Keep Breathing – Call Of Youth


Previously known as WTCHRS, before going on hiatus late 2013, Keep Breathing is a Newcastle hailing band which is about to present May 2016 with one of its more memorable moments. That comes in the shape of new single Call Of Youth; a flame of nostalgic and modern alternative rock which fascinates and seduces in equal measure.

Consisting of vocalist/guitarist Liam Milne, guitarist Jack Healy, bassist Thom Lewis, keyboardist Dale Knight, and drummer Alex Cook, Keep Breathing returned from their break to reimagine their sound and write new material with a new sense of purpose and creative fire, certainly if the new single is anything to go by. With shows across the UK alongside the likes of The Wedding Present, Palma Violets, The Vaccines, Drenge, and Public Service Broadcasting in its experiences, Keep Breathing had a potent base to reassess their next move from but there is no escaping a new sense of adventure and spirit accompanying their return.

Call Of Youth_Artwork_RingMasterReviewProduced by Ed Buller (White Lies, Suede, Pulp, Spiritualized, Slowdive, The Primitives), Call Of Youth is one of the early results of that time out and a striking and heavily enjoyable proposition it is too.  It is fair to say that the band’s alternative rock sound comes with plenty of other flavours and textures too, as quickly revealed in the new single. Its first few moments with Milne standing within an expressive weave of guitar and keys crafted melodies has a U2 feel to it, though that soon evolves as the rugged tone of the bass and the flowing stream of melodic and harmonic enterprise and suggestiveness brings a rich Echo and The Bunnymen air to the brewing infectious drama. Equally though, there is a distinctive character to sound and song which is all Keep Breathing; a stirring blend which with ease has ears and imagination enthralled and voice and hips involved.

It is hard to say that Call Of Youth is truly unique yet, apart from those spices mentioned, it stands alone in the crowd. It is easily accessible and boldly inviting yet stirringly individual its own way and that only helps to makes it something special.

Call Of Youth is released via End of the Trail Records on May 6th via iTunes and other stores.


Saturday 20th May ‐The Great Escape Festival, Brighton

Friday 28th May ‐ Sound City Festival, Liverpool

Pete RingMaster 06/05/2016.

Copyright RingMaster: MyFreeCopyright

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Falling Stacks – No Wives


No Wives is one of those album’s you can imagine being described as anything from a glorious disorderly revelry to a cacophonous irritant, but for those with an appetite for psychotic rhythms, abrasing discord, and virulent noise it is easy to suggest that the Falling Stacks’ debut album is going to be one of the highlights of the sonic year. Like a highly agitated union between early Wire and eighties post punks The Diagram Brothers infused with healthy, or maybe unhealthy, essences of bands like The Fall and Fugazi, sound and album provide a raw and lingering magnetism. For sure No Wives is a proposition some may hate but be impossible to ignore but for those with experimentation in their genes, it is a mouth-watering dissonance to get fully involved in.

The UK trio formed in 2011, emerging in Bristol with an appetite for the likes of Sonic Youth, Fugazi, Pavement, and The Wedding Present. Falling Stacks’ music suggests there are many other likes and influences involved in the band’s own invention, whether intentionally or not, and it all makes for web like songs which catch ears and attention with a babel of sound and imagination. As the band soon revealed in a trio of EPs after their first steps, all sonic squalls and rhythmic trespasses, along with vocal incursions, come veined by an understated but potent order. In previous and enjoyable encounters it was swamped by the free hand given to riots of sound but with No Wives, the band has seized such structures and worked outwards resulting in their finest provocation yet.

The album opens with the quickly spicy and rowdy Pool Party, a sonic welcome the lead into a volatile shuffle of jabbing beats and throaty basslines courted by bracing vocals amidst a tangy guitar clamour. Once hitting its full and irregular stride, a contagion soaks ears and attention, the lure of disorder subsequently providing two minutes plus of inescapable virulence. It is a riveting start continued by the just as eagerly inventive sonic chatter of Dust Motes. Hooks and rhythms barely stand still long enough to cast a shadow within the song, the guitars dancing with almost autistic tendencies over rolling beats and a bassline which moves from moody to carnivorous and back again on a whim. The vocals across the release are a more straight forward proposition yet they too lyrically and in delivery are mischievously unpredictable and a thick hook here especially.

Sections And Sub-Sections restrains some of that turbulent energy next, an opening saunter of bass resonance posing as a riff and caustically delivered vocals the spark to similarly reserved but jabbing rhythms within guitar varied jangles. Overall the song does lack the spark of its predecessors but there are moments in its imagination which are almost sinful in their rousing invention and inimitable tempting.

Both No Stops and Los Ticos get ears and emotions over excited, the first with its persistently evolving landscape of time disruptions and seductive discord, Swell Maps coming to mind at times, whilst the second is a prowl with a devilish glint in its eye. It strolls with a deliciously compelling bassline and a mesh of guitar intrigue around gripping rhythmic bait which as every element, has a distrustful feel to its roll. The song is made up of confrontations sharing a tantalising collusion and fair to say the song is probably the only schism that is in truth the perfect union of discontent.

A darker more predacious place is explored on A Fly Would Slide, the track a hug of sonic tension and imposing ambience but coloured with further clashes of melodic and vocal discordance. Its intensity ebbs and flows as energies and emotions revolve with restraint and roars, but whilst the track takes longer to trip the switches than those before it, full persuasion is inevitable over time.

Seven Cuts is a far quicker success on ears and emotions, its caustic tapestry of snarling bass, punchy beats, and kaleidoscope of guitar endeavour, a swift fondling and thrilling of the imagination before its successor Silverware uncages a similar but individual psyche twisting dance on the senses. Rhythms and hooks have as many grasping teeth as a zip as the song shows itself to be a temptation of invigorating disunity aligning in one jungle of infectiously deranged harmony before taking its leave. It is replaced by the tinny beat loaded opening of Double Scull. Magnetism does not do the track’s start justice or the subsequent slim lead into the inevitable busily disharmonic heart of what is another slow but fiercely successful persuasion.

Closing with the physically and emotionally turbulent New Dog, the song like the shadow to the previous track in many ways, No Wives is an enthralling and exciting incitement for ears and thoughts. At times it does not go far enough with its adventure and clangor of sound, an exploration for the future, and some songs just miss the final ingredient of those providing the major peaks of the release, but Falling Stacks has given noise and rock one thoroughly fulfilling stirring.

No Wives is available from June 8th via Battle Worldwide Recordings through

RingMaster 08/06/2015

Copyright RingMaster: MyFreeCopyright

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The Wedding Present: Valentina

Every time there is a new release from The Wedding Present it is like meeting up with an old mate, the reunion of a long standing friendship with new thrills and excitable tales to tell. They may not be accounts of joy or successful passions but each time they leave a warmth and smile in the heart as well as a happy glow within the senses. Their new album Valentina is no exception, with declarations and expressive reflective looks and reports of love plus all that comes with relationships, the release is a wonderful mesmeric album with a heart that connects deeply.

Since day one The Wedding Present and remaining founder David Gedge has forged their own distinctive path, presented their own category of sound and style to invite and thrill devoted ears. Many bands have stayed a similar distance to the band but it is hard to recall many with the high consistency and continual pushing of their own limits to match Gedge and co. The only one to spring to mind is The Fall and maybe it is no coincidence that both bands and their heartbeats of Mark E. Smith and Gedge write and produce music which has an open honesty and directness to the emotions. The thought out simplicity and clarity in lyrical form and compulsive sounds possibly have kept both bands essential and constantly fresh, constantly important companions for the ear. Whatever the reason The Wedding Present never fails in creating and treating one to special releases, and in Valentina they have one of their finest albums yet.

The follow up to 2008 album El Rey, the new release is the eighth album from the band, with Gedge alongside bassist Pepe Le Moko who also brings some enchanting backing vocals, drummer Charles Layton, and Graeme Ramsay who provides guitars, piano and harmonium as well as co-writing all the songs bar one with Gedge on Valentina. The songs on the album are an eclectic array of sounds, energy and sentiments, each avoiding the gloss of relationships and love to bring forth the reality and black and whiteness that is really involved. The album is the everyday world of love in aural form, but a revealing of things y feelings already knew but maybe was avoiding.

As the opening You’re Dead announces itself on big ear catching beats there is an instant tingle and the feeling there could be something special on the cards. Then the drama less voice of Gedge unveils truths as the guitars coax the senses from around the continuing bulky rhythms. Sensitive yet defiant in word and sound the song is an engaging start though as the album progresses turns out to be quite a subdued beginning from the band. Not in energy or emotion but in giving the ear something unpredictable as the following songs like the excellent Meet Cute and The Girl From The DDR to name two subsequently do. The first is a provoking combination of minimal touches alongside climactic crescendos. Not for the first time on the album the track shows what a fine bassist le Moko is, her touch strong, inventive and pulsating with emotive tones. The second of these two is a mesmeric duet between Gedge and le Moko, her parts sung in German. The song epitomizes the band and its wealth of work, a song that touches the heart and imagination with emotive strength whilst keeping things surprising and intoxicating. The end to the song is stunning, one of the best heard to any song in a long time, the track teasing and playing with the ear as it builds to its wonderful sharp sublime end.

There is not one single negative that can be laid at the feet of Valentina. When you have songs like the energetic and veracious Back A Bit….Stop with its deep infectious pull and urgency that has limbs taking on a life of their own, and the impressive End Credits, a wonderful caustic melodic pop song that is hard to rival with extra meaty joy from the dark and grave bass that prowls throughout, there is only one result, a staggeringly great album.

With rhythms that invoke the essences of primal attraction, guitars that suggest and expose the passions within each song, as well as the ever intelligent and open verity of words and delivery of Gedge, Valentina is pure bliss, with the songs not mentioned like 524 Fidelio with more bass glory to drool over, are just as equal in quality and pleasure as those highlighted. The Wedding Present has returned with easily a contender for album of the year if not of the past few.

RingMaster 16/03/2012 Registered & Protected


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