The Classy Wrecks – Bedrocksteady

 

If you are looking to get the feel good factor whilst giving body, spirit and soul a good work out then we suggest the debut album from Canadian outfit The Classy Wrecks. A collection of ska/rocksteady bred tracks, Bedrocksteady effortlessly had the body swinging and pleasure flowing from its energising first listen proving itself a tonic for any dull day.

Hailing from Toronto, The Classy Wrecks was formed in 2016 and quickly had ears and attention on board with the release of their first EP, Songs for the Extinct, the release seeing some of its tracks featured on radio stations around the globe. This led to the quintet of Daniel Mager, Bobby Shaw, Ian Herold, Roy Zada, and Alex Rodriguez signing with Trouble Town Records last year who released the Sociopath EP earlier this year and now the rousing Bedrocksteady.

A boisterous blend of ska, rocksteady, and reggae, the band’s sound makes for a proposition both familiar and fresh, an incitement persistently leading hips and feet astray with lusty endeavour as proven within an album which swiftly got under the skin and into the bones. Bedrocksteady opens with In the Evening and instantly the party is in full swing, the song a quickstep of ska flirtation and rhythmic temptation. Featuring the guest vocals of Cassondra Marie, the track strolls along with a pop fuelled swagger wrapped in a whiff of The Toasters. Vocally magnetic and musically manipulative, the track kicks the album off to a great start but within moments gets eclipsed.

The following One Drop Blues teases with its initial jangle, brass flames swiftly warming its lure as a Specials like hue breezes through ears. Its own lively sway soon seduced the same from the body, the track one of those where instincts to move take over, inclinations on constant alert across the album and especially next up If I Were to Tell You. The best track on the album, it has an eighties indie pop colouring entangled in its modern ska punk antics; a collusion of flavours which caught the imagination and appetite full-on with increasing tenacity.

Across the boozy pop romping of Superman (Is Going to Hell) and Keep Your Head Up Girl with its sultry saunter, album and captivation became further entangled; guitar jangles and brass flames alongside pulsating rhythms seductive enterprise so easy to succumb to with pleasure and eager motion and in full swing again with the rockier Time Moves On.

Across the release there is a hint of old school rockabilly to the fun, the last track teasing as too its successor, Little Baby Blues, especially when making its entrance. Again there is no escaping the almost devious wiles of its swing and sounds, the body naturally swinging to its canter before Northern Reggae springs its ska and melodic fervour from the speakers to induce a zestfully bouncing body.

Bedrocksteady finishes with firstly the Hub City Stompers like Sociopath, another of the album’s major highlights, and lastly the unscrupulous instrumental carnival that is Does Anyone Have a Patch Chord where even a graveyard would be pulsating to its kinetic alchemy.

They provide a fine end to a release which seems to become more tempting and enslaving by the listen. The Classy Wrecks have already made a potent mark across Ontario and beyond, more treats like this and a far broader landscape will soon be swinging to their musical manoeuvres.

Bedrocksteady is out now via Trouble Town Records across most stores and @ https://theclassywrecks.bandcamp.com/

https://www.facebook.com/TheClassyWrecks/  https://twitter.com/theclassywrecks

Pete RingMaster 15/11/2018

Copyright RingMaster: MyFreeCopyright

K-Man & The 45s – Self Titled

Pic DannyDonnovan @bucketlistmr

This month sees the new romping stomping album from Canadian outfit K-Man & The 45s uncaged, a release which had the body bouncing and spirit roaring like a teenage boy after his first sexual adventure. The band creates a contagious proposition from a fusion of ska and rockabilly spiced classic rock ‘n’ roll with plenty more involved, a recipe providing their finest feast of sound yet within their self-titled full-length.

Hailing from Montreal, K-Man & The 45s has been a constant and acclaimed presence on the Canadian music scene; their records luring keen praise and support and live presence just as rich plaudits and a matching reputation. The band has shared stages with the likes of The Slackers, Big D and The Kids Table, The Satellites, The Original Wailers , The Planet Smashers, The Brains and so many more as well as graced and ignite a host of festivals across their homeland over the years. It is easy to suggest that their new album is their greatest moment yet and even easier to eagerly push it towards the attention of ska, punk and rock ‘n’ roll fans alike with the band embracing the inspirations of bands such as The Specials, The Beat, The Ramones, and The Cramps among their influences though it is fair to say K-Man and co have successfully nurtured their own individual character of sound as in thick evidence across the new record now getting its deserved push via Stomp Records.

Opener They Gotta Know had us hooked with its first breath, a classic rock ‘n roll guitar lure entangling ears and appetite before the song leaps into its punk rock swing. The jangle of Kman’s guitar flirts as the beats of Brian Smith arouse against the melodic dance of an organ; a potent enticement only enhanced by the dancing flames of Josh Michaud’s trombone and the trumpet of Seb Fournier. Bouncing along to the track’s body and stroll is inevitable, we can testify to that, as the song gets the album off to a rousing start.

The following Poppy’s Back In Town is just as manipulative, its rowdier rock colluding with the animated canter of keys and guitar with, as in its predecessor and every song, Kman’s vocal mischief leading the fun. Lively melodies and lustful hooks line its boisterous stroll before I Don’t Mind wheels in with an instantly appealing breeze easily reminding of The Beat. The band soon adds its own distinct colour to the song, adding a vocal backing in which participation is simply unavoidable. Smith’s clipping beats just get under the skin too, the brass n turn into the passions as the track lustily manipulates body and spirit.

Rudy Don’t Smoke equally had the body dangling from its virulent strands of sound and enterprise; its ska and punk collusion a devilish puppeteer with a glint in the eye of its imagination before Piece Of The Action bursts in with drama and intrigue which would not be out of place in the theme to a sixties TV spy/private detective show. With a Department S-esque hue to its theatre, the song is more than a match for the lofty heights of its predecessors as too the cosmic adventure of Space Thriller. Bringing the atmospheric prowess of The Specials into a surf rock spiced ska saunter the track has the same level of drama and intimation as the last song, its story a sultry seduction of lust and danger descriptively shaped by brass led enterprise.

Through the punk ‘n’ roll/ska bred stomp of Road Rage Randy and the fifties rock ‘n’ roll seeded ska spin of This Moment, pleasure only escalates with the album, each adding a new shade of sound and mischief to its party before a great cover of The Kingpins’ Party in Ja joins the fun. Giving its reggae nurtured catchiness a Ruts like dub makeover the track pulsates on the senses as again the body is lost to an instinctive bounce.

Next up is Johnny Thumbs a track which maybe did not inflame the passions as others around it but still made for the most enjoyable playmate before the outstanding Far Away Eyes Come Home simply became a love affair with ears. From its revolving hooks and melodic enticement to vocal and rhythmic invitation, the song devoured inhibitions.

The album finishes with another gem in What’s Inside A Girl, a glorious garage punk and rockabilly spun tease with a healthy psychobilly and surf rock glaze led by yet another delicious bassline among so many across the album from Frankie amidst the perpetual rhythmic incitement of Smith. The song epitomises the craft, sound, and contagious exploits of K-Man & The 45s perfectly whilst at the same time sealing its best track moment though that is debated with each and every listen.

K-Man & The 45s is a band which deserves the biggest attention within the ska, punk, and simply great rock ‘n’ roll world; all the reasons are in their new album so no hanging around go have fun.

Recently the sad news that drummer Brian Smith has terminal pancreatic cancer was announced and a Go Fund Me page set up to support him and his family. To help out this great musician and friend to so many go to https://gofundme.com/support-brian-our-brother

The K-Man & The 45s album is out digitally and on vinyl now @ https://k-manthe45s.bandcamp.com/album/k-man-the-45s

 https://www.facebook.com/kman45/   https://twitter.com/kmanandthe45s

Pete RingMaster 14/08/2018

Copyright RingMaster: MyFreeCopyright

Johnny Kowalski and the Sexy Weirdos – European English

Photo Credit: Kat Bennett

Like for everyone, there are a few bands which spark a moment of pure excitement when news of a new release is in the air and for us one is Johnny Kowalski and the Sexy Weirdos. Reasons why can be found in previous album Kill The Beast alone, “a wonderful deranged waltz of unpredictable adventure” but it has to be said are even more imposingly obvious within its successor European English. The album boisterously lives up to its name from start to finish, offering a skilfully crafted diverse and bold bedlam of continental flavourings within an eccentricity of sound which only we Brits can imagine. The result, a carnival of irresistible punk ‘n’ folk ‘n’ roll which has body and spirit relentlessly bouncing.

After the release of their outstanding last album, Johnny Kowalski and The Sexy Weirdos descended on Europe on a five week tour which saw the band “almost fighting children in Paris, a 14 hour van journey from Orleans to the French Mediterranean, and having bought cannabis from a police officer, the band squatted in a football club near Milan.” That was followed up by a weekend of spontaneous gigs with antifascists in Verona and dates in Trieste, Slovenia and Austria before arriving in Josefov where the majority of the new album was written, the band inspired by the Austro-Hungarian fortress town sparsely populated by Romani gypsies and its artists. Whatever the town had, it has bred a new wind in the rousing imagination bred exploits of the band and a sound which has always been original but has found true uniqueness within European English.

Welcoming the guest talents of Tamar ‘Juggernaut’ Bedward [Malarkey], Katie Stevens [Bonfire Radicals], Smut Rahkra [The Tenbags] and Anne Marie Allen across the release, the Birmingham based quintet open up the album with Megahorse. Instantly the bow of violinist John-Joe Murray is enticingly scything across strings into the imagination as Johnny Kowalski’s distinctive tones stroll, the darker tones of his guitar and Chris Yates’ bass lurking alongside as beats jab and tempt. It is a seriously inviting prelude to a lively gypsy folk romp driven by the flirtatious rhythms of drummer Matthew Osborne and the percussive tenacity of Illias Lintzos. This in turn leads to an evolving landscape of inventive sound and unpredictability never giving the body a moment to relax or attention to wander.

It is a forcibly excitable and thrilling start swiftly matched by the creative drama of Relative Rudeboy. Like a punk infused fusion of Mano Negra and Les Négresses Vertes with the grumpy rascality of the bass at its core, the song soon has hips swinging and emotions growling in league with its own attitude fuelled multi-flavoured stroll. There is no escaping its addictiveness or physical manipulation of body and spirit, the brass craft of Katie Stevens fuelling the fires, a tempting just as potent within the Balkan swing of next up Serbian Rhumba. It is a sultry flirtation on the ear, an evocative serenade with instinctive catchiness around the punk scented delivery of Kowalski.

The Sicilian Stallion is a celebratory canter mixing Celtic and Romany spices with Latin breeding in its instrumental celebration; quite simply two minutes plus of instinctive pleasure before Minor Calamities courts its own equally rich persuasion with a dark rhumba of musical and rhythmic theatre. As the tracks before it, another individual hue to the whole creative canvas of European English grabs ears and appetite; its body and tone a darker, more intense but no less infectious proposition.

In pretty much nothing but emerging favourites, Didn’t Find The Money puts its imaginative head above the firing line with compelling devilment and creative mischief. With the body instantly popping to its rapacious exploits, vocal chords swiftly locked in its virulent chorus, the song strolls along with a punk meets folk meets indie rock swagger, all unleashed with flirtatious dexterity.

The quite stunning Raggadub follows; its adventure a web of styles and sounds within a dub bred echo of invention. At times it vibrates with ripples of Ruts DC, in other moments flirts with Morcheeba-esque seductions, or snarls with King Prawn punkiness as a host of vocalists join the rapacious party; all the time increasing its hold on ears and lustful satisfaction.

The instrumental dance of Matthew Matthew provides a robust adventure of sound and international flavours, a piece which manages to simultaneously be fiery and smoulderingly seductive as rhythms cast a kinetic incitement, before Juniper brings a quite delicious recipe of temptation which teases and taunts like a blend of The Specials, Gogol Bordello, and Russkaja.

Its inescapable tempestuous virulence is followed by the instrumental elegance and grace of closing track Chinese Icicles. A melodic bloom in an initial alluring calm, the piece builds into a robustly dynamic yet still radiantly melodic saunter through scenic suggestion and oriental hues with rock edginess for company.  Eventually Kowalski’s vocals join the adventure bringing another breeze of boisterous and rowdy enterprise to the compelling end of one mighty release.

As we said earlier, every upcoming Johnny Kowalski and the Sexy Weirdos encounter brings an elevated anticipation which European English rewards tenfold. It has the body bouncing and spirit racing; what more would you want?

European English is available now @ https://sexyweirdos.bandcamp.com/album/european-english

European English Upcoming Tour Dates

21/10/17 – The Earl [Worcester]

28/10/17 – Vegan Fair [Wolverhampton]

04/11/17 – Karns Bar [Hinckley]

17/11/17 – Cafe Rene [Gloucester]

01/12/17 – Rumpus [London]

23/12/17 – Secret Location [Birmingham]

https://www.facebook.com/sexyweirdos/

Pete RingMaster 10/10/2017

Copyright RingMaster: MyFreeCopyright

 

 

Holly Holden y Su Banda – Tropical Soul

Putting on notice body curves and swerves, we suggest no summer will be complete without the exotically sexy and melancholically captivating Tropical Soul. Just as suitable for smouldering cold hugging nights before a flaming fire, the new EP from Holly Holden y Su Banda is a musical travelogue and emotional reflection to seduce ears and spirit. It is also one of the year’s biggest delights so far and potentially the moment an already acclaimed and eagerly followed singer songwriter comes under the biggest spotlights.

From London and with many years of her life also embracing the relative beauty and life of Cornwall, Bristol, and Berlin as well as just as inspiring travels, study, and musical collaboration within Latin America and the Caribbean, Holly Holden brings it all to her wonderfully eclectic and adventurous sound, perfectly tagged as tropical soul. Like music as a whole, it is a borderless proposition offering a worldly exploration for artist and listener.  Flavours from Cuba, Ecuador, Colombia, and Dominican Republic collude with Caribbean and European enterprise, a mix dancing and flirting round intimate and love nurtured reflections as irrepressibly evidenced by her new EP.

Already with plaudits for her 2012 formed collaborative project and album Xistence with Cuban rapper Alayo Style as X Planet, Holden linked up with guitarist Frank Clarke and drummer David Beauchamp in 2014, Holly Holden y Su Banda emerging from their combined venture. Seemingly persistently busy with her own shows and as part of female vocal group Deep Throat Choir who have just released debut album Be OK and Johnny Flynn and the Sussex Wit, things will surely become even more hectic and crazy as Tropical Soul infests bodies and imaginations.

The EP opens with the irresistible El Impulso, its inescapable temptation instantly teasing through Holden’s smiling bass throb, it courted by small but spicy sparks of guitar. Her voice is soon an energetic smile in ears too, slipping effortlessly between English and Spanish as melodies from Clarke’s guitar weave their warm coaxing. It is hard to truly give a proper reference to Holden’s music such its diverse and unique character and presence but a mix of Holly Walker, Regina Spektor, and Molotov Jukebox gives a pretty good idea of the pleasure waiting within Tropical Soul. With percussive scrapes and Beauchamp’s frisky beats, the song is manna for feet, hips, and enjoyment and still just about eclipsed by its successor.

The ska lined Run immediately has its swing emulated by flesh, its relaxed but tenacious stroll a lure of wonderful ska inspired riffs and rising flames of brass as Holden’s melodic croon contemplates aided by just as tasty harmonies. Across the release, contributions from percussionist Satin Singh, keyboardist Daniel Correa, trumpeter Will Roper, Marcos Caballero on tuba and alto saxophonist Sarah Parkes add their prowess to the trio, Clarke also a blast on sax. Who plays where I cannot say but as on the second track, it all makes for a captivating rhumba some might say addiction was invented for.

Dead Coral swings in next, its Caribbean spices and Cuban spotted grooves sharing infection as Holden effortlessly grips in voice and word. Again you know it is a proposal doing good as feet instinctively shuffle and bums bounce before bodies rise to full height and spring their lustful involvement, the proof in The RR office. To be honest such the power and potency of the sounds, the EP need a few listens before attention can delve deeper in the lyrical explorations of Holden, a just as rewarding discovery as personal and intimate thoughts are shared.

There is a definite feel of The Specials to Mellow Drama, its ska seeded keys and air carrying the lonely almost noir lit shadows of Ghost Town  yet tempered by the sultry sway and waltz of brass and guitars. The epitome of melancholic seduction and elegance, the song is a haunting bewitchment lingering long after its departure though within the release quickly replaced by the blues and reggae hued soul of the imposingly catchy Benji Muji Mau; another inescapable tempting for physical and vocal participation.

The EP is concluded by Born At The Right Time, a more low key incitement, though it is all relative, but still equipped with juicy hooks and rhythmic bait around the ever fetching tones of the lady. It also has its own blues seeded breath as guitar and trumpet align in rueful endeavour, a final imagination stroking smoulder to fly away with.

Like for so many others we suspect, Tropical Soul is our first global tour with Holly Holden y Su Banda; a thrilling escape for which no passport was needed; as her bio suggests Holly Holden’s music provides that.

Tropical Soul is released April 9th.

http://www.hollyholdenmusic.com   https://www.facebook.com/hollyholdenmusik   https://twitter.com/HHoldenmusic

Pete RingMaster 30/03/2017

Copyright RingMaster: MyFreeCopyright

Hub City Stompers – Caedes Sudor Fermentum: The Best of Dirty Jersey Years

hubcitystompers_RingMaster Review

It never takes much of a reason to get our stomp on here, any excuse to fling limbs and energy around like a headless chicken devoured. One band which has perpetually been a spark is Hub City Stompers but in collecting a horde of their horniest ska bred tunes for their latest album, the band has set the fuse to global skanking like no other.

     Caedes Sudor Fermentum: The Best of Dirty Jersey Years is an irresistible bundle of songs personally chosen by band founder Rev Sinister and taken from previous releases Dirty Jersey, Blood Sweat & Beers, and Mass Appeal. It is also offers a long awaited outing on vinyl from the band, its songs re-mastered by David Perez of Memphis Street Studios for the format.

For those new to Hub City Stompers, the band was as mentioned, formed by Rev Sinister, the former vocalist for NJ Ska band Inspecter 7. When that band went into a kind of hibernation around 2001, Sinister searched out to like-minded musicians and by the following year, Hub City Stompers, with a line-up consisting of ex-members of bands such as Inspecter 7, Bigger Thomas, Professor Plum, Predator Dub Assassins, Bomb Town, and The Heavy Beat, was unleashing irrepressible creative romps. Infusing essences from styles such as reggae, punk, oi!, and hardcore amongst a few others into an array of ska flavours from the 60’s through to the 80’s, the band quickly bred a unique voice to their music which took little time in awakening greedy appetites, as shown by the success of 2004 debut album Blood Sweat and Beers and the Mass Appeal EP a year later. Both the Dirty Jersey and Ska Ska Black Sheep full-lengths of 2006 and 2009 followed suit before the band took a year out on hiatus as Rev Sinister members returned to help revive Inspecter 7. Last year though saw the frontman quit the band and return to Hub City Stompers, bringing it back to raucous new life as evidenced by their last album Life After Death which came out last December. It was of course a heftily welcomed return with their new compilation alone holding all the reasons as to why.

HCS Cover low_RingMaster ReviewThe twelve-track escapade opens with the epic sounds of Wtfiu, ears instantly under a cascade of roving rhythms and sultry brass whilst keys seduce and romance the imagination. Soon into a trampoline like gait, every beat and riff a bold bounce, the track is quickly the puppeteer to the body and soul of the listener, its contagion and energy aural addiction and merciless incitement. Uncaging a scuzzy intensity in its climax, the glorious opener sets release and ‘victim’ off in insatiable style before Bumbl-B is allowed to swarm over ears with its choppy stride and infesting key bred melodies. Vocals snarl and invite whilst the bassline coring it all, is heavy nectar, just two aspects colluding to stir up air around and the passions of all in close proximity in an encounter reminding of the UK’s own King Prawn at times.

Both the smooth skinned, Scarlet & The Harlots meets The Beat like Skinhead Boi and the ska ‘n’ roll canter Johnny Date Rape, captivate with their individual swaggers, both enticing as masterfully through the voice of Jenny Whiskey as they do with their ever tenacious weave of sounds whilst Chatterbox swings with reggae hips as the flirtatious clipping of the guitar aligns with hypnotic beats and another juicily moody bassline. Again the two tone elegance of The Beat comes to mind as the song seduces feet and sparks thick attention but once more Hub City Stompers employ all spices in their own renowned inventive and hungry adventure.

Trojan Night lifts bodies and dance-floors with its insatiable infection of sound and revelry next, early Specials a scent within its romping body, whilst a great Hub City Stompers infested version of The Cure’s Boys Don’t Cry hits the passions in the form of Skins Don’t Cry which hounds and brawls with ears; its punk toned sound and words twisted with Hub City Stompers warm irreverence.

A sixties smooch comes with the lively dance of Leave Me the F**k Alone after that thrilling pair, its own body a mischievous and flirty tempting sure to ignite everything from toes to voice in all to fall under its spell. Another exciting physical workout is guaranteed by band and song, a promise pretty much applying to all songs on teh album let us be honest, the following I’ve Got a Boot even in its belligerent and rawer ramble, a tonic to enliven the body, its relaxed and resourceful hooks and boozy brass lures especially intoxicating.

The magnetic punk irritability of F**k You, You’re Irish hits the spot with ease, its Dropkick Murphys like bar-room tromp a grin inciter matched in fun and unique persuasion by the jazz lined, blues charmed Little Julie Swatstika before the album is closed off by Mass Appeal and one last undiluted swing of sound and energy.

     Caedes Sudor Fermentum: The Best of the Dirty Jersey Years  is the cream of Hub City Stompers in the ears and thoughts of the band. Sometimes it is easy to forget the power of a band in consistency and evolving adventure over time and a good Best Of as here, can bring that home. This is simply a brilliant compilation which excites whilst igniting even greater and eager anticipation of the band’s exploits ahead.

Caedes Sudor Fermentum: The Best of Dirty Jersey Years is available from September 30th as a co-release between Rebel Sound on 150x White Riot Vinyl, Crowd Control Media on 150x Clear Vinyl, and Not Dead Records on 150x Green Goblin Vinyl, each colour exclusive to the individual label with 50x Classic Black Vinyl versions also available.

https://www.facebook.com/hubcitystompers

Pete RingMaster 30/09/2015

Copyright RingMaster: MyFreeCopyright

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

Ash Walker – Six Eight / Noodle

Ash Walker_RingMaster Review

Following the success of his acclaimed debut EP Agnostic, producer Ash Walker shows another side to his instrumental adventure with double A-sided single Six Eight / Noodle. Whereas the EP caught ears with a more unconventional trip hop led fusion of sound, the new release explores smokier jazz bred landscapes again spiced by varying textures and flavours. The two songs create individual immersive strolls which are more hints rather than forceful suggestions for thoughts to run with, but each suggests a sultry lazy day with smiles and warmth are made for their presence.

cover_RingMaster Review     Previously, Ash has supported the likes of The Specials, Lee Scratch Perry, and David Rodigan as a DJ before signing with Deep Heads, this in turn allowing his increasingly acclaimed productions to entice strong attention. The Agnostic EP incited strong radio focus with the likes of Gideon Coe, Don Letts, and Tom Robinson supporting its release whilst the single Round The Twist, which features The Specials’ Nikolaj Torp Larsen quickly lured individual support of its own. Now with the assistance of bassist Marc Cyril (Joss Stone, Dennis Bovell, Jr Walker and the All Stars) and keyboardist Jason Moe, Walker takes the listener through fresh scenery from his imagination starting with Six Eight.

The track ambles in on a delicious bassline and scratchy percussion quickly washed with enticing horn like bellows and the reflective charm of the piano. Additional keys stoke the ambience of the song with richer, though reserved, flames whilst a ska/dub swagger and enterprise courts the increasingly attractive character and body of the song. With a cosmopolitan feel to its atmosphere and texture, Six Eight has the feel of busy summer kissed streets full of bodies carrying a calm smile reflecting the air around them rather than the impatient voracity generally found on city landscapes. It is an enchanting piece of music, a companion to swing your hips to whilst immersing in its warm embrace.

Noodle is a mellower hug of melodic elegance but again with infectious temptation and an underlying lively gait. The bass once more captivates, its darker emotive tones adding shadows and intrigue to the melodic glow and atmospheric chimes blossoming from the enterprise of the keys. The track in a way is like the night view of life shown in the day time revelry of Six Eight, its presence a noir draped look at a still vibrant but closely intimate world echoing the heart of the first song and its lively energy.

Though the release did not incite the imagination to run away with itself in expansive adventures, both songs tantalise and ignite nothing less than warmth and full enjoyment which we expect to be wrapped in its own acclaim very soon.

Six Eight / Noodle is available now via Deep Heads.

Pete RingMaster 21/09/2015

Copyright RingMaster: MyFreeCopyright

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

Stone Foundation – A Life Unlimited

stonefoundation_RingMaster Review

With the soulful heart of The Bureau, the brass revelry of Dexy’s Midnight Runners, and hues seemingly hailing from decades of soul, funk, and jazz temptation, the new Stone Foundation album is a tonic for anyone’s day. A Life Unlimited is full-on captivation from start to finish but what sets it and the band apart is a tone and uniqueness which bonds all essences into something you just cannot hear anywhere else. It is mix which has lit up three previous acclaimed releases and now caught fire in the band’s latest provocative shuffle of sound.

Formed by vocalist/guitarist Neil Jones and bassist Neil Sheasby, Stone Foundation was not a project rushed into realisation and the public ear but one honed and pieced together as the right people were discovered and enlisted to make the eight-piece the potent temptation they have proved to be across their releases and a live presence which has seen the band ignite small and lively sweaty venues, support The Specials on a UK tour after being spotted at such a show by drummer John Bradbury, and be invited to Japan as a part of a “visit Britain” campaign by the British embassy. Their records have been just as potent in luring and breeding the band’s reputation on the soul/jazz funk scene and indeed charts, previous album To Find the Spirit their most successful and inciting release to date, well until A Life Unlimited. The band has hit a new plateau with their new ten track romance of the imagination, and a brand of sound which even has more aggressive tastes for the main enthralled.

cover_RingMaster Review     The album opens with new single Beverley, a coaxing of ears by guitar, welcoming beats, and the Ian Arnold cast Hammond bred seducing by which the band’s sound is partly renowned for. In no time the song flows like a warm breeze on the senses, the beats of drummer Phillip K. Ford and percussionist Rob Newton gently but richly magnetic as a brass embrace from Gareth John, Gary Rollins, and Adam Stevens offers fire and mesmerism. The sultry funk air of the track is just as bewitching and though other songs excite personal tastes with more pungent energy and adventure, it is the perfect lead into band and album.

The slow and reflective hug of Pushing Your Love comes next, its soulfully transfixing croon a melancholic smile of harmonies and keys whilst Something In The Light right after, has hips swaying and feet eager to shuffle around the dance-floor with its relaxed but eventful stroll. Once again keys and horns collude in a masterful kiss on ears and imagination as guitar and rhythms simultaneously spin their own invitation. As all tracks, many styles converge into one fascinating proposition, soul, jazz, and folkish enterprise uniting here under an invigorating noir hued sky.

The seventies honed swing of The Turnaround keeps the album burning brightly, even if it does not quite have the spark of its predecessors. In saying that, a great mix of vocals with Jones joined at times by female company and a bubbly texture throughout, ensures it has body and emotions well on board before the humid smoulder of the excellent Speak your Piece and the crystalline moonlit air of The Night Teller add their alluring strolls to the album’s canvas. The first, like a few others, seems to get feistier and more resourceful with every passing minute whilst its successor provides a slice of creative intimacy which only has seduction on its mind from voice to brass flaming, melodic lures to flirtatious rhythms.

Learning The Hard Way is an instant favourite with its Bobby Womack meets By The Rivers meets Fine Young Cannibals festival of enterprise but still soon outshone by the thrilling These Life Stories whose rhythmic bait alone has ears and appetite hooked. In their individual ways, both songs are inflamed by the soothing yet anthemic flame of brass and the latter by an additional dark bassline which reeks seduction. Keys and guitar only add to the webs of tempting, traps the distinctive tones of Jones further colour with expression and emotion.

The album’s title track saunters in next with its eighties northern soul air and cosmopolitan flavours to continue the new plateau the album has hit over the past couple of songs, before the melancholically enchanting instrumental Old Partners, New Dances brings A Love Uprising to an evocative close.

Stone Foundation has produced an album to romance to, reminisce and reflect with, and even chase shadows away through. A Life Unlimited also has the adventure and bite for those with the want of a more pronounced snarl in their music to get off on. Acclaim is already soaking this proposal and really it is no surprise.

A Life Unlimited is available now via The Turning Point Recording Organisation / Republic Of Music digitally and on CD/vinyl.

RingMaster 19/08/2015

Copyright RingMaster: MyFreeCopyright