Forty Feet Tall – Red Dressed

You know you are on to a good thing when songs continue to repeat themselves in thoughts long after enjoying a close and personal encounter. Such is the way with the Red Dressed EP from US rockers Forty Feet Tall. Offering four slices of blues fuelled rock ‘n’ roll, the release is a wholly magnetic affair loaded with grooves which just do not know when to stay away; not that there is any wish for them to do so.

Formed in 2011 when four fifths of the band were in high school, Los Angeles based Forty Feet Tall has earned potent support and reputation across Southern California, leading to the band playing a host of prestigious venues such as The Troubadour, Club Nokia, The Roxy, and the Grammy Museum as well as the main stage at Topanga Days. Their first EP, 4AM released at the beginning of 2014, was swiftly eclipsed in success and attention by the band’s self-titled debut album later that same year. It revelled in inspiration taken from the likes of Pearl Jam, Jimi Hendrix, The Black Keys, The Strokes, Led Zeppelin, Dawes, and Howlin’ Wolf whilst offering its own breath of imagination, an essence blossoming to greater heights within Red Dressed.

Its title track sets things in motion, a resonating bassline the first beckon soon joined by percussion with a sense of hunger to it as to the eager strokes of guitar soon joining in. The lively simmer becomes an energetic dance, the keys of Charlie Sehres a captivating bloom alongside the enterprise of his brother Jack and vocalist Cole Gann’s guitars. With rhythms just as boisterous in the stop start bounce and subsequent fiery waltz, the track simply infects ears and appetite for spicy rock ‘n’ roll.

It is a superb start to the Chris Garcia produced EP, a moment just revelling in the band’s blues rock instincts with magnetic energy and craft as equally Gann’s vocal prowess, just as lively in the following Make It Hum. At first holding its self-back in a flirtatious prowl lined by tempting riffs as a melodic breeze wraps Gann’s just as subtle croon, the song’s simmer continually builds, igniting in a ballsy crescendo which still barely breaks the track’s relaxed gait. With a touch of bands like Black Tusk to its increasingly heavyweight eruptions, Guy Moore’s bass a great throaty growl through it all, and fire in the veins of the grooves wrapping the senses, the song is a sonic seduction aligned to an earthy rumble and thorough pleasure.

 Two Shots is next with its bouncy gait and bass grumble, both entwined by more flirtation soaked grooves as Steven Driscoll’s laid back swinging beats punctuate the brewing blaze, a fire in the belly intensifying with increasing dynamism and incitement across the song. Once more Gann adds expressive colour and passion to the mix, though it is the tangy grooves which spark the biggest lust.

A fine cover of the Creedence Clearwater Revival track Run Through The Jungle brings things to a magnetic close, its roots and psych rock scented swagger and overall character, a radiant endeavour in the hands of Forty Feet Tall. It completes a release as fresh as it is a bubble of recognisable flavours and influences, a celebration of a band drawing up their own personality with thoroughly enjoyable results.

The Red Dressed EP is available now @ https://fortyfeettall.bandcamp.com/album/red-dressed

https://www.facebook.com/FortyFeetTall/

Pete RingMaster 29/03/2017

Copyright RingMaster: MyFreeCopyright

Morganway – Ain’t It Just

morganway-car-shot_RingMasterReview

A lingering caress of melodic and harmonic captivation is probably the best way to describe the alt-country of UK band Morganway, certainly on the evidence of their current EP and the single it is about to bear.

Hailing from “North Norfolk’s rural outback”, the Norwich quintet create a proposition which feels familiar, like an returning friend, yet still stands boldly apart from most other proposals. New single Ain’t It Just is the perfect example, a warm and engaging seduction which almost deceptively is also one rousing incitement for body and spirit.

Formed by twins Callum (acoustic guitar, lead vocals) and Kieran Morgan (lead guitar), Morganway is completed by Yve Mary B (lead vocals), Matt Brocklehurst (keyboard), and Simon Tinmouth (drums). With its raw smouldering Americana air and kaleidoscope of harmonic suggestiveness, debut EP No Tomorrows made an instant attention grabbing impact, drawing comparisons to the likes of Fleetwood Mac, The Strokes, ELO, and The Magic Numbers since its unveiling last year. Its success is poised to be backed and pushed by the release of opening track Ain’t It Just as the band’s new single, a song which stirs ears and heart with inevitable success.

morganway-artwork_RingMasterReviewAin’t It Just opens with an immediately emotive air and strum of guitar; a warm enticing swiftly bolstered by the transfixing tones of Yve Mary B and the poetic nature of the accompanying melody. With gentle rhythms alongside, the song wraps its tender thoughts and enterprise around the ears, still hiding the anthemic prowess in the depths of its already catchy character. Once freed, the rousing infectiousness bewitches hips and imagination alike, the song blossoming into a melodic roar which still embraces its opening elegance and reflective charm.

Its touch is a memorable temptation which for those new to the band is echoed across the No Tomorrows EP with the compelling Hearts Of Fire a matching energetic crescendo of invention. Backed by tracks like it’s title track and the Fleetwood Mac spiced Baby, Let’s Run, both similarly infectious affairs, all help reveal a broader character of the Morganway sound which can only blossom further ahead.

Ain’t It Just is released January 6th with the No Tomorrows EP out now and available @ https://morganway.bandcamp.com/releases

Upcoming Live Shows

Friday 13th January – The Troubadour, London

Saturday 14th January – Open, Norwich

25th February – The Islington, London

http://www.morganway.co.uk/   https://www.facebook.com/morganwayuk/   https://twitter.com/MorganwayUK

Pete RingMaster 04/01/2017
Copyright RingMaster: MyFreeCopyright

Animal House – Sorry

animalhouse-promo1_RingMasterReview

The Australian quartet may have been “forced on a short hiatus by UK Visa police” but they are making up for lost time with zeal and unbridled creative boisterousness with debut EP Sorry. Brisbane bred and already kicking up attention before embarking on a two year adventure that took them through Europe before settling in the UK’s own great band breeding town of Brighton, Animal House have masterfully build on the success of recent single English Girls with Sorry; an EP sure to swell the acclaim already sparked.

The band has drawn comparisons to the likes of The Strokes, The Raconteurs, Cage The Elephant, Dune Rats, Surfer Blood, and Twin Peaks, though we would suggest if not exactly in sound but the mischievous way they spring songs upon ears and imagination, Asylums is just as apt a reference. The Animal House sound has its seeds in the indie sounds of the late nineties/early noughties but twisted in to something fiercely fresh and unique to the Aussie foursome. Devilish humour lines every note and word shared, sparkling invention and invasive imagination fuelling a temptation which without doubt colours one of the most enjoyable and thrilling releases this year.

Sorry opens up with the band’s new single Domino; a virulently addictive song which if it was anything other than music would come with a warning. From its initial guitar jangle the song is in command, only firming its grip as the vocals, lead and band collude with melodic spicery and infectious tenacity. Feet have no resistance, hips and appetite too especially as beats drive song and body as a ridiculously catchy chorus infests vocal chords. There is a touch of Buzzcocks to the track, especially in its meandering hook, though first time around all concentration is on gaining enough breath to last the kinetic majesty of the song’s length.

animalhouse_sorry_RingMasterReviewEnglish Girls is next and swiftly shows why it caused a fuss as a single. It too is a trespass infesting body and spirit. Rhythms once more thump and arouse whilst riffs and jangling hooks coax as vocals tempt. Animal House again confirm that flirtatiously captivating choruses are the domain of all their songs, the second an epidemic of persuasion rifling through a waiting and soon fully participation lust.

It is hard to say that the following Heavy makes less demands on energies but it does have a mellower climate to its urgency, taking a summery stroll as psych rock swipes of melodic enterprise cross a swinging gait of smiling hooks and buoyant rhythms. It is inescapable captivation but soon eclipsed by the tangy inventive fruits of Lemon & Lime. We are never ones to advocate too many singles taken from one release but the song has all the properties to be one juicy incitement as such a proposal. Again band and song swing with creative relish, bouncing with trampoline rhythms as harmonies tease and melodies seduce with a catchiness that could bring success to any trap.

The release is completed by the rampant sonic liquor of Tequila, intoxicating garage rock ensuring all inhibitions are left at the EP’s cover. It is a glorious end to a quite irresistible encounter, for which, the description aural alchemy increasingly seems apt. Its title says Sorry but there is nothing penitent about this slice of sonic knavery.

The Sorry EP is out on 18th November 2016.

Catch Animal House live at the following dates:

9th November – The New – Santander

11th November – Bukowski – San Sebastian

12th November – Bar Arrasate – Arrasate

14th November – Pop In – Paris

15th November – De Hip – Deventer

16th November – De Kroeg – Arnhem

17th November – Vera – Groningen

18th November – Boothill Saloon – Amersfoort

29th November – Birthdays – London

http://animalhouseband.tumblr.com/   https://www.facebook.com/animalhouseband    https://twitter.com/animalhousing

Pete RingMaster 07/11/2016

Copyright RingMaster: MyFreeCopyright

The Franklys – Comedown/Long Way

The Franklys_RingMasterReview

The Franklys create a sound as enjoyably nostalgic as it is fresh and individual to modern garage rock ‘n’ roll. They also uncage releases, like new single Comedown, which demand attention whilst sharing the suggestion that its creators has the potential to be one of the provocateurs that the future direction of modern rock ‘n’ roll might just hinge upon.

The band consists of Swedish born vocalist/rhythm guitarist Jen Ahlkvist and lead guitarist Fanny Broberg, America hailing Nicole Pinto, and British bassist Zoe Biggs. London is where the quartet met and the band is based though fair to say since emerging, The Franklys has been a blur on the live scene, persistently playing shows in and touring the UK, Europe, America, and Scandinavia as well as making prise luring appearances at festivals such as the Isle of Wight Festival, Strawberry Fields, and Camden Rocks. Their rousing and raw garage rock sound brings a mix of psych and punk rock from across the decades with plenty more to spice things up whilst inspirations range from The Hives, The Strokes, and Queens Of The Stone Age to Led Zeppelin, Mando Diao, Blondie, and The Who. Their self-titled debut EP whipped up intrigue and strong interest back in 2013 which the Bad News EP stirred up to greater success last year. Now it is Comedown making the potent nudge on broader spotlights and attention, and making an easy job of it so far since being recently unveiled.

Comedown instantly has ears under welcome siege with a blaze of fiery riffs soon joined by thumping beats and a raw wind of hungry energy to its invitation. The bassline of Biggs almost groans with relish as its stalks the web of bracing sonic and melodic flames escaping the guitars with Ahlkvist’s ear catching vocals adding further bite to the snarling temptation. It is a great blend which helps the song weaves something akin to The Raincoats and The Priscillas around a character which equally refuses to be majorly compared to another. Never taking a breath within its contagious confrontation, the track has body and spirit aroused and swiftly joining its rousing tempest of incitement.

Accompanying the outstanding track is Long Way; a far more subdued encounter with just as potent and seductive lures. Its climate is surf rock bred, its sultry shimmer sixties garage rock/pop coloured, and its scuzzy touch punk seeded. It simply enthrals from the off; beguiling ears and appetite whilst revealing another flavour and twist to the songwriting and sound of The Franklys. If The Shangri-Las were Spinnerette, or The Luv’d Ones were The Breeders, the results just might sound like Long Way.

Acclaim and The Franklys have already been more friends than strangers but it feels like things are going to get hotter and more flirtatious from hereon in as first Comedown and then the band take 2016 by the scruff of the neck.

Comedown is out now via Electric Wood Records and available @ http://www.thefranklys.com/product/pre-order-single-comedown-limited-edition-7-vinyl/ and through iTunes.

http://www.thefranklys.com   http://www.facebook.com/thefranklys   http://www.twitter.com/thefranklysuk

Pete RingMaster 26/04/2016

Copyright RingMaster: MyFreeCopyright

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

Nai Harvest – Hairball

by Ed Crisp

pic by Ed Crisp

 

It is telling that Hairball, the new album from UK rockers Nai Harvest, only took one full listen to become a constantly recurring incitement, returning as it wished and dominating thoughts for the following hours. Subsequent plays only reinforced its initial impact and confirmed that the album is one intoxicating feast of fuzz punk.

There is much more to the sound of the Sheffield duo of Ben Thompson and Lew Currie than fuzz though, a healthy mix of psyche and indie rock, with Brit pop spicing, adding to the tantalising sound fuelling the contagious songs within the pair’s second album. It is a flavouring also markedly distinct to that which lit up the band’s previous album and releases. The sonic uproars which coarsely fascinated from within 2013 debut album Whatever and the more mellower fuzzily charmed sounds of the following year’s Hold Open My Head EP, have evolved into magnetic devilments of indie/pop rock riots flavoured further by the sonic mixed spiced mentioned earlier. With ease the new album overshadows the band’s previous impressive releases, presenting a creative and aural coming of age which is nothing less than irresistible.

Recorded with producer Bob Cooper (Sky Ferreira, Citizen) and released via US label Topshelf Records, Hairball instantly has ears and attention beaming with opener Spin. Enticing beats converse with just as alluring guitar enterprise to start the song off, their unity a sunspot of temptation expanded by the sonic colouring and vocal incitement provided by the guitar and voice of Thompson. The constant beats of Currie pulsate within the subsequent vivacious shuffle of the song, the pair breeding a rousing clamour of melodic punkiness and pop catchiness which has as much of a Ramones hue to it as it does a Teenage Fanclub or Strokes whisper.

The excellent start is swiftly surpassed by Sick on My Heart, the track an immediate onslaught of thumping rhythms and melodic jangles roared over by Thompson’s ever beguiling delivery. Feet and emotions are quickly ignited by the energy and virulence of the fuzz fuelled adventure, with its hazy air as incendiary as its pop punk nature is fiery. Its majestic incitement is followed by the slightly more restrained All the Time though the rhythmic provocation from Currie is just as punchy and anthemic. The track has appetite and emotions recruited quite early on but it is the twists into unpredictable and imaginative exploits which really sets it alight and has ears over excited.

11183_JKT     Both the groove lit Drinking Bleach and the nineties hued Melanie keep things irresistibly bubbling, the first exploring a muggier sonic climate with a more reserved energy across its evocative canvas. Its successor is a glorious kiss of melodic tang and fuzzy tempting, vocals and beats aligning to bring a bit of an edge to what is a superb pop song. Its hooks are sharp and inescapable, enterprise spicy and lingering, but mostly the song is unbridled infectiousness which simply enslaves within seconds.

A new recording of previous single Buttercups steps up next, its tempestuous hazy presence once more overwhelming bait to get greedy over whilst next up Ocean of Madness from a great rhythmic beckoning, saunters through surf rock meets Brit pop seduction with what feels like a Manchester bred swagger. Both songs leave a want for more, a need fed by the raucous revelry of Dive In where again addiction forging hooks and psyche permeating grooves cast a creative hex which returns whenever it pleases whether in a hum, swing of the gait, or a badly delivered croon.

     Gimme Gimme finds a simple seventies pop welcome in its infectious dance, though it is soon immersed in thick melodies and anthemic tenacity courtesy of Currie’s swings and the always richly enticing tones of Thompson. The song’s pungent call has to make way for the closing triumph in the album’s title track. Hairball is just sonic seduction, its initial gentle stroll and melodic flames alone an unstoppable tempting whilst the Weezer-esque air adding to the fuzz fest of persuasion simply enriches the distinct character of the encounter. Unpredictability again has a big part in the strength and potency of the song whilst everything you would want in a pop or rock song is on offer, but combined with a unique resourcefulness and creative mischief it all blossoms in to even greater alchemy.

   Hairball is one colossal epidemic of fun and contagion from a band hitting a new thrilling pinnacle. Not much more to add really.

Hairball is out now through Topshelf Records @ https://topshelfrecords.bandcamp.com/album/hairball

https://twitter.com/naiharvest   https://www.facebook.com/naiharvestband

RingMaster 29/04/2015

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

 

Turrentine Jones – Moonlight is On Yer Side

Turrentine Jones - Band pic

Towards the rear of 2014, UK trio Turrentine Jones signed with London based label Rough Trade and released debut album Our Days. It was a proposition which marked an already rising attention upon the 2012 formed Manchester trio, and sparked a fresh wave of media and fan support. Now the band backs it up with the seriously catchy single Moonlight is On Yer Side, a song taken from the band’s full-length carrying all the attributes which has already made Turrentine Jones a very flavoursome favourite for a great many.

Last year saw the band play the BBC Introducing stage at Glastonbury, becoming the third most shared act of the day on the BBC event website. This was soon followed by the link up with Rough Trade and the unveiling of Our Days. So it is fair to say that 2014 was a strong year for the band with all indications that this one will follow suit. First single from the album, Moonlight is On Yer Side has already found itself played across over 40 stations to date, a success you can only expect continuing as its release takes hold.

Produced by Chris Hamilton, the song which is lyrically inspired by vocalist/guitarist Julian Neville’s aunty who is a full-on alcoholic, undeniably has that Manchester air to its swagger and melodic persuasion. There are whispers of bands like Inspiral Carpets and Stone Roses flirting with thoughts within what is a character and presence to the song which prove to be fresh and individual. References to artists such as The Strokes, The Rolling Stones, and Booker T and the MGs have been offered the band’s way too, and again whiffs emerge in the single but once more mere spicing to the infectious encounter.

The opening tone of the bass makes appealing bait and is soon matched in effect by the stabs of guitar from Neville and a colourful and expressive dance of keys from Thomas Scotson. There is a great seventies breath to their designs, a sultriness which equally brings a Brit Pop toning whilst the guitar also at times dips into a magnetic sixties flame with its enterprise. With the crisp beats of Rich Watts framing it all and the vocals of Neville familiar and impressive, that Manchester twang you know, the song is an energetic palette of sonic colour and increasingly persuasive.

The buzz around Turrentine Jones is beginning to become rampant and it is fair to say that the highly satisfying Moonlight is On Yer Side is only going to encourage further praise and attention upon the band.

Moonlight is On Yer Side is available from April 20th

http://www.turrentinejones.co.uk/     https://www.facebook.com/TurrentineJones

RingMaster 20/04/2015

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 Reveurs – Take a Bow

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Hailing from Manchester, indie rock band The Reveurs reveals their new single this week, a potent and resourceful slice of melodic rock with an intensive edge to its sound and nature. Consisting of two tracks, Take a Bow is not a spectacular explosion in the ear but an easily endearing and persuasive encounter only aiding the potent emergence of the British quartet.

Formed late2013, The Reveurs has certainly become an eagerly followed local proposition with a sound spiced by the influences of bands like Kings of Leon, Arctic Monkeys, and The Strokes. Their presence has been seeping into the appetites of those further afield too, something Take a Bow has the potential to take to a much broader success. As mentioned, the single does not leap out in an attention grabbing exploit but more smoulders and lingers, sparking a keen appetite and want to hear more of the band’s sound.

Take a Bow bounds in with energy and vivacity from the off, hooks and rhythms a feisty yet undemanding invitation. The song soon has ears and imagination intrigued, aided by a brewing image1drama in those self-same opening lures and the melodic expression of song as well as the strong vocals of guitarist Gary Nelson. The punchy beats of drummer Ben Devenport command attention too, as does the throaty bass of Adam Molyneux, whilst the melodic strains cast by the guitars of Nelson and Iain Brewster create and colour the dramatic canvas of the song with magnetic hues. There is a sense that the song wants to explode into a more riotous endeavour at times but is held in check by the band for a fascinating and ultimately alluring proposal. There are moments you wish it would escape its reins but equally embrace the restraint and imagination of the band’s songwriting as the track leaves satisfaction full and ears keen for more.

This extra enjoyment comes in the accompanying Harriet, a more raucous but still melodically fuelled romp of catchy rock ‘n’ roll. More contagious than its predecessor though arguably less involved, the song takes the listener on a warm and vibrant stroll framed by a great rhythmic enterprise lined by an evolving bait of tangy hooks and spicy melodies. The track makes a highly agreeable and infectious companion to Take a Bow, both tracks showing why the band is held in high regard in their home city.

The single will certainly awaken a wider interest and awareness of The Reveurs, something the band has the potential to exploit to even greater degrees ahead, that an expectation already firmly assumed here.

Take a Bow is available from March 16th

http://www.thereveurs.co.uk/     https://www.facebook.com/TheReveurs/

Upcoming Live Dates for The Reveurs include:

27th March – Verve Bar – Leeds

3rd April – Sound – Liverpool

25th April – Etihad Stadium (City Square)

3rd May – Castle Hotel – Manchester

6th June – Carpe Diem – Leeds

RingMaster 16/03/2015

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/