Royal Podencos – Broken Bones

Released earlier this year, Broken Bones is an album well worth taking a close listen too especially if you have an appetite for boisterous garage rock. The second album from Spanish quartet Royal Podencos, it offers much more than that garage rock tag, the Santander outfit creating their sound with a  just as rich flavouring of punk, blues rock, and power pop for a proposition as fresh as it is enjoyably nostalgic.

The successor to 2014 debut What´s your plan, the eleven song strong Broken Bones needs little time to get the body bouncing and an appetite for the band’s rock ‘n’ roll brewing with opener Sexuality. The foursome of Jonny, Jota, Toni, and Hans instantly tease with a rockabilly riff, its lure aligned to a rousing hook and melodic devilry as rhythms dance invitingly in the ears. With great distinctive vocals riding its mischievous almost salacious antics, the song swiftly springs its inescapable trap to inspire the body and imagination to be as lively as its own escapade.

It is a rousing start to proceedings which is never outshone within Broken Bones but certainly rivalled like by its successor Break us down. Its own swinging flirtation and gait brings a more sixties flavoured adventure but one quickly revealing its seventies punk instincts as vocals and hooks unveil their infectious intent. As the first song it is a highly catchy and addictive proposal, a slice of pop infused punk ‘n’ roll to get the hips and spirit dancing; their energies given no respite by the following more bluesy rock ‘n’ roll of The dog you found. With a Tom Petty-esque scent and drawl to its stroll it too casts a contagious sixties power pop jangle with a truly virulent hook to grab ears and attention alike.

Though not quite finding the heights of its predecessors, Anything you want is no lightweight in persuasive rock ‘n’ roll either, its tenacious swing and sharp hooks leading the listener into eager involvement while Noone´s giving up in here, whilst keeping enjoyment full, allows a breath to be taken with its Americana kissed blues croon and suggestive guitar woven melodic web. Both tracks spread the rich flavours in the Royal Podencos sound further, each song so far revealing a different angle in the garage rock ‘n’ roll heart of the band.

A little creep has the inner bounce leaping again as it shares its pop rock contagion next, eager rhythms injecting its already enticing bait with moments of anthemic tenacity as riffs scythe across their swings before What´s wrong with you has thoughts going back to bands like Eddie and The Hot Rods, The Motors, and Tonight with its hepped up and highly enjoyable antics.

The discord lined canter of On and on hits the spot within seconds next, its punk nature and off-kilter harmony inescapable temptation against which Let me shake puts up its own blues laced raw pop ‘n’ roll to matching persuasive success. As with most tracks within the album, each has an instinctive knack in setting traps and hooks which are impossible to evade or ignore resulting in another very agreeable rock ‘n’ roll workout.

The closing pair of You got a home and Tell me why are no different even without quite hooking up with the passions as naturally as others within Broken Bones. Nevertheless, their respective individual moments of garage pop punk and classic blues rock leave pleasure high and the album impressing right up to its last breath.

While sensing something even more unique is lurking, just waiting to break out in the Royal Podencos sound, Broken Bones consistently hits the spot with moments of lustful pleasure on top. If you are looking for some new varied rock ‘n’ roll to get dancing too then Broken Bones is well worth tangling with.

Broken Bones is available now @ https://royalpodencos.bandcamp.com/

https://www.facebook.com/royalpodencos/

Pete RingMaster 21/11/2017

Copyright RingMaster: MyFreeCopyright

Andreas S Jensen – Disturbed

To this point in time, Danish born, London based Andreas S Jensen has made a notable name for himself for being a guitarist in Dub Pistols, as a writer/producer whose co-writes with the likes of Kevin Lyttle, Armand Van Helden, and Nate James have sold close to a million copies, and in collaborations as remixer, producer, session player, and engineer with artists such as Dido, Rizzle Kicks, Vybz Kartel, Sam And The Womp, Beenie Man, Nerina Pallot and more. This month though sees the singer songwriter/musician make his own individual impact, expectantly what will be his biggest one yet, with the release of a debut solo album. Disturbed is an ear pleasing, imagination stroking collection of songs combining lyrical intimacy with an alluringly broad brushstroke of sound. It is a release which makes the most seductive company note to ear and then haunts the memory once departed; that in anyone’s book the sign of something special.

Jensen has already enticed praise carrying attention with his first EP Disconnected which was released at the beginning of 2014. Embracing inspirations ranging from David Bowie, Tom Petty, and Elliot Smith to Soundgarden and The Zombies, the encounter was the first step towards the lofty heights now awaiting the senses within Disturbed. For the album Jensen drew on the talent of a group of London session players he has met through his producer and session work including drummer Adam Falkner (Babyshambles/Dido), guitarist Garo Nahoulakian (Nadine Shah), cellist Ben Trigg (Arctic Monkeys, Unkle, Jamie Collum), and Antonia Pagulatos (Gorillaz, Blur) on violin and viola as well as Jesper Lind (Jack Savoretti), Nikolai Bjerre (Lamb), Jack Cowens (Dub Pistols/Bondax) and many others. The result of this union of craft and invention is a record as rampantly catchy as it is emotionally open; each song like a big brother knowingly understanding those moments in life, love, and longing we have all hugged or endured.

Disturbed opens with its new single released a week before the album and fair to say Only Die Once instantly has attention gripped. Jensen’s voice is the first enticement, his warm slightly sandy tones soon joined by a theatre of rhythms and keys as a guitar weaves its own suggestive bait. There is drama in piano and bass too whilst instinctive infectiousness fuels vocals and the melodic coaxing hooking the senses whether in a controlled smoulder or a fiery blaze. As a sign of things to come across the album, the track simply blossoms and grows with every passing second; a crowd of instruments and sounds uniting in a fanfare of imagination and enterprise.

The outstanding start is matched by next up Trust Is My Anchor, a single released earlier this year which had us on board with real anticipation right then for what Disturbed would subsequently bring. Like the first, the song makes a gentle start, acoustic guitar aligning with Jensen’s ever appealing voice and like its predecessor a proposal which just opens up its sound and invention with every breath. Soon it roars with a robust rock pop temptation which sublimely ebbs and flows in intensity whilst increasing its hold on ears and appetite second by second. There is something of Billy Momo to the subdued moments of the track and a hint of R.E.M. in its bolder expulsions; both deliveries as compelling as the other as another pinnacle within the album is exposed.

Take My Heart and Go needs barely a breath to seize ears as a glorious gnarly tendril of sound winds around the senses, a flirtatious bassline and the caress of acoustic magnetism swiftly stepping up alongside. Mixing country flavoured rock and eagerly strolling indie pop, the track has the body bouncing and hips swaying in no time with the imagination employed by word and another rich tapestry of textures and invention. For personal tastes it is probably fair to say that the track just misses the heights of the pair before it but the pleasure loaded grin our faces during its presence each and every time reveals all and alone why with every listen Disturbed  becomes more essential.

Through the electric shimmer of Another Way Of Leaving, a proposition merging sixties psych and eighties pop in its tantalising soulful croon, and the Baroque kissed Unchanged captivation is intense and greedy. The second of the two especially bewitches with its shadowy reflection and perpetually rising crescendo of sound and endeavour, the strings which magnetically colour most tracks voraciously manipulative and rousing before And She’s There calms things a touch with its vibrant canter. It too is a tenaciously catchy enticement all the same though which imagining The Everlys and Walker Brothers born as one and breaking out today gives a sense of this superb slice of contagious pop.

Thought gets the focus over body with the balladry of next up Looking Back For Something New, though it is hard not to sway to its melancholy lined tone and melodically intimate presence, while Run with at first a similar gait brews a contagion which has body and spirit rocking as again eighties funk/pop collude with electronic and creative drama. Both of the songs have a firm hand on ears and lustful attention though each is eclipsed by the bold exploits of Dangerzone, a theatre of rock pop which surely has to be the next single. Some tracks make you greedy for more, this is one for Jensen though one among quite a few to be honest but the show stealer of Disturbed for these ears.

The album concludes with I Carry My Cross, a beguiling dark folk/ country spectacle weaving in strands of gypsy, carnival and Latin rock which with its hypnotic funereal march is reason alone to take a chance on exploring one rousing release.

To be honest as much as we loved the single Trust Is My Anchor a few months back we were maybe expecting Disturbed to just back up its striking presence rather than take things to a whole new level. Boy, were we off the mark, the album a BIG must for all rock, pop, indie fans well everyone who loves boisterously catchy and emotionally honest music.

Disturbed is released September 15th with the single Only Die Once out September 8th.

http://www.andreassjensen.com/    https://www.facebook.com/AndreasJensenMusic    https://twitter.com/andreassjensen

Pete RingMaster 04/09/2017

Copyright RingMaster: MyFreeCopyright

Andreas S Jensen – Trust is My Anchor

With a new album due to drop this coming September, musician/songwriter/producer Andreas S Jensen releases new single Trust is My Anchor this month, a song which alone sparks plenty of intrigue for what the upcoming Disturbed might offer.

Moving to London from his native Denmark in 1998, Jensen first started working as a session player with the band Dweeb before concentrating on writing and production and signing a publishing and management deal with Wise Buddah Music. As part of writing team The Funktuary, he co-wrote and helped put together the radio edit/remix of Armand Van Heldens club classic My My My before the team released their own well-received EP. From there he joined Dub Pistols, who he still gigs with, and released a debut solo EP in the shape of Disconnected in 2014 and over the years has worked in various ways with the likes of Kevin Lyttle, Nate James, Stefanie Heinzmann, Dido, Rizzle Kicks, Beenie Man, Nerina Pallot, and Loick Essien among numerous others.

Jensen’s own music draws on the inspirations of artists such as David Bowie, Tom Petty, Soundgarden, Elliot Smith, and The Zombies; essences you can feel more than hear within Trust is My Anchor. A fusion of melodic rock and pop balladry, the song caresses ears initially with a single guitar alongside Jensen’s emotive tones. Both entice the listener into the heart of the track and the waiting muscular roar of the chorus. It is a quickly engaging mix; the minimalistic tone of the verse a blend of melancholy and hope openly sharing the track’s plaintive cries and its sturdier crescendo a defiant response which easily arouses the spirit.

Trust is My Anchor is a firmly satisfying encounter which invites rather than demands attention but easily provides a memorable and increasingly enjoyable experience.

Trust is My Anchor is released June 23rd.

http://www.andreassjensen.com/    https://www.facebook.com/AndreasJensenMusic    https://twitter.com/andreassjensen

Pete RingMaster 21/06/2017

Copyright RingMaster: MyFreeCopyright

Rugby Road – III

There is nothing lively about its title but the new EP from US rock band Rugby Road, simply called III, more than makes up for that with its heartily tenacious sound. An encounter which like us you may have missed upon its release as 2016 closed its eyes; the four track encounter is an ear pleasing, skilfully offered slice of multi-flavoured rock ‘n’ roll as bluesy and passionate as it is melodically captivating and instinctively boisterous.

Consisting of Kenny Kearns (vocals, keyboards, bass, guitar), Rich Pruett (drums, percussion, vocals), and Derek Smith (guitars, vocals), Philadelphia based Rugby Road began in 1990 drawing on inspirations found in the likes of Allman Brothers Band, Maceo Parker, Rusted Root, Bill Kreutzmann, Phish, Peter Frampton, and Dirty Dozen Brass Band. A regular in the late 90’s New York City Wetlands scene, the band has released a pair of albums, the 1998 unveiled Times Already Happened and three years later Different Degrees. More recently Kearns and the band have founded The Wayne Music Festival (now officially WXPN Welcomes The Wayne Music Festival) which since starting in 2015 has attracted more than 10,000 people each year to enjoy everything from country, bluegrass, jazz, pop, and rock from artists coming together from all over the country.

Recorded with producer Derek Chafin, III offers songs which according to Kearns “reflect what we’ve been working towards for years from a writing perspective.” It opens up with Back To You, a track which unmistakably has a rich feel of Bruce Springsteen to its rock ‘n’ roll but soon shows its own imaginative enterprise as suggestive melodies unite with the darker and denser rhythmic shadows of bass and Pruett’s crisp beats. Swiftly its magnetism is inescapable, the track a flame of craft and instinctive employment of influences and new endeavour, and just as quickly powerfully catchy. With a collection of vocals at times surrounding Kearns and the additional irresistible tones of a lady whose name has yet to be discovered, the song only escalates an attraction already sparked by the hazy weave cast by guitars.

The following Nobody (Needs To Know) is just as magnetic, it’s mellower but no less tenacious balladry carrying a soulful air and heart as blues kissed guitars spin a web of enticement around Kearns’ continually strong vocals. As with its predecessor, there is something quickly familiar to the song but only spicing adding to its appeal as its classic rock breeding grabs eager ears.

Spoken For unveils an even calmer canvas for its own emotive ballad next, though again it is a song with a blaze in its belly which from time to time urges more intensive expulsions of sound and energy. With the earthy tones of the bass almost growling alongside the contemplation of melody and voice, the song smoulders and slowly grows to rival those before it; eclipsing its immediate predecessor over time.

Bringing things to an enjoyable close is Give It Away, a country rock lined slice of rock which again has something of Springsteen about it as well as a Tom Petty-esque essence which does it no harm at all. For personal tastes, the song fails to match its companions but there is no denying its infectious ability to please as keenly tapping feet here can testify and it is fair to say that with every listen thoughts about the song only gain a more enamoured lilt.

Though it is annoying to say, we are new to Rugby Road but after having III sparking definite pleasure with its accomplished and refreshing presence, we can join the mass of others calling themselves fans of the band.

III is out now across most online stores.

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

Pete RingMaster 10/05/2017

Copyright RingMaster: MyFreeCopyright

Boy From The Crowd – Where The Bees Come To Die

BFTC_RingMaster Review

Having enticed and fascinated with debut single Revelator, Boy From The Crowd does it again with first EP Where The Bees Come To Die. As the single, it is a release bred from a varied mix of blues, punk, and diversely seeded rock ‘n’ roll honed into songs which arouse attention in sound and lyric with accomplished ease. There is no intent to polish things smooth either; each track offering its raw and honest heart to add to the individual drama and potent enterprise on offer. The result is an increasingly tempting proposition which has moments that simply transfix and always has a persuasive hand on thick satisfaction.

From London, Boy From The Crowd consists of vocalist/guitarist/songwriter Vinny Piana and drummer Vegas Ivy, kindred creative spirits which upon linking up were “determined to be guided by their primal instincts and play music with guts, spirit and uncompromising integrity”, subsequently embarking on “a fearless mission to discover tough new ways to rock the blues.” In strong evidence of their purpose and its success was the highly riveting and pleasing Revelator earlier this year, a song still as striking and magnetic now opening up the pair’s first EP.

The song opens on a twang of blues soaked guitar, it’s tempting a spicy lure into the incoming stroll of firmly hitting beats, throaty bass coaxing, and a vocal offering as fascinating and raw as the sounds around it. In no time the song has attention locked in and an appetite inspired for the captivating invention shaping the blues rocker, its presence managing to reap a little of artists like Iggy Pop, Jon Spencer Blues, and Nick Cave to hone its own unique voice.

The blues hues of the opener are even more spicily intensive in the absorbing All I need, a track which atmospherically smoulders in dirty rock ‘n’ roll as tangy flirtation lines its grooves and hooks. As in its predecessor, twists and turns are a rapid captivation, blazes of melodic toxicity moving into filthy expulsions and contagious swaggers. At times the track plays like an antagonistic and off-kilter mix of Television and Tom Petty but once more weaves all essences into its own unique and partially psychotic adventure of creative tenacity and sound.

The Road takes over next, beckoning with an initial country rock kissed sway which soon blossoms into a punk infested roar, the song continuing to align both flavours as it spins a web of blues imagination through guitar and keys. The track is easily the biggest treat upon Where The Bees Come To Die, its blues punk temptation irresistible and another insight into the variety brewing within the songwriting and sound of Piana and Ivy, a diversity reinforced by the surf/psych rock blues of the EP’s title track. The instrumental is a blaze of alternating and entwining shimmering melodies and volcanic energy creating a canvas for ears and imagination to immerse in under the rich suggestiveness of keys, their caresses adding greater colour to the whole adventure.

Where The Bees Come To Die builds on the great introduction to Boy From The Crowd made by Revelator, casting its own highly persuasive hint to the emerging talent and sound of the band. It is early days but already expectations are leaning towards exciting times ahead with Piana and Ivy.

The Where The Bees Come To Die EP is out now digitally and on CD and Ltd Edition vinyl @ https://boyfromthecrowd.bandcamp.com/album/where-the-bees-come-to-die

https://www.facebook.com/TheBoyFromTheCrowd  http://www.bftc.band  https://twitter.com/BoyfromtheCrowd

Pete Ringmaster 02/11/2015

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Braddock Station Garrison – A Hint of Recognition

BSG_RingMaster Review

Last year US rock band Braddock Station Garrison gave a strong and enjoyable introduction to their rock ‘n’ roll with debut EP/mini album High Water. Exploring all the best bits of that release whilst honing other potential but previously less striking elements in their sound, the Washington DC quartet has recently unveiled its successor, A Hint of Recognition. Still carrying a flavoursome Americana tang to their no frills rock ‘n’ roll, Braddock Station Garrison have produced another highly magnetic and creatively organic proposition with their second full-length to thoroughly enjoy. It is probably not a game changer in stirring major awareness of the band by wider spotlights, though it has enough to make a stir if given the chance, but A Hint of Recognition is definitely going to entice new fans as they show they are heading in the right creative direction for bigger rewards ahead.

Formed by vocalist/guitarist Steve Schillinger and lead guitarist Tom Soha in 2011; Braddock Station Garrison take inspirations from the likes of Tom Petty, Neil Young & Crazy Horse, Cheap Trick, Aerosmith, Johnny Cash, and The Smithereens into their openly growing sound. Completed by drummer Michael Chapman and bassist Michael Haddad, a line-up in place since mid-2014, the band released High Water last year to keen responses. Its fusion of classic and modern sounds was a highly appetising if unspectacular proposal which left a richness of pleasure in its wake. A Hint of Recognition continues the groundwork it laid but with more inventive tenacity, bolder imagination, and depth of sound. It is still not the offering to make an explosive impact but it definitely guarantees a thoroughly enjoyable time with every listen and who can say no to that.

cover_RingMaster Review   The album opens with Forgotten Teenage Dream, a contagious little number with jangly riffs and a great alluring bassline alongside the ever distinctive and appealing tones of Schillinger. With crispy beats adding to the easy going stroll, the song rather than providing a big splash to start things off is more a catchy coaxing, a warm up to bigger and brighter things. Nevertheless grooves and melodies offer a pleasing tempting which the more relaxed and emotive She’s Too Cool employs with relish in its more fifties rockabilly seeded stroll. As in its predecessor and the band’s sound generally, there is a masterful simplicity at work; leanness to the invention which ensures only the choice cuts of sound and imagination get involved in the song whilst avoiding unnecessary embellishments.

Things really takes off from the album’s third track, Lies, where once more a fifties breeding is carried by the tantalising air of the song, and initially through another tasty bass lure and the rich vocals. It is a flavour continued by sultry melodies and welcoming riffs cast by the guitars whilst a raw cascade of intensity only adds to the drama and unrelenting addictiveness of the song. Its success seems to spark something extra in its following companions too, Hey Cindy spinning a web of sonic tendrils across its body within a great rhythmic beckoning next. To this the guitars spray a creative smog like contrails behind a plane, with both Chapman and Haddad laying down gripping bait before Never In Danger emulates the earlier Lies with its own dark rock hues, though this time they touch upon a R.E.M. colouring in the song’s evocative swing. Infectious from first breath to last, the track is a reserved but lively seduction adding more warmth to the satisfaction already brewed by A Hint of Recognition.

More heady bass temptation brings a grin to lips as Any Day Any Way opens up, the enticement persistent as guitars spread fuzzy causticity across a punkish encounter unafraid to change tact and energy at the drop of a note. More inventive and fiery with each passing minute, the track is another striking high point which Stop and Reflect struggles to match right after, though its country twang and melodic smoulder only feeds a happy appetite before Johnny Stone Stole My Girl brings things to a rocking close. Its unsurprising yet irresistibly catchy shuffle feeds all wants from a slice of rock ‘n’ roll, especially with more of that flavoursome old school fifties tone to please personal tastes; a pursuit of which would definitely go down well and add something more to future Braddock Station Garrison songs it is easy to suggest on the evidence of A Hint of Recognition. More of the very solid and enjoyable sounds found on the band’s new album would be quite fine too.

A Hint of Recognition is out now via the Braddock Station Garrison Bandcamp.

https://www.facebook.com/BraddockStationGarrison   https://twitter.com/BSGRockNRoll

Pete RingMaster 29/09/2015

Copyright RingMaster: MyFreeCopyright

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

Heyrocco – Teenage Movie Soundtrack

Screen-Shot-2015-06-04-_RingMaster Review

With the release of recent single Elsewhere a sparkling lure to its impending arrival, Teenage Movie Soundtrack has answered the suggestiveness of its lead song and shows itself as an even greater enticement of the promise soaking that lone song of a few weeks back. The debut album from US angst poppers Heyrocco, the ten track encounter is a diverse and magnetic party for ears which weaves the teen angst sounds and emotions of the nineties, the guitar jangle of early Cure, and the dirtier tones of grunge into something unique from the imagination of the band. This still only scratches the surface really but the ultimate result is a release which sounds familiar, nostalgic, and thoroughly fresh, not forgetting highly enjoyable.

Hailing from Charleston, N. Carolina, Heyrocco consists of vocalist/guitarist Nate Merli, bassist Chris Cool, and drummer Tanner Cooper, a trio who has been constantly and increasingly stirring up attention on both sides of the pond since forming around five years ago. Teenage Movie Soundtrack is the band’s largest and strongest nudge on ears and appetites since forming and it starts with a bang through opener Loser Denial.

Guitar and vocals immediately pour their rich expression on ears, the pairing already hinting at the hues of a Weezer which only gets intensified as the song slips into a ripe stroll of rumbling bass, eager beats, and a spicy guitar clang. It is also instantly wrapped in pure infectiousness, a trait invading the whole of the album from hereon in. Virulently increasing in energy and captivating endeavour as it heads towards its riotous finale, the track is an exhilarating start to the release, leaving the listener in an agitated state eager for more, which comes courtesy of the heavier but no less compelling Melt. The air and presence of the song is thicker in emotional intensity but still retains the alluring catchiness of its predecessor, and indeed that same seeding of alternative rock/power pop for its own tempestuously inventive and at times perfectly imposing presence.

Heyroccocover_RingMaster Review     The grunge fuelled Virgin comes next, its opening minimalistic croon leading to thick and voracious Nirvana-esque explosions. It is an alluring cycle which is on repeat across a track which dramatically seduces and enslaves ears and emotions. There is no escaping the decade and bands inspiring the invention of Heyrocco or the ability of the threesome to twist them into ravenous incitements of raw and incendiary pop, as proven again by the lighter revelry of Elsewhere. Its opening jangle of hooks and invitational vocals is irresistible bait especially with its whisper of discord, a success eclipsed once the dark tones of bass and subsequent scythes of guitar court the potent variety of vocals across the band. Spiralling melodies and welcoming harmonies continue to exploit the submission given to the song’s charms, even as the outstanding encounter stirs up its creative intensity and volatile shadows to grow into an even bolder and muscular proposal.

A calm of sorts arrives next with the warm caress and enterprise of Mom Jeans, its rhythmic tempting and swinging pop gait a reserved but energetic festival of smouldering reflection and vivacious light locking ears and thoughts into eager attention. The almost sultry embrace of the song is replicated in many ways by First Song, though its tenacious balladry made up with livelier energy and melodies has more of a Costello/Petty-esque feel to it. Compared to previous tracks it takes longer to tempt and never quite manages to spark the same thrills whilst casting its pleasurable persuasion, but it certainly reveals more to the potential soaked depth and diversity in songwriting and sound within Heyrocco.

Alison brings a fiery blaze to ears next; its fuzzy textures and sizzling air colouring a cauldron of angst laden expression and melodic infectiousness bound in searing psych pop enterprise which in turn is equipped with pleasure gripping hooks. The track sizzles on the senses but is soon outshine by the even greater temptation of Jake Miller’s House Party. From its initial blast of spicy grooves and anthemic rhythms aligned to a thick lure of a bassline, imagination casts images of being bound in the throes of heaving bodies bouncing to the song’s puppeteer like tempting. You can picture a video for it straight away, energies and limbs moving in tandem even as the song relaxes a touch from its kinetic start for the great tones of Merli. A stomp of grunge hued rock ‘n’ roll, the song’s seamless flow through controlled and frantic crescendos is as magnetic as the web of invention and flavoursome hooks running incessantly through what proves to be the best track on the album.

The skilful Cure like hug of Santa Fe (Stupid Lovesong) is another which takes it’s time to convince, but eventually its laid back melody cast serenade simply leaves ears smiling whilst closing track Happy with its heavier rock croon ensures the release closes as potently as it began.

As so many, the band’s last single was our introduction to Heyrocco and there is no doubting they thrilled. Now Teenage Movie Soundtrack shows that it was no a flash in the pan but even more that it was just one strong essence in the band’s full sound and inventive presence. The additional excitement bred by the album is that you get the feeling this it only the beginning in their creative journey, just a scratching of the surface.

Teenage Movie Soundtrack is released on July 10th via Vital Music Group

https://www.facebook.com/Heyrocco    http://www.heyrocco.co.uk/

RingMaster 01/07/2015

Copyright RingMaster: MyFreeCopyright

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