Lightfoils – Hierarchy


Bringing a fire and fiercely textured depth rarely heard before in shoegaze, Chicago quintet Lightfoils release debut album Hierarchy to mesmerise, subdue, and inflame the senses. Like a voracious mix of The Capsules and The Mouth of Ghosts but openly individual, the band’s sound and release is a breath-taking wind of poetic invasiveness, an adventure of sultry landscapes within a hazy swamp of emotive and smoulderingly intensive melodic skies. There are times that the release truly imposes on ears and psyche but from start to finish the album is a compelling and fascination blaze of cavernous warm sounds and shimmering transfixing ingenuity.

Consisting of vocalist Jane Zabeth, guitarists Neil Yodnane and Zeeshan Abbasi, bassist Cory Osborne, and drummer John Rungger, Lightfoils emerged in 2010. Since their first steps the band has shared stages with the likes of Ringo Deathstarr, Telescopes, Nightmare Air, and Ume as well as playing at SXSW in 2012, all the time increasing their presence and growing fan base. Their self-titled EP of two years ago set attention and anticipation in motion which the Sanford Parker album is set to take to new levels and intensity such its impressive proposition.

An atmospheric caress wraps ears first as opener Polar Waves emerges to set the album off, its soft yet haunting touch soon joined by jabbing beats and a broody bass tone alongside a web of jangling guitar and angelically a3054064102_2harmonious vocals. It is a rich and enveloping mix which croons as it immerses the imagination into its presence, soaking ears and emotions in a melodically humid flight of endearing enterprise. It is also a merger of light and shadows, the rhythms and bass bringing darker depths to the slightly chilling yet captivating voice of the song cast by heated guitars and vocals. It is a striking and mesmeric start to the encounter but soon finding itself in the shade of its successor.

Last One is a killer of a song, from its first rhythmic anthemic tantalising swiftly joined by the rugged charm of raw guitar and the seemingly persistently cantankerous bass tones, it dances with the passions. Keys as in the first soar across ears and the ceiling of the song but spread a more expansive and potent emotive soundscape here beneath which there is a primal energy and irresistible bait enslaving thoughts. Adding a slight post punk steel to the canvas of temptation, predominantly through the bass of Osbourne, and a distinct flame of abrasing sonic colouring to the flaming climate, the track is a mouth-watering and thrilling wash of invention led by the siren-esque call and harmonies of Zabeth.

Those same mesmeric temptations permeate the dynamic emprise of Addict, a track which stirs the blood from the outset with its scorching sonic welcome and subsequent anthemic stride aligned to a bewitching weave of aggravated sinews and sweltering enchantments. The track boils with contagious intensity and squalling hues throughout, igniting ears through to emotions with its rigorously expressive, almost antagonistic heart and abrasing crystalline beauty.

Diastolic similarly grips attention and a by now raging appetite for the album, its first coaxing of that constantly delicious and grizzling bass tempting binding a concentrated focus. It is a lure aided just as rivetingly by guitar and crisps rhythms. The spine of rhythmic invention and contagion across the whole of the album is simply irresistible, the dark spicing a perfect temper and complement for the flowing summery vocals and steamy melodies swirling overhead. The track is like a passionately orchestrated sunset, its rich hues and intriguing sonic scenery a shifting enthralling composition which embraces and seduces the whole body.

The following Mock Sun is a more laboured persuasion, a song which superbly blends the darker ravages of sound with smothering blazes of aural sun and seductive melodies but loses the key to the passions which previous tracks held so forcibly. Its central snarl though ensures the track leaves satisfaction full and the voice of Zabeth in control of emotions before making way for the excellent Passage. The track glides effortlessly across the senses, a glaze of House Of love and My Bloody Valentine stroking ears before a fiery swell of endeavour and energy brews in its belly. The song is a lingering seduction, its melodic lips searching and glancing over every inch of the senses and imagination like a celestial lover spawned from a darker corner of temptation. One of the pinnacles of the release, the track gloriously sends emotions into rapture before an untitled instrumental comes in to treat the imagination. The piece is a spatial soar with heavenly whispers and pulsating tones but seems out of place certainly where it is on the album. As an intro or outro it would have been an embracing to dive within but where it is truthfully you are just looking to the next track.

Next up alovetodestroy seeps from its predecessor with an echoing swarm of sound which in turn triggers a feisty expulsion of grippingly aggravated rhythms and icy bass taunting around which Zabeth and guitars sculpt another sizzling romance fuelled further by the evocatively potent keys. The song is as busy and lively as it is rigorously beguiling, heating up the senses for Hideaway to cast its wily melodies and alluring charm over. A gentler floating of spiritual aural seducing compared to the previous track, the song engulfs the listener in a bordering on tempestuous atmosphere which you only want to bask in.

Completed by another nameless piece of skilful composing and vivid realisation and as the previous piece against the other tracks less compelling even with its cinematic quality, Hierarchy is a cosmic and reflective fantasy brought to rich aural life. Lightfoils has crafted an immersive escape within which you can find hope, shadows, and unbridled pleasure.

Hierarchy is available now via Saint Marie Records @


RingMaster 09/07/2014

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Candy Says – Not Kings


Not Kings, the debut album from UK electro-tinged pop collective Candy Says, is a bit of a puzzler but a mesmeric mystery you cannot help being entranced by. Minimalistic and lo-fi whilst wrapped in flourishes of melodic charm and seductive harmonies, the release tantalises and enthrals from start to finish but you end up wondering why the attraction does not spark a fire in the passions as successfully as it does in the imagination. Usually both go hand in hand and certainly at times the band offer a fuse which is just irresistible but the ebbing and flowing of the album seems to escape a constant supply of that rich reaction. Nevertheless Not Kings is an absorbing flight of sound and adventure which increases its temptation with every venture.

Candy Says is the project of lead vocalist/guitarist Juju Sophie and keyboardist/vocalist Ben Walker, a duo from Oxford who sparked strong attention with a pair of sold out cassette singles via Cool For Cats last year. Recorded entirely in the garage of lead vocalist Juju Sophie’s bungalow, Not Kings confirms all the promise of and buzz around the band and even without setting a blaze inside, gives potent evidence of the real potential of the pair.

The title track gets things in motion with an initial coaxing of handclaps and restrained electro caressing. It is a welcoming start but one a4253926693_2which is pale until the sirenesque tones of Juju Sophie lay their warm glances and bewitching charm over ears and imagination respectively. Like a hint to the album as a whole, the song laps over ears like a gentle sea, its aural waves coming and going in strength and relish to offer a persistent suasion which captures thoughts with ease. There are no climactic moments or startling textures to the track just an on-going inviting glaze of synth and vocals aligned to magnetic surges of guitar. It makes for an intriguing proposition with plenty to spark an appetite for the release, a taste soon reinforced by the delightful Favourite Flavour. As the first its touch is reserved and tender without raising a temperature but like a summer breeze the song swarms around and engages the senses with perpetual ease and warmth. The backing tones of Walker add another texture to the golden voice of Juju Sophie whilst musically the song brings potent adventure to instantly lift the profile of the album.

The following C’est Pas Comme Ca is a provocative folk tinged slice of balladry pop with a sixties voice to its seductive temptation which continues the strong and varied start to the album. There is drama and evocative emotion to its absorbing sounds and harmonies whilst the vocals which already guarantee a seductive embrace to the album make no exception here or in the next up Lord’s Mistake. The fourth track is the first major peak of the release; its funk bred stroking of guitar immediate contagious bait which is enhanced by the vocals and the eager dance of the keys. Like a mix of The Mouth Of Ghosts, Tom Tom Club, and Propaganda, the song is a glorious vivacious stroll with more colour and richly exciting hues than the previous trio of songs put together.

Hummingbird graces ears and air next, its pungent beats and fluid keys a potent canvas for the vocals of the band members to contrast and unite in a poetic painting which smooches and flirts with the imagination. There is an additional celestial tone to the ambience of the song which adds to the vivid incitement of the imagination, as most of the tracks achieve, but like its predecessor the croon also works as potently on the passions.

Both the resourceful dance bred Dreamers and the similarly sculpted Melt Into The Sun provide a pleasing presence to immerse within but neither explore the emotions beyond mere satisfaction either even with their superbly crafted and intricate weaves of synths and harmonies whilst Chad straight after unveils a captivating atmosphere of melodic reflection over a rich evocative palette but again that earlier mentioned spark which certainly is burning feverishly in the likes of Favourite Flavour and Lord’s Mistake merely smoulders.

The simultaneously melancholic and vivacious Dead On Arrival brings the release back to an irresistible peak; its sultry climate and emotional elegance an invigorating infection upon the woven scenery of flowing keys and vociferous and alternately mellow vocals, Juju Sophie once more revealing the quality and depth of her voice.

A wonderfully dark and seductive tempting wraps the following Understand The Night, its noir kissed Parisian shadows under street lamp spotlights another enthralling premise to bask in and investigate. It is impossible to resist, leaving a lingering call from the album which the inviting but underwhelming Cool Sensation cannot match. To be fair the song shimmers and lures like a summer soaked lake, its surface a refreshing glow but its depths lack the potency to take the listener into deeper waters of pleasure, an issue the closing Camilla has no problem with. The best track on the album with ease, it makes a gentle offering initially though the vocals have a greater power and passion to them than previously found on the album. It is a striking and lip licking entrance which only deepens its potency with the restrained but wholly infectious almost anthemic stroll of the chorus. The track goes from strength to strength the more it courts ears and thoughts, harmonies and keys alone smouldering kindling to the respectfully flaming heart and expression of the outstanding encounter.

If the album was full of songs like the last it would be a certain classic, but it has enough to make itself a tremendously appealing treat which sounds better the more you venture within it. As we said at the start, the passions might not be set ablaze by Candy Says but the imagination is happily fired up which can only lead to a solid recommendation for Not Kings.

Not Kings is available now digitally, on cd, and on vinyl @


RingMaster 09/05/2014

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The Mouth Of Ghosts – You Will Go Again From Me EP


    After the stunning and impressive entrance of UK band The Mouth Of Ghosts through their 2012 debut EP When The Sun Sets it cannot be denied that many like us found a tingle forming at news of the band unveiling their follow-up release. The London quintet is one of those encounters where once bitten their seduction is irresistible, their atmospheric blend of shoegaze, trip-hop, and alternative rock veined by emotive textures and evocative hues, enveloping and infectious. The You Will Go Again From Me EP confirms The Mouth Of Ghosts as one of Britain’s most exciting emerging bands and though the new release does not have a When The Sun Sets on it, the first EP’s title track and one of the most glorious songs of past years, it pushes and expands the striking and imaginative presence of the band to greater heights.

    The Mouth of Ghosts was formed in 2011 by guitarist Simon Langford and bassist Marco Italia, the name taken from a Dillinger Escape Plan song. The pair soon found and recruited vocalist Alla Seydalieva as their distinctive sound began to emerge and evolve. Completed over time by drummer Phil Page and Valerie Deniz on synth and additional vocals, the band ignited a definite hunger for their sound through the When The Sun Sets EP. The release of its title track as a single in October of 2012 also brought eager attention, finding support from the likes of Tom Robinson and numerous radio shows, and the song selected as one of the top songs of that year on BBC Introducing. You Will Go Again From Me is sure to emulate its predecessor with its mesmeric and invigorating contents and also steer the band into an even more intensive spotlight, one deserving of such an inventively expressive and intrusively immersive encounter.

     The gentle opening caress of Winter Song instantly brings a chill to the spine, both from the emotive vocal and guitar beauty 1510406_751512044861607_502384343_nwhich strokes the ear and from emotions being taken back to the first seductive climate the band offered two years ago. They have a touch in sound and the sirenesque tones of Seydalieva which instantly sparks emotions; exploring and taking them on resourceful magnetic journeys as evidence by the first song upon You Will Go Again From Me. The track slowly works its way under the skin, keys joining the initial premise to open up its skies whilst beats and pulses court the brewing temptation of guitar and electronic enticement. Reaching its full height with Seydalieva showing the range and depth of her delivery, the track burns heatedly before ebbing and flowing with a more smouldering intent and embrace. The song reveals along its emotional landscape a greater maturity and adventure to the songwriting and sound, whilst across the whole release a stronger diversity than arguably offered by the band’s debut shows its suasion.

    From the enthralling start the release strolls up another level with the outstanding Wrong, a magical flight through a celestial melodic soundscape with noir kissed edges and sinister shadows. There is also a scalding and rapacious edge to the guitars as the track reaches the height of numerous crescendos, the stimulus enflaming thoughts and pleasures as richly and dramatically as the otherwise angelic gait of the stunning endeavour. It is a masterful slice of sonic alchemy exploring a bolder and darker invention in imagination and craft from The Mouth of Ghosts.

   Right on Time takes the listener on yet another new and alluring soar through an engulfing ambience, provocative harmonies, and heart sparking vocals, all within a web of sonic contortion from Langford. There is a swing and swell to the tide of the emotion and melodic enterprise which plays like Bjork meets Portishead, a sexually enlightened swagger which only fuels another dose of ardour towards the band and their songs. Once again a dark mystique lends it’s tempting to the engrossing dance and drama increasing the weight and depth of the whole experience.

    The closing You Will Go is a melancholic whisper across the senses, brought with a morose gait within an almost funereal temperament and atmosphere. Unlike the other three songs it is a slowly burning suasion though still making a forcible impact from its first touch. As musically poetic as it is lyrically and vocally, the song is an intensive and empowering treat which emerges as a further weighty declaration of a highly promising band, one which is reaching its first pinnacle whilst setting new plateaus to ascend to.

     The You Will Go Again From Me EP is a scintillating and enrapturing proposition from a band which is increasing its position as one of the most innovative and expressive bands in British music. The Mouth Of Ghosts and their new exploration is one sunrise and sunset all should treat themselves to.


RingMaster 17/04/2014

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Low Sea – Remote Viewing

Low Sea

    With eleven pulsating bubbles of electro pop which disperse upon the senses like a warm Technicolor monsoon of  liquid aural crystals, Remote Viewing from Low Sea is a scintillating embrace with rewards at every corner of its sultry shadows and dazzling breath. The album from the pair of Bosnian Billie and Liverpudlian Bobby D enchants and mesmerises with a temptation which is blessed by sirens and borne of the most vibrant electronic breath.

The Ireland based duo first met while living in the United States, Billie having fled to San Francisco when the war in Bosnia broke out. Finding a bond the two released a mini album on US-based Lefse Records before working with Dell’Orso Records with the view to creating ‘a narcotic pop album’, something you can say they succeeded in doing with Remote Viewing. A big chunk of the album was recorded and self-produced in a cottage overlooking a light house and harbour in the isolated fishing village on the Irish coast where they live, the other songs mixed by Stephen Hague (Pet Shop Boys, New Order, PIL), including the lead single/title track. With a sound described as “Julee Cruise on sedatives”, the duo has produced an album which washes over the senses like a seductive warm tide rippling with the rays and shine of an eager sun. It is magnetic and hypnotic, occasionally inflicted with a drifting similarity which reduces the fullest potency of some songs, but throughout it is a compelling ambient persuasion to which resistance is a missing ingredient.

Affliction Of Love is the first teasing embrace, its pulsating presence littered with growing radiance and inviting sultriness. Immediately thoughts of the likes of Altered Images, The Mouth Of Ghosts, Propaganda, and Daisy Chainsaw lift above the parapet admittedly as much for the inciting vocals of Billie as the expansive heat of sound. The energetic start makes way for the more reserved but equally as enthralling Sentimental Games. The song entwines intriguingly around the senses, its heart radiating with a golden electro sheen and the deliciously sirenesque vocals wrapping the passions around each and every syllable and emotive charm. The Cellophane Flowers like lilt to the song like the first song brings a slight familiarity to its open distinctiveness, a delightful paradox to immerse within whilst basking in its smouldering kiss.

Across the New Order inspired title track with its wonderful dark prowl within electronic flames, the sensational Starlight, and the equally impressive Cast A Cold Eye, the album brings a growing ardour for its wantonness to bear. The second of the three is a celestial sunrise of instinctive rhythmic energy and angelic harmonies which soaks every atom for immediate obedience whilst the third has the darker edges of early pre-split Human League. Its haunting warmth and niggling underlying taunt is a perfect merger of extremes and sonic devilment as well as another major highlight on the album.

Breathing In Too Fast steps forward with another irresistible stroll; the gnarly resonance of the intense bass sounds a shadow of the most addictive primal stance and again offers an impossibly compulsive fusion of extremes with the melodic electro dew and vocal beauty of Billie eager companions.

Arguably as the closing few songs make their undoubted stunning contributions there is a slight lack of surprise accompanying them, the vocals and synths playing with existing armoury explored on the album but in saying that each track like Alex and the epic touching Last Rain to name two still ignite the passions and appetite for so much more from the band. Remote Viewing is a wonderful album, a release which brings the darkest seductive shadows and evocative ambiences to the most vibrant and mischievous electro dance sunsets.


RingMaster 08/04/2013

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Argonaut: Self Titled


    From its first gentle kiss the self-titled album from UK indie band Argonaut never relinquishes its spell on thoughts and emotions not to forget holding an unbreakable grip on the ear. A shimmering sun of evocative ambiences and provocative warmth, the album immerses the listener in ethereal elegance and persuasive imagination whilst quietly enslaving the passions.

The quintet from London state influences as the likes of Sonic Youth, Garbage, Hole, The Pixies and many more, essences which whisper loudly from within the ten track release. To those you can also add the likes of Propaganda and The Sundays as a strong eighties wind blows from within their invention, as well as from the now The Mouth Of Ghosts. Argonaut holds their own distinct stance though despite the rich spices and over recent months has begun to truly catch the imagination of a widening awareness awaking to their creative sound. The band were signed up by Criminal Records for the release of their recent single and album, the band gaining interest on the London ‘toilet circuit’ whatever that means but surely nothing as seedy as imagination dares think up.

The album begins with the single Monet, a song which invites the listener into its arms with a brewing resonance with glowing bass 3517_483921028334663_2008247918_ncaresses drawing in fiery guitar sonics and the golden voice of Lorna Lyons, her voice a temptation impossible to refuse. Guitar spires light the magnetic ambience of the song whilst the infectious chorus seductively nuzzles the senses, the track itself working under the skin and submerging the emotions in a sunset of aural colour to reap the fullest ardour from its recipient.

The following Touch Electric opens up its sinews, the bass a grumbling prowl around the ear whilst electro cascades light the way for the guitars to flash and graze across the heart of the song. Occasionally a B-52s flicker winks in the pop tease of the song whilst within its scintillating coarse surface and almost childlike vocal tones the likes of Daisy Chainsaw mischievously peer out. With a grunge feistiness to its encounter the song instantly shows a depth to the songwriting and invention of the band and a continuation of their skill to enchant and enthral.

More Life and 2 Lights continue to show a variety and skilled invention from the band, the first a smouldering stroll through a weave of sonic beauty and melodic grace steered with raw energy and blistered intensity whilst the second works on the passions with a persistent bass lure and niggling guitar barbs. The vocals scorch the heart with their lush allure and all combined with creeping shadows skirting the finesse of the song, there is a Breeders/Belly enticement.

The latter part of the album immerses into an even deeper dreaminess with enveloping sounds which arguably elude reaching earlier set heights on the album or sparking raging fires inside but the likes of the delicious They Can Bury You, the haunting Spectres where Lyons is at her most Clare Grogan-esque, and the alluring Chemistry never fail to leave an eager thirst for more quenched.

Amongst these songs there awaits the further triumphs of Vintage Dress and the closing track Sleep Tight. The first is an entrancing sway which takes no time in offering influences of The Cure through the bassline which has cheekily been cloned from A Forest but is just irresistible so all is forgiven. The song itself saunters with beacons of melodic grandeur pervaded by encroaching shadows, the result a pulsating bewitching that holds the listener lovingly whilst gently passing over dark emotive tinges. The final song is also a darker companion but one which fuses shaded emotions with a compelling luminance. Like the most rewarding enchanting dusk that any day could offer the song allows the album to leave on a warm breeze which beckons an immediate return.

Argonaut with their album confirms that the buzz around them is more than justified whilst suggesting the band will reach greater more impressive heights over the near horizon. This is simply an album not to be missed.


RingMaster 14/03/2013

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The Lost Souls Club: High Noon EP

The Lost Souls Club pic

    UK rock band The Lost Souls Club has earned a strong reputation and acclaim for their commanding shadowed rock n roll but as yet has not ignited the awareness they deserve. Whether their new EP High Noon will be the trigger only time will tell but it will not be for the want of quality and compelling invention. The release is a fiery and bruising encounter which offers no pretence nor makes demands but provides fuel for a raging fire of pleasure for its impressive offerings.

The Southampton quartet of Jon Tufnell, Simon Jackson, James Freemantle, and Jon Lamont, merge heated essences of varied rock flavours from alternative and psychedelic to melodic and indie with extra spicery from shoegaze and garage rock. Formed in 2010 the band takes influences from the likes of Led Zeppelin, The Jesus And Mary Chain, Placebo, Nick Cave and The Bad Seeds, and Black Rebel Motorcycle Club, to name a few, into their own distinct recipe of scuzzy rock n roll. Musically the band carry heavy whispers of the aforementioned bands so at any point a reference easily springs to mind but it sculpts it into an inspiring and raw gift of its own.

The release opens with the irresistible Romeo, a track which immediately feels like an old returning friend in new and inspirational The LSC - High Noon EP coverclothing. The initial rich guitar lure is soon joined by ripe rampant beats and expressive earnest vocals, the combination as the bass offers its darkened menace, a compelling and inciting intensity upon the ear. The prime riff persists with its addictive resonating grip to fire up the passions the longer its feeds on their hunger and once the track breaks in to a punk rock storm of coarse energy and insidious seduction, the track needs persuade no longer to the calibre of its impressive presence.

The following Kiss Away The Sun caresses with a blistered enveloping ambience, its wrap veined by raucous guitar provocation and again emotive vocals which tell their own unique tale. The bass and drums bring a sinewy frame to the song and its dreamy if intimidating atmosphere, the union leaving a mesmeric invitation which is hard to refuse. A mix of The Jesus And Mary Chain, House Of Love, and The Mouth Of Ghosts with the raw edges of Birdland, the track induces another belt of rapture with its diverse and equally delicious enterprise and monochrome light.

Shoot Me Down bristles with menace and confrontation, the fuzzy guitar resonance and devouring bass evocation a charred encounter which is in no rush to claim its victory. Though brief the track commands attention and soaks the senses with a brooding and ravenous intent whilst musically the equally grave emotive wash lights a Nine Inch Nails/Queen Of The Stone Age smouldering in its sententious heart. Lyrically song and EP is themed by conflict between opposites within oneself and like the music creates evocative and seducing connections to the listener.

The release is completed by We Are All Gonna Die Anyway and I Know I Spoke Too Soon, the first another energised romp for the senses, its familiar tone and devices refusing to reveal their sources but vibrant with recognisable irresistibility. It is a punchy anthemic slab of feistiness which contrasts and introduces perfectly the closing simmering glories of I Know I Spoke Too Soon. Mellow and emotively magnetic the track is a psyched melodic dream which pervades the ear and beyond with elegance and flames of passion which sear at the touch.

High Noon is an excellent release which deserves to set the band on the path to the widest recognition. If it will time will of course reveal but The Lost Souls Club can hardly do much more to sway the listener.


RingMaster 13/03/2013

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The Mouth Of Ghosts: When The Sun Sets EP

The title track off of the When The Sun Sets EP from UK band The Mouth Of Ghosts, has enchanted and mesmerised us here for many weeks so the anticipation  going into this their debut release was greatly heightened. The five track EP proved those elevated expectations and hopes were still an under estimation of what was to emerge. When The Sun Sets is simply immense, a consuming and intense weave of atmospheric elegance and creativity brought with a sinister air to leave one immersed in darkened beauty.

The music of London-based The Mouth of Ghosts is generally tagged as a fusion of alternative rock and trip-hop and though that is accurate in many ways there is so much more to them than that. Their music is an emotionally textured presence which envelops every pore and thought with an elegance and shadow to ignite the strongest responses. They are a mix of the sky bound breath of Portishead with the indie cuteness of Daisy Chainsaw and the disturbed heart of Deftones. It is a unique and compelling sound which leaves one basking in intense beauty and swimming against a tide of inciteful energies and passions.

Formed in 2011 by guitarist Simon Langford and bassist Marco Italia with vocalist Alla Seydalieva joining not long after, the band began working on their distinct sound. Taking their name from a Dillinger Escape Plan song the band soon expanded as their sound grew its own evolving life with drummer Phil Page joining the end of last year and March of this seeing Valerie Deniz joining on synth and additional vocals. The Mouth of Ghosts is a band which lingers long after the final note of their music has given its final caress, their music once it takes hold is in every atom surrounding and within the mind and heart, the hours the title track of the EP has laid dormant within the senses easier to count than those it has erupted without warning within.

The song When The Sun Sets is pure aural majesty, arguably the best song to emerge this. Its initial restrained guitar play gives no warning of the infectious and deeply touching sound to come but once the voice of Seydalieva begins her gentle stroking of the ear and beyond, one is soon wholly hypnotised. Her vocals are simply stunning and she one of the finest singers to emerge in recent times. She has a range which only ignites fires of adoration and has a strength in her gentle and feistier intense delivery, which is unrivalled by most. The bass of Italia brings a vibrant shadow to the stunning affair, his presence adding depth to balance the solar embrace of vocals, keys and guitar imagination. The track is stunning, one of those songs you would cross deserts for, its atmosphere and darkly tinged breath an equally heated landscape.

The song still reigns supreme and heads the release in all aspects but the other songs making up the EP are no less impressive and involved for the senses. The following Patient is another slice of brilliance. It is a harder edged and shadowed track than the opener but no less intrusively consuming. The slow crawl of the song with the vocals teasing and taunting with verbal fingers of liquid gold, wraps itself around every part of the body. The song takes a slight breather midway to allow the gathering of energies to erupt into a raging fire of passion for a musical tempest of explosive invention. The track bristles and strokes with equal strength to leave one further breathless whilst deep in imagery and personal passions.

The next two songs World’s End and Close show the diversity of the band within their overall rapture of sound. The first is an emotive cry with a disruptive almost corruptive handling of the senses from the guitars and agitated rhythms behind again openly striking vocals. The electronic weaves offer comfort to words and ear to temper the corrosive sounds as the band show the skill and ingenuity of their songwriting and its realisation. The second of the pair is a shimmering haunting piece of imagination which bewitches as it takes one into an unsettling place of melodic grandeur. Again the band has a special ability to bring beauty tinged with danger and dark intensity as warm as the sun.

Closing with a cover of the Deftones track Digital Bath, a song which from its understated start evolves into another fully absorbing and remarkable wash of intensity, When The Sun Sets is simply musical excellence. The Mouth Of Ghosts is a band destined to greatness and we get the real thrill and honour of sharing their ascent.

Ringmaster 13/08/2012

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Music Review Unsigned presents: Various Artists – PURE Vol.1

A few decades ago as punk and indie music rose to their heights you could not turn around without coming face to face with a compilation album showcasing new and unsigned bands certainly around the UK. Every city from Brighton to Sheffield and Liverpool to Belfast had an album or series of them to bring underground bands forward into a spotlight. That trend diminished over the years but there hopefully seems to be a new brewing resurgence in the concept if the growing number of albums already this year introducing emerging independent talent from around the world is to go by.

    Pure Vol. 1 from the music website Music Review Unsigned is the latest and a tasty morsel of new indie flavoured sounds and artists to treat and inform our ears it is indeed. Bringing forth twelve rising bands and artists the release is a nicely varied and eclectic mix which offer plenty of new vibrant sounds for most individual tastes and a consistency of quality which inspires enthusiasm for the direction of indie music.

The album is top and tailed by the two best songs on the album but the tracks in between are no fillers either. The album opens with the stunning When the Sun Sets from London based band The Mouth of Ghosts. The quintet ignites the air with balmy electronic caresses and a heated ambience to leave the senses enthralled and in rapture especially with the striking and gorgeous vocals of Alla Seydalieva. Taken from their latest EP of the same name the song is an emotive kiss brought with a strength and power to leave knees weakened. Fusing the moodiness of Portishead and the subtle pop of The Sundays to the dark shadows of Deftones the track is immense and leaves a tall order for the other contributors to match.

The final track on the album from Israeli band 3/33 are certainly up to the challenge and set the senses and thoughts racing with their song Rainy Day. Starting with a strong yet not immediately grabbing mix of slow dawning crystalline melodies and a gentle yet shadowed breath the song relentlessly envelopes and permeates with secretive intent. As muscular arms spread their welcome the track starts rippling with a passionate intensity and discord tinged cascades of guitars and vocals to raise the pulse rate. It is a mighty song reminding of Echo and The Bunnymen and The Cure around their A Forest and Pornography days. As with so many of the artists on the album the band and song ensure that eyes and ears will be closely paying attention to their sounds ahead.

The songs in between these two are just as impressively strong which is generally rare for a compilation just through personal taste alone but it has to be said not one song left a feeling of being underwhelmed or drew less interest, all instigating the urge to investigate. Without going into each song individually though and to leave some mystery for you to find out we will give a quick mention for some other personal favourites which excited with a little more passion.  These moments came with the excellent Reverie from UK alternative rock quartet The Dusk, This City by London duo Kissimmee, and the Bamboo Party song Warning Signs. The first of the trio again brings an air of eighties with its post punk/electro mesh filtered through a feisty rock energy and easily marked the Cheshire quartet as another band destined to make a big impact at some point whilst the pair of Leigh Alexandra and Drew Wale which make up Kissimmee powerfully offer up a big sound drawn from rock and pop punk which is openly impressive. Starting out with a flavouring of The Pretenders the song evolves into a full and flowing melodic charge which easily sits beside the best Paramore song. The latter of the trio Bamboo Zoo is an Irish quartet which lights up the air with an irresistible manipulation of teasing and magnetic guitar jangles, outstanding vocals, and blood pumping contagion.

As said though all songs are remarkably strong and easy to return to from the likes of the folk toned songs from Paul Brennan and Parallel, the rock punch of The Wall Street Thieves and Rosetta Fire, to the stirring sounds of Robb Murphy, A41, plus the sensitive strokes of Junah.

Available from Pure Vol. 1 is an album which leaves one in no doubt the healthy state of new music worldwide.

RingMaster 25/07/2012

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