Folie – Sorrow

Some songs make a swift persuasion, others creep up on you for similar success, and there are those which seize attention with a virulence which almost takes the breath away. Sorrow, the new single from Folie, inescapably belongs to the latter. It is a slice of imposingly danceable pop embracing an array of styles and flavours yet belonging to none tagging wise which has the body bouncing and spirit bounding within the  touch of its first bubbly beat and melodic shimmer.

Florida hailing, Folie is a collective of dedicated producers, performers, songwriters, and musicians uniting their own “unique approach to their artistry”. Earlier this year, the band released a well-received debut EP in the shape of Gorgeous, a release just as Sorrow which is taken from it, weaving a tapestry of pop, indie, electronic, hip hop, dance and a host of other ear grabbing flavours.

The single instantly whets the appetite with its fleet footed bass pulsing and crispy percussion, keys and guitar soon adding their colourful strokes to the blossoming encounter. Vocals bring a Libertines meets punk spicing to the growing mix whilst the funky animation of the song offers a dance/alternative rock enterprise with a touch of the Tom Tom Club to its swing.

It is a captivating web of sound and styles which only seems to increase its hold as frantic energies increase and infest the imagination. The fade out is annoying but that is the only thing, just down to personal tastes, to offer up as a ‘temper’ to a lustful recommendation of a track ensuring a lively summer is far from over.

The Gorgeous EP is available now @

Pete RingMaster 12/09/2017

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The Winachi Tribe VS Sense Of Danger

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With feet and hips, not forgetting imagination, still sweaty from the rousing temptation of last year’s impressive single Time For Love, the increasingly addictive charm and invention of The Winachi Tribe has set out to work them up all over again with its successor Sense Of Danger. The band’s new single is a magnetic and almost imposingly infectious shuffle of pulsating electronics and skittish rhythms woven into a tapestry of evocative vocals and flirtatious melodies; a proposal which simply confirms The Winachi Tribe as one of Britain’s most mesmeric contagions.

Emerging last year out of Northern D.Funk collective China White, the Warrington/Leeds based band create a funk fuelled, soul bred, dance party which has quickly drawn references to the likes of George Clinton, Massive Attack, and The Happy Mondays, they amongst inspirations to the band which equally include Sly & The Family Stone, Primal Scream, Ian Brown, and The Rolling Stones. As Time For Love and its companion Plant The Seed eagerly showed as the band’s first single, even with those spices The Winachi Tribe only uncages unique proposals and infections of sound which gets right under the skin and into every corner of the body; a quality vocalist Liam Croker, guitarist Jamie McGregor, bassist Richie Rich, keyboardist Antony Egerton, drummer Sam Tushingham, and percussionist Inder Goldfinger have escalated for Sense Of Danger.

The song opens with the raspy but inviting tones of Croker, their echo warming the way for the pulsating rhythms and electronic radiance which swiftly link their hypnotic motion with the obeying reactions of the listener. Within a few breaths the track is in control of body and thoughts, its flirtatious movement and rhythmic dexterity colluding with the atmospheric and provocative textures of keys, guitar, and voice. At certain moments it is a Tom Tom Club meets Thompson Twins incitement and in other times leaning towards a darker The Happy Mondays/Talking Heads hue but all the time an irresistible lure impossible to resist.

Accompanying the track is I Sense Danger (Everybody’s Got Their Price – Remix); a more energetic and flirtatious take on the lead song replacing the it’s shadows with livelier shards of electronic tempting and energetic tenacity. Its predecessor was a magnetic saunter, a seductive crawl through ears whereas the second song blossoms into a boisterous canter with matching elegance and compelling revelry for similar responses.

Both tracks feed body and soul, and each suggest they are just the next step in the inevitable ascent of The Winachi Tribe into one of the UK’s most greedily devoured bands.

Sense Of Danger is out now digitally on iTunes with a Ltd Edition Hard Copy also available.

Pete RingMaster 04/02/2016

Copyright RingMaster: MyFreeCopyright

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Candy Says – Not Kings


Not Kings, the debut album from UK electro-tinged pop collective Candy Says, is a bit of a puzzler but a mesmeric mystery you cannot help being entranced by. Minimalistic and lo-fi whilst wrapped in flourishes of melodic charm and seductive harmonies, the release tantalises and enthrals from start to finish but you end up wondering why the attraction does not spark a fire in the passions as successfully as it does in the imagination. Usually both go hand in hand and certainly at times the band offer a fuse which is just irresistible but the ebbing and flowing of the album seems to escape a constant supply of that rich reaction. Nevertheless Not Kings is an absorbing flight of sound and adventure which increases its temptation with every venture.

Candy Says is the project of lead vocalist/guitarist Juju Sophie and keyboardist/vocalist Ben Walker, a duo from Oxford who sparked strong attention with a pair of sold out cassette singles via Cool For Cats last year. Recorded entirely in the garage of lead vocalist Juju Sophie’s bungalow, Not Kings confirms all the promise of and buzz around the band and even without setting a blaze inside, gives potent evidence of the real potential of the pair.

The title track gets things in motion with an initial coaxing of handclaps and restrained electro caressing. It is a welcoming start but one a4253926693_2which is pale until the sirenesque tones of Juju Sophie lay their warm glances and bewitching charm over ears and imagination respectively. Like a hint to the album as a whole, the song laps over ears like a gentle sea, its aural waves coming and going in strength and relish to offer a persistent suasion which captures thoughts with ease. There are no climactic moments or startling textures to the track just an on-going inviting glaze of synth and vocals aligned to magnetic surges of guitar. It makes for an intriguing proposition with plenty to spark an appetite for the release, a taste soon reinforced by the delightful Favourite Flavour. As the first its touch is reserved and tender without raising a temperature but like a summer breeze the song swarms around and engages the senses with perpetual ease and warmth. The backing tones of Walker add another texture to the golden voice of Juju Sophie whilst musically the song brings potent adventure to instantly lift the profile of the album.

The following C’est Pas Comme Ca is a provocative folk tinged slice of balladry pop with a sixties voice to its seductive temptation which continues the strong and varied start to the album. There is drama and evocative emotion to its absorbing sounds and harmonies whilst the vocals which already guarantee a seductive embrace to the album make no exception here or in the next up Lord’s Mistake. The fourth track is the first major peak of the release; its funk bred stroking of guitar immediate contagious bait which is enhanced by the vocals and the eager dance of the keys. Like a mix of The Mouth Of Ghosts, Tom Tom Club, and Propaganda, the song is a glorious vivacious stroll with more colour and richly exciting hues than the previous trio of songs put together.

Hummingbird graces ears and air next, its pungent beats and fluid keys a potent canvas for the vocals of the band members to contrast and unite in a poetic painting which smooches and flirts with the imagination. There is an additional celestial tone to the ambience of the song which adds to the vivid incitement of the imagination, as most of the tracks achieve, but like its predecessor the croon also works as potently on the passions.

Both the resourceful dance bred Dreamers and the similarly sculpted Melt Into The Sun provide a pleasing presence to immerse within but neither explore the emotions beyond mere satisfaction either even with their superbly crafted and intricate weaves of synths and harmonies whilst Chad straight after unveils a captivating atmosphere of melodic reflection over a rich evocative palette but again that earlier mentioned spark which certainly is burning feverishly in the likes of Favourite Flavour and Lord’s Mistake merely smoulders.

The simultaneously melancholic and vivacious Dead On Arrival brings the release back to an irresistible peak; its sultry climate and emotional elegance an invigorating infection upon the woven scenery of flowing keys and vociferous and alternately mellow vocals, Juju Sophie once more revealing the quality and depth of her voice.

A wonderfully dark and seductive tempting wraps the following Understand The Night, its noir kissed Parisian shadows under street lamp spotlights another enthralling premise to bask in and investigate. It is impossible to resist, leaving a lingering call from the album which the inviting but underwhelming Cool Sensation cannot match. To be fair the song shimmers and lures like a summer soaked lake, its surface a refreshing glow but its depths lack the potency to take the listener into deeper waters of pleasure, an issue the closing Camilla has no problem with. The best track on the album with ease, it makes a gentle offering initially though the vocals have a greater power and passion to them than previously found on the album. It is a striking and lip licking entrance which only deepens its potency with the restrained but wholly infectious almost anthemic stroll of the chorus. The track goes from strength to strength the more it courts ears and thoughts, harmonies and keys alone smouldering kindling to the respectfully flaming heart and expression of the outstanding encounter.

If the album was full of songs like the last it would be a certain classic, but it has enough to make itself a tremendously appealing treat which sounds better the more you venture within it. As we said at the start, the passions might not be set ablaze by Candy Says but the imagination is happily fired up which can only lead to a solid recommendation for Not Kings.

Not Kings is available now digitally, on cd, and on vinyl @


RingMaster 09/05/2014

Copyright RingMaster: MyFreeCopyright

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Marla Mase – Half-Life

Marla Mase by Blair Bauer

Marla Mase by Blair Bauer

     Hailing from New York City, Marla Mase is a writer and performer, producer and singer songwriter who has earned a feisty and impressive reputation for her compelling songs and expressive lyrics amongst many things. Following two acclaimed and eagerly received albums, the artist unveils her new eight track adventure Half-life. Diverse and an emotive look inwardly and outwardly at life’s struggles, emotions, and obstacles, the album is a fascinating insight into the world of its creator, a release which takes a serious investigation to its themes whilst having and providing its most magnetic quality, fun.

     Mase as mentioned drew strong praise and attention with her previous releases, A Brief Night Out which was a rock opera/theatrical play performed in theatres and Speak, an encounter eclectic and adventurous in sound and imagination. The album also spawned Anna-Rexia (and a dub mix version by Bill Laswell), the song now spearheading the STAY ImPerfect Forever Project. Following the successful Speak Tour, ‘a multi-media theatrical event exploring the themes of body image exploitation, involuntary confinement, the silenced and the silent combining spoken word, video imagery, music, and theatrical spectacle to celebrate the raw reality of the human condition’, Half-Life reinforces and expands the emerging world presence of Mase with more of the incisive and unique invention already persuading her homeland.

    The release opens with the brilliant Drown in Blue, a bluesy punk stomp with fire breathing guitars and self-challenging Mm_HalfLIfeJacketprovocative vocals. Ripe with hooks and a swagger from the first second, the track glares at the senses with a raw and confrontational incitement of sound and attitude, the voice of Mase slightly Debbie Harry like and the song something which would not have been out of place on the first Blondie album. Self-critical and revelatory with an edge to its honesty which equally coaxes thoughts of bands like L7 and Au Pairs, the track is a full and irresistible captivation.

   The impressive start is followed by the mesmeric title track, a hypnotic rhythmically framed lure with a celestial ambience and seductive pop rock elegance. The song gently strolls across the senses through to thoughts, the drums of Mike Faulkner providing the guide rail to prevent being lost with the skyward spiralling melodies amidst blazes of jazz bred sax from Mark Henry. After the provocative lively dance of the opener, the song is a warm breeze to drift along upon, a glide embracing the shadows and noir kissed caresses which line its journey and the excellent enthralling tones of Mase.

    Things That Scare Me (the 2014 Club Version) comes next bringing another twist in the release’s presence, the song a funk blessed tango which bounces and seduces with almost toxic charm and persuasion. Soon springing thoughts of The Tom Tom Club as it roams around the ears, Mase lists obstacles and ills which challenge her stride through life whilst the sounds darken and lighten with a pulsating and riveting mischief around her. The song provides another fully loaded contagion within the release, its presence offering a rampant exploit for any dancefloor or intimate dance of self-reflection within four staring walls with equal success.

    Next up The Heart Beats walks through a sultry ambience with a full yet simmering heat of passion and spoken incitement of thoughts, an almost meditative rhythmic holding of attention working with the prowess and strength of Mase’s words. Featuring Bill Laswell on bass, it is a provocative stroke again bringing a distinct and original twist in the course of the album, as does the melodic rock canter of Gaping Hole with its merger of blues and R&B, and not for the first or last time excellent backing vocals to support the unfussy delivery of Mase. Though neither song matches earlier and latter heights both seduce and provide a lingering suasion to find a greedy hunger for.

     After a blues soaked acoustically shaped reprise of the opening song, Bitch in Heat steps up to unveil another funk prone romp of blues and rock attitude. Including Charlie Funk on backing vocals and a great flame of harmonica from David Barnes, the track infects the imagination and passions with a confidence and exciting escapade of musical skill and eye to eye honesty, all wrapped in a slightly caustic and highly pleasing surface glaze.

    The True Groove production released album is completed by Hold Fast Your Dreams, a piano and vocal led enchantment written by Louise Driscoll, Roberta Mase, and Mase herself, the song taking inspiration from a poem by Driscoll of the same name. Also featuring Tomás Doncker, James Dellatacoma, Manu Koch, Josh David, Kevin Jenkins and more to help bring the release to life, Half-Life is an exciting companion providing constant unpredictability and creative adventure to ears and thoughts. Marla Mase is still a bit of a secret outside of the US to a great many but not for much longer you feel with treats like Half-Life.


RingMaster 27/02/2014

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Burning House – Walking Into A Burning House


Photo by Tim Deussen

Photo by Tim Deussen

Burning House is the coming together of beat-maker and one of the founding members of Bay Area Hip-hop collective Quannum Projects (Blackalicious, DJ Shadow, Latyrx), Chief Xcel and keyboardist/vocalist Hervé Salters (aka General Elektriks). It is a project that has been on the cards awaiting the time to be born since the pair met in San Francisco a few years ago where they realised a shared passion for funk infested things and irreverence when it comes to music. The union now offers an encounter in debut album Walking Into A Burning House, which takes the listener on a heady dance and ride through numerous exotic, exciting, and almost psychotic adventures.

The pair since their meeting has played on certain songs and releases of each other, whilst the French wizard of the keys Salters joined Blackalicious on their 2005 tour for The Craft album. Uniting again in Paris, the duo set about working on composing and creating music for the album, coming together a few months later in Berlin to finish the release and then later joining up in San Francisco again for its mixing. A fusion of dance, jazz, funk, pop, and plenty of more melodically enthused and varied temptations.

Released via French imprint Naïve Records, the album is an intriguing and riveting release if with niggling issues at times which rub BurningHouseagainst the grain slightly of the pleasure installed by the fourteen slices of warm and refreshing encounters. The main moan is that many of the tracks do not have an apparent ending, the tracks either drifting from view whilst seemingly in full flow or even worse at times they as good as just stop without warning or build up. Despite that irritant once in the arms of each enchantment it has to be said that persuasion is full and virulently infectious as shown by opener 28 Steps To…, the riveting track a stroll through a sinister noir clad scenario with floating glances of light within welcoming shadows. It is only brief but the perfect intro to a cinematic or TV fifties sci-fi/crime thriller, and to the album.

It is followed by the recently released single Turn Off The Robot, a track which did not exactly light our fires when making its debut but one easy to warm to; though under its balmy funk bred skies the urge to shout “Shaft” here and there is hard to resist. With appealing electro kisses to the flowing breeze of summery yet chilled jazzy sounds it is a more than decent stroll soon left in the shade of the likes of Post Party Stress Disorder and Tokyo Airport. The first of the pair immediately has a presence and vibrancy which reminds of Heaven 17, vocals and electro flames seducing the ear with harmonic finery whilst further tempting from the keys and the anthemic beats lure in thoughts of the Tom Tom Club. From its sizzling and drifting away climax the song passes the album over to its successor which instantly wraps excellent vocals and elegant mystique around thoughts to stir up another eager waltz of fiery melodies and feet hustling beats. With a definite sixties gait and seventies disco heart, the track is a welcome tease though with one of those messy endings.

Through tracks like The Nightbird and the bustling jam of Emergency Exit imagination is toyed with within the artists and the listener, even if the tracks fail to whip up the excitement of earlier songs. The good reactions they do breed though are soon lit up for greater results through songs like the sultry and mesmeric Copy That with its workman efficiency and eager seductive flourishes within a vibrant productive dance. It is matched in contagion by the agitated hive of hypnotic beats and bewitching pulses wrapped in jazz spawned eccentricity that is Scatterbrain and the absorbing Whispers In Your Headphones. The last of the trio is a song which merges shadows and light into an outstanding blaze of invention which is as equally menacing and sinister as it is poetically animated and lingeringly beautiful, coming with a loud whisper of Yello to its flourishes for extra tantalising.

Closing with the kinetically crafted romp Rhythm In The Machine and the electro rock based Boomerang, two more tracks which reinforce a heavy hunger for release and project which are brewed across the whole album and much against expectations to be honest going by personal preferences going into the encounter. Walking Into A Burning House is basically a scintillating collection of mini soundscapes and dance-floor provocateurs which leaves a long lasting and richly satisfying experience; just wish they had taken as much care on the ends of tracks as they did everywhere else, though maybe that was the intention all along to rile things up.


RingMaster 15/09/2013

Copyright RingMaster: MyFreeCopyright

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The Ready Stance: Damndest

Raw and honest the debut album from US folk based rock band The Ready Stance is a surprising and very enjoyable release. Not an area of music that inspires much true enthusiasm here the expectations were not high though openly willing to be convinced by Damndest and it certainly does a great job of persuasion. The album is a vibrant and pleasing release which comes from the floors and rooms of everyday life, offering a dusty reality and eagerness from the heart of lives like ours. It is a collection of eclectic tales inspired from the lives of stranger than fiction moments and the factual reality of the world we live and walk. Mostly though it is eleven songs which makes spending time with Damndest a pleasure.

The seeds of The Ready Stance began with guitarist/songwriter Wes Pence who was the creative force behind nineties band Middlemarch. He met up with singer/guitarist Chase Johnson in a story all bands should have in their locker. In his own words “I was walking home one night and happened to glance in the open window of a house on my block. Inside were a couple guitars and fliers for shows by the Replacements and other bands I loved—really out of place for the neighborhood. Then this guy walked out on the porch…” This was the beginning of The Ready Stance with the duo being joined by drummer Eric Moreton (also previously in Middlemarch) and music veteran Randy Cheek (The Libertines U.S, Ass Ponys) on bass (replacing Paolo Conti who plays on the album). Even before offering live show to the world the band recorded Damndest with advanced tracks getting strong approval from the likes of Stan Demeski of The Feelies, Talking Heads and Tom Tom Club maestro Chris Frantz, and Chuck Cleaver (Ass Ponys, Wussy). Listening to the album it is no surprise, its Americana lined mix of open inventive guitars, driven rhythms, and full striking melodies an immediate friend to the ear.

The album starts with a great gnarly bass opening to Rancho Cristo, the grumbling beckoning irresistible and the lead into the eager guitar melodies that explode within the ear. The song is an instantly captivating piece of enthused rock with a raw edge, a pleasurable rumble within the ear and a great start to light up eagerness for more of the same. The following Wrecking Ball and Long Arm continue the effective sounds even if with a slightly less infectious lure than the opener but they are equal in songwriting prowess and pleasing fuel for the senses.

It is from Disgruntled that things take another distinct rise as the album moves into its heart. The song swaggers with a sure touch and incisive blend of rusty melodies and discordance rifled guitars to offer a great and striking impactful consumption. As mentioned this marks an elevation to the already strong level but it is with a consecutive trio of songs that the album hits home the deepest.

The garage rock flavoured Very Necessary strikes first to tease and rough up the senses to great satisfaction. Slightly punk, just a little Who spiced, and all boisterous melodies and jangly impetuous guitar pleasure the song pulls one further into the warm infectiousness of the album. The following Marathon with its Bowie like opening continues the irresistible teasing guitar flourishes. Inspired by the local legend of a confused fistfight between a speech-impaired gas station attendant and a customer with a similar affliction it is a lyrical urban legend with the most compulsive soundtrack and further evidence of the humour and catchy feel of the release. The third song is Real America and arguably the best song on the album. With a Squeeze/Tom Petty lilt coated in a layer of Talking Heads the song lights up thoughts and ear alike, a pop rock song with insatiable hooks and a finely crafted body.

Completed by just as enjoyable songs in the shape of Steamship Moselle a song about an 1838 maritime explosion which saw an ill-fated minister catapulted to the riverbank clutching a still dry bible, and the enchanting closer Glow, to name two, Damndest is an album that leaves one fully satisfied and eager to dive right back into its fulfilling depths. With the release The Ready Stance gives ample reason and evidence to why they have been acclaimed by so many and is sure to garner even greater and just as eager praise from it as it finds many more willing ears.

RingMaster 14/05/2012 Registered & Protected

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