsavannah.bandcamp.com/track/music-is-my-high

http://savannahuk.co.uk/   https://www.facebook.com/SavannahUK   https://twitter.com/uksavannah

Pete RingMaster 04/03/3016

Copyright RingMaster: MyFreeCopyright

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

States of Emotion – Black & White To Gold

The journey of UK rock band States of Emotion and indeed debut album Black & White To Gold has been fraught with obstacles and disappointments, but it is fair to say that it has been well worth the fight and determination. Centred around vocalist/guitarist Olly Hookings and bassist Bonzai, States of Emotion has finally stepped into the fullest spotlights with a debut album which is destined to be one of the most tantalising and increasingly magnetic propositions this year.

The first days of States of Emotion go back to 2001 with Essex hailing school friends, Hookings, Bonzai, and drummer Luke Lloyd linking up to play “bad Green Day covers in the summer house at the bottom of Olly’s grandmother’s garden.” Within eight years, the band was playing the likes of the Great Escape Festival, Offset Festival, and Glastonbury’s Introducing Stage. It was at this point they also began recording their debut album with producer Greg Haver with their self released debut single, The Unsung stirring up eager appetites with its outing in 2010.Its success saw the band deciding to sign with urban label Rinse but though a successful tour with The Enemy followed there was little else apart from a half-hearted promotion of next single The Way That I’m Wired by the band’s label. With much frustration to the band, the album was of seemingly little interest to their label and with that lack of action and support highlighted by the “half-baked single release that wasn’t marketed properly”, they decided to walk away from Rinse.

This was followed by Lloyd and fourth member Brick leaving the band, and the premature announcement of the end of States of Emotion. Thankfully Hookings and Bonzai then decided to carry on working on the album, writing new tracks, often sparked by the past issues and departures, to go with those already nurtured. This in time led to the pair creating their own Label White Room, through which after five or so years, Black & White To Gold finally gets its unveiling.

With the Rag n Bone Men EP offering a tasty teaser of the album a few weeks back, anticipation for the release was heightened and is quickly rewarded by outstanding opener I Broke The Mould. Straight away guitar brewed drama envelopes ears; a potent lure of dark bass led shadows and vocal expression from Hookings which only blossom further as melodies and anthemic tenacity bursts in the irresistible chorus. With keys caressing the imagination in alignment to tangy hooks from Hookings, the track smoulders and sizzles on ears and appetite with a prowess and majesty which reminds of bands like Doves and The Mighty Lemon Drops, the latter a regular thought across the album, especially in the following Lena.

The second track has a brighter climate and warmer melodic breath with matching rhythmic enterprise whilst bass and guitar again unite their contrasting tones and textures. In tandem it all makes for a catchy canvas for the excellent vocals of the band to dance upon with emotive flirtation. Feet and hips are as quickly enamoured as ears with the encounter, a persuasion easily matched by the album’s moodier title track. With Bonzai’s bass a rumbling incitement against the interlocking melodic intimacy and orchestral character of the song, it is a fiery serenade tightening the album’s early grip on ears.

Through the romancing sonic flights of Inside Out and Brooksys Box, the album continues to hold the listener close to its creative breast, the first an evocative swirl of melodic resourcefulness and its successor a celestially laced yet robust slice of balladry. Both carry a deliciously dark vein enriched by infectious basslines and openly anthemic fuel and each is increasingly impressive and highly alluring, as too in its more personal way Back to Back, where piano and vocals steal attention before Seeking Oblivion engagingly wraps ears in its guitar driven electronic seducing.

The album at this point is in a magnetic flow, each song like an inventive continuation and emotionally related follow on from its predecessor. The band raises the ante again with Rag & Bone Men though, the track a bold and boisterous adventure which saunters in with electronic beats and siren like keys around the melancholic but inviting coaxing of Hookings’ voice. All the time a low key but building virulence is at work, brewing and enhancing the swing of the song until it releases a chorus with the persuasive mastery any hypnotist would be proud of. The song is glorious, equipped with little twists and dramatic hooks that just pull the imagination deeper into its galvanic temptation.

Slowly has a Coldplay like scent to its calm but suggestive embrace next whilst Into The Dream Catcher uncages a melody rich rock ‘n’ roll stroll which as all the pinnacles on the album, draw emotional reflections and gentle tempting into an energetic and subsequently anthemic roar which is pure contagion and insistently memorable. It is an elegant flame of a song with the right amount of intensity to create an even feistier stir.

The final pair ensures Black & White To Gold ends on the kind of high it started on. She Cuts Shapes is first, casting rhythmically infectious bait within an equally zealous rock pop roar which again shows the band’s skill at creating a landscape of ebbing and flowing energy which in turn breeds gripping crescendos. Its superb revelry is instantly matched by the slower melancholic beauty of My South Drive. Possibly the most contagious track on the album with its welcome trespass of melodic and harmonic seducing, it provides the album with a last major triumph and the listener with a song which simply lingers.

Black & White To Gold may have had to bide it’s time to introduce itself but it needs little time to announce States of Emotion as a band no one with a melodic heart will want to ignore.

Black & White To Gold is out now via Label White Room @ http://labelwhiteroom.bigcartel.com/product/states-of-emotion-black-white-to-gold-signed-cd-album-pre-order

https://www.facebook.com/brooxhq   http://www.labelwhiteroom.com

Upcoming States Of Emotion Dates:

Wed 24th Feb – BRISTOL Thekla w/ The Rifles

Thu 25th Feb – PORTSMOUTH Wedgewood Rooms w/ The Rifles

Sat 27th Feb – LONDON Roundhouse w/ The Rifles

Pete RingMaster 22/02/2016

Copyright RingMaster: MyFreeCopyright

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

James King and the Lonewolves – Lost Songs of the Confederacy

It might be thirty years and more since its release but the James King and the Lonewolves single I Tried/So Alone, has never drifted away too far from the musical landscape here at The RR. With the band coming to a close less than a handful of years later, it is a regular reminder of what might have been and of the potential locked up inside one of the eighties lost opportunities to shine even brighter musically. So it was with surprise and excitement that the band re-emerged a couple of years ago and that the debut album lost to that collapse of the band, was to be released. The original Lost Songs of the Confederacy was recorded with John Cale but as mentioned never saw the like of day, but now ‘mark II’, with re-recorded and re-mastered songs supplemented by new recordings is here and at times it is like the band has never been away.

James King and the Lonewolves emerged in the early eighties in the heart of Glasgow’s music scene and swiftly grabbed attention and support with their feisty and fiery Americana influenced rock ‘n’ roll. The aforementioned single I Tried released via Cubre Libre/Virgin, sparked a wider awareness, certainly grabbing some of us down south. The following Texas Lullaby ‎12″ EP found acclaim of its own too and with the band signing with Alan Horne’s Swamplands label in 1984, it looked like things were about to break for the band. An ill-fated performance on The Old Grey Whistle Test where their profanities drew countless complaints from viewers led to the label dropping the band after just one single and before the album was unveiled. That in turn added to the turbulence within the quartet which saw it subsequently self-implode.

Skip forward to 2011 though and after a ‘long running feud’, James King and Jake McKechan putting differences aside came together as The Lonewolves for a memorial show for former agent, Alan Mawn. Completed by bassist Nick Clark, guitarist Joe Sullivan, and drummer Corey Little; band and audience saw the chemistry was still ablaze within The Lonewolves and they decided to carry on. Released via Edinburgh’s Stereogram Recordings, Lost Songs of the Confederacy is a bridge to the past, ‘unfinished business to be done’ in the words of King, and spark for the future, and as also shown on the recent Pretty Blue Eyes EP, the band’s sound is just as potent and rebellious as ever.

The album seems to work itself up to its biggest triumphs, the first few songs making an appealing and satisfying persuasion but the real roar and fire in the album coming a little later. In saying that opener Fun Patrol immediately captures ears and imagination, its initial sonic shimmering bringing a lick of the lips before riffs and rhythms huddle in an imposing stance. King’s vocals carry a mature snarl to his still distinctive tones whilst guitars toy with a bluesy colour to their sultry enterprise. It is a pulsating slice of rock pop, bass almost stalking the senses across its imaginative landscape whilst a flame of harmonica simply lifts spirits and passions further.

It is a mighty start to the album which is not quite matched by either Over the Side or Fly Away. The first caresses ears with sixties melodic coaxing initially, its Kinks like smile an engaging persuasion which the shimmering climate of melodies and throaty bass stroll only accentuates. It is a highly magnetic proposition but is missing the indefinable something which lit its predecessor, the same which can be said of its successor. The album’s third song has a riper infectiousness to it, riffs and hooks inescapable bait but again that certain spark fails to materialise to take an enjoyable song into being an inescapable one. The flame of brass and contagious swagger it carries does it no harm though before it makes way for the hazy presence of Bridgeton Summer. Its air is steamy and melodies again sultry, both wrapping inventive climbs of emotion and energy within the transfixing balladry fuelled song. It also just misses those early heights but provides a vein of ingenuity which is exploited to the full as the album suddenly kicks up in the creative gears.

Even Beatles Die dangles sonic bait to straightaway hook ears and thoughts but it is when the punk voracity and intimidating riffs from guitar and bass break-through, that the track becomes a thrilling predator. It has a nagging to it which is as contagious as it is unrelenting whilst the poppier exploits of guitar and hooks simply flirt with seventies rock ‘n’ roll temptation. It is a treat of a romp setting up the richer blues hued strains of While I Can. With a jazz blues tease of keys leading into stalking bass lures and aligning riff and vocal growls, the track twists and shouts with an old school rock and R&B devilry to also ignite ears and emotions, though it in turn is just an appetiser for the majesty of (Un)happy Home. Instantly holding a delicious whiff of The Mighty Lemon Drops to its net of melodic enterprise, the song prowls and strides with switching adventure to sculpt a dynamic and insatiable stomp of punk ‘n’ roll tenacity and adventure. Everything about the album’s best track, from growly vocals to spicy riffs, seductive low toned bass to crisp rhythms, is pure contagious persuasion.

   Pretty Blue Eyes swiftly keeps the levels flying high with its raw and jangly endeavour, the song seemingly bred from the seeds which early Orange Juice and Josef K employed so well. It is a compelling encounter which rather than grab the psyche by the collar slowly burns its way into causing its subsequent arousal. Igniting an instant reaction is no problem for Texas Lullaby though, the track from its tantalising melody washed jangle brewing up and growing into an impossibly addictive and irresistible chorus. At that moment there is a pungently healthy Skids air to the song but a flavour soon transformed into a Lonewolves tapestry of emotion and lingering persuasion for another massive peak to the increasingly impressing album.

     Lost Songs of the Confederacy is brought to a close by the gentle melodic stroking of A Step Away from Home, a strongly evocative and pleasing prospect but another not quite equipped to match songs like the one before it. Nevertheless it still leaves ears content and pleasure full as it brings a ‘lost son’ of an album home into the hearts of the band’s fans. This is an album which is much more than a memory trip just for fans though, its daring and inventive drama a certain lure for those unaware of James King and the Lonewolves. It has been a long wait but boy was it worth it for them and us.

Lost Songs of the Confederacy is out via Stereogram Recordings now digitally with a vinyl version available from November 10^th. Find out more @ http://www.stereogramrecordings.co.uk/audio/lost-songs-confederacy/

https://www.facebook.com/JamesKingLonewolves

RingMaster 30/10/2014

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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Jake Evans – This is Life

This is Life is one of those tracks which just triggers the sweet spot, treats it to a masterful seduction of stirring rock music which lingers and simply grows with time. It is perhaps no real surprise that the new single from UK singer/songwriter Jake Evans is so potent and exhilarating with its following of his acclaimed debut single Easy On My Soul, as well as impressive musical history, but there is something in its heart and presence which catches the breath and imagination far beyond expectations. It is a stunning encounter, thrilling and laying down a teaser of Evan’s forthcoming first album Day One which is irresistible.

Macclesfield based Evans first come to the fore with Rambo & Leroy, earning a reputation and spotlight which took him to the attention of Bernard Sumner and his band Bad Lieutenant after the second demise of New Order. As the band’s co-front-man, guitarist and songwriter, alongside Summer and New Order band mate Stephen Morris (also New Order) as well as Blur’s Alex James, Evans increased his reputation within the band’s success which led to invitations to support the likes of Paul Weller, New Order, Johnny Marr and Doves’ Jimi Goodwin once emerging as a solo artist in 2012. Easy On My Soul was drenched in eager acclaim upon its release slotting nicely in with highly praised appearances at Festival No 6 and the iconic Jodrell Bank music festival. This Is Life is the next adventure and certain to open up a new depth of ardour for his impressively evolving creative persuasion.

The song is a tide of virulent hooks coming in varied shapes and designs, the first an immediate temptation as This is Life opens. A sonic sigh lights the fuse to a weave of acidically melodic guitar bred hues which instantly recalls The Cult, delicious bait which subsequently embraces the shadows of Sisters Of Mercy too as a great throaty bass seduction and crystalline keys explore the imagination. Evans’ voice has a slightly grainy feel to his expressive tones which only adds richer colour and texture to the contagious enticement, his delivery holding a whisper of Paul Marsh of The Mighty Lemon Drops, as does some of the melodic suasion lapping around his voice. It is a gloriously fascinating proposition which only flourishes further through fine guitar coaxing and a steady but potent rhythmic framing to the smouldering intensity and passion of the song.

Those essences of eighties and nineties bands bring a familiarity to the song which only increases its contagion and appeal but equally there is an originality and invention which as mentioned at the start, fondles and incites an instinctive rapture to the impressive encounter.

It is impossible not to breed a healthy anticipation for the impending Day One from This Is Life alone but placed alongside Easy On My Soul expectations and hopes reach skywards, though you sense they will be well fed and pleasured by Evans when the time comes.

This Is Life is available digitally June 16^th @ https://itunes.apple.com/gb/album/this-is-life-single/id879180547

https://www.jakeevansmusic.com/

9/10

RingMaster 15/06/2014

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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