Death Valley Dreams – Self Titled EP

Death Valley Dreams_Photo_RingMaster Review by Stephanie Martino

Ready for something special? Then we suggest taking a good deep listen to the self-titled debut EP from Death Valley Dreams. The five track treat is a gloriously rousing and dramatic roar fusing eighties seeded new wave and post punk with the kind of psyche/indie rock only modern imagination can conjure, and subsequently one riveting exhilaration of sonic contagion.

Hailing from Pennsylvania, Death Valley Dreams consists of long-time friends and band-mates, vocalist/guitarist Nick Coyle (The Drama Club, Stardog Champion) and guitarist/keyboardist Jon Nova (The Drama Club, An Albatross) alongside similarly established friends in bassist Ryan Dougherty and drummer Matt Rutkoski. Formed in the fall of 2015, it is fair to say that the quartet hit the ground running in creativity and an instinctive union of their talents as proven by this first release. The EP is a seriously accomplished and skilfully sculpted blaze of bold imagination and open passion leaving ears blissful and an appetite for more greedier than flies on a desert lying carcass.

Death Valley Dreams CD_RingMaster ReviewWords Like Fire is the first pungent temptation of ears, the song from its first breath a swarthy flame of melodic suggestion aligned to a gentle caress. Just as quickly the instantly impressing vocals of Coyle bring a new bloom to the tempting, his alluring tones joining the potent lure into the arms of tenacious riffs and scything beats. Hitting a seriously catchy and forceful stroll blessed further by the pulsating moodiness of the bass and broader anthemic vocal calls through the band, the track simply bewitches ears as it incites bodily involvement. There is a touch of The Slow Readers Club and Original Mirrors to the encounter and China Crisis to its melodic suggestiveness but ultimately the song and in turn EP has a sound strikingly unique to Death Valley Dreams.

As equally dynamic and enticing is the following blaze of The Darker Years. The song is a flowing landscape of volatile and mellow exploits spun into another virulent hug with forceful cascades of fierce yet elegant infectiousness, vocal dexterity, and electronic revelry. As its predecessor, the track is in command of feet, hips, and emotions; its flirtatious enterprise forged in a muscular tempest of energy and vigorous resourcefulness before Turn Out Those Eyes offers its own inventive arousal of the imagination. With eighties keys gently swarming over its emerging frame, the song hits a stomping striding rhythm as vocals and guitars expressively flirt with ears, each courting a dark rumble spawned from bass, drums, and melancholy.

Fiery rock ‘n’ roll is tapped into with Take A Look At Yourself, that raw texture aligning with a lusty Futureheads meets The Psychedelic Furs carnival of anthemic celebration and contagion. The track, as so many, is simply irresistible, a puppeteer to full involvement from body and voice, and in turn the passions. The EP is one of those propositions which will not take no for an answer, and certainly had us whipped up into unbridled submission even before the closing charm lit Never Meant For Anyone adds another flavour to the Death Valley Dreams alchemy of persuasion. An emotive croon laying tender but shadow wrapped hands on ears and imagination, the track is a sombre yet warmly bright serenade with sultry sonic tendrils veining dark ambience. Emotion and drama only intensify as the song exposes more of its thick sentiment and discord, it emerging as potently rousing as the energetically incendiary exploits before it.

Simply superb, the EP is an early major highlight for 2016 from a band with the potential to turn the music scene on its head. The name Death Valley Dreams may have connotations of desolate and lonely times, and lyrically some songs seem to have a similar seeding, but the music is anything but bleak or cheerless. A must have proposition.

The Death Valley Dreams EP is available digitally from January 15th worldwide.

https://www.facebook.com/DeathValleyDreams   https://twitter.com/dvdofficial

RingMaster 14/011/2016

Copyright RingMaster: MyFreeCopyright

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

The Seduction of Noise: Twenty punk/alternative releases which ignited The RingMaster Review in 2015.

In another year of creative drama, sonic adventure, and melodic mastery across the broad sphere of sound, The RingMaster Review selects those EPs/albums covered by the site which most turned ears and imagination lustful.

TSPSI_RingMaster Review

The St Pierre Snake Invasion – A Hundred Years A Day
https://ringmasterreviewintroduces.wordpress.com/2015/11/04/the-st-pierre-snake-invasion-a-hundred-years-a-day/

Oh! Gunquit – Eat Yuppies and Dance
https://ringmasterreviewintroduces.wordpress.com/2015/05/02/oh-gunquit-eat-yuppies-and-dance/

Zedi Forder – Self Titled EP
https://ringmasterreviewintroduces.wordpress.com/2015/09/03/zedi-forder-self-titled-ep/

Mr. Strange – The Bible of Electric Pornography
https://ringmasterreviewintroduces.wordpress.com/2015/11/05/mr-strange-the-bible-of-electric-pornography/

Mr. Strange EP album cover _RingMaster Review

Billy Momo – Drunktalk
https://ringmasterreviewintroduces.wordpress.com/2015/02/02/billy-momo-drunktalk-album/

Black – Blind Faith
https://ringmasterreviewintroduces.wordpress.com/2015/06/01/black-blind-faith/

Los Bengala – Festivos Incluso
https://ringmasterreviewintroduces.wordpress.com/2015/08/25/los-bengala-festivos-incluso/

The Dropper’s Neck – Nineteen|Sixteen
https://ringmasterreviewintroduces.wordpress.com/2015/07/10/the-droppers-neck-nineteensixteen/

The Dropper's neck Cover Artwork_RingMaster Review

The Slow Readers Club – Cavalcade
https://ringmasterreviewintroduces.wordpress.com/2015/04/14/the-slow-readers-club-cavalcade/

Los and the Deadlines – Perfect Holiday EP
https://ringmasterreviewintroduces.wordpress.com/2015/07/13/los-and-the-deadlines-perfect-holiday-ep/

Le Butcherettes – A Raw Youth
https://ringmasterreviewintroduces.wordpress.com/2015/09/18/le-butcherettes-a-raw-youth/

Le Butcherettes A Raw Youth Cover_RingMaster Review

Asylums – Wet Dream Fanzine EP
https://ringmasterreviewintroduces.wordpress.com/2015/02/23/asylums-wet-dream-fanzine-ep/

Inca Babies – The Stereo Plan
https://ringmasterreviewintroduces.wordpress.com/2015/03/11/inca-babies-the-stereo-plan/

The Barnum Meserve – Self Titled
https://ringmasterreviewintroduces.wordpress.com/2015/04/06/the-barnum-meserve-self-titled/

Deepshade – Everything Popular Is Wrong
https://ringmasterreviewintroduces.wordpress.com/2015/09/24/deepshade-everything-popular-is-wrong/
Deepshade Cover Artwork_RingMaster Review

Kobadelta – Open Visions
https://ringmasterreviewintroduces.wordpress.com/2015/04/27/kobadelta-open-visions/

Dirt Box Disco – Only in it For the Money
https://ringmasterreviewintroduces.wordpress.com/2015/04/16/dirt-box-disco-only-in-it-for-the-money/

The Migrant – Flood
https://ringmasterreviewintroduces.wordpress.com/2016/01/08/the-migrant-flood/

Dick Venom & the Terrortones – SnakeOil for Snakes
https://ringmasterreviewintroduces.wordpress.com/2015/11/09/dick-venom-the-terrortones-snakeoil-for-snakes/

cover_RingMaster Review

Practical Lovers – Agony
https://ringmasterreviewintroduces.wordpress.com/2015/11/28/practical-lovers-agony/

The RingMaster Review 01/01/2016

Copyright RingMaster: MyFreeCopyright

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

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

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

The Slow Readers Club – Plant the Seed

TSRS_RingMaster Review

If there are any yet to fall into contagious arms of Cavalcade, the second album from UK indie/electronic band The Slow Readers Club, and indeed their rewarding sound then the new single from them is a major nudge in that direction. Taken from the encounter released earlier this year, Plant the Seed is a beacon for the seductively pulsating and captivating adventure of the band’s melodic imagination, and reason alone to take the band’s enthralling and emotively fuelled sound to the heart.

The Slow Readers Club - Plant the Seed - Artwork_RingMaster Review     To be honest virtually the whole of the Manchester quartet’s last album makes itself available as a potent single but for sure Plant the Seed is a rich flame within their fire of enticement. It also adds another confirmation to the quality of songwriting and simply creative imagination the band is renowned and being increasingly acclaimed for. Cavalcade declared The Slow Readers Club as one of not only Manchester’s but the UK most compelling and exciting underground bands; the single just confirms it again.

Plant the Seed opens on a teaser of rhythms alongside a spicy electronic melody, a tempting bait leading to the swiftly emerging vocal tones of keyboardist Aaron Starkie and guitarist Kurtis Starkie, both with their individual prowess wrapping ears in harmonic temptation. It is a rich seduction enjoyably given a just as gripping contrast by the pulsating and throaty lures of James Ryan’s bass and the clippy enterprise of drummer David Whitworth. It all unites with increasing potency as the song strolls through ears with a summery air and a skilfully sculpted range of textures, all thick enticement within the Depeche Mode meets Bronski Beat majesty of the song.

In some ways, Plant the Seed seems to have blossomed again in its own limelight, the single a glorious invitation hard to imagine many ignoring, and The Slow Readers Club, well they continue to leave us smiling with contentment.

Plant the Seed is out now via Scruff of the Neck Records through most online stores.

http://www.theslowreadersclub.co.uk    http://www.facebook.com/theslowreadersclub  https://twitter.com/slowreadersclub

Pete RingMaster 25/11/2015

Copyright RingMaster: MyFreeCopyright

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

Victories at Sea – Everything Forever

VAS_RingMaster Review

Everything about Everything Forever is noir hued; even its melodic glows and emotive beauty is wrapped in some form of portentous shadowing resulting in something highly mesmeric and provocative. The encounter is the debut album from UK band Victories at Sea, a Birmingham trio already no strangers to an excited buzz and attention around them and their sound, with plenty more sure to surface as Everything Forever seduces over time.

Musically Victories at Sea draw on inspirations ranging from the likes of Mogwai and Factory Floor to Slowdive and The Chameleons, and it is the latter in a fusion with Editors, Felt, and The Slow Readers Club which emerged in personal thoughts as a hint to the flame and suggestiveness of the band’s new release. Written over two years within an abandoned steel works in Digbeth and recorded in the damp basement of an old whistle factory, Everything Forever builds on the character of the bands’ previous EP In Memory Of. That was a release leading to keen support by the likes of NME, The Guardian, Clash Magazine, and XFM’s John Kennedy, something already being echoed in the wake of the new album’s varied and fascinating persuasion.

Artwork_RingMaster Review   Released via Static Caravan Recordings, Everything Forever opens up with Bloom, an apt title as release and sound does openly grow and blossom within the song. Synths offer the initial hug of coaxing, their mix of intense and emotive colours melancholic yet lively and increasingly inviting as they lead ears and appetite into a catchy stroll bound in sonic guitar lures. The mellow vocals only add to the warmth within a more oppressive climate as an eighties hue reminding of bands like Felt and also The Wild Swans adds to the fascinating and swiftly gripping success of the impressive opener.

The rich start continues with Florentine and there is barely a slither of difference to the sheer majesty of the first two tracks; the second, with more of that familiar nostalgic air, flirting from within another flavoursome shuffle of floating keys, harmonic vocals, and spicily melodic enterprise courted by the darker swing of the rhythms. Inescapably infectious, the track shares its attributes with the following Up, it too bridging eras of synth rock and post punk whilst bringing a big smile of infectiousness aired in a whisper of Duran Duran meets Tones On Tail. Keys and guitar entangle throughout, spinning a kaleidoscopic web of sound with minimalistic strands thick in temptation and resourceful imagination. Already the first three songs are rivalling for best track honours and to be honest they continue to chain the choice amongst themselves though many songs attempt to rival them.

The smooth celestial swing of On Your Own is one, its charming canter of sound and vocals a pulsating and contagious radiance on ears and imagination whilst DMC finds the band slip into something far more dystopian in air and suggestion. Its dark heavy climate embraces a blend of cool and warm keys, whilst its industrial spawned instrumental heart alone echoes as much the dark animus the world is in and which inspires some of the band’s lyrical exploration, as any vocalised tracks within Everything Forever.

Poles Apart is initially a low key but still boisterous affair compared to earlier tracks, vocals against skittish percussive tenacity creating a lively canvas from where keys and especially the spicy tonic of the guitars breed emotive imagination and subsequently a growing intensity which soon roars like a fire. It is compelling stuff which continues in the slightly starker but no less riveting seduction of Swim, a slice of again eighties inspired post punk that ignites the imagination as swiftly as hips and emotions. As suggested already, the Victories at Sea sound delves into the deepest shadows and darkest corners of worldly reflections and emotional intimacy yet boy is it easy to dance to, band and music built to get bodies fully involved and heading to the dance-floor.

Future Gold just epitomises that intent and success, its golden sunspot of melodic and harmonic prowess a sultry glow on another landscape crafted to tempt hips and an instinctive motion of the body. Emotionally driven by hope matched by an alluring radiance of sound, the song as so many quickly gets under the skin, leaving a welcome imprint that draws attention back again and again.

The thumping bait and virulence of Into the Fire provides one more rousing waltz of imagination and addictiveness next before album closer Sirens uncages its haunting atmospheric soundscape. The breath and design of the final song lives up to its title with ease, intimidating air and emotionally desolate scenery colluding in a post rock tinged exploration of physical dissonance; it all playing like a reflection of the same invasive discordance now gripping socially and globally. The track is darkly captivating, revealing even richer aspects of the Victories at Sea invention whilst taking the listener to yet another new place within Everything Forever.

It is easy to see why Victories at Sea are a favourite proposition for a great many right now and will be for many, many more now their album, a release not to miss out on, is working its temptation.

Everything Forever is out now via Static Caravan Recordings digitally and on vinyl/CD @ http://victoriesatsea.bigcartel.com/product/everything-forever

http://www.victoriesatsea.co.uk  https://twitter.com/victoriesatsea  https://www.facebook.com/Victories-at-Sea-272819659418258/

Pete RingMaster 16/11/2015

Copyright RingMaster: MyFreeCopyright

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

Zurich – Small Wars

Zurich_RingMaster Review

Like Paul Haig meets Modern English in a creative hug with The Slow Readers Club, Zurich has a sound which leaves you awash with welcome nostalgia and invention soaked freshness. The proof comes via debut EP Small Wars; five tracks of post punk and eighties electro pop bred temptation infused into a fiery rock heart. At times rousingly anthemic and in other moments warmly intimate, the EP is a compelling introduction to the UK trio, one which early on had thoughts moulding the assumption that the Oxford hailing band is heading towards to major things.

Consisting of bassist/vocalist Adrian Banks, guitarist/vocalist Chris Gillett, and drummer Leigh Taylor, Zurich since emerging in the July of 2014 has built an impressive reputation for their live presence and sound in the always busy Oxford music scene. Now the whole of Britain gets to hear why with the Gary Stevenson produced Small Wars; an encounter which captivates from its first touch and just gets bigger and bolder in its persuasion and adventure thereon in.

cover_RingMaster Review     The release opens with Chemical, a song making a low key but instantly engaging entrance as atmospheric synths and melodies entice from the distance; coming closer with every passing second before rhythms and scythes of sultry guitar break loose to further spark ears and imagination. Already memories are basking in older essences as the appetite latches on to the robustly vocal textures of a fiercer but no less warm modern vivacity and invention. In no time the track is strolling along with infectiousness dripping from its every chord and rolling beat, their tempting matched by the excellent vocals of Banks and Gillett. The track is an instant friend, one you feel you know but only bringing new adventure and enjoyment the way of ears and emotions. Anthemic pop at its best, the song is a thrilling and commanding early persuasion from the EP, one masterfully backed by Alone.

The second track jabs with punchy beats as a guitar dangles its melodic bait initially in front of ears, a coaxing which maintains its potency and clarity as rhythms and more guitar swiftly add new eager energy and spice. A slower but still lively enticing compared to its predecessor, its canter bounces along drawing quick involvement physically as strings and a thick weave of keys build and unite in a highly provocative proposal for the imagination to get fully involved in. Once more vocals and individual prowess shines as openly as the collective enterprise in a song which as good as glows as it incites body and heart.

Small Wars offers its title track next, a smouldering croon with tenacious beats and a melancholy toned bassline which play against and with the lighter but equally emotive melodies of keys and guitars. Strings once more add further drama and emotional intimacy to the heartfelt dance of the song’s croon whilst its chorus just gets into the psyche from its first call, all aspects creating another major highlight of the EP before Invisible Man takes over with its own creative theatre. Straight away it offers melodic resourcefulness within a feisty serenade which can only be called Black like, the song growing and exceling as emotion packed sinews and inventive drama continue to blossom.

The EP is brought to a fine close by Menace; a pulsating shimmer of guitar and creeping keys its opening tempting and climatic beats and vociferously sultry endeavour it’s subsequent and gripping majesty. The bass of Banks is compelling in tone and expression whilst the rapier and adventurous rhythms of Taylor ignites the air around the increasingly volatile and imaginative journey of the song. Add relentlessly mesmeric keys and guitar craft which just rises to the occasion whilst pushing that same moment to new enthralling heights, you have one blaze of brilliance to complete an encounter just as constantly impressive.

Zurich is not a name which leaps out and grabs or indeed sticks in the memory as powerfully as maybe others but it does not need to when the band’s sound definitely does. Small Wars declares that fact and fair to say because of it we are already impatient to hear what the band comes up with next.

The Small Wars EP is available digitally from Kestrel Records on September 21st via the band’s Bandcamp.

Pete RingMaster 21/09/2015

Copyright RingMaster: MyFreeCopyright

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Glamour Assassins – Ain’t So Young

GA_RingMaster Review

The lure starts with a great name and becomes a vibrant persuasion with a debut album that gets feet moving and hips swaying. Glamour Assassins is that first bait, a title reflected perfectly in the melodic beauty and imposing potency cruising their music, and Ain’t So Young the captivating introduction to the Connecticut hailing band. The release offers a host of songs seeded in eighties new wave and synth pop but equally embracing dance punk and an indie rock flavouring. It is an encounter which has at times thick familiarity to it but also a striking freshness which combines for a persistently enjoyable proposition.

Hailing from New Haven, Glamour Assassins consists of Jared Savas, Nick Post, Jose Novo, Carrie Martinelli, and Gil Morrison, a group of musicians with a combined experience of playing with artists such as Dragonette, Matt & Kim, Plushgun, Freezepop, the Postelles, and Greg Hawkes of The Cars under their belts. As Glamour Assassins, they have earned a weighty reputation for an intense live presence which their album is now looking to back up with its theatre of striking songwriting from Savas and a sound which just wants to make you move as it feeds the imagination.

Produced by Joey Mascola and mastered by Grammy-nominated Emily Lazar, Ain’t So Young gets off to a rousing start and never really looks back. The Day Rock & Roll Died is the initial temptation, a song slipping through ears on a single guitar cast melody as keys and atmospheric tempting brews. It is soon into a catchy stroll, wiry hooks and a deep bass line colluding with punchy beats as the track quickly awakens attention and the first breath of involvement by the listener, especially when the vocals bring their strong persuasion to the mix with additional harmonies just as engagingly in tow. The track does not make a seemingly dramatic impact but swiftly the body is lending its moves and feet jabbing the floor as more enterprise blossoms in the increasingly infectious encounter.

cover_RingMaster Review    The rousing swing of the track is replaced by the emotive serenade of Hate Song Part I (Exile), a female delivered vocal caress on the senses awash with evocative keys and a laid back, shadow built bass prowl. It is a slither of a song at a breath over a minute but a transfixing set up for the electronic adventure of Phantom of the Disco. The band’s latest single is a bubble of dance bred electronica and varied impassioned vocals. There is a whisper of OMD to it, as too of Thomas Dolby and Blancmange, but they are mere essences in the thick ambience and emotional shadows fuelling the impressive drama.

Already there is no escaping the diversity to the album and Glamour Assassins’ sound, a quality continuing with the soulful roar of Sex Life. Synths once more envelop ears in a suggestive hue whilst the minimalistic beats and groaning bass lures bring the funk. Vocals and guitars add extra catchy and resourceful enticement in a track which you can easily offer hints of Duran Duran and Tears For Fears too. That recognisable air is in many guises a constant to the band’s sound it is fair to say, and just as honest to admit it only adds to the success and virulence of songs as proven by first the album’s title track and straight after London Fog. The first of the two thrusts indie tenacity and raw sinews into the mix, bouncing along with attitude and feisty energy as crystaline keys court jangly guitars across jabbing rhythms. In contrast its successor sculpts an aural theatre with an epic atmosphere which evolves into a more intimate and sinister proposal over time. Musically it is like eighties era Ultravox meets The Slow Readers Club with another bewitching range of vocals building unique adventure to the narrative. The track is as immersive as its title suggests if not as muggy with keys providing a shining provocative light throughout.

Indie pop ‘n’ roll has voice and limbs heavily involved next through Scumbag, bands like Late Cambrian coming to mind, whilst the contagion soaked Never Get Caught draws from Visage like territory for its pulsating seducing, though to this the band fuels the vocals with a rapacious edge and angst as the guitars spin a riveting web of sonic and melodic imagination which is seemingly Cure inspired. Once more Glamour Assassins turn familiarity into something of their very own though, just with an old friend like nature.

The album closes with Hate Song Part II (Death or Love), a track which kind of sums up the album and the band’s invention in one go. Part rock, part synth pop, and bursting with an array of crafty hooks, alluring grooves, and an infectiousness which never leaves ears and appetite alone, it is an impressive end to a thoroughly enthralling and enjoyable release.

Eighties new wave and synth pop seems to be having a strong influence on numerous emerging bands right now, of which Glamour Assassins is one of the most exciting and potential flooded propositions. Their album…well if you want to dance to some old school but freshly inventive contagion then Ain’t So Young hits the spot.

Ain’t So Young is available now

Pete RingMaster 10/09/2015

Copyright RingMaster: MyFreeCopyright

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

The Slow Readers Club – Cavalcade

Picture 72

After a clutch of increasingly impressive and fascinating singles across last year moving into this, anticipation of Cavalcade, the second album from UK indie rockers The Slow Readers Club was high and excited for a growing sea of fans, including us. Each of the quartet of songs offered was a riveting teaser and evidence of the band’s upcoming release and diversely sculpted sound respectively. Those propositions still shine like flaming beacons as they sit within the walls of Cavalcade but are matched by a collection of new to the ear tracks which simply seduce ears and imagination.

Hailing from Manchester, The Slow Readers Club have been no strangers to acclaim these past months. Their singles have drawn frequent praise and support from fans and media alike whilst their live presence has seen highly successful shows with the likes of Catfish & The Bottlemen, The Struts, Reverend and the Makers, and The Sunshine Underground as well as well-received appearances at Tramlines Festival, Party in the Pines, and the Blackthorn Festival. Journalist and frontman for Goldblade John Robb predicted that 2015 would see The Slow Readers Club breaking through to become one of the most important bands to emerge from Manchester’s music scene in recent years. Everything has backed up his suggestion and certainly Cavalcade has brought the year one of its major triumphs.

Picture 2     Creating an emotive and cinematically coloured mix of indie and electro pop, The Slow Readers Club has an embracing and immersive sound which places the listener into the scenery and heart of each song’s narrative as if physically there. Instant evidence comes with album opener Start Again. Its opening cauldron of electro temptation is an immediate potent lure, one only intensifying as a throaty bass line links with choppy guitar riffs and the equally magnetic vocals. It comes with an eighties electro pop breath, as most songs, yet creates a suggestive web of new and unique tempting which is best described as B-Movie meets Interpol but is solely The Slow Readers Club. The embracing keys of Aaron Starkie and the imaginative guitar enterprise of Kurtis Starkie weave an inescapable persuasion, their vocals similarly richly alluring though to be fair every aspect of the song is a lingering incitement, the almost dirty tones of James Ryan’s bass and the punchy beats of drummer David Whitworth equally irresistible, and when it is all united what emerges is a sublime piece of pop alchemy.

Impressive as it is though, the song is surpassed by the following I Saw a Ghost, surely the bands best song to date though it is seriously challenged by other tracks on the album. The band’s recent single, it opens with voice and beats casting a swift and dramatic proposal, one caressed by the warm evocative texture of keys. It is not long before the again wonderfully heavy voice of the bass is aligning itself to the lighter hues of guitar, each contrasting and enhancing the other and the evolving proposition. The entrance of the bass also seems to inspire a heftier energy to Whitworth’s swings, creating a captivating merger of light and dark tones and also as a physical persuasion. The track is sensational, once more seemingly bringing differing decades of pop into alignment for a seriously compelling and intoxicating slice of anthemic tempting.

Forever in Your Debt has a darker emotive air to its presence, from its first breath the bass casting a solemn yet inviting tone to the song and continued by the impressive vocal expression and qualities bringing the song’s premise into ears and thoughts. Bubbly guitar and atmospheric keys add to the brewing drama, every twist revealing new shadows and corners to eagerly explore whilst sound wise there is a post punk like essence tempering the potent heat of melodies and hooks.

Three songs in and variety is as open as the connecting prowess of the band’s imagination, the mesmeric Plant the Seed giving further swift proof. Like a blend of Depeche Mode and Bronski Beat, the song is a transfixing croon of dark electro and synth pop, entrancing ears before leading them into an almost visual passage of intimate reflection and radiant persuasion. A track which impresses from the first play and only grows more potent, it is emulated by the melodically and emotionally climatic Days Like This Will Break Your Heart. It is a brooding inventive roar of an encounter which is almost volcanic in its intensity and sonic landscape. Both tracks continue the immense flight of the album perfectly but are put in the shade a touch by the outstanding Don’t Mind. It is one of those serenades which linger with unrelenting persistence, a lively and evocative caress which just connects with situations we have all been through whilst providing an absorbing soundtrack. With a touch of Black/ Colin Vearncombe to its croon, the song is seductive balladry at its most sublime.

The album’s title track is next and needs little time to bewitch as spicy guitar endeavour fuels a feel of The Smiths at its beginning. It’s reserved but potent start soon builds into a thicker and more dramatically hued theatre of emotion and sound where spices of The The and The Associates flirt with the band’s ideation. The track adds to the growing list of the major moments on the album, and there are so many, before making way for Fool for Your Philosophy to reveal its tangy electro enterprise and dark drama. The almost sinister rhythms of Ryan and Whitworth are worth the price of ‘the ticket’ alone, as too the exceptional vocals whilst the vibrant and energetic dance of keys and melodies are a fire in the enthralling darkness of the song.

Both Grace of God and Here in the Hollow hold body and emotions tight, the first a beautiful intensive flirtation with a Frankie Goes To Hollywood charm and vivacity to it whilst its successor, from an enticing simmering start, grows into one glorious anthem of sound and emotion where vocals again are the mighty instigators to the irresistible theatre of the song sculpted by colossal sounds. We mentioned some songs rival I Saw a Ghost for the pinnacle of the band’s songs to date and this is a definite contender.

The enthralling and emotively fuelled Secrets provides an excellent pungent drama next before things are brought to a close by Know the Day Will Come a song which makes a slow and decent enough start but erupts into another creatively incendiary exploration for ears and emotions. It is a thumping end to a quite exceptional album.

Expectations were high because of the band’s previous singles but The Slow Readers Club has surpassed them and themselves with Cavalcade. The bare fact is that it will be astonishing if you find a better rock pop album in 2015 then this modern classic.

Cavalcade is available now, digitally @ https://itunes.apple.com/gb/album/cavalcade/id979245862 and on CD/vinyl via http://theslowreadersclub.bandcamp.com/merch

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

RingMaster 14/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

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

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

The Slow Readers Club – Forever In Your Debt

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With two imagination and emotion gripping singles already thrilling 2014 and being inspired by the fevered success of the last Don’t Mind, UK indie/electro rock band The Slow Readers Club keep the persuasion intensive with the re-release of fan favourite Forever In Your Debt. It is a darkly evocative and relentlessly tempting proposition, cinematic in its air and engrossingly flirtatious in its drama, and alongside live album Live at Central Library also released this week, superbly reinforces the potent emergence and rise of the band.

The Manchester quartet of vocalist/keyboardist Aaron Starkie, vocalist/guitarist Kurtis Starkie, bassist James Ryan, and drummer David Whitworth, take little time in gripping hunger and emotion with Forever In Your Debt. An opening noir clad bassline alongside expressive vocals is the first virulent bait, a lure soaked in great eighties indie/post punk enticing but equally as Picture 31fresh and seductive as the bubbling notes of the guitar which join the dark persuasion. Firm beats frame it all whilst provocatively visual keys colour the immersive atmosphere before providing a broader texture and emotive depth to their drama. For all its almost sinister seduction, the song is also sublimely catchy and energetic which ensures that the body is as engaged as thoughts and emotions.

The Slow Readers Club are showing themselves to be masters at creating songs thick with emotional shadows and reflective depths but also as contagious and addictive as a first kiss, the proof is right here with Forever In Your Debt and it’s also masterful accompanying track Days Like This Will Break Your Heart.

The Slow Readers Club with songs like this make it so easy to declare them one of the great breakthroughs of 2014 and you sense we have till only scratched their surface.

Forever In Your Debt is available now digitally at most stores and on vinyl @ http://theslowreadersclub.bandcamp.com/album/forever-in-your-debt

www.theslowreadersclub.co.uk

RingMaster 01/12/2014

Copyright RingMaster: MyFreeCopyright

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