Slow Riot – Trophy Wife

Photo by Steve Gullick Photography

Photo by Steve Gullick Photography

Earning thick acclaim and attention with their Cathedral EP, Irish trio Slow Riot are now poised to release their new single and a fresh inventive colour to their already magnetic sound. Their previous release and singles worn an open post punk inspiration drawing likenesses to bands such as Gang of Four, Television, and Wire, as well as a shoegaze scented melodic charm. Though Trophy Wife is still embracing such seeds, it swiftly shows a new adventure of swinging rhythms and imagination tantalising hooks with a vivacity to match that of the driving energy fuelling its body. The result is a compelling affair which still springs from an eighties spawned heart but with the tenacious urgency of the now.

art_RingMasterReviewFormed in 2013, Slow Riot consists of vocalist/bassist Niall Clancy, drummer Paul Cosgrave, and guitarist Aaron Duff. 2015 saw the band release their first pair of singles in City Of Culture and Demons, two intrigue sparking songs which made a bigger impact as part of the attention grabbing Cathedral EP last October. The time between its release and the new single has seen a new twist and exploration in the band’s sound which Trophy Wife is already showing as being a great fresh step.

As the last EP, the single was recorded with Kevin Vanbergen (The Pixies, The Maccabees, Dinosaur Pile-Up, The La’s, Biffy Clyro) at Brighton’s Park Studios and quickly gets to work persuading and exciting ears with its initial surge of beefy rhythms and sonic incitement. Guitars spring a melodic web from there as the bass invitingly prowls, the first cradling the warm tones of Clancy and his harmonic delivery. Almost straight away, that previous post punk spicing emerges as a more new wave hued character, nudging thoughts of bands like B-Movie and Modern English whilst the pounding drive of the song and its intensive undercurrent of virulence offers a Doves meets Editors like tempting.

The track is a vivacious captivation accompanied by B-side Awake For Days; a more laid back proposition revealing another shade in the new palette of enterprise used by Slow Riot in songwriting and sound. Though hopes are that the band do not entirely free themselves of the darker post punk hues found in their debut EP, there is no denying that Trophy Wife offers something just as exciting and easy to find a healthy appetite for.

Trophy Wife is out on April 15th via Straight Lines Are Fine @ http://www.thegenepool.co.uk/artists/SLOW+RIOT.htm

Upcoming live dates:

18/04 – Opium Rooms, Dublin w/ Mission Of Burma

23/04 – Kasbah Social Club, Limerick

25/04 – The Waiting Room, London (free show)

https://www.facebook.com/slowriot.theband   https://www.instagram.com/slowriot.theband/   https://twitter.com/Slow_Riot_Band

Pete RingMaster 14/04/2016

Copyright RingMaster: MyFreeCopyright

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Little Lapin – Californian Sun

ARt LL_RingMasterReview

It was almost a year ago that Devon bred songstress Little Lapin seduced ears and attention with her seriously well-received album Remember the Highs and its lead self-titled single. To build on their success, this July sees the release of the already eagerly awaited Holding Out For The Kicks and before it the captivating single Californian Sun. The lead track from the upcoming release, the single is a bewitching and melodically sultry teaser which easily ignites all the warm emotions and eager appetite experienced with Little Lapin’s music before as well as a very keen anticipation for what is on the near horizon.

Know to her parents as Lucy Hill, the Devon hailing Little Lapin is no stranger to luring eager ears and praise. Emerging in 2012, she has enticed and transfixed UK audiences and equally those over in New Zealand and across in the US on stage and through her previous singles and a self-titled EP, before stirring greater success up last year with Remember the Highs. Inspired by the likes of Regina Spektor, The Cranberries, Florence & The Machine, Laura Marling, PJ Harvey, The Cure, and The Pixies, the Falmouth residing singer songwriter creates songs and sounds which certainly embraces those spices but, as proven yet again with Californian Sun, she weaves all flavours into a vocal and melodic adventure which is uniquely Little Lapin.

Little Lapin invites ears to Californian Sun with a gentle acoustic caress before slipping into the pool of sultry melodic suggestiveness and rhythmic vivacity woven around her voice and strings by lead guitarist Alex Hill and drummer Harry Harding. In no time the song has the imagination involved, its emotive smoulder and dark rock ‘n’ roll merging with a sixties psych rock twang as Little Lapin’s distinctive tones provide their own evocative texture and expression to the almost cinematic poetry of the song.

Bordering on bewitchment, the warmly glowing Californian Sun has ears basking and the imagination conjuring in its arms, with anticipation for Holding Out For The Kicks quickly following the last smouldering note.

Californian Sun is released April 14th with Holding Out For The Kicks following on July 16th @ https://littlelapin.bandcamp.com

http://www.littlelapinmusic.com/   https://www.facebook.com/littlelapin/   https://twitter.com/1littlelapin

Upcoming live dates:

Apr 16 The Stable, Newquay, UK

Apr 17 Ben Tunnicliffe, Penzance, UK

Apr 22 Bar 35, Bude, UK

Apr 23 Ben Tunnicliffe, Penzance, UK

Apr 29 The Stable Plymouth, Plymouth, UK

Apr 30 The Drewe Arms, Exeter, UK

May 05 Ben Tunnicliffe, Penzance, UK

May 06 Rick Steins Fistral, Newquay, UK

May 07 Bystro at the Bank, St. Austell, UK

May 08 The Rock Inn, Devon, UK

May 11 George Inn Brailes, Banbury, UK

May 14 Rough Trade Nottingham, Nottingham, UK

May 15 Lamplighter, Northampton, UK

May 20 Pakhuis De Zwijger, Amsterdam, Netherlands

May 27, Mobile Blues Club, Hamburg, Germany

Pete RingMaster 04/04/2016

Copyright RingMaster: MyFreeCopyright

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The Veldt – The Shocking Fuzz of Your Electric Fur: The Drake Equation Mixtape EP

photo credit Ed Marshall

photo credit Ed Marshall

The Veldt is one of those projects which really does offer something a little different and for a fair while now. It is no different in regard to new encounter, The Shocking Fuzz of Your Electric Fur: The Drake Equation Mixtape EP either. Consisting of five immersive tracks bred in the band’s fusion of indie, dream-gaze, soul, and immersive ambiences, the release simply grabs the imagination in a creative adventure pretty much unlike any other.

Formed by North Carolina hailing twins, Daniel and Danny Chavis, The Veldt has had success capturing ears and attention since the eighties with their individual atmospheric sound. Already performing as children and taking inspirations across the likes of gospel, Motown, and Pink Floyd into their personal pleasures and thoughts, the pair emerged then as The Veldt, a name taken from a Ray Bradbury story. To simplify the following years, the duo has worked with the likes of Robin Guthrie, A.R. Kane, Mos Def, and Lady Miss Kier and shared stages with artists such as My Bloody Valentine, The Pixies, Cocteau Twins, Oasis, Living Colour, The Jesus and Mary Chain, and TV on the Radio as well as released a host of acclaimed offerings. A name change to Apollo Heights occurred around the mid-nineties followed by a permanent link up with bassist Hayato Nakao in 1999; that a move which brought a new dynamic to the band’s sound. Eventually a return to the name of The Veldt ensued and its re-emergence is now marked by the release of The Shocking Fuzz of Your Electric Fur, it the forerunner to new album Resurrection Hymns to be released later this year via SonaBLAST! Records.

With its title borrowed from an E.E. Cummings poem, the EP opens with new single Sanctified. Emerging on a gentle but sonically misty air soon welcoming the bass throb of Nakao, the song quickly blossoms into a warm yet atmospherically muggy embrace. It is an evocative hug of ears and the impressive vocal expression and prowess of Daniel, in turn a fiery but controlled trespass of the imagination built on an array of melancholic textures, transfixing melodic drones, and sonic layers shaped by the imaginative suggestiveness of Danny’s guitar. With additional vocals from Marie Cochrane to accentuate the emotive harmonies, the track is an inescapably engaging proposal to start things off.

The Veldt - The Shocking Fuzz of Your Electric Fur (cover)_RingMasterReviewIn a Quiet Room follows and quickly provides a less intensive and crowded proposition but one still as rich with emotional flames amidst guitar and keys shared drama. The vocals alone ensure attention is a given but add the thick tapestry of sound and trance seeded imagination, and the song as EP almost traps the listener in soulful beauty.

Both Token and One Day Out of Life take ears and thoughts on sultry flights through distortion lined sonically soupy climates; the first swaying and floating with ethereal elegance around more tenebrific rhythms. Its successor is a slower fall into provocative seas of sound becoming a senses smothering and engaging immersion around hypnotic rhythms. What grips the imagination most though, is the theatre of shadows which prowls alongside or courts the radiance of these and all songs; a shade perpetually reflecting and accentuating matching hues within their lyrical and emotional depths.

The EP is closed by the classically soulful and slightly familiar yet rigorously fresh And It’s You. It also has single written all over it; hooks and melodies as tantalising as the vocal and atmospheric shimmer which soaks the song as bolder rhythms pulsate with evocative temptation.

It is a fine end to a compelling release; an encounter which offers fresh intrigue and new enterprise with every listen. As suggested at the start, The Veldt creates music which stands alone; the evidence being The Shocking Fuzz of Your Electric Fur: The Drake Equation Mixtape EP.

The Shocking Fuzz of Your Electric Fur: The Drake Equation Mixtape EP is released March 18th via Skully Records @ https://theveldtmusic.bandcamp.com/releases

https://www.facebook.com/The-Veldt-154526351270221   https://twitter.com/veldtthe

Pete RingMaster 17/03/2016

Copyright RingMaster: MyFreeCopyright

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Astral Cloud Ashes -Too Close To The Noise Floor

ACA_RingMasterReview

Antony Walker is one half of the Channel Islands hailing Select All Delete Save As, a band we have taken a shine to especially after the release of their 2014 album Ultra Cultura. The Jersey bred musician has also created music under the name ALPA, amongst other monikers. Now though he has unveiled a new project and a debut single which suggests he is tapping into a new vein of fascinating adventure in songwriting and sound.

The band is called Astral Cloud Ashes; predominantly a one man project though it occasionally features Jason Neil also. Musically tagged as future-core, the band’s sound on the evidence of the new single is an imaginative weave of indie and alternative rock but equally involves elements of noise and pop rock. To be honest, Too Close To The Noise Floor enjoyably makes it hard to pin down the music but if a mix of The Pixies, Swell Maps, Weezer, Bloc Party, and early Cure appeals, then it is a song to seriously explore.

Mastered by Tim Turan, Too Close To The Noise Floor takes the imagination into the intimacy and adventure of cosmonautics but equally involves “family values and unwanted first-world paranoia” in its energetically hugged theme. Guitars and rhythms descend on ears from its first breath, creating a hazy breeze which relaxes as Walker’s warm tones lay engagingly across songs and ears with some great vocal backing adding to the appeal.

There is punchiness to the song too, beats and bass jabbing and prowling respectively alongside the spicy melodies and vibrant hooks that entice. There is raw feel of XTC to the song in particular moments, maybe a whiff of Melvins too, all going to provide a refreshing hip flirting and pleasure inciting proposition.

With a debut album scheduled for later in the year to be anticipation wrapped from hereon in, Too Close To The Noise Floor is a thoroughly enjoyable and attention grabbing introduction to Astral Cloud Ashes, and potentially what could be Walker’s most successful project yet.

Too Close To The Noise Floor is released March 7th across all major online distributors.

https://www.facebook.com/astralcloudashes/

Pete RingMaster 29/02/2016

Copyright RingMaster: MyFreeCopyright

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The Red Fuze – Bazooka Circus EP

Red-Fuze_RingMaster Review

There is an air of rebellion to the sound of Swedish rockers The Red Fuze, a devilry which gives their songs a great unruly and feisty character as shown by new EP Bazooka Circus. The release is a handful of fiery garage rock/blues bred tracks bursting with the passion of the sixties /seventies and the tenacious hunger and enterprise of the now. It is a slab of boisterous rock ‘n’ roll easily stirring the body and emotions, an incitement lying somewhere between White Stripes and In The Whale leaving an intrigue and want for more.

The Red Fuze is the creative partnership of vocalist Randy Wild and guitarist/producer Raimond Raio Geezer, a duo from opposite ends of Sweden who met through an online Bandfinder page. Once connecting, the pair began writing and recording music via email, text message, and phone calls; not physically meeting until the release of their self-titled debut EP last year. As suggested, musically they have nurtured a sound seeded in blues and garage rock but are many other essences from psychedelic rock to more punk inspired hues which are just as potent. It is an attention grabbing potion now lighting up second EP Bazooka Circus to fine effect.

Bazooka Circus EP-Cover2_RingMaster Review   The EP opens with its title track, Bazooka Circus swinging in on a surf rock blossomed sonic enterprise aligned to a similarly woven repetitious groove. It is a seriously enticing entrance increasingly in temptation as Wild’s vocals ride the tendrils of tantalising sound like a sideshow barker, he backed by restrained but anthemic rhythms and wrapped in the sublimely quirky wash of captivating keys and guitar.

By its end ears are hooked, appetite sparked, and the imagination waiting to be treated again, Dance Now quickly obliging with its spicy weave of guitar amidst mesmeric keys, both speared by jabbing beats. Wild’s vocals have a mellower tone compared to the first song, but with a great raw edge which growls perfectly against the smoother persuasion of keys and melodies. As soon realised, every track from The Red Fuze has volatility to it, an incendiary spark which is always near the surface and often breaking its skin to blaze and add even richer tempting for ears to bask in.

Black Mustang unveils a stirring web of tangy grooves and fuzz filtered guitar next, the track romping around with fifties rock ‘n’ roll breeding and a noise/indie rock imagination which is not that far removed from a Pixies or a Thee Exciters. There is wildness to its nature and rowdy rock ‘n’ roll intent to its heart which inspires the throwing off of the shackles of inhibition and get involved, an offer impossible to refuse again when made by Kitchen of Love. The fourth track is a funk infested, blues scented stomp with swinging rhythms and saucy sonic tempting, both working away on feet and hips with swift success. As with Dance Now, there is a fiercely infectious quality to the song, a rich enticement seizing body and emotions with consummate ease.

The EP is closed by Blue Girl, another scuzz kissed lure of captivating and bluesy invention which seems to know just what ears and emotions need to have a good time. It is a thoroughly pleasing flame of sound to end a great release, and though admittedly the Bazooka Circus EP is not necessarily showering the listener with major originality there is plenty about it that is truly fresh and distinct to the band, and a whole which that leaves pleasure the overriding reaction.

The Bazooka Circus EP is out now @ https://itunes.apple.com/us/album/bazooka-circus-ep/id1045505131

https://www.facebook.com/theredfuze/     https://twitter.com/theredfuze

Pete RingMaster 01/12/2015

Copyright RingMaster: MyFreeCopyright

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Slow Riot – Cathedral

 

artwork_RingMaster Review

Eighties inspired post punk is seemingly on a surge right now, its seeds being blossomed into varied but distinctive incitements of sound and imagination echoing the genre’s origins. One such band making one of the most compelling persuasions is Irish band Slow Riot, a trio from Limerick who recently released an irresistible dark beauty in the shape of the Cathedral EP. The four track release is an evocation of shadows and solemn emotions cast in a creative calling on the imagination, but one equally bred with epic overtones and an emotive intimacy reflective of something found within its title’s landscape.

Formed in 2013, the threesome of vocalist/bassist Niall Clancy, drummer Paul Cosgrave, and guitarist Aaron Duff recorded Cathedral with producer Kevin Vanbergen (The Pixies, The Maccabees, Dinosaur Pile-Up, The La’s, Biffy Clyro) at the Manic Street Preachers’ Faster studio in Cardiff; additional assistance coming from in-house engineer Loz Williams and the Manics’ James Dean Bradfield through the offering of use of equipment and instruments. From the off the release stirs the senses and imagination but equally the physical body is also gripped by the forcibly rousing prowess and thick insistence of sound.

SR_RingMaster Review   The EP opens with the band’s new single Demons, the lone beats of Cosgrave luring in attention and appetite with an anthemic coaxing. The melancholic charm of Duff’s guitar is soon involving an emotive melody too, it laying evocatively over the persistent arousal of rhythms now also equipped with the solemn resonance of Clancy’s bass. His dour yet alluring vocals are close behind as the song brews more of a Joy Division meets Interpol like croon for a formidable captivation only enhanced by a more fiery nature emerging in the guitar and a flowing crystalline elegance spread by keys. Each element evolves new hues to the slim but varied layers as the track continues, it all building up into a strongly potent beginning to Cathedral.

It is a start for personal tastes quickly eclipsed by the next pair of songs though, City Of Culture the first up. A great scuzzy mix of guitar and bass aligned to boisterous beats sets song and ears off in eager union, a sparkling melody soon adding to the enticement as Clancy’s vocals’ twist around on the riveting web spun by all the already contagious elements. There is a touch of The Sound to the song but more so bands like Scars and Crispy Ambulance with the discordant clang of The Fire Engines in there for good measure. Ultimately though, these are spices only bolstering a virulent tempting unique to Slow Riot.

Just as stunning is the following Adele, a transfixing slice of dark balladry becoming increasingly infectious and addictive as sonic seduction merges with repetitious mastery around the thick potency of the vocals. A revolving incitement set somewhere between My Bloody Valentine, The Slow Readers Club, and Artery, the glorious track reveals not only more of the craft in songwriting and delivery of the band but also the depth of their sound’s imagination and diversity.

Cooper’s Dream brews a character more similar to the Joy Division-esque embrace of Demons, but again outshines the excellent start to the EP with its individual weave of sonic expression, haunting lingering hooks, and a just as enjoyably galvanic rhythmic recruitment of eager involvement. As the EP, the track worms under the skin, infects the psych leaving ingrained lures and rapture in its wake to ensure a perpetual return to its nest of climatic builds and roaring crescendos bound in melancholy entwined restraints is always a lively intent.

The track provides a superb end to a superb release, a full introduction to Slow Riot sowing the seeds to thick anticipation of their next move and lusty enjoyment in their first.

The Cathedral EP is out now via Straight Lines Are Fine @ https://itunes.apple.com/gb/album/cathedral-ep/id1007359990

https://www.facebook.com/slowriot.theband/       https://twitter.com/slow_riot_band

Pete RingMaster 25/11/2015

Copyright RingMaster: MyFreeCopyright

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Nanaki – Dandelion Radio Session EP

Nanaki - Dandelion Radio Session _RingMaster Review

Though released a few weeks back, the Dandelion Radio Session EP from instrumental band Nanaki is one encounter which should not slip through the net especially if a fan of kaleidoscopic music. That is certainly what the tracks making up the encounter are; varied shimmers and reflections of post and alternative rock through to shoegaze and post-punk, and that is just scratching off the surface layer.

Isle of Man hailing Nanaki is the solo project of Postcode guitarist Mikie Daugherty and the EP, a recording of a session for Mark Whitby’s Dandelion Radio show this past June. The tracks within it re-visit songs from the early days of the band, a project formed in 2002 by guitarist/multi-instrumentalist Daugherty and bassist Emma Ryan. The band’s only album Fashion Is The Enemy Of All Art was released back in 2003 but had a successful re-issue nine years later with Small Bear Records, who also released the Afterlight EP last year and are behind this new proposition. With the band officially splitting in 2008, despite the just mentioned releases, for many the Dandelion Radio Session EP will be an introduction to Nanaki, and a captivating invitation into the creative web of Daugherty.

cover_RingMaster Review     The EP’s first offering is January Overkill, a chilled and melancholic proposal which simultaneously manages to wrap warm melodies and rich suggestiveness around ears and imagination. Within seconds bass and guitar are on a wonderful ride of repetitious hooks and nagging riffs, an enticing running the whole of the track with crisp beats adding their own persistent bait. Thoughts are swiftly lured into the early days of The Cure but tempered by the caustic air and scuzzy textures which also become involved with the highly provocative narrative, their blackened almost tempestuous nature as compelling as the sultry shimmer and melodic niggling colouring the gripping start.

As irresistible as it is the first piece of pure temptation is soon outshone by the addictive alchemy of Disembryo. Imagine a Twilight Zone version of The Pixies and you have a sense of this superb incitement on body and soul. Again almost mundane yet virulent hooks and riffs coax the appetite whilst tangy sways of guitar bounce off of their dulled surface. It is a glorious seduction only increasing in contagion as more off kilter twists and haunting enterprise leads into a fiery roar of sound, discord, and intensity.

It was probably inevitable that whatever followed would be overshadowed by easily one of the best things heard this year, and certainly Let Me Close My Eyes lacks the same ingenuity and general allure. Nevertheless its mellow romance of melodies and gentle rhythms leading to an increasingly evocative and in turn volatile landscape, has attention and imagination fascinated and discovering new avenues of thought and emotion with every involvement. It is a slow burner against the almost immediate potency of the first two tracks as too is Luthiers (Of Heaven) which follows it. Quaint in sound and enterprise but seemingly carrying a portentous lining to its shadows which is never actually realised, the piece of music reminds of eighties bands like again The Cure as well as Modern English and to a lesser extent The Comsat Angels.

The EP is completed by another major highlight in Candyfloss Deathwish; eight minutes of wonderfully tempestuous emotion and creative majesty. As shown throughout all tracks, Daugherty masterfully creates an individual song in all instruments, from guitar to bass to drums etc., which unite in an ever evolving and involving tapestry of drama and sonic storytelling. Here he turns the burners up to full as the track almost revolts in gripping noise and physical persuasion for an exhausting finale to an outstanding encounter.

The final song also sums up the inspirations in sound and texture which spark the whole Nanaki invention. It is a maelstrom of the styles mentioned previously and more from an artist we can only hope will continue to be an active presence in this guise.

The Dandelion Radio Session EP is available via Small Bear Records and Nanaki’s Bandcamp profile as a name your price download.

Pete RingMaster 09/09/2015

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