Tunabunny – PCP Presents Alice In Wonderland Jr

PCP Presents Alice In Wonderland Jr is the new and fifth album from US Transcendental Dance Poppers Tunabunny, a huge adventure which sees the Athens, Georgia hailing quartet at their most poppy, darkest, experimental, and compelling. A double album breaching 28 imagination stoking tracks, it is a kaleidoscope of sound; no track like any other or pretty much any offering from the band to date, and a carousel of creative drama which pushes the listener into places they might not know exist let alone have contemplated.

Apparently PCP Presents Alice In Wonderland Jr is “structured as a song-by-song response to The Beatles’ White Album” and through its songs explores themes such as surveillance, futility, alchemy and winter, metamorphosis and anger whilst its fourth side features a twisting song cycle about motherhood; from pregnancy to birth, through postpartum emotional desolation, to the rebirth of self. Whatever their inspiration, the album’s songs challenge and arouse physically, mentally, and emotionally ensuring you get a full and thrilling workout with the foursome of Mary Jane Hassell, Scott Creney, Brigette Adair Herron, and Jesse Stinnard.

Rather than do our usual track by track look, such its bulging size, we are going to pluck the moments which ignited the imagination most forcibly but be assured barely a moment passes within the whole release without making a potent and appealing impact. From the opening atmospherically sinister Cartesian Theater, a track which appears like an intro but is so much more, Tunabunny set the speakers and passions on fire with Incinerate. A recent single, the track is glorious; a slice of indie pop which has the head bobbing, feet shuffling, and ardour brewing within its first round of seduction. Adding one’s own breath is inevitable to a sublime chorus, the vocals a flirtatious beauty matched in temptation by the gentle swing of the sounds cradling their charm.

There is no better moment within the album but plenty of times rival the height of the superb encounter, the following Noise Problems a swift example with its post punk/new wave canter carrying a definite resemblance to eighties UK band The Passions. The stroll of the bass is as deeply appealing as the wiry jangle of the guitars, vocals again an inescapable magnetism in diversity and harmony whilst the song’s emerging discord is simply delicious.

The indie/psych pop of Seek Consequence is another major magnet; the swaying vocals siren-esque as darker hues brew and evolve behind their lyrical wiles until heatedly bubbling up with a drone like fever while Blackwater Homes rises up from a gentle melodic murmur into another virulently infectious and shadowed canter playing like a mix of Stevie Nicks and Pylon. Worryingly easy to be seduced by its haunting lures, and not for the first or last time fiercely tempting post punk bass bait, the track swiftly worms into the psyche.

The bass again grips the instincts within Oracle, its Psycho Killer like coaxing backed by shiny tendrils of guitar as vocals procrastinate; its success followed by the matching triumph of Start It where PiL meets The Breeders is a good hint to the track’s melodic post punk clamour. These tracks alone show the diversity within PCPPAIWJR, The Raincoats tinged pop clang of Nevermind The Cobblestones and the Slits scented monotone shuffle of Yellow Heart Is My Sky Sign further evidence, both tracks bringing fresh greed in a healthy appetite for the release.

A healthy addictiveness is spawned by the raw swing and charm of the boldly infectious The Way The World Works, the song a dulled yet sparkling gem in the album’s jewellery box of sound and another collusion of band and listener rarely matched outside of the album though within, the minimalistic pop of Me And Nancy, a track with an echo of The Cure on their very first outing, and the dark scuzz fuelled post punk of Pretending To Bend as well as the similarly styled but oh so different Count To Ten rise to the challenge.

There are tracks on the album which explore noise and its depths of suggestion, each inciting the imagination even when they barely grasp a handful of seconds in length; times which really test  but reward the listener’s ability to compose and interpret. With further moments of never less than thoroughly enjoyable and provocative adventure across the album, songs like It Could Be Something, the absorbing and inexplicable Shiftchanger featuring Jason Jackson Wellz, and Magic January all tantalising and enthralling, things are brought to a lengthy imposingly and enjoyable close with the fuzz pop clamour of I Thought I Caught It (With You).

As suggested, every track is a fresh and rewarding twist in the landscape of PCPPAIWJR, not one of them merely filling space and all firing up ears and imagination. Not for the first time Tunabunny has provided not only a real treat to mull over and enjoy, but another new plateau in their invention and imagination.

PCP Presents Alice In Wonderland JR is out now via HHBTM Records @ http://hhbtm.com/item.php?item_id=640 and https://tunabunny.bandcamp.com/album/pcp-presents-alice-in-wonderland-jr

https://www.facebook.com/Tunabunny/

Pete RingMaster 12/07/2017

Copyright RingMaster: MyFreeCopyright

Universal Thee – All Watched Over by Machines of Loving Grace

All Watched Over by Machines of Loving Grace is a flirtation which, whilst seducing ears with its pop charm, has the body bouncing and worming around like a slinky. The second album from Scottish alternative popsters Universal Thee brings a smile to the spirit and infectious revelry to the day and whereas their critically acclaimed debut album had ears and voices seriously enticed its potential has simply been blossomed to new refreshing heights in its successor.

Formed in 2010 as a trio with “a faulty Macbook for a drummer”, Edinburgh hailing Universal Thee first took their live steps two years later with an actual drummer. It was a show which had a low-key attendance to say the least but within two years the band was sparking really sparking eager attention, with first album Back to Earth at the forefront of the new thrust in their emergence. Since then their stature has only ascended, shows supporting the likes of Ded Rabbit and an appearance on the pyramid stage at the Kelburn Garden Party potent successes enhancing further their live reputation. Such the magnetic and contagious prowess of All Watched Over by Machines of Loving Grace, 2016 is looking like being another successful time, possibly the moment when the band’s individual sound and presence is grabbed by new and broader spotlights.

Led by the united vocal enticement of husband and wife, James and Lisa Russell, the Universal Thee has drawn references to the likes of Ash, Pixies, Weezer, and Queens of the Stone Age; they amongst many inspirations to the band as a whole and individually. There is also, by coincidence one suspects, an eighties new wave/indie pop scent to their music which reminds of bands like The Chefs, Girls At Our Best, and maybe to a lesser extent The Passions and The Chesterfields. As shown straight away with opener Why, they are all just hues to something distinct to Universal Thee.

The first song swiftly jangles in ears with alluring elegance as the beats of drummer Matt Grieve provide a feistier touch. The song soon strolls along with a fuzzy air to the melodies of guitarists Robin Spivey and James Russell whilst the bass of Andrew Perrie brings a delicious almost groaning temper to the radiance around it. The blend of James and Lisa Russell is another key element in its persuasion, their union carrying a great essence of discord which just seals the deal for ears.

Unashamedly catchy, the great start provided by the first song is continued and surpassed a little by the second. Keep Falling adds a grungy texture to its enticement whilst the bass courts a post punk appeal within a quickly captivating Weezer-esque saunter. Its hooks are as keen and inescapable as its melodic romancing and boisterous energy, a creative weave more than matched by the band’s brilliant latest single Speaker. The mellow but lively vocals from both the Russells, leads a swinging almost mischievous tempting that instantly seduces ears and feet. That earlier mentioned eighties new wave pop colouring is a rich essence to songwriting which also openly draws on the influence of Frank Black, creating a proposition easy to suspect that the Pixies man would be proud to claim as his own.

Xang is a mellower but still energetic proposal next, its shadow lined air and character a slightly melancholic and evocative caress framed by more forceful rhythms whilst Lost at Sea glides through ears with a heavier and grittier breath to its punk infused pop. Both songs keep an already happy appetite fulfilled if without, and maybe expectantly, matching their glorious predecessors, a success definitely achieved by the outstanding Hey. With tenaciously anthemic rhythms and a fiery glaze to its pop ‘n’ roll, the song is certain single material with all the addictive hooks and qualities needed. Quaint and ballsy simultaneously, the track has the body leaping to its compelling creative throes before Hamlet 3 hits the same sweet spot with its own unique Teenage Fanclub does pop punk like canter. The song simply epitomises the growth in the band’s craft and sound without any lessening of their invasive pop ingenuity and it is impossible not to be fully involved in voice and hips with the increasingly rousing encounter.

A calmer climate washes over the senses as Sail Away floats into view, though rhythmically it offers great agitated bait around which vocals and melodies provide a familiar yet indefinable lure. A romancing which breeds more volatile moments within its persistent smooch, the enthralling hug makes way for more galvanic pop ‘n’ roll in the irresistible shape of Hounds, it in turn leaving ears to the pop fascination of closing track Light On, two tracks ensuring album and emotions are left on the same high they started with through song one.

Universal Thee have the great knack of creating something you feel you already know but then you only come across exciting surprise after surprise whilst being infested with pop music to get greedy over. All Watched Over By Machines of Loving Grace is the sign of a band ready to step into the intensive recognition of national awareness and more; a success hard to see evading the quintet for much longer.

All Watched Over By Machines of Loving Grace is available from February 19^th whilst the single Speaker is out now, both via Eventual Heirs Records.

https://www.facebook.com/universalthee  https://twitter.com/universalthee   http://universalthee.com

Pete RingMaster 18/02/2016

Copyright RingMaster: MyFreeCopyright

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The Amputees – The Hitchhiker’s Guide To The Amputees

It has been just over two years since US garage punks The Amputees stirred up strong attention for themselves with the Scream EP, its body and success building on the similarly appealing beginnings founded in its predecessor Commence The Slaughter a year earlier. Always a busy live proposition, now the seven strong collective of musicians return from the studio with The Hitchhiker’s Guide To The Amputees, a four track roar proving their promise drenched sound has now come of age.

To be fair, the new 7” EP is also rich in further potential too, it more the beginning of a new chapter of exploration than a final destination in sound. From day one, The Amputees have never been predictable, in the style of songs, the direction an EP might go, or the line-up at shows but always the septet makes a potent and stirring impact and The Hitchhiker’s Guide To The Amputees is no different; in fact it is the band’s finest moment to date.

Formed in 2011 by vocalist/guitarist Louis Ramos, the band consists of Gary Young (guitar), Kaleen Reading (drums/guitar), Carrie Ramos (tambourine/vocals), Geena Spigarelli (bassist/vocals), Soledad Alvarado (bass), and Nova Luz (vocals/guitar/bass); musicians uniting in New York City from various US states. Inspirations range from The Beatles and Fleetwood Mac to The Sex Pistols, The Velvet Underground and Black Sabbath to Nirvana amongst many; influences which no doubt go some way to the diversity of the band‘s sound and songs over their trio of EPs.

The new encounter opens with Al Hammer, the song hugging ears with a controlled but dirty guitar before launching into a fiercely rousing slice of punk ‘n’ roll. Louis Ramos immediately stirs things up vocally as riffs and rhythms unite in a combative yet infectious stroll whilst hooks come with a mischievous tempting. In no time a thick anthemic quality entices and grip ears and appetite, infesting its potency into the vocals too as fiery grooves and sonic enterprise add their tenacity to the inescapable contagion driven by confrontational rhythms.

The song is superb, alone sure to wake up broader spotlights upon the band, though the following Dogrose will pull its fair share of keen appetites too. A boisterous riff steps forward first with a lure which is almost Rocky like in its challenge and invitation, though the biggest bait is the female vocals which lay tempting tones across the emerging song almost as instantly. We cannot say which of the ladies provides the lead, but her tones only seduce as the song bristles and rumbles in something akin to Breeders meets The Passions with a touch of The Raincoats to it.

Ego dives straight in next, riffs and beats inspiring a feisty stomp as vocals and guitars spread their raucous attitude and tangy resourcefulness respectively. A minute and a half of punk ferocity, the song as its predecessors, also uncages the keenest hooks and spiciest melodic twists to grab attention and ignite the passions before Dogmother grumbles into view to bring the EP to a cantankerous close. Grouchy and compelling, band and song merges grunge and garage punk to infest body and psyche with a proposal which swiftly has you heading back to the play button once it departs.

As suggested The Hitchhiker’s Guide To The Amputees is the band’s finest moment so far, and clearly so, such its step forward from those previously impressive encounters. The Amputees should be stirring up crowds and ears far from home and after their new EP escapes that might just begin to happen.

The Hitchhiker’s Guide To The Amputees is released on February 13th on Money Fire Records.

http://www.theamputees.org   https://www.facebook.com/theamputees

Pete RingMaster 21/01/2016

Copyright RingMaster: MyFreeCopyright

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Scarlet Echo – An Exact Portrayal of Nothing in Particular

Starting off 2016 in fine style, we look at an album released just a few weeks back with keen intrigue inspired by the more recent single taken from its compelling body. An Exact Portrayal of Nothing in Particular is the debut album from Scarlet Echo, a UK band whose sound, self-described as ferocious echospheric music, expertly sparks ears and imagination into eager involvement.

Proof came with the single Emergency Exit last month, a song stirring up ears and appetite with invention sprung from a fusion of post punk and indie rock. An Exact Portrayal of Nothing in Particular quickly shows that its nature is only one hue in the musical tapestry of the band, a design equally woven from varied electronic and shoegaze nurtured threads. Since forming in 2012, the Essex hailing quartet of Hannah (vocals/guitar), Jamie {guitar), Miles (Bass), and Alex (drums/samples) has incited a healthy buzz and following through their live presence, the sharing of stages with the likes of Bassment Jaxx, Rat Boy, Hadouken, Buzzcocks, The Hoosiers, and Department S amongst highlights. Now they have begun brewing a greater intensity of attention their way through An Exact Portrayal of Nothing in Particular, a tempting in force from its first moments.

Album opener Mainstream swiftly stirs ears with bounding rhythms and dramatic melodies, both aspects as shadowy as they are vibrant whilst laying down the platform for the distinctive vocal presence of Hannah. Miles’ throbbing bassline makes a just as gripping entrance; its post punk throatiness the perfect foil to the Lesley Woods (Au Pairs) like tone of Hannah’s voice. The emerging catchiness of the song draws in all these magnetic hues, in turn creating a flirtatiously gripping stroll part eighties and part modern persuasion.

   It is a thrilling start to the album, fully waking ears and attention for the following calmer mystery of Factory Floor to play with. Coldly atmospheric and romantically melodic, the track taunts and caresses the imagination with, again, a blend of melodic and raw textures. The Passions come to mind as the song writhes impressively within ears, but as shown time and time again, Scarlet Echo twist any elements into their own imaginative devilment; a Talking Heads spiced bassline perfect evidence from within the excellent encounter.

A fiery climate is explored by the sonic heat of Mass Production next, the addictive song a sultry resonance of sound and emotion driven by tenacious rhythms quickly matched in success by the sizzling blues wrung blaze of Technophobia. Its fire is interspersed with evocative slithers of calm, though it is the almost occultist air of the blistering rock expulsions which steals the show within the brief but scintillating proposition. The song shows yet another side to the band’s sound, its volatile might at times like a mix of Jingo and Jess & the Ancient Ones.

Falling Prey offers an instrumental relaxation from the fire, its shimmering melodic beauty and warm ambience enticingly mesmeric before making way for the boisterous adventure of Emergency Exit. The track opens with a splattering of guitar tempting, those bubbling lures soon joined by The Cure like potency of the bass. The minimalistic landscape of the song is beguiling, almost Young Marble Giants like on its way to brewing a livelier and thicker contagion driven by dynamic rhythms, guitar jangling, and the excellent character of the vocals. As a single the song impressed but fair to say it has only grown in stature over time, creating another major pinnacle of An Exact Portrayal of Nothing in Particular.

The smoky jazzy air of Paradigm envelops the senses straight after to fine effect; its charm and muggy seducing an absorbing temper to the revelry of its predecessor whilst casting its own hard to resist instrumental flight into imagination feeding pastures and provocative aural scenery. Its potency is emulated and surpassed by the outstanding Silicone City, its unique exploration a trigger to adventurous thoughts and heavily pleased ears as guitar and voice simmer and sway over the tempestuous incitement of bass and drums.

The album is brought to a close by firstly the sonically evocative, ambience soaked Ataraxy and lastly the poppier shuffle of Lose Control. Neither track quite lives up to what came before them yet each has body and satisfaction eagerly on board with their creative and dramatic captivations.

Scarlet Echo is a band destined to further transfix and thrill as they grow and creatively spring from this impressive debut. An Exact Portrayal of Nothing in Particular may have been released at the tail end of 2015 but for a new year of musical exploration we could not have got things off to a better start.

An Exact Portrayal of Nothing in Particular is out now through iTunes or at http://scarletecho.bigcartel.com/product/an-exact-portrayal-of-nothing-in-particular

http://www.scarletecho.co.uk/   https://www.facebook.com/scarletecho    https://twitter.com/scarletecho

Pete RingMaster 04/01/2016

Copyright RingMaster: MyFreeCopyright

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Scarlet Echo – Emergency Exit

Every now and then a band comes along and just grabs attention by the balls with an almost knowing instinct on what the passions go for. For us UK quartet Scarlet Echo is such a proposition, and though their new single Emergency Exit is just one song from an album yet to be heard here, it and the band have quickly given a keen to be greedy appetite one thrilling poke.

Formed in 2012, the Essex hailing Scarlet Echo has earned a strong word of mouth reputation through their live presence and compelling sound, a buzz reaching us well before a note was heard. The past couple of years or so has seen the band share stages with the likes of Bassment Jaxx, Rat Boy, Hadouken, The Buzzcocks, The Hoosiers, and Department S, and it is the latter in their early days which new single Emergency Exit brings to mind in some ways.

Taken from An Exact Portrayal of Nothing in Particular, the band’s debut album, Emergency Exit instantly splatters ears in inviting melodic drops cast by the guitar. They are quickly joined by the dark throaty temptation of the bass, it in turned courted by the excellent and diverse vocals led by Hannah. The jangle of her and Jamie’s guitars continue to coax and excite as the rhythmic shadows sprung by Miles and the swinging beats of Alex bring further irresistible bait. There is a definite eighties hue to the post punk meets indie rock contagion seducing ears and the imagination, with that colouring of Department S, their early singles especially hinted at, coming to mind as the song hits its dynamic stride. Also though, the melodic prowess of The Passions is reminded of by the single and the darker tonal might of Au Pairs and Horse Party, a band also exciting the now, comes to thoughts too as the track continues to transfix and thrill.

Ultimately though, the outstanding Emergency Exit with a matching video, breeds a character and addictiveness solely Scarlet Echo sculpted with a need to explore their album growing in its wake, and with increasing impatience after every listen.

Emergency Exit is available now, as also An Exact Portrayal of Nothing in Particular, via iTunes.

https://www.facebook.com/scarletecho   http://www.scarletecho.co.uk   https://twitter.com/scarletecho

Pete RingMaster 15/12/2015

Copyright RingMaster: MyFreeCopyright

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SeaWitches – Stars

On the surface Stars, the new single from UK band SeaWitches, is a simmering lake of melodic radiance but look deeper into its depths and the song is a discovery of compelling shadows and rawer, almost predacious textures. Making a strong first impression but becoming more fascinating and captivating with every embrace, the song also suggests Liverpool has yet another tantalising proposition blossoming in its musical heritage.

The seeds to SeaWitches began with the meeting of Jo Herring (vocals/guitar/bass) and Laura Caldwell (bass/guitar/keys through friends in 2007. Their creative talent and musical passion soon united and from being initially called The Woods, brought SeaWitches to the Liverpool music scene. Drummer Tilo Pirnbaum joined the band in 2012, a year also seeing the release of their well-received debut, the Spacegun EP. Since then venturing successfully further afield into places like Manchester and London, the band last year unveiled new guitarist Jamie Jenkin and second EP Tear back the sky, again to potent responses and praise. Now the quartet casts Stars on the country through Edge Hill University’s The Label Recordings, run by Carl Hunter of The Farm and assisted by media students, the song a blaze of radiance sure to catch a host of new appetites and lure further eager attention.

The song’s first breath brings a rich melodic enticing complete with a spicy hook which would not be out of place in an Echo and the Bunnymen offering. Alongside it though a dark throated bassline brings a more post punk flavouring whilst vocally and infectiously the song has a whisper of The Passions to its discord kissed pop. Similarly though a shoegaze ambience and dark folk temptation manages to loudly whisper within the feisty and pungent energy of the song, more flavours emerging with each passing moment in the potent underbelly of the increasingly bewitching and riveting encounter.

In many ways Stars is a puzzle to explore, a seemingly warm enticement leading to more unpredictable and slightly turbulent sinister explorations but thick exciting rewards. SeaWitches spin a spellbinding hex through their new single and we suggest they and we can expect big things ahead.

Stars is available via The Label Recordings from 16^th February

https://www.facebook.com/SeaWitches/

RingMaster 1602/2015

Copyright RingMaster: MyFreeCopyright

https://www.youtube.com/watch?v=pU37ylCYa-A

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H. Grimace – I Am Material EP

Having a rather greedy appetite for discord in our musical preferences ensured that the I Am Material EP from UK band H. Grimace made an immediate good impression with its healthy dosage of that flavoursome ingredient. The added bonus of psyche bred melodies, vocals delivered with a low key energy, and a mosaic of sonic colour and spices only increased the impressive lure of the six-track thrill. It is not without lulls, rather than flaws, in its striking persuasion but ultimately the Londoners newest proposition is one seriously exciting and refreshing proposition.

A band strongly on the lips of the capital’s emergent punk/ DIY since forming in 2011, H. Grimace is the brainchild of Hannah Gledhill and Asher Preston who met whilst working at an East end bakery. Taking a mutual love for 70’s surf / post punk and 90’s dissonant guitar bands into their own ideas, the pair brought the band to life, subsequently increasing its line-up last year with the addition of Syed Shan Pasha and Marcus P. Browne. May 2014 saw the acclaimed release of the band’s self-titled vinyl EP which followed a split release with Joey Fourr the previous year on Bad Paintings. Now the band increase their presence and reputation with I Am Material, a release refusing to be pinned down with tags and revelling in offering something new.

Ears are pricked and lips licked as soon as the opening Caped Crusader like bassline in Imogen nestles provocatively in the imagination. The first track swiftly backs its initial tempting with a reserved jangle of guitar and similarly fuelled vocals. It is a vibrantly dour start which simply captivates body and emotions with sublime ease. Small crescendos of energy and passion erupt throughout the otherwise single minded gait of the song, raising the temperature and adventure of the mouth-watering encounter as potently as the flames of surf rock enterprise which spices up the infectious incitement. As mentioned earlier, H. Grimace’s sound is hard to pin down but certainly a seventies/eighties post punk/ melodic punk feel is a loud whisper as the track reminds of The Passions and at times The Mo-Dettes.

The outstanding start is surpassed straight away by the following Royal Hush. As its predecessor, the riveting song puts down the groundwork to seducing the passions instantly, this time with rolling almost tribal rhythms courting a melodic coaxing of guitar. The laid back bass mumble adds to the drama whilst the bewitching vocals of Gledhill bring only greater bait for ears and appetite to devour greedily. The Au-Pairs is a comparison the song brings yet as the first, it is spinning a web of ingenious originality and sonic persuasion which flirts with various decades of indie/punk exploration. There is also a melancholic restraint to its energy and emotion but the outstanding song still revels in a tempest of expression and intensity, going through the gears as it brings its brooding rock ‘n’ roll to a fiery climax.

To The Shaggerston cannot quite match its predecessor but still sends a stomp of raw energy and punk seeded devilry through ears. That ever present scent of discord is brighter and louder in the third song, teasing and spicing up the sultry surf rock melodies which whisper and eventually croon evocatively over the senses. More a smoulder than a blaze in comparison to the first two tracks, it immerses the listener in an intoxicating climate of sound and enterprise which is emulated again by the more pop spawned shuffle of Immaterial Girl. A Gang of Four like bass coaxing and post punk guitar endeavour embrace the again gripping vocals, the song breezing along with an inescapable magnetism which simply lights up body and emotions.

I Am Material is brought to a close by firstly the sobering charm of Great Divide and lastly by the thick humidity of Wasted Sun. The first of the two, as the previous track, is a slower persuasion but with a volatile atmosphere and nature which perpetually intrigues and has the imagination bound from its first sonic flame. Like a desert sun, the song is slightly oppressive in its heady climate but simultaneously is a contagious seduction which like earlier tracks makes a lingering conquest. The closing encounter is a boldly simmering slice of discord sculpted balladry with great raw harmonies and melodic jangles. The least successful of the six but still a mesmeric persuasion it beings the EP to a potent conclusion.

There are not many bands emerging these days which truly have bred a new and unique proposal for ears and thoughts to contemplate let alone bask in, but H. Grimace is to the fore of those successful applicants. I Am Material EP is a must for discord embraced sounds and something really rather fresh.

The I Am Material EP is available now via Soft Power Records as a Ltd Ed Cassette (100 Standard Pale Grey / 50 Yellow—tour exclusive) @ http://softpowerrecords.bandcamp.com/album/i-am-material and digitally on iTunes etc.

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RingMaster 27/01/2015

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