Ghosts Of Social Networks – Love Potion

art gosn_RingMasterReview

A dark seduction for the senses and a provocative adventure for the imagination, Love Potion is the debut single from UK band Ghosts Of Social Networks. It is not always easy to spark real attention with your first offering on unsuspecting ears, but the Manchester outfit certainly have no trouble with their magnetic fusion of post punk, indie rock, and neo-psychedelia.

Produced by Gavin Monaghan (Editors, Scott Matthews, Robert Plant, Paolo Nutini), the song is a dark tale of unrequited love and the use of alcohol as a way of getting close to someone. Embraced by a potent emotive exploration; its provocative narrative is more than match by thick waves of sultry and haunting sound which wash imposingly yet engagingly over the senses. With bold textures and lingering sonic caresses, the track openly bears the band’s inspirations from the likes of The National through to The Jesus & Mary Chain, with Echo & The Bunnymen the overriding scent especially when melodies and harmonies entangle and fuzzily smoulder in a fiery seduction. Despite those colours, the song reveals a distinct character belonging to the band, one which greedily enthrals as it sublimely slips into the psyche.

Love Potion is one half of an AA sided offering; its companion Mockingbirds, a similarly dark and provocative proposal looking at those imitating celebrity culture rather than carving out their own identity. The first side of the single is our first glimpse at Ghosts Of Social Networks though, providing a mystique soaked romancing of ears and imagination within a tempest of emotion and instinctive adventure from a band already suggesting they are going places.

Love Potion/Mockingbirds will be released digitally through all major sites May 6th on Integrity Records (INT 054).

https://www.facebook.com/GhostsOfSocialNetworks

Pete RingMaster 22/03/2016

Copyright RingMaster: MyFreeCopyright

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Officer – Myriads

officer_RingMaster Review

Whether gripping attention with a rousing energy or laying an evocative caress on the senses, Myriads, the debut album from British singer-songwriter Officer, is an emotionally mesmeric and invigoratingly compelling adventure for ears and imagination. It is an exhilarating introduction to one of the most exciting songwriters to emerge in recent times and more than shows why its creator’s fans took it upon themselves to help push the release and artist towards a national recognition.

Officer is the musical moniker of Dc Logan, a musician born into the raw council estate life of Glasgow before spending much of his early upbringing in Northern Ireland during the height of the troubles. With poetry, short stories, and illustration already blooming from his imagination, Logan turned to music from the moment he picked up his father’s old guitar on the night The Good Friday Agreement was laid down. Eventually a move to London ensued and the creation of punk band Colourcode, they releasing a pair of EPs and one album across five years. Also dedicating his time and effort to helping the homeless and poor, Logan’s music and songs continued to evolve and breed their own heart and voice, every experience and aspects of life he has owes and come across seemingly adding another rich hue lyrically and musically to his songs. It has earned Officer a cult following, loyal fans which without the knowledge of Logan united and set up a support network to raise funds for the artist to record and now take his music to the broadest attention. The result is Myriads; a kaleidoscope of life, emotion, and invention which simply enthrals.

The album opens with Laughing Rafters and a gentle, suggestive shuffle of melodic and ambient sound. The potent coaxing is soon embracing the strong tones of Logan, his voice as vibrant as it is melancholic and a captivating mix matching the similarly provocative sounds continuing to brew around his engaging presence. As quickly as the song entices musically, so it does lyrically, an intimacy and easy relatable reflection wrapping every word and syllable. It is a potency fuelling every song in their individual adventures, and here casting a thick croon of folk and melodic rock tempting. Like The National meets Jeff Buckley with a touch of Doves thrown in, the song is a fiercely magnetic start.

Officer cover_RingMaster Review   Glass Ceiling, also from an elegantly restrained start, builds its own drama of sound and intensity next, flowing twists through emotional calms and rousing crescendos colluding for an irresistible anthem for body, emotions, and simply one’s own energy. The song is wholly immersive but with a virulence which dictates body and energy to leave the listener on an inflamed high which the following Can We Talk? tempers with its warm serenade but also continues through its infectiously poetic musical and emotional presence. The song is pure bewitchment, thickening in tone and drama with every passing minute to also leave rich pleasure and fascination in its wake.

As impressive and thrilling as it and its predecessors are, Act of Survival strikes a new plateau of thrills and incitement. Straight away rapier like rhythms pierce strolling melody soaked riffs and chords as Logan’s voice paints another striking and gripping lyrical revelation. The track is glorious, at times finding hues which remind of The Cure and in other moments of bands like British Sea Power and Johnny Wore Black, whilst sculpting its own unique theatre of original songwriting and heart bred enterprise.

The gentle but increasingly tempestuous haunting kiss of One Day comes next, its emotive resonance a lingering hug which eventually makes way for the tenacious and lively roar of The Waters. Again early Cure springs to mind as guitars and rhythms unleash slim but inescapable lures, whilst melodically and vocally there is a Placebo like lilt to the breath-taking waltz. It is a track to get the mind turning and blood rushing through the body, all the better for the inspired almost hidden echo which simply adds an ingenious extra depth to the already full-blooded and rounded, and not forgetting quite brilliant encounter.

Both Ambulance and DATV ensure there is no noticeable dip after such a pinnacle. The first is a tantalising slice of dark folk with a sultry air around shadow wrapped strings and acoustic expression whilst its successor, from the same kind of template, explores an even darker heart enlivened with more of the haunting textures and imagination which Logan has already revealed being skilfully adept at brewing. The pair sublimely entices appetite and imagination before Elisabeth holds ears with a balladry which is as explosive as it is serene. As across every track on the album, resourceful unpredictability and inspired boldness shapes and guides the hypnotic proposal, and again a spellbinding proposition is the outcome.

   My Darling Defibrillator takes us next on another climatic and at times atmospherically sweltering flight of invention and emotional turmoil, the song absorbing the listener in raw and impassioned beauty whilst seducing ears through to psyche, with another major incitement within Myriads.

The album is completed by the thoughtful and provocative serenade of Burst and finally the sonic bordering on harrowing, emotionally imposing AFM. They are two tracks which may not find the heights of those before but bring the album to a hugely evocative closure. Many moons back certain tingles and pleasure was found in the Black debut album Wonderful Life, a solo release which has stayed in thoughts and an ever evolving personal soundtrack ever since with the same potency. Those same ‘chills’ arose with Myriads and it is easy to suspect Officer will become the same kind of persistent encounter for us and a great many more old and new hearts within his already impacting fan base.

Myriads is available from 31st July and can be pre-ordered now @ https://itunes.apple.com/gb/album/id1018844878

https://www.facebook.com/iamofficer     http://officer.uk.com

RingMaster 20/07/2015

Copyright RingMaster: MyFreeCopyright

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The Slow Readers Club – I Saw a Ghost

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With just a few short weeks to the release of their second album Cavalcade, UK indie band The Slow Readers Club are releasing not only a pungent teaser to their forthcoming offering, but one of their finest moments yet in the shape of new single I Saw A Ghost. It is aural magnetism, an evocative embrace of emotional shadows and intoxicating sound reinforcing the Manchester based band as one of the most fascinating and exciting propositions on the British rock scene

The past year has seen the quartet luring increasing acclaim through a host of enticing singles, including previous single Forever In Your Debt and its predecessor Don’t Mind. They are no strangers to praise and attention it is fair to say, their live presence drawing as much eager reactions as their releases with last year seeing the band play a sold out show at Manchester’s Night and Day as well as successful appearances at Tramlines Festival, Party in the Pines and Blackthorn Festival alongside support slots with bands such as Catfish & The Bottlemen, The Struts, Reverend and the Makers, and The Sunshine Underground. They can also list Peter Hook amongst their enthusiastic fans, a following which from the release of their debut self-titled album in 2012 has perpetually and raucously increased.

Picture 66   Now The Slow Readers Club is stoking the fires of those followers and greater anticipation of their new album with I Saw a Ghost. The song is themed around depression, more specifically according to vocalist Aaron Starkie, “It’s about appearing to have a normal happy life but carrying something with you that can descend at any moment and make everything appear bleak.” It is an emotion perfectly embraced and exposed by the music within the single, its body and gait a bouncy persuasion with infectious energy and character but holding onto underlying shadows and dark thoughts just as tightly. It opens with Starkie immediately unveiling his and the songs’ heart in the embrace of his own crafted keys. Alongside them the jabbing beats of David Whitworth punctuate the emotional drama being shown, whilst the throaty tones of bass from James Ryan only add to the dark air though it is all swiftly tempered by the contagious enterprise of Kurtis Starkie’s guitar amidst that tantalising celestial breath of keys.

The song continues to blend dark and light, each entwining the other with craft and tenacity whilst providing a rigorous stroll of infectiousness amidst immersive almost suffocating dark rapture. The Slow Readers Club are usually and understandably compared to the likes of Interpol, The Killers, and The National but it is easy to also suggest moments of the track has elements of The Smiths, especially the start, and bands like Silhouettes to it. As previous songs though, it emerges as something distinct and instantly recognisable to The Slow Readers Club whilst providing the strongest suggestion that there is a new album on the horizon all sort eagerly check out.

I Saw a Ghost is available now @ https://itunes.apple.com/gb/album/i-saw-a-ghost-single/id973544966 with Cavalcade will be released via Extenso Music on April 13th.

http://www.theslowreadersclub.co.uk     http://www.facebook.com/theslowreadersclub

RingMaster 30/03/2015

Copyright RingMaster: MyFreeCopyright

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Silhouettes – Ever Moving Happiness Machines

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    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

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Broken Records – Weights & Pulleys

Broken Recordspic

Missing the coach the first and second times our introduction to Scottish melodic ‘emoteurs’ Broken Records came with the recently released Toska EP, a release which to be honest underwhelmed despite the impressive craft and ideation oozing through it. This made anticipation for the band’s third album less than enthusiastic but it has to be admitted that Weights & Pulleys makes a more than solid convincing to open up understanding as to why the band is so well thought of. Definitely the album does not light any major fires in our thoughts and passions but a smouldering attraction it certainly makes, one very easy to recommend to fans of the band and of the likes of Doves, Sigur Ros, and Arcade Fire.

Formed in 2007, the Edinburgh band was soon teasing in attention with their folk/indie bred textures and dense emotional enterprise, their first release the ‘gig’ EP inviting plenty of attention and excited praise. As they refined their sound the band successfully shared stages with the likes of Idlewild, Sons & Daughters, and Editors across Scotland before a series of singles including the first, If the News Makes You Sad Don’t Watch It on Young Turks in 2008, saw the band covered in acclaim from all areas of the media and led them to signing with 4AD. The following year was the canvas for acclaimed debut album Until The Earth Begins To Part and the continuation of highly praised shows and festival appearances. The Out On The Water EP also made its appearance at that time whilst 2010 saw the band line-up change into the sextet of Jamie Sutherland (vocals, guitar), Rory Sutherland (violin), Ian Turnbull (guitar), Dave Smith (piano, trumpet), Craig Ross (bass), and Andrew Keeney (drums), and the supporting of bands such as The National and Freelance Whales, as well as second album Let Me Come Home to again intense recognition and support. Three years in the making Weights & Pulleys is the ‘return’ of Broken Records and it is hard not to expect it to be swamped in the same accolade of acclaim as its predecessors from varied and wide quarters.

Released on their own label J Sharp Records and produced by Tony Doogan (Mogwai, Delgados, Belle & Sebastian), Weights & Pulleys br image005moves on from the earlier Toska whilst seemingly continuing its evocative intent. Why the album is a bigger impacting persuasion than the previous four track release is hard to exactly say but it feels like a bigger picture is explored and unveiled rather than mere scenic glimpses as offered by the EP. Also without finding major fuses to raging fires, there is a new spark to a great many of the tracks which captivates and intrigues whilst simultaneously finding an almost anthemic lure to entice senses and emotions. Opening track Ditty (We Weren’t Ready) is a fine example, its thick hypnotic rhythmic coaxing irresistible bait within an emotionally intense melodic swamp. Vocally Jamie Sutherland roars with expression and emotive endeavour, his call cradled in soft but incisive sonic arms and eventually an orchestral caress which equally fires up the senses. It is a richly potent start raising a keen appetite for things ahead, a hope soon sizeably fed by the Springsteen/Petty-esque Winterless Son. Again the rhythms grip attention as they thump out their intent seemingly spurring on the heart of another impressive song.

Toska steps up next and as on the EP fails to entice any real power to reactions even though it is a satisfying and accomplished offering. Sculpted around an evocative narrative of keys, the song merges melancholic breath with an invasion beauty, hope and reality meshed into one dramatic scenario. Musically the song is almost mesmeric but that trigger to light up the passions is a dormant factor, though awake once more with So Long, So Late. Across the release thoughts of fellow Scots Letters and also for less open reasons Josef K emerge with the richest suggestiveness coming with this fully immersive slab of emotional intensive and melodic fire wrapped in drama drenched shadows.

The title track envelopes ears and imagination with a full and heavy incitement of emotion and reflection, a consuming weight of drama and thoughtful provocation which easily pleases if without stoking that again simmering fire in the belly of the album and listener. That poke is provided by the excellent Let’s Call It A Betrayal, an agitated revelry of rampant rhythms, dark throated basslines, and sonic imagination ridden by the persistently impressing vocals. The track tempts, challenges, and simply hits the instinctive provocateur in us all, heights of dramatic expression and melodic dispute walling in the passions.

The following track, Instrumental is just what it says and makes little impression though you appreciate why it is included as it gives a breather within the torrential emotional deluge of the release. The enjoyable You’ll Be Lonely (In A Little While) strolls into ears next with a rhythmic swagger and melodic drizzling which undeniably enthrals but ultimately it is the rhythmic lure which makes the only lingering impression.

The unapologetically emotional Nothing Doubtful comes next to again absorb ears and thoughts. Its opening body and tone has a dulled and shadowed breath, a mono like air which brews up a riveting cloud of intensity before breaking into the light and expanding its full heart and stereo spawned grandeur with delicious flames of brass. Much like the album the song is a slow burner which only impresses more with each encounter to maybe not steal the passions but certainly give them a big nudge.

The album is completed by the folk bred I Won’t Leave You In The Dark and finally All Else Can Just Wait. The first of the pair makes a controlled but keen entrance, that folkish lilt to sound and vocals painting a narrative until the song erupts into another seemingly Springsteen seeded premise but with tantalising sixties pop toxicity carrying a definite sense of The Walker Brothers whilst horns again just excite. Its successor is a slow brooding ballad with a great mix of vocals and pleasingly nagging repetition to its melodies, it all working towards a climactic finale which never really materialises. It is a decent enough end though which like the album gives plenty to make a compelling encounter but not enough to make its case as a constant playlist contender.

Nevertheless Weights & Pulleys is a captivating proposition which will light up the ears of fans and draw a wealth of newcomers with its collection of skilful tracks which combined show just why Broken Records is so highly thought of and at times offer evidence that the band just might have the potential to help reshape British indie rock.

Weights & Pulleys is available on J Sharp Records now!

http://brokenrecordsband.com/

7.5/10

RingMaster 20/05/2014

Copyright RingMaster: MyFreeCopyright

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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

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Spies – Distant Shorelines EP

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If you merged The Smiths and Echo and The Bunnymen with a dash of The Mighty Lemon Drops and The National you get Spies, certainly on the evidence of the Distant Shorelines EP alone, though admittedly it is still not the whole story. Consisting of two scintillating and ridiculously compelling expanses of sonic and melodic ingenuity, the release is a breath-taking, imagination firing seduction which provides the evidence of one fascinating emerging tour-de-force. As their recent single November Sun, the release out November 18th via Trout Records, is a dramatically absorbing and invigorating sculpting of sound using essences of post punk, eighties indie, and noise rock. It instantly seduces and tantalises the senses never relinquishing its grip until the final ounce of its atmospheric evocation has caressed the passions.

From Dublin the quintet of Michael Broderick, Neil Dexter, Conor Cusack, Hugh O’Dwyer, and Jeffrey Courtney soon had attention and acclaim coating their early releases, the Liars Call Me King EP of 2010 and the Barricade single the following year. With radio play and attention, media coverage, and successful festival appearances surrounding Spies they soon built a strong and growing fanbase which will only accelerate in size with Distant Shorelines.

Opening with a raw and scuzz kissed guitar stroking of the ear soon joined by an intensive surf rock like melodic hook; Distant SpiesShorelines has little difficulty in igniting a healthy appetite, one which has a hunger on its hands just as soon as the strolling anthemic drum temptation lays down its intent. The magnetic vocals of Broderick only increase the bait as his smouldering and expressive tones begin their emotive narrative within an increasingly enchanting and incendiary weave of aural fascination. The delicious pulsating throaty basslines and anthemically persistent rhythms hold an irresistible grip throughout but given a stage to drive the songs potency home with only the Morrissey like tones of Broderick for company, they enslave the passions for the song to exploit and treat further. The track is sheer sonic beauty; a haunted post punk unpredictability and emotionally intense melodic toxin permeating ears and thoughts virulently whilst the vocals weave their own expressive design to seal a spellbinding provocation.

Mint And Lime immediately offers a darker shadowed clad presence, the gnarled bass and drum webbing creating an addiction forging lure for the noise fuelled jagged guitars to conjure a psyche lit blaze. Like Joy D vision meets The Gaa Gaas with some Cabaret Voltaire for good measure, it is a hypnotic entrance which only piles on the persuasion with The Smiths like vocal lilt and melodic enticements. Chilled yet sultry, the song is incendiary manna for the passions, a presence which evolves a soundscape like no other and a sirenesque call which is epidemically efficient.

Together the two tracks provide all the imagination and incredibly potent evidence needed to culture a lustful hunger for Spies and their sound, something which the single November Sun just as powerfully endorses with its melodically flaming and atmospherically entrancing presence. Just receiving its video launch too, the song is another sensational urging upon the passions to embrace and succumb to Spies, one of the most exciting and aurally stunning bands to come along over the past couple of years.

https://www.facebook.com/spiesdublin

10/10

RingMaster 16/11/2013

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