A Blue Flame – The Girl Inside of You

A Blue Flame_RingMasterReview

Adding to a host of recent singles which hint of potent times for their creators and the releases they are taken from is The Girl Inside of You, the new track from A Blue Flame. Plucked from their latest album What We’ve Become Is All That Now Remains, the single is a thumping slice of rousing songwriting and a melody thick sound with a Brit Pop meets folk rock flavouring and an encounter very easy to get seriously involved in.

A Blue Flame art_RingMasterReviewA Blue Flame is the project of Leicester based songwriter, Richard Stone and What We’ve Become Is All That Now Remains the successor to debut album Someone Else’s Dreams Will Fill Our Home which was released in 2013 under the name of Woodman Stone. With its lead song Does Madonna Dream of Ordinary People gaining strong airplay across the likes of BBC 6Music and BBC Leicester, Tom Robinson was one declaring their support, calling Stone’s music: “wonderful unashamed pop music that comes with an inbuilt English Pop sensibility running through to its very core“. The Girl Inside of You is destined to find the same success and more, with What We’ve Become Is All That Now Remains, which features some of Leicester’s best musicians including co-producer Adam Ellis on guitar and Tony Robinson from The Beautiful South on keys and brass, following suit.

The Girl Inside of You strolls in with bold hooks and rhythms aligned to an instant melodic lure. It’s commanding breath relaxes slightly as Stone’s lyrical and vocal prowess works on the imagination but the song’s potency never lessens as creative enterprise and punchy emotion fuelled imagination is added to its web of temptation.

As subsequent smart twists and turns ensure there is nothing predictable about the song, there is something of The Jam in their Setting Sons period spicing to the encounter which as you can imagine does it no harm either. The Girl Inside of You is one of those songs hard to get enough of; one all the while suggesting that a definite look at the album it graces (look out for our review soon) is in order.

The Girl Inside of You is out now with What We’ve Become Is All That Now Remains available 19th August @ https://itunes.apple.com/gb/artist/a-blue-flame/id1078425623 and http://www.cdbaby.com/Artist/ABlueFlame

https://www.facebook.com/ablueflame/

Pete RingMaster 19/08/2016

Copyright RingMaster: MyFreeCopyright

Ooberfuse – Secret Tattoo

Ooberfuse_RingMasterReview

Having recently returned from a prestigious Nashville songwriting camp sponsored by the UK government (UK Trade and Industry), the band part of a small number handpicked UK artists working with Nashville’s songwriting royalty, electronic pop duo Ooberfuse unveil their new single in the shape of the magnetically alluring Secret Tattoo. It is a vibrant smile on the senses; a song which bubbles and simmers like a pot of warmed honey as sweet as it is compelling.

Ooberfuse artwork_RingMasterReviewThe Woolwich based Ooberfuse is the creative union of Hal St John and Cherrie Anderson, and a project which has seduced much of the world across hundreds of gigs including performing to an audience of 2 million in Madrid and playing for hundreds in one of Rio de Janeiro’s notorious favelas. They have toured across the UK, Italy, Spain, Portugal, Brazil, Canada, the Philippines, and Iraq whilst stirring up support from the likes of Paul Oakenfold, Sister Bliss (Faithless), Ministry of Sound, BBC Introducing’s Tom Robinson, and Amazing Radio’s Jim Gellatly. Following the successful trip mentioned at the start, Ooberfuse has UK spotlights in their sight again with Secret Tattoo, the successor to their praised 2015 single Fall and a song inspired by the thought, “Although love hides its face away from the gaze of a loveless world it nevertheless sprays, like urban graffiti, colourful designs on the flesh of the human ear.”

Secret tattoo opens with a Yazoo like electro invitation quickly joined by the highly persuasive tones of Anderson. Backed by similarly alluring hues from St John, her voice dances on the senses; offering a warm siren-esque kiss on the ear as elegant and tempting as the weave of melodic synth cast suggestiveness around her. There is also a touch of Depeche Mode to the song as its meanders with purpose and resourceful enterprise across the imagination. Its body is slim, textures uncomplicated on the ear but together they create a pop song which lures the listener into a sultry embrace of emotive and electronic flirtation.

No demands are made by Secret Tattoo, just an invitation from Ooberfuse to immerse in its infectious charm; one easy to accept request.

Secret Tattoo is released April 29th

Upcoming Tour Dates:

9 May – London, Soho, Spice of Life

25 June – London, Hayes, Hayes Community Centre

6 July – Stonyhurst, Clitheroe, Stonyhurst College

http://www.ooberfuse.com/   https://www.facebook.com/ooberfuse   https://twitter.com/ooberfuse/

Pete RingMaster 27/04/2016

Copyright RingMaster: MyFreeCopyright

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The Landed – Friends

The Landed_RingMaster Review

Following up the catchy adventure of previous single She, UK band The Landed release a mellower but no less persuasive proposal with its successor Friends. The song reveals more of the depth and variety in the Colchester quartet’s sound and though, compared to its predecessor, it is a calmer stroll it comes with its own lively and magnetic energy.

Hailing from Colchester, the quartet of Dan Currie, Paul Jannece, and brothers Paul and David Hale have been regularly stirring up keen and supportive attention, especially once releasing their well-received self-titled EP in 2014. Its set of six alternative and indie rock bred songs soon lured interest of fans and media, as well as strong radio play through the likes of Tom Robinson at 6 Music and Huw Stephens at Radio 1. Earlier this year, She showed a new and more mature body to the band’s sound, a suggestion more than confirmed by Friends.

artwork_RingMaster ReviewThe title track from the band’s new EP, the new single swiftly has ears enticed with its opening caress of guitar and a quickly following and fuller lure of chords, melodies, and a darkly enticing bassline. There is an instant swing to the song too, one emulated in the strong vocals and the overall rhythmic dance of the growing song. As mentioned, the track shows a more restrained gait and energy to the last single yet every hook, twist in invention, and melodic smile is designed to and successfully seduce feet and voice into eager involvement.

Many bands have been given as references to The Landed sound, Fleetwood Mac, ELO, Noah And The Whale, and The Police amongst them, and certainly the last pair are whispers you can hear in the warm canter of the song. Their vivacious last single She still edges the two for personal tastes, but Friends potently shows that The Landed is no one-trick pony in potent songwriting and enjoyable sound, and that their new EP should be closely paid attention to.

Friends is available now.

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

RingMaster 24/07/2015

Copyright RingMaster: MyFreeCopyright

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The Landed – She

The Landed new band pic 2

Whether the summer will be a blaze of sun or a flood of rain time will tell over the coming weeks but undoubtedly it will be a feel good moment in time thanks to singles like She from UK indie band The Landed. A melodic romance for the senses and catchy enticing for the body, the song is a lively bubbling of pop rock unafraid to weave in some blues sultriness and melodic guitar jangle amongst its captivating spicing.

The Landed hails from Colchester, two brothers and two friends who since uniting musically and initially playing covers, has persistently developed and honed their songwriting and sound. It was also a beginning allowing the quartet of Paul and David Hale, Dan Currie, and Paul Jannece to learn their stage craft, exploring what made great songs tick and audiences come alive then infusing it into their own emerging imagination and music. Last year saw the release of their self-titled debut EP, a collection of six songs quickly luring attention and acclaim from fans as well as the likes of Tom Robinson at 6 Music and Huw Stephens at Radio 1. Now it is She beginning to stir up eager spotlights upon The Landed, a song which for us is undoubtedly the band’s most vibrant and mouth-watering offering yet.

She coverFrom its first breath the song is a lively incitement of guitar jangle and warm melodic temptation, and only increasing its coaxing as the excellent vocals and a moodier but still radiant bassline enters the revelry. Crisp beats provide the heartbeat of the song, the bass the drive, and both come wrapped in the creative and adventurous colour of harmonies and guitar. Within its flowing dance of sound and energy there is also a healthy unpredictability at play in the track, showing itself more openly in certain places more than in others but constantly lurking within the smiling character of the song’s anthemic stroll and endeavour.

She is a sparkling and mesmeric seducing of pop/indie rock from a band with the knack of shifting feet as heartily as they ignite ears and imagination. The Landed have certainly grown-up since their early creative days, and indeed since their first EP to give the coming weeks a definite ray of sunshine.

She is out now
Upcoming live dates:

6th June – University of Essex
28th June – Colchester Free Festival

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

RingMaster 02/06/2015

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

 

Coquin Migale – Gold

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Taken from their recently released and swiftly acclaimed EP Feel, new single Gold from UK alternative/indie rock band Coquin Migale is unleashed this week, a song which alone wakes up an eager appetite for the band’s transfixing sound. It is an encounter bursting with swirling melodies, flighty harmonies, and busy imagination, easily reinforcing the potent buzz and keen attention surrounding the Newcastle based quartet.

1661926_447762932047545_9093603215007750566_n  Coquin Migale was formed in 2013 by friends studying at Northumbria University. Swiftly the band released The Yellow Room EP, a free download which quickly lured in vocal fans. The foursome’s live performances equally caught the keen ears and hunger of a heavily increasing many and subsequently it did not take too long before the likes of NME, Generator, and Fresh On The Net also caught on to the band; a media interest shown again this year with the new single being featured by Tom Robinson on the first BBC 6 Music Introducing Mixtape of 2015. Released via End Of The Trail Records, Gold is the kind of bait anglers dream of and you can only suspect it will induce a fresh and wide expanse of new ears and mouths to get in on the band’s emergence.

Gold opens on a clean jangle of guitar with punchy rhythms quickly joining in before the whole song erupts in a warm bluster of melodic enterprise and vivacity. It is a thick and colourfully musty mix which relaxes for the entrance of the engaging vocals of Alex Soper and returns with greater energy and appealing hues as regularly intermittent and potent expulsions around his alluring tones. The guitars of Soper and Matthew Wooton are a constant flame of invention and unpredictable enterprise too, their frequent detours and sparkling inserts of fresh ideas taking the song and ears on a riveting ride whilst the darkly toned bass of Stevie Kane and the crisply landing swings of Dan Rawlinson only add more creative drama to the encounter.

With the vocal harmonies of Soper and band probably the most virulent part of it all, the song is a mouth-watering introduction to Coquin Migale for newcomers and continuation of a potent ascent those in the know have already taken to their emotions. Quite simply it is a song band which more than supports claims from people like Tom Robinson that the foursome are “currently the best unsigned band in Newcastle. Surely it won’t be long until the majors start knocking?”

Gold is available from Aril 20th via End Of The Trail Records

https://www.facebook.com/CoquinMigale   https://twitter.com/CoquinMigale

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 Permanent Smilers – One Real Big Identity Crisis

identity-web

One Real Big Identity Crisis, the new album from UK band The Permanent Smilers, is a release with no apparent direction or framework to its intent and enterprise; a release which basically lives up to its title but boy is it a slab of irresistible fun. Through thirteen songs, band and album take on a torrent of different styles and nostalgic flavours which really should not work alongside each other as coherently as they do, and all come with a humour and mischief which adds to rather than overrides the adventure of the individual characters. It is slightly deranged but not chaotic and thoroughly unpredictable yet not messy considering the vast sounds employed from song to song. Most of all though it is simply a compelling proposition which comes from left-field, keeps its heart there, and leaves the most enjoyable experience in its wake.

There is little we can tell you about the band itself, though The Permanent Smilers is fronted by Richard Lemongrower who was the songwriter behind Norwich band The Lemongrowers, a band releasing two albums on Noisebox at some point in time. Produced with Jonny Cole and mixed by David Pye, One Real Big Identity Crisis takes little time in lighting ears and imagination, though it opens with maybe its weakest song. That is a little misleading as it takes a song to get a handle, or try to, on the release anyway but certainly Identity Crisis did not really grip attention as much as elsewhere and left thoughts with a slight wondering of what have we got ourselves into. Strongly swung rhythms and similarly intensive riffs clasp ears within the first breath of the song, their bait a jabbing lure against the unpolished yet engaging tones of Richard. It is an easily flowing and energetic slice of rock ‘n’ roll with the bass of Jonny Cole pungent bait at the centre of the stomp. Truthfully there is little wrong with the song but it lacks a spark in its presence which evades the reaction it probably deserves and is easy to imagine being found with others.

The good if unsure start is soon a thing of the past as Uh-Oh takes over with its festive folk swagger and emerging carnival like devilment. Sporting a splash of Tankus The Henge to its relaxed but vibrant stroll, the song is a constant swing of melodic hips as it moves towards an unexpected and mouth-watering slip into a Dukes of Stratosphear like ethereal psychedelic charm and climate, returning back into festive mood soon after as if it had just emerged from a dip in the sea. The song is fascinating and bewitching, and just the first of numerous adventures into different landscapes, as shown next by the punk pop devilry of You Know Where To Go. Bred from seventies power pop and carrying a mix of The Flys and The Lurkers to its hookery, the song just hits the sweet spot with its insatiable energy and mischief, before making way for the more relaxed melodic embrace of Elastic. The keys and guitars of Richard weave another enthralling web of sound here, this time with a sniff of sixties pop to it which is punctuated by the crisp beats of drummer Pete Fraser and dark bass lures of Cole. By its close, the song somehow becomes a thumping anthem without losing any of its melodic and gentle elegance, a potent feat for any song to offer.

Both Just No Good and It Doesn’t Work Anymore keep album and ears bouncing with energy and pleasure, the first using a garage rock spicing again teased by a sixties almost Doors like toxicity, whilst the second again spawning from the same kind of seeding brings a rawer punk grouchiness with its presence. Each has feet and emotions joining their rigorous coaxing before Ghosts allows a breather for the body if not the imagination with its Simon and Garfunkel meets Burt Bacharach like embrace. The brass persuasion of Dave Land seductively flames over similarly captivating keys and vocal caresses through the song but as always there is a scent of devilment to the song with thoughts wondering at times if they should be enjoying this as much as they are. There is no escaping its thick charm though.

The next pair of songs brings a rich sense of XTC to their enterprise and persuasion, Rebel broadening that over time with a seventies kissed soar of progressive fuelled psyche rock whilst its successor, Voodoo has the stamp of Andy Partridge to its flirtatious pop and virulent enterprise. The pair leaves nostalgia glazed lips licked and, through the latter especially, ears basking in psyche pop of the most delicious kind complete with jazzy brass and funk spirited unpredictability.

You Know When To Go dives straight back into punk infused rock ‘n’ roll for its brief but sparkling instrumental before Unforseen manages to conjure an encounter which recalls the quirky indie pop of The Monochrome Set and the plainer but no less tasty essence of Tom Robinson. The song alternatively stomps and swirls around ears, every passing hook and melody it conjures an intriguing and quaint yet voracious tease before it moves off into the distance allowing the outstanding See Through You to make its lingering mark. Acoustically shaped with an avalanche of panzer gun delivered rhythms, the song initially is a smouldering and majestic sway of sound. It subsequently explodes though into a tempest of energy and revelry which only lifts a great song to a heady plateau. Imagine the volatile energy of De Staat at their most devilish with the epidemic hunger of eighties punk/power pop and you get a sense of the glorious treat.

One Real Big Identity Crisis closes with the acoustic lullaby of Sleepyhead, the album ending as it started with a track which does not catch the ardour triggered elsewhere but certainly graces ears with tantalising propositions. This album is one unexpected and seriously enjoyable adventure; not breaking down boundaries or venturing into the unknown but never providing a moment when you are not surprised or wrapped up in its refreshing simplicity woven by skill and invention. There is only time left to lick lips all over again as we close off and dive straight back into The Permanent Smilers’ irresistible arms, something we suggest you do too upon release.

One Real Big Identity Crisis is released in April via IRL Records with new single Identity Crisis out in March.

http://www.thepermanentsmilers.com/   https://www.facebook.com/pages/The-Permanent-Smilers/1539697962929725

RingMaster 23/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

The Hokum – Mind Over Matter

the hokum new band pic 1

With more than a feisty breath of eighties new wave to it, Mind Over Matter the new single from UK indie pop band The Hokum, is one of those encounters which either instinctively hits the sweet spot or at least tempts ears with a nostalgic flirtation. Certainly the song is just as boldly modern as it is seeded in former decades, but there is no escaping licking lips at its Sparks meets China Crisis meets Split Enz adventure.

Hailing from Sheffield, The Hokum is a quartet yet to trigger the kind of spotlight their sound and presence deserves, though they have been featured on Tom Robinson’s Mixtape, Minster Fm and BBC Radio Sheffield to date. Debut album Fools, Mules and Baggage… has been doing its impressive bit to stir up ears and appetites since its release in the autumn of last year also, but maybe it will be the second single taken from it which turns the key to a national awareness. Certainly Mind Over Matter will be luring and exciting a great many new appetites for the band The hokum singlesuch it’s mischievous and magnetically infectiousness and quirky charm.

The opening rhythmic coaxing of the song swiftly has ears and attention, not forgetting toes keenly interested; an intrigue only enhanced by the raw but magnetic stroke of guitar. Vocally too, song and band takes a strong hold whilst the chorus which predominately steals the show with its repetitive anthemic potency, grips even tighter with a power pop vivacity. Equally though there is a clever underlying contagion to the open surface and more involved invention of the song, each hook and melody seemingly familiar yet wrapped in a refreshing uniqueness that sets it and band apart from the crowd.

The Hokum stand at the edge of broader attention thanks to their album, nudging and teasing it with their tantalising sound. Mind Over Matter could be the push taking the band right into the gaze of the UK rock scene; if not it is easy to expect that recognition is coming soon.

Mind Over Matter is available from February 23rd

Upcoming live dates for The Hokum:

3.03.15 Red House, Sheffield

02.05.15 Shakespeare, Sheffield

29.05.15 Plug, Sheffield,

https://www.facebook.com/hokum.the

RingMaster 21/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Little Lapin – Remember The Highs

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There is no getting away from the tantalising Chrissie Hynde essence to the voice behind and The Pretenders like colouring of new single Remember The Highs, but equally there is no escaping the seductive potency and unique bewitching qualities of song and creator either.

   Little Lapin is a British singer-songwriter who from the release of her self-titled debut EP in 2013 has continued to inspire a greedy appetite for the melodic folk/pop romance she crafts. She has captivated audiences and imagination around the world, UK crowds and fans joined by those in New Zealand where she was based for five years, and in New York where she recently performed the last performance of her acoustic tour. As mentioned it is not a new persuasion on offer though, the song Waiting Room from her first and equally well-received EP, luring radio play with the likes of Tom Robinson on BBC Radio 6 and eager online radio play. Ahead of her highly anticipated debut album, Remember The Highs is now here to tease an even greater appetite and anticipation for the forthcoming full-length whilst confirming Little Lapin as one of British folk’s most bewitching propositions.

Remember The Highs opens on a wonderful tangy guitar melody, its winy lure an instant temptation swiftly matched by the mesmeric vocal croon of Little Lapin which in turn is embraced byPicture 76 an additional caress of reserved but potent guitar strings. That Pretenders simmer is lively from the start, recalling Hynde and co around their first album but similarly casting a fresh and vivacious breath which has a texture more aligned to a Metric or even The Cranberries. The song continues to entwine ears and imagination with its spicy melody and sultry temptation, assisted by a great dark bassline which flirts behind ever compelling vocals. The song is delicious, pure manna for body and soul and the most rigorous enticement likely to be heard this year for any album.

The track is accompanied by Over The Draft, an acoustically crafted smooch with ears moving into a more folk bred proposal compared to the rock pop triumph of its predecessor. Radiating charm and melodic elegance as a rhythmic shuffle offers a lively backing, the song shimmers over the senses. There is an essence of Lizzyspit to the song, revealing more of the variety within sound and songwriting of Little Lapin as previously suggested on her EP and previous tracks. Without quite rising to the heights of the first song, it still seduces from start to finish with sublime beauty within the rich smoulder of keys.

Featuring celebrated New Zealand producer, and ex member of Goldenhorse, Ben King, Remember The Highs is one of those songs which has the potential to open up broad spotlights and worlds to an artist, much like Brass In Pocket did for a certain Ohio bred musician/songwriter. It is an irresistible and exciting treat from an artist which still feels like they are only just beginning their journey.

Remember The Highs is available from February 9th @ http://littlelapin.bandcamp.com/

http://www.littlelapinmusic.com/

RingMaster 09/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Ruts DC – Rhythm Collision Volume 2

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For a great many of us the best punk band in the history of the genre was The Ruts, a band which fused raw street life and sound with addictive bass heavy dub and reggae. From day one they were a formidable and inciting presence cut short by the passing of frontman Malcolm Owen in 1980 aged 26. The history of the band up to that point is well documented within punk and rock, the music still igniting fires and lingering with relish and provocation year after year in many ways, and the same can be said of the band since, though the release of the new Ruts DC album Rhythm Collision Volume 2 equally highlights the large gap in music left by their absence for the last three decades.

Absence is a little misleading though as drummer Dave Ruffy and bassist John ‘Segs’ Jennings have certainly continued to inspire and leave a strong imprint on music, both playing live in numerous bands and with their impressive production skills which has led the pair to be tagged as Europe’s Sly and Robbie. It has been a long period for time to bare since the remaining members of The Ruts after the tragic death of Owen, released the albums Animal Now and Rhythm Collision as Ruts DC in 1981 and ’82 respectively, and an even bigger miss for music once Jennings, Ruffy, and guitarist Paul Fox called it a day a year after their last album. Their reunion in 2007 to play a benefit gig for Fox who had been diagnosed with lung cancer, and sadly died later the same year, ignited all the dormant passions with the show, an event which saw the likes of The Damned, Misty In Roots, UK Subs, Tom Robinson, and John Otway supporting and Henry Rollins taking over the vocal presence for the band, being declared as “the best punk gig of all time” by the Times.

This led to the band to reuniting with Neil Fraser aka Mad Professor who worked with the band on Rhythm Collision in the studio for an impromptu session which then led to another day of guest vocalists and musicians bringing their talent to the now vibrant project. Ruffy has said about the recording, “The album really came together by a series of fortunate events, before we knew it we were back in the studio for The Great Day of Vocals – Segs, Ngoni (aka Delbert McKay, Misty’s guitarist/vocalist), gifted lyricist Aynzli Jones, Brixton lyrics man Tenor Fly and Rob Love, frontman with Alabama 3 all turned up, tuned in and came up with the goods. Nothing was pre-conceived or planned.

Due to hectic schedules the proposed plan to get Mad Professor to do the final mix was an unavailable option the pair turned to Brighton producer Prince Fatty aka Mark Pelanconi. With everything in place and as it emerges beautifully finished, Rhythm Collision Vol.2 stepped forward and without any hesitation can be announced as one of the finest most exhilarating albums to grace and ignite the passions in a long time. The rhythmic heart of the album shows Ruffy and Jennings have lost none of their majestic power and provocative resonance whilst creatively they lay bench mark after benchmark for bands and artists to be inspired by within reggae, dub, punk, music.

As soon as the brilliant Mighty Soldier idles up to the ear with a warm ambience and joyful tease there is a fire smouldering within the ear, the throaty bass lure vibrant yet shadowed whilst the vocals of Tenor Fly shape thoughts with style and slight mischief within the seductive harmonies. It is a mild paced romp, a pulsating evocative persistence which leaves feet, voice, and passion eager to add their collaboration to the sultry dance, the brass flames bringing further irresistible temptation. Throughout the space synths of Steve Jones tease and add sweet devilry to the encounter whilst the keys of Seamus Beaghen provide a caress and firm push which leads to greater ardour for the stunning start whilst the guitar niggle is incendiary within the whole impressive blaze.

Through the likes of the sky travelling soundscape of Mix Up featuring Molara Awen on vocals, the white hot persuasion of One Step and Smiling Culture, the release grips tighter on the senses and emotions. The second of the trio resonates through thought and synapse whilst its touch is like a seductive walk over hot coals, a track to be taken gently, devoured thoughtfully, and enjoyed addictively, whilst the third, a song based on the death of Smiley Culture, is a deeply evocative and beautifully sweltering fascination of intent and sound with the vocals of Aynzli Jones and Rob Love riveting. At this point the album has already left a full rapture for its presence at play and goes on to only reinforce its potency with each track.

The oscillating atmosphere of Technology with its impossibly contagious brass call and the bone trembling sirenesque bass inducement of Jennings, which pushes the boundaries of Sun & The Stars to their delicious limits, evoke further imagination and hunger whilst the mesmeric caress of London Dub featuring Smokes (William Simon) is instant captivation, a welcome submergence in a soak of roasting ambience and equally fervid breath.

For personal tastes the first half of the album steals the show with its insatiable energy and invention but as the songs just mentioned and the likes of the thrilling dub heaven Heavyweight Style and The Road unveil their imperious charms there is no loss of lustful hunger and pleasure across the whole album. Featuring the blissful voice of Jessica Mcintyre, The Road is another glorious torrid slice of beauty veined by pulsating shadows from that irresistible bass lure of Jennings, a final triumph on the album though the two dub-core mixes of Technology and Soldier which do finally close the album are no fillers either.

With further contributions from guitarist Leigh Heggarty and vocals from Ngoni Mukai and Aurora Dawn in the mixing pot, the Sosumi Recording released Rhythm Collision Volume 2 is an unbridled treat, a collaboration extraordinaire which leaves the body, soul, and world a better place.

www.theruts.co.uk

10/10

RingMaster 13/05/2013

Copyright RingMaster: MyFreeCopyright

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The Robbie Boyd Band: Autumn’s Flown

There has been quite a buzz building around The Robbie Boyd Band before debut single I Won’t Let You Go which was unveiled in April and certainly after. Now with debut EP Autumn’s Flown released June 4th the expectation is interest and acclaim will become an accelerated energy around them, especially with the impressive and irresistible quality within the new release.

Playing what they call “feel good funky folk” the band has grabbed attention in their mere two years having received attention and airplay with the likes of Graham Norton on BBC2, Tom Robinson on BBC 6 Music as well as sharing stages with bands like The Kooks, Razorlight, and The Delays. With over 370,000 views on their official YouTube channel it is fair to say the band is beyond a secret with a continually growing interest upon them, something the EP will again only inspire to greater heights.

The first thing Autumn’s Flown shows apart from its collection of great tunes is that Boyd is an instinctive songwriter with an easy and strong understanding of melodies and harmonies. He utilises their strengths in a defined and creative way to ensure total captivation and the fullest pleasure within his songs. His distinctive voice adds another firmly lure for the ear and as the EP plays through its five slices of impressive music their self termed description proves more than accurate.

The opening Angel actually did not grab the ear as much as latter songs initially though it is a grower and with time becomes as essential as the other vibrant offerings. With a mild energy and warm life the song takes the senses on a scenic melodic stroll with the keys of Adam Fletcher and stirring rhythms of Huw Beynon eager guides.

Debut single I Won’t Let You Go comes next and is an absorbing blend of harmonies and string enchantment from Boyd, Russel Smith, and Simon Fitzpatrick. With a chorus as catching as any virus the song blissfully excites and dances within the ear. With added pleasures from the backing vocals and violin of Mared Evans to add extra romance and shine the song is openly infectious.

New single Orion’s Belt is the biggest jewel of the release, a majestic blaze of melodic ingenuity and harmonious craft. From its emotive opening and passion fuelled breath the song slowly expands into an exceptional piece of folk pop. Veined with a velvet caress and a dazzling jazz energy the track is immense and destined for mass favouritism. Again the vocals of Evans supporting Boyd are wonderful, their combination as key a factor as the melodies and stirring heart of the song.

Completed by the delightful Never Never Land and a radio edit of I Won’t Let You Go, the EP is pure pleasure and surely a stepping stone to major recognition for the band. With irresistible melodies, imaginative invention, and magical sirenesque sounds Autumn’s Flown is a must for all lovers of melodic pop with real heart.

RingMaster 31/05/2012

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