Night Dials – I’ve Done More Things/I’ll Sleep When I Die

Picture 55_Reputation Radio/RingMaster Review

From psych to garage rock, beat to pop; all the flavours of sixties rock ‘n’ roll are woven into the blend of nostalgia and modern invention crafted by UK band Night Dials and makes their debut single one feistily captivating proposition. A double A-sided offering from the West London based quintet, the encounter reeks of vintage influences and passions yet sits perfectly in the tapestry of modern music with a constant appetite for the old in its imagination. It might not be an entrance and release by Night Dials to set the UK music scene ablaze but with a thoroughly enjoyable presence it does insist that the band is firmly put on the radar.

Apparently leading up to the creation of the tracks making up the single, Night Dials recorded their first song I’ve Done More Things with Liam Watson at his legendary Toe Rag Studios, an environment decked out with pre-1969 equipment. A lack of money caused the recordings to be abandoned but led the band to a dingy cellar in a London pub where in a surrounding of “rattling wine bottles and kegs” they experimented, cultured, and subsequently recorded their first release. Cavernous and soaked in evocative reverb, the two songs emerging and making up the band’s first single thrust the imagination into decades past and the potent swing of current explorations and inventiveness. Recorded in the underground of London, the release is indeed pure underground rock ‘n’ roll, a proposition which captivates and lingers with organic potency.

Picture 51_Reputation Radio/RingMaster Review     I’ve Done More Things instantly offers a thick fuzzy persuasion as jangly guitars collude with punchy beats within fizzy smog of sonic temptation. The vocals also make a quickly convincing entrance; their mellower effect wrapped tones an eager dance on ears whipping up imagination and appetite as easily as the more raucous sounds around them. The raw and sparse production only adds to the success and character of the song, its touch as much recalling the essence of sixties music and its recordings as the psychedelic breeze encasing the minimal but dramatic rhythms and the unfussy pop fuelling infectious melodies and the endeavour of the guitars.

It is a rich lure matched by the briefer but no less stirring adventure of I’ll Sleep When I Die. It opens with a magnetic embrace of echoing vocal harmonies and slim guitar enticing, their union building into a flirtatious stroll as new textures and sound join the almost nursery rhyme like charm of the song. The surf coated imagination of the guitars soon brings a richer climate and invention, the song even more irresistibly enthralling as it brews new hues in a senses inciting persuasion which is just a devilish mix of old and new spawned from a heart for the past.

Both songs leave an urge to know more about Night Dials and explore a sound which maybe can be best described as a union of The Yardbirds, The Sonics, Jesus and Mary Chain, and 13th Floor Elevators, but in the hands of Night Dials is something fresh and different again.

I’ve Done More Things/I’ll Sleep When I Die is available from June 22nd digitally and on 7” vinyl via Ciao Ketchup Recordings @ https://ciaoketchuprecordings.bandcamp.com/album/ive-done-more-things-ill-sleep-when-i-die

http://nightdials.com/ https://www.facebook.com/nightdials

RingMaster 22/06/2015

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 Kneejerk Reactions – The Indestructible Sounds Of The…

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With a list of impossibly flavoursome bands and addictively thrilling releases on a CV longer than the list of excuses for Luis Suarez’s recent mid-match snack, the ubiquitous veteran rocker Sir Bald Diddley (aka Hipbone Slim) brings one of those stirring incitements out to play with a brand new album. The Indestructible Sounds Of The… is the new feverishly fleshed, raw breathed proposition from The Kneejerk Reactions, a release which casts out a rampant revelry of feet inducing garage bred rock ‘n’ roll aligned to a passion sparking sixties beat tempting. It is a flame of vintage sounds in the fresh distinctive framing of modern devilry amidst the unique creative juices of Sir Bald. Across its energetic and insatiably gleeful presence, essences of inspirations such as The Pretty Things, The Kinks, The Downliners Sect, Them, The Yardbirds, Bo Diddley, Chuck Berry, Link Wray, Howlin’ Wolf, Jimmy Reed, The Sonics, and many more tease and openly spice up the party but only to add additional rich colour to the magnetic tapestry flirting with the imagination and emotions. The album is a stirring and unapologetically contagious provocateur which leaves appetite and feet wanting only more.

The Dirty Water Records released The Indestructible Sounds Of The… is the successor to The Electrifying Sound Of … which came out in 2008, though between albums there was the band’s contribution on a 2013compilation of tracks and bands Sir Bald has treated ears with which went under Sir Bald’s Battle Of The Bands. The new album which has really been too long in the coming, also brings Bruce Brand on rhythmic enticement, the drummer as keen a collector of bands as Sir Bald with the likes of Billy Childish, Hipbone Slim And The Knee Tremblers, Thee Headcoats, Thee Mighty Caesars, and Thee Milkshakes in his ever increasing résumé. His presence ensures a healthy bait of beats are in store which the opening Houdini easily proves.

The song instantly lures in ears with a delicious bass groove within a sway of Farfisa organ bred expression and a rhythmic pull as potent as the dark tones of the first key protagonist. The heroic call of the bass persists across the whole body of the song, providing one of those irresistible lures which allows guitars and keys to dance with unbridled frivolity through locked in ears. The vocals equally revel in the knowledge that the listener is caught by that prime hook, their raw and keen expression adding to the evolving wash of sound and enterprise wrapping that irresistible spine. It is a thrilling start to the festivities, one which the following I Want You To Love Me makes a keen attempt to emulate, though without quite matching its success. A pungent Stones breath adds wantonness to the restrained stroll of the song, a controlled walk guided by commanding beats and coloured by sizzling flourishes of guitar invention and organ crafted sultry hues for a vibrantly pleasing encounter.

Both It’s a Jungle Out There and Mover and a Shaker keep the temperature and fun high if again without finding the same spark as the first incitement. The first of the two sways in with a mix of surf and psychedelic smouldering which soon incites another infectious rhythmic shuffle and vocal glee as the track expands its warm and energetic charms. Again the guitar solo ignites an extra spark of satisfaction, whilst the song itself has feet and emotions up on their toes ready for its successor, a track which entices with a blues rock fever to its prowling temptation. With a growl to the vocals and salaciousness to the keys, the song is an insatiable romance for the ears, though soon looking a little pale against the outstanding Batgirl, I Love You. A spice of The Troggs offers its suggestiveness as the song opens with jangly scythes of guitar and punchy beats lorded over by great vocal tempting from Sir Bald and the band. The song is a romp which does not lose its control but still exhausts with an unrelenting dramatic seducing of limbs and appetite.

If I Had My Way brings its own keen accepted stomp next, beats and guitars a net of enthralling beckoning which the keys paint with evocative expression as vocals croon with anthemic glee. It is a deliciously swinging provocateur swiftly equalled by Give in to Temptation, another song where initial beats and bass seduction set up thoughts and passions for a riveting ride. There is an earthiness to the song, especially on its rhythmic side, which grips attention, a shadowed moodiness which superbly tempers the heated glaze of organ and flames of guitar. Though taking longer than other songs to convince, given time the track makes a just undeniably convincing declaration.

The pair of Pounding and Out of Reach offer rigorously enjoyable propositions but neither find the hooks or teasing to make a lingering success. The first is an acidic shimmering of keys over a rugged terrain of beats and guitar stabs whilst the second is a coarsely surfaced and snarling slice of satisfying rock ‘n’ roll. It again is missing something but as its predecessor still brings a broad smile to the lips and pleasure to the emotions. Between them though the instrumental Volatile lies mischievously, a wicked blaze of surf seeded humid sonic seduction gifted to ears. The guitars glisten with creative and expressive sweat whilst the keys glow with tropical elegance, their union a sticky tempting to which the chilled prowling of the bass and the inescapable call of Brand’s beats add an anthemic virulence.

The two closing tracks keep it all flying high with maybe less steamy but just as potent energy and contagion. Out of Here comes first, an instantly firmly treading stomp with a keen and pleasing if not overwhelming entrance. It is nevertheless an easy offer to fully embrace, even more so with the persuasive vocals but it is when the song hits its chorus that it transforms into a major pinnacle of the album. It is not a demanding or particularly unique moment but boy its epidemic catchiness is pure aural addiction. The song is a trigger to ignite any bland party or tepid day, an unrelenting tempter to ignite any unrewarding emotion. It is followed by the spicy heat of Habenero, a caustically coloured fire of melodic taunting and rhythmic coaxing within another hard to resist anthem of intent and body provoking devilry, the perfect ending to a festival of fevered sound.

The Indestructible Sounds of . . . is without doubt a real treat, maybe not the most corruptive temptress Sir Bald has uncaged but with so many great and varied releases and endeavours around him favourites and personal tastes dictate which finds a bigger or lesser success. It is a thoroughly enjoyable encounter for body and soul though and The Kneejerk Reactions a band no one should be slow in checking out.

The Indestructible Sounds of . . . is available now @ http://www.dirtywaterrecords.co.uk/store-2/#!/~/category/id=10017015&offset=0&sort=addedTimeDesc on 12” vinyl and download.

8/10

RingMaster 16/07/2014

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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The Youth – Fancy You

 

The Youth

    Merging a raw and hungry sound with an assured swagger, Danish band The Youth provides one of those refreshing adventures which merges nostalgia and modern endeavour into a one vivacious party. Crafting beat music with a fired up appetite to stomp all over the senses, the Copenhagen quartet thrusts eagerly and appealing through the ears with new single Fancy You. The two track release is a magnetic and contagious slice of energetic revelry, an engagingly abrasive seduction which infects feet and imagination with insatiable ease.

    Formed in 2012 by guitarists Jesper Jensen and Lasse Tarp, bassist David Peter Jørgensen, and drummer Sune Christian Thomsen, The Youth emerged from the quartet’s mutual passion for blues, garage punk, R’n’B and beat music. Their live performances and thrashy sound has seen the band a hot proposition not only in their own shows but across a wealth of festivals and clubs taking in England, Germany, Austria, Switzerland, Norway, Italy, and Spain. With their debut album on the horizon, the band impressively teases and tempts before it’s uncaging, with the limited edition 7” single Fancy You.

     The lead song leaps from a countdown into a hip swerving body of flaming acidic melodies and crisp rhythms aligned to a The Youth - Fancy You coverthrobbing throaty bassline. It is an instant infection which envelops senses and thoughts, enslaving them ready for the expressive vocals. As the guitars dance around the ears, twisting their hunger into an almost rapturous greed, the song continues to prowl and bounce with a fevered energy and unpolished touch. It is the groove from which everything hangs though that provides the richest enticement, a call equalled in potency by another similar sculpted by the bass. At times Fancy You raises essences of The Fuzztones and The Yardbirds within the inspiring sound but only as whispers in something individual to The Youth.

   The release is completed by Your Love, a similarly bred track but one with a sturdier punch to its rhythmic stomping and a hotter surface to its melodic causticity. The vocals as in the first impress, singularly and as a dual suasion, whilst the guitar craft is a maze of sonic tendrils which tease and intrigue as much as they excite. At not much more than two minutes in length it departs far too early for the only moan, but still reassures and confirms that The Youth is a band that anyone with a taste for beat music, garage rock, and sixties punk needs to pay close attention to.

     Fancy You also ensures that anticipation for the band’s upcoming debut album, on Dirty Water Records, is going to be eager and impatient, though the single provides plenty of fun and pleasure to fill the time and pull in more enthused hearts.

https://www.facebook.com/youthdk

8.5/10

RingMaster 18/03/2014

Copyright RingMaster: MyFreeCopyright

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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

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Gwyn Ashton – Radiogram

Following up his acclaimed 2009 album, Two-Man Blues Army, blues guitarist Gwyn Ashton returns with new release Radiogram, a ten track feast of thrilling and sizzling guitar passion. With drummer Kev Hickman alongside, Ashton had created an album which shows why he is so highly rated by the likes of Robert Plant, Johnny Winter, and Don Airey. Radiogram is a vibrant slice of blues driven rock n roll, a collection of songs which burst through the ear with enterprise, invention, and mesmerising skill.

Welsh born and an Australian resident since the mid sixties to the nineties, the now European based Ashton has drawn great and eager responses to his music and play since picking up the guitar at age 12 and playing in his first band when 16. Across the past couple of decades he has toured with the likes of BB King, Ray Charles, Buddy Guy, Mick Taylor, Rory Gallagher, Peter Green, Junior Wells, Johnny Winter, Canned Heat, Robin Trower, Jeff Healey, The Yardbirds, Status Quo, and Magnum, whilst recorded with such luminaries as Kim Wilson (Fabulous Thunderbirds), Robbie Blunt (Robert Plant), Chris Glen/Ted McKenna (SAHB, MSG), Don Airey (Deep Purple, Whitesnake, Rainbow, Black Sabbath, Ozzy Osbourne), and Gerry McAvoy/Brendan O’Neill (Rory Gallagher). It is a CV to ignite the passions, something his new album easily emulates.

The sixth album from Ashton also finds an array of high profile guests involved alongside he and Hickman, those involved including  Don Airey, Kim Wilson, Robbie Blunt, Johnny Mastro (LA’s Mama’s Boys), Mark Stanway (Magnum, Phil Lynott), and Mo Birch (UB40, Go West, Culture Club). Radiogram only takes the length of its initial soundbite before enticing the emotions to wake up and pay full attention. Once into its stride opener Little Girl sizzles with heated riffs and forceful rhythms whilst the strong vocals cap the impressive first engagement of accomplished rock n roll. The track saunters and dawdles in turn as Ashton leaves fiery sonic shards across the song for a stirring start.

The album is a release which with great variety continually leaves one excited and wholly satisfied. Songs like the brilliant and best track on the album, Let Me In, with its teasing blues swagger and great mouth organ mastery, the classic sounding Dog Eat Dog, and the smouldering For Your Love to just pick a trio, all lifting one up in irresistible muscular arms to devour with ease their compulsive and rich majestic sounds from full imaginative hearts. The album is a release which you do not have to be a blues enthusiast to draw much pleasure from, even those with harder more abrasive tastes like us cannot avoid being magnetised by the craft and stirring sounds at work.

Also featuring a great version of the Willie Dixon/Muddy Waters song I Just Wanna Make Love To You and the simply hypnotic instrumental Bluz For Roy which closes the album and alone shows why the guitarist is so strongly thought of, Radiogram is one of the best  rock albums to appear this year. Gwyn Ashton may still be an undiscovered name for many outside of blues but the album will certainly go a long way to changing that as its impressive sounds reach wider searching ears.

www.gwynashton.com

RingMaster 29/10/2012

Copyright RingMaster: MyFreeCopyright