Elizabeth The Second – Two Margaritas at the Fifty Five

photo by Filippo Galvanelli

A handful or so weeks back Italy based outfit, Elizabeth The Second, unveiled their debut single ahead of their first EP. It was a rousing introduction to the trio and a flirty teaser for Two Margaritas at the Fifty Five, which now here equally suggests this is a band to keep a close eye and eager ear upon.

Consisting of Ben Moro (guitar and vocals), Michele Venturini (bass guitar) and Luca Gallato (drums), Padova hailing Elizabeth The Second spring a sound upon ears which is part garage rock, part punk, and an infectious amount of dirtily edged pop rock. Inspirations come through the likes of by The Clash, Blur, The Libertines, Artic Monkeys, Nirvana, and The Stone Roses; all hues which certainly flavour the band’s sound as too the breath of seventies nurtured power pop and nineties Brit pop.  For all that though, the band’s music escapes speakers with open individuality casting a great mix of familiarity and undisguised freshness.

Two Margaritas at the Fifty Five opens with that previous single and fair to say that No One Cares instantly grabbed ears with its first lure of guitar, its melodic clang equipped with a swing which is soon equally embraced by rhythms and vocals as the track hits its catchy stride. The fuzzy grumble of Venturini’s bass in turn takes over the virulence, its lone coaxing delicious before Moro’s guitar returns with its own shade of the contagion as Gallato’s beats bounce. The song is an irresistible slice of garage pop ‘n roll, its repeated cycle all the more addictive, and itself as a whole as potent as when it graced ears alone to provide a great start to the release.

Its persuasive traits are keenly embraced and built upon across the following tracks too, Mickey weaving its own infectious blend of pop and rock in a boisterous proposition blessed with lively rhythms and a spicy hook. With its body woven from an array of flavours and Moro’s vocals further great persuasion the song effortlessly hit the spot before Yesterday I Was 20 stepped forward with matching prowess. A sixties hue teases from its melodic grace as that power pop essence fuels its shuffle, the song in some ways reminding of bands such as Purple Hearts and The Chords and though it did not quite raise the passions as those around it, there was only pleasure and an appetite to indulge again in its infection.

As its companions the following Soho revels in its catchiness and playful enterprise, melodies and enticing hooks as manipulative as the roar in Moro’s voice and the dexterity of the rhythms driving the song, let alone the imagination gluing it all together. Again an array of styles make up its character and voice before it leaves the just as potent Gimme One Euro to bring the EP to a spirited close with its own recipe of just as varied ingredients and flavours. As with every song on the EP, pop, punk, and rock essences meld perfectly with the classic rock wiring which escapes Moro’s guitar especially in his spice rich solos and in all tracks there is nothing which allows attention to be cast elsewhere.

One superb single and one addictive EP, there could be a rather rosy reign for Elizabeth The Second ahead.

Two Margaritas at the Fifty Five is available now digitally and on CD @ https://elizabeththesecond.bandcamp.com/album/two-margaritas-at-the-fifty-five

https://www.facebook.com/elizabeth.the.second.band   https://twitter.com/Elizabethe2nd

Pete RingMaster 28/11/2019

Copyright RingMasterReview: MyFreeCopyright

Escapade – Red Sky

With the attention and praise grabbing success of their debut EP, Stepping Stones, still fresh as that of its title track as lead single, British rock band Escapade have given their strong emergence a new potent boost with their new track. Second single Red Sky is a rousing slice of melodic rock bred on the mix of Brit pop and psychedelic rock which lit up its predecessors. More than that though, it is the Leicester outfit hitting a new plateau in sound and creative energy while dishing up their most potent and rousing song yet.

Emerging from the creative linking up of singer/songwriter Sam Wyatt and guitarist/songwriter Adam Bailey, Escapade stepped forward in the autumn of 2015 with the band growing from an acoustic pairing of the two with the addition of bassist Jordan Alleston and drummer Martin Wenham the following year. Their first EP and its single stirred up a wave of praise and support the way the band, including that of Kasabian’s Tom Meighan, and is sure to be matched and easy to suspect eclipsed by the reaction to Red Sky.

The single makes a low key start, sweeping in from distance with a great flirtatious bassline and angular swipes of guitars as percussion and beats dance. Wyatt’s vocals are just as enticing, his delivery lively as the sounds around him and like them carrying an instinctive catchiness which flows from song to imagination with energy and adventure. Though inspirations to the band spring from the sixties to bands such as Oasis, The Stone Roses, Nirvana, Green Day, and Black Sabbath, Red Sky soon has thoughts casting back to eighties bands like The Mighty Lemon Drops and The House Of Love during its adventurous canter; every passing second of the song seeming to draw a new twist and flavour of sound; psych and indie rock conspiring with mod and Brit pop in a web of stirring and melodically inflamed enterprise.

Listening to Red Sky, there is a realisation that as enjoyable and striking as they were, previous tracks were missing a certain spark, one Escapade has found and ignited within their new and seriously impressive single.

Red Sky is out June 2nd

Upcoming Escapade live shows:

June 10th – The Shed, Leicester

July 28th – The Music Cafe, Leicester

http://escapadeband.co.uk    https://www.facebook.com/escapadeuk/

Pete RingMaster 02/06/2017

Copyright RingMaster: MyFreeCopyright

Escapade – Stepping Stones

Escapade_RingMasterReview

Wearing its Brit pop inspirations on its sleeve while providing a fresh breath to embrace, Stepping Stones is the new single from British quartet Escapade. The title track from their recently released EP, the single also shows the flavoursome essence of psychedelic rock which the Leicester quartet weave into their infectious sound. It makes for an invitation to newcomers easy to get hooked by and confirmation for fans that the band is worthy of the fuss brewing up around them.

Emerging from the creative union of singer/songwriter Sam Wyatt and guitarist/songwriter Adam Bailey, two musicians meeting on Facebook after the latter replied to a message placed by the former and subsequently becoming an acoustic duo playing around Leicester, Escapade stepped forward in the October of 2015. With a line-up completed by bassist Jordan Alleston and drummer Martin Wenham, Escapade soon lit up the local live scene, making their debut at two charity music festivals followed by a slot at the Salford Music Festival. This year has seen the band take their Oasis, The Stone Roses, Nirvana, Green Day, Black Sabbath and Kasabian influenced sound to Liverpool’s Cavern Club among many eagerly welcoming venues and spark rich interest with Stepping Stones, EP and now single.

Escapade artwork_RingMasterReviewFrom an initial guitar lure wrapping its melodic tendrils around ears, the song swings into vibrant action as crisp beats and a sultry guitar jangle align to the darker hues of bass and the catchy tones of Wyatt. The prime hook cast by Bailey throughout the track steals the appetite with ease, its bait spiced by the rousing exploits around it as song takes ears and hips in hand.

There are no major surprises within Stepping Stones yet it is one of the freshest slices of Brit Pop heard in a long time and easy to breed a want for more, which the EP it comes from certainly supplies. Escapade is a band already noticeably going up through the creative gears with the potential of major things within their horizons

Stepping Stones, the single, is released August 5th via Fin Records with the Stepping Stones EP out now.

Upcoming Live Dates:

19/08/2016 – O2 Academy 3, Birmingham

20/08/2016 – 229 Club, London

02/09/2016 – Sumo Bra, Leicester

17/09/2016 – Finfest, Abbots Bromley

20/10/2016 – Nottingham University, Sutton Bonnington

http://www.escapadeband.co.uk/   https://www.facebook.com/escapadeuk

Pete RingMaster 04/08/2016

Copyright RingMaster: MyFreeCopyright

MountainJam – Waiting

image1_RingMasterReview

Following the success of recent single Lemon and Lime, which itself cemented the prowess and potency of MountainJam as first discovered within the band’s debut EP and its singles of last year, the UK band now have its successor Waiting in line to please ears. The new single reveals another shade to the band’s persistently enticing sound, an emotively sculpted landscape of melodic rock with just a tinge of Americana to its alternative bred rock ‘n’ roll.

There also seems a broader depth to the flavouring building the sultry climate of sound and atmospheric enterprise and climate embracing ears. It is nothing overwhelming but as suggested a new shade of melodic and sonic colour to intrigue, fascinate, and as it proves again, excite. Influences to the Midlands hailing quartet of vocalist/rhythm guitarist Dean Dovey, lead guitarist Andy Varden, bassist Nick Roberts, and drummer Pez include the likes of The Rolling Stones, The Doors, Neil Young, Small Faces, Cream, The Verve, The Stone Roses, and The Who. Many are influences which arguably make a stronger showing within Waiting than some of the band’s previous songs to date, aiding the new hue to the becoming renowned MountainJam sound.

Emerging on the warm ambience of keys, the song soon strolls through ears with a melodic smoulder to its trails of sultry guitar and a feisty edge to its rhythmic tempting. Dovey as so often in songs becomes a potent focal point upon his entrance, but as usual too, his expressive voice is soon hugged by the strength of the sounds which here reveal a touch of psyche rock lacing and an almost sweltering atmosphere through guitar and keys.

With it all, also comes an infectiousness which, especially in the rousing roar of the chorus, has body and imagination as involved as the sonic swathes of sound which seduce in the track’s mellowest moments.

It is fair to say that Waiting does not infest the psyche as immediately as other MountainJam songs, though ears are thoroughly contented in moments, but with its magnetic layers and almost epic structure of emotion and sonic enterprise, the single is another richly and increasingly enticing lure to a band which just seems to grow with each and every track written.

Waiting is out now through most online stores.

https://www.facebook.com/MountainJam2015   https://twitter.com/mountainjam2015

Pete RingMaster 29/02/2016

Copyright RingMaster: MyFreeCopyright

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MountainJam – Lemon and Lime

MJ_RingMaster Review

Having lured attention with their first pair of singles last year and even more when those tracks came together with further new offerings to form a debut EP, UK rock band MountainJam has more than suggested they are an emerging talent to keep a close eye and ear upon. The release of the Tamworth/Hinckley quartet’s new single Lemon & Lime only adds weight to that intimation and the sizeable potential already showing its potency within the band’s captivating sound.

A boisterous rock ‘n’ roll stroll bred with the spicy strains of alternative and indie rock aligned to fiery blues flames, Lemon & Lime shows another shade to the colourful tenacious weave of melody, harmony, and rousing energy which predominantly shapes a MountainJam song. Inspirations to the band comes through the likes of The Rolling Stones, The Who, Small Faces, The Doors, Cream, The Verve, The Stone Roses, and Neil Young, and as in previous songs here they are spices which, if not openly fuelling the encounter, reveal some of the sources to its imagination and invention. Formed early 2015, the foursome of Dean Dovey (vocals, rhythm guitar), Andy Varden (lead guitar), Nick Roberts (bass), and Pez (drums) soon caught ears and appetite with their double A-sided single debut Jealous Of Me/Lust last July and its quickly following successor Lord of My Hours. They subsequently became part of the release simply called EP which ignited even stronger awareness of MountainJam, an awareness which Lemon & Lime can only successfully reinforce.

The song cups ears in a sonic mist initially, intriguingly holding the senses as a pungent union of sonic tendrils from the guitars and resonance fitted bass tempting gets involved. With firm beats in the mix too, the track soon blossoms a heated mesh of enterprise against which the potent vocals of Dovey begin sharing the lyrical persuasion. In turn catchy hooks and a swinging groove join in the sweltering fun, bringing greater blues essences into the flowing and evolving landscape of a track. Such the resourcefulness of the songwriting and imagination, every roaming riff and twist of that evocative bait loaded groove seems to find another dimension within the song’s design, a shimmering psyche rock breath and pop rock tenacity further aspects breaking out within the festivity to prove the point.

For personal tastes Lemon & Lime does not quite match up to previous tracks The Lord of My Hours or Lust yet as all offerings from MountainJam to date, it leaves pleasure full and anticipation of more rife. If you are yet to explore the rock escapades of MountainJam then Lemon & Lime is the perfect tonic to get enticed by.

Lemon & Lime is available now

https://www.facebook.com/MountainJam2015/    https://twitter.com/mountainjam2015

Pete RingMaster 13/01/2016

Copyright RingMaster: MyFreeCopyright

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Towns – Get By

Towns promo

When the opening track Get Me There from Towns’ debut album Get By hit the ear it must be admitted that the defences rose up just a touch as a mesh seemingly bred from the world of Madchester consumed the ears. It was not an abhorrent proposition but seemingly recalling a scene happily left lonely in our thoughts many years ago. It has to be said though that through time, even within the first encounter with the release, the Bristol based band’s first album has seduced doubts and resistance to emerge as a rather riveting proposition. It has not defused all reservations but standing as a unique proposition in sound even with its heavy essences of The Stone Roses, the Charlatans, and a Shaun Ryder-esque swoon, the album is a magnetic call within which certainly extra additives of The House Of Love and My Bloody Valentine help the persuasion.

Formed by childhood friends, Towns has had a shed load of experiences since forming to test any band’s perseverance and confidence. From being declared as the best new band of 2011 by NME after just a pair of demos and no live shows, the band endured a former booking agent running off with over £1000 of the their money to almost bring the band to a stop and after having the high of working with Owen Morris (Oasis, Verve), seeing the label paying the costs being swallowed up by a major to their detriment. It seems to have made Towns only stronger though as they continue to draw acclaim and attention. Live their performances, which have seen them alongside the likes of Paul Weller, Spiritualized, The Twang, Toy, and Eagulls, has only enhanced their presence and emergence something expectations assume Get By will accelerate.

The first impressive thing about the Towns sound and release, is the wall of scuzz seeded sound which glazes every note and imaginative Towns_-_Get_By_-_Artworkswell within their songs. It makes for an almost mesmeric wash which the smooth smouldering vocals accentuate and blossoms within, something which definitely shines from within opener Get Me There. Emerging from a sonic mist with a grinning bassline and fiery guitars, there is an immediate swagger to the song, its rhythmic shoulders swinging and confidence almost arrogant within distorted melodies. It is an appealing lure but sounding so close to earlier bands mentioned and holding a Happy Monday’s like irreverence that it lies dormant against personal appetites even if winning over attention easily. To be honest the song does become more potent and enticing over time but always there is something stopping a full recruitment to its charms as subsequently achieved by other tracks. Nevertheless with its eager gait and thick breath of sound it makes a welcoming lead into the following Marbles.

The second song springs from a scythe of feedback with a percussive shake and acidic guitar flames before settling into a tender coaxing. It is smouldering lure which erupts into climactic expulsions of intensity and raw guitar enterprise as vocals simmer and glide with mellow countenance. The bass as with the first song stands out, this time with a rapacious edge whilst the guitars scorch air and senses with impressive endeavour which a cavernous production cannot deflate. It is an intriguing and gripping track which flows seamlessly into the throaty prowl of Trip Over. Like a blend of its predecessors, the song strides with sureness in attitude and sound which worms away under the skin, the album already at this point causing a reassessment of earlier thoughts. There is causticity to the song as in the previous one, which brings thoughts of Birdland to the surface.

Both Gone Are The Days and Just Everything add new raucous invention to the album, the first unveiling a blues toxicity which permeates every riff and flaring of guitar sculpting to great effect, whilst the second brings a sultry twang to its melodic bait again to carve an engagingly infectious persuasion. The surface feel and touch of Town’s songs do carry a too familiar edge amongst themselves and to other bands previously mentioned, but in their belly a cauldron of enterprise and instinctive invention is diversely at work, you just have to look closer.

Too Tired emerges from a crystalline resonance soaked sky to sway and swirl over the senses, its body a temptress and voice a spellbinding waltz which caresses with elegant expression and warm invasive melodies before making way for the thrilling Young At Heart. Its opening tasty groove is irresistible and again has that Birdland like lilt to captivate from its first intensive note. From there the song discovers a harmonious sixties beauty to its enticing which in turn coaxes a greater richness in vocals and sonic colour from within the song. The album is at its pinnacle in its middle as evidenced by this pair and Heads Off with its delicious gnarly riffs aligned to floating melodies and vocal harmonies. In full stroll the song is a raw and abrasing treat which its soothing twists revitalise for another hungry devouring of the caustic rub of the excellent track.

The emotive call of Mirror Ghost slowly envelopes ears and thoughts next, its loud provocative whisper casting a melancholic smile which tantalises the imagination and to a lesser degree emotions. It is a slow burner which convinces in proportion to its creative growth especially the further it drifts into a sonic antagonism, and though it lacks the spark of previous songs it is impossible to not find a good appetite for it.

The final two tracks just do not have the same reach and success, Everyone’s Out which features Robin Stewart (The Naturals), Dom Mitchison (Velcro Hooks), and Richard Clarke (Scarlett Rascal) feeding rather than exciting expectations and the reflective part acoustic, part sonically messy title track, a disappointing end to what turned out to be a rather thrilling and enjoyable encounter. The last two songs will easily please other appetites though whilst Get By as a whole is a release it is fair to say brings a slice of fiery sun to anyone’s day.

Get By is available on limited 12” vinyl (100) and cd from Howling Owl Records as well as digitally from online retailers now!

https://www.facebook.com/townsband

8/10

RingMaster 02/06/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Sisteray – She Likes The Drama

sisteray

     Since forming in 2012, British rock band Sisteray has been building a rather potent fan base and appreciation through  their live performances and releases, an eagerly followed presence which their new EP She Likes The Drama gives plenty of evidence to the reason why. The four track release is an engaging proposition which from making an initially decent if unsure persuasion emerges as a magnetically appealing enjoyment. It is fair to say the EP does not quite reach in to ignite a flame in these particular passions but from the sure satisfaction definitely found you can easily see that it will be a different proposition for a great many others.

    Hailing from London and consisting of Niall Rowan (lead vocals/rhythm guitar), the Connolly brothers Daniel (lead guitar/vocals) and Ryan (drums), and Michael Hanrahan (bass), Sisteray take influences from the likes of The Kinks, The Beatles and The Who but equally from 70’s Mod Revival bands such as The Jam and Blues bands such as Dr. Feelgood, The Yardbirds, and The Rolling Stones. Those spices are open in the Sisteray sound as are also inspirations from more recent bands like The Stone Roses, The Arctic Monkeys, and Oasis. It is a striking mix which despite that rich soak of inciting flavours, does find a voice distinct to Sisteray as loudly evident on She Likes The Drama.

    The title track kicks things off, a single guitar tempting luring in attention and imagination before being joined by a nice dark 1536716_554607001299650_1249032493_nbassline and melodically sculpted riff strokes. It is a clean and precise persuasion of sixties blues kissed rock ‘n’ roll with a seventies garage rock breath and nineties indie endeavour. The song never explodes into the fire it hints at, especially around the chorus, but it is as infectious and compelling as you could wish for and undeniably makes a pleasing impact. The vocals of Rowan like the song are expressive with a strong buoyant tone whilst the prime hook of the song is irresistibly potent and with the other enticing elements of the song it all adds up to make the track an increasingly enticing offering over time.

      The following Rollin’ Over also offers a highly coaxing entrance into the song, a lone throaty and slowly parading bassline beckoning ears before the subsequent flame of melodic guitars and crisp rhythms joins the tempting. There is a stronger blues aroma to the song right away which the group vocals around the chorus accentuate into a quite inflammatory suasion. Again the band never erupts into the assumed and hoped to come unleashing of anthemic energy within the track, which does disappoint slightly, but there is plenty in the swagger and voice of the song to draw in appetite for and enjoyment in the encounter.

      I’m Free emerges on a fuzz ball of sonic intrigue increasing further the blues fire which smoulders and burns in each song, whilst a certain Oasis bred croon equally impacts on the ears. Not as tantalising and ultimately impressing as the other songs, it still captures the imagination especially with the constant almost brawling blaze of sonic scowling which cores the musical narrative. Providing the heaviest rock ‘n’ roll moment of She Likes The Drama, the track keeps momentum and strength of the release strong and engaging before making way for the closing Coming Up.

     The song ensures the release ends on the same high as it started, actually an even greater success with the track the best on the EP. It takes a mere second before the irresistible hook of the song steals the imagination, its call switching with a more sobering but inviting swipe of riffs. Into its stride the song is soon urging feet and emotions to partake in its revelry, its presence a mix of the mod power pop of Purple Hearts, the raw punk simplicity of The Fall, and the addictive nature of Arctic Monkeys. It is a masterful and wholly contagious thrill which alone confirms that Sisteray is definitely a choice emerging force in UK rock.

     As previously stated She Likes The Drama fails to spark up the strongest emotions in our personal reactions, well until the excellent final song anyway, but it is impossible not to hear the potential and already toxic strengths of the band which has captured so many hearts already, with plenty more to follow you can only suspect. A release if any of the previously mentioned comparisons take your fancy, to give a big slice of attention to.

http://www.sisteray.com/

7.5/10

RingMaster 15/02/2014

 Copyright RingMaster: MyFreeCopyright

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