The Masonics – Obermann Rides Again

masonics_RingMasterReview

Giving an instinctive passion for rock ‘n’ roll as big a work out as hips and feet, UK rockers The Masonics recently uncaged their ninth album, Obermann Rides Again, offering fourteen slices of their feverishly distinctive and tenaciously addictive sound. The trio rock and rumble through their new proposal with more of the beat infected garage punk which has seen them become the leaders of the Medway Beat first instigated by Billy Childish. In saying that, it equally breathes and roars with freshness again bringing something new and inspiring to ears and the scene around them, and most of all raw zeal and excitement to the listener.

The band consists of vocalist/guitarist Mickey Hampshire who was in the Milkshakes in the early 80s with drummer Bruce Brand who had played alongside Childish a few years earlier in the Pop Rivets and bassist John Gibbs once of Scottish group, The Kaisers. As The Masonics, the threesome have persistently cemented their position as one of the heads of British garage rock/punk with a sound becoming one of the essential inspirations of the ever eager charge of the genre’s young pups.

Released by Dirty Water Records as a limited 500 copies editions ahead of a series of limited vinyl and download releases from The Masonics’ back catalogue, starting with Outside Looking In and a new singles compilation, Obermann Rides Again swiftly reveals why the stature of the band remains stately. It all starts with I Ain’t Hurting For You and a guitar twang which provides the spark for a strolling jangle and rhythmic incitement forcibly engaging ears. The magnetic vocals of Hampshire are soon adding their lure; the boisterous sounds around him echoing his honest unfussy delivery. Within a handful of seconds feet are physically involved, appetite and those instincts just as eagerly hooked before the excellent opener hands its pliable slave over to the even more energetically captivating and persuasive Don’t Torment Me. With a Bo Diddley like stomp at its heart, the track twists and turns in its relentlessly vigorous shuffle with rhythmic rowdiness and sonic vivacity its virulent fuel. Rock ‘n’ roll was never meant to be flamboyant or polished to clean-cut limpness and this superb roisterer and its dirty ways proves why.

art_RingMasterReviewYour Dangerous Mind has a less undisciplined bounce, its saunter more flirtation than aggression and just as irresistible as Hampshire with grainy texture croons, backed by his cohorts within tangy grooves and hip inciting rhythms. The r&b essences of the song are just as ripe as its brisk punk serenade, chaining a body and imagination which is soon firmly hooked again by the sultry rumba of I Don’t Understand Her Any More. As with most tracks, a collusion of decades is at masterful play, sixties garage pop and seventies surf rock hues potent spices as too the fuzzy buzz of organ in the gentle but keen canter of a song.

Rhythm ‘n’ blues dexterity becomes even wilder in next up You Don’t Have To Travel; the beat swinging, hook casting romp has a flush of King Salami and the Cumberland 3 to it,  a more mild-mannered but no less devilish cousin enjoying juicy melodies and the temptress vocal charms of Ludella Black alongside Hampshire. It also pushes the already keen diversity of sound within the album on again, as even more so does I’m The Unforgiver. The track is glorious, a dark rock ‘n’ roll saunter with Cajun spicing evocatively colouring attitude loaded vocals, the fiery shimmer of harmonica, and heavily loping rhythms. It infests ears and psyche like the mutant offspring from a dirty union between Th’ Legendary Shack Shakers and Ray Campi; quite simply it is garage punk to get truly lustful over.

The following and equally outstanding You’re A Stranger leaves body exhausted, senses punch drunk, and spirit ablaze next with its contagion loaded punk rock carrying a touch of The Mobbs to its rowdy exuberance while You Won’t See Me Again finds a predacious edge to its swinging, deviously catchy garage rock bred swagger.

Throughout the whole album, there is no escaping the physical manipulation of Brand’s nefarious beats or Gibbs infernal rhythms whilst Hampshire’s wiry melodies and jangling melodic hooks are trespasses more often than not breeding slavery. All are at bold play in the beat punctuated blues flamed I’m A Redacted Man and straight after in the smouldering fifties rock ‘n’ roll/sixties pop spun What Do You Do. A procrastinating stroll and anthem for lost love and its enslaving grief, the second’s raw seduction roars with soiled Walker Brothers like charm and salty melodic spicing reminding a little of The Birds.

Come On My Little Darlin’ bounces around like a dancehall ruffian after them, sonically tempting and rhythmically taunting as a mouth harp again seduces before You Gotta Tell Me shows its blues breeding with intoxicating hooks and intoxicated keys for a salacious slab of imposing but controlled rock ‘n roll. Both tracks continue the album’s appetite igniting prowess though both are quickly eclipsed by its closing pair.

The swinging country rock a-scented beat ‘n’ roll of The Unsignposted Road is sheer infectiousness with Black back courting ears alongside the band as one passion stoking hook persists and old school melodies flame. It is delicious to the ear but too is slightly shaded by the brilliance of the album’s title track bringing devilment to its exceptional close. Punk ‘n’ roll calling on the goodness of past decades, it stomps around and grips body and soul like The Pirates, both the Johnny Kidd and seventies eras, meeting Thee Headcoats as the likes of The Blue Cats spur them on; a glorious end to an equally stirring and enjoyable album.

As suggested earlier, The Masonics are the head boys of UK garage goodness and Obermann Rides Again is evidence they are in no mood to hand over that position.

Obermann Rides Again is out now on vinyl on the band’s own Grand Wazeau Records and digitally through Dirty Water Records and available @ https://themasonics.bandcamp.com/album/obermann-rides-again

https://www.facebook.com/themasonics/

Pete RingMaster 05/03/2017

Copyright RingMaster: MyFreeCopyright

Paradigm – Realize EP

Paradigm Promo Shot _RingMasterReview

Offering four tracks which either hit the ground running with ears and imagination or simply blossom into just as potent propositions over subsequent listens, it is fair to say that the Realize EP is one attention commanding debut. The first EP from London trio Paradigm, it is a striking introduction to a UK rock band already stirring up strong words of acclaim.

With its initial seeds sown when vocalist/guitarist Alex Blake met drummer Angel D at school where they exchanged a Nirvana album and instantly became best friends, Paradigm truly stepped forward with a line-up completed by bassist/pianist Giulio Granchelli. Honing their sound whilst earning swift and potent reputation for their live presence, the band eventually hit the studio where producers John Cornfield (Muse, Oasis, Robert Plant, New Model Army, Supergrass) and Paul Corkett (The Cure, Bjork, Placebo, Nick Cave), after recording the EP with the band, announced that “This is one of the most fresh and exciting modern rock bands we‘ve produced!”

Realize opens with the instantly impressing Desire, a track which has the listener’s physical and emotional involvement on broad with little time or effort. Riffs and rhythms create a united coaxing further enhanced by spicy grooves and the quickly compelling and throaty bassline cast by Granchelli. As melodies add sultry temptation, the dark tones of Blake steal their big portion of attention, his presence already being described as Nick Cave-esque, and understandably so listening to the opener.  It is an enthralling persuasion catching further alight with its rousing chorus and volatile emotive energy. Every twist brings a new spice to enjoy, keys pulsating with an enterprise as resourceful and magnetic as the drama fuelled hooks and collusion of vocals cast across the band.

Paradigm Cover Artwork _RingMasterReviewThe stunning start is closely matched by Your Darker Side. It is a less intensive affair but just as rich in melodic tempting and creative imagination. Many bands have been offered up as an attempt to describe Paradigm’s individual sound; Muse, 30 Seconds to Mars, U2 among them but we suspect everyone will find out their own unique comparisons, as here the song reminds these ears of The Fatima Mansions and Teardrop Explodes as much as anyone else, a Julian Cope air also seemingly lacing Blake’s again impressing tones and delivery. The thrilling and highly infectious song itself proceeds to build crescendos of energy and intensity, each erupting seamlessly into anthemic roars and gentler hugs of expressive sound.

To reveal another shade to their songwriting and sound, the sombre yet fiery Strangers has a Walker Brothers air to it at times, going on to unveil a grungier presence leading up to and for its tempestuous chorus. Pete Wylie also comes to mind across the song, but as suggested each will hear their own references such the thickness and depth of the Paradigm sound and invention. Fusing various strains of rock, past and present, the song fascinates as much as its catchy qualities seduce, and though it does not leap on the passion as swiftly as its predecessors, Strangers has them just as greedily hooked in time

The same with closing track The Miracle. Its theatre of sound and emotion sees the poetic hues of a piano aligning with almost orchestral like drama, an imaginative blend needing longer to explore and get into but emerging as another easy to embrace proposal if admittedly not quite to the same strength as the previous three on personal tastes. Nevertheless the band only impresses individually and as a single thick flirtation of the senses.

Paradigm have announced their presence in big, bold, and at times breath-taking style with Realize so expect to hear much more from and of this potential bulging band.

The Realize EP is released April 8th through Sumind Records across all stores.

http://www.paradigmofficial.com/    https://www.facebook.com/Paradigmcomprock    https://twitter.com/paradigmrealize

Pete RingMaster 06/04/2016

Copyright RingMaster: MyFreeCopyright

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Space – Strange World

Space_RingMaster Review

Having a more flirtatious attitude towards UK rockers Space and their releases over the years rather than giving a purposeful focus to each endeavour, certainly since the excellent Tin Planet gripped attention, there is now the suspicion we may have been missing out. That suggestion comes through new single Strange World, the first song we have taken a proper look at since the band returned to life in 2011. It is a tantalising weave of styles and flavours casting a creative seduction that is as dark as it is nostalgic as it is irresistible.

cover_RingMaster Review     Formed in 1993, Space released a trio of albums in the generally acclaimed shapes of Spiders, Tin Planet, and Suburban Rock ‘n’ Roll, as well as the unreleased Love You More than Football which was recorded four years before the 2004 unveiling of the latter of that trio. These, with a host of singles, marked the band’s twelve year presence before the band split in 2005. The funeral of former drummer Andy Parle in 2009 brought the remaining original members of Space back together, the breaking of the ice between them that planted the seeds for a return of the band which officially came about two years later. Enlisting bassist/double bassist Phil Hartley, keyboardist Ryan Clarke, and drummer Allan Jones to the line-up of vocalist guitarist Tommy Scott, keyboardist Franny Griffiths, and guitarist Jamie Murphy, Space made their live return with a reunion gig at the O2 Academy Liverpool in December 2011. Despite the subsequent departure of Murphy, the band created and released the well-received album Attack of the Mutant 50ft Kebab in 2014. Now down to a quartet with Clarke leaving last year, Space gives a flavoursome teaser to an impending new album slated for early next year with Strange World, a song ready to treat ears and imagination.

That it does instantly as provocative percussion leads just as endearing harmonies and tempting guitar to ears. Immediately there is a sixties air to the song aligned to a mariachi/dark rock ‘n roll climate, like the Walker Brothers slipping into Tarantino country. The distinctive voice of Scott is soon walking through the evocative scenery, his tones having lost none of their prowess and expression over time and comfortably courting the brewing orchestral embrace and elegance of guitar and bass strings matched by the keys as brass bring their own the sultry flames.

Noir lit but as intense as a desert sun, Strange World is an absorbing adventure as intimate as it is cinematically suggestive and seriously compelling. The same applies, if a slightly lesser extent, to the accompanying alternative version of Female of The Species which first ignited ears back in 1996 as a single and part of Spiders. Also taken back to the dramatic era of sixties rock/pop, with an appropriate rawness towing along a sci-fi revelry of that time, the song is the return of an old friend with a nostalgic make-over that is quite easy to get lusty over.

For us Strange World is a treat which is also a kick up the backside to any assumptions that a band that has been around a fair old time and returned after significant time away will have also left their glory days behind them. Band Of Holy Joy recently showed the error in that thinking with their recent new album and now Space with their single, and we anticipate on the excellence of Strange World will be again with their forthcoming next album, are doing the same.

Strange World is released via Mulu Records on October 19th.

Forthcoming dates for the Strange World tour:

Wed 21 /October             SWINDON           VIC

Thu 22 /October               ST ALBANS          THE HORN

Fri 23 /October SOUTHEND         CHINNERYS

Sat 24 /October                NORTHAMPTON              PICTUREDROME

Sat 31 /October                RUNCORN           BRINDLEY

Fri 6 /November               MINEHEAD         SHIIINE

Sat 7 /November             CLEETHORPES    BEACHCOMBER

Sun 8 /November            DONCASTER       DIAMOND

Thu 12 /November          LEEDS    LIBRARY

Fri 13 /November            CUMBRIA            MONROE BAR

Sat 14 /November           STOCKTON          GEORGIAN

Fri 20 /November            WIGAN                 OLD COURTS

Sat 21 /November           CREWE THE BOX

Sun 22 /November          MANCHESTER    FAC 251

Tue 24 /November          SWANSEA           SIN CITY

Wed 25 /November        CARDIFF               THE GLOBE

Thu 26 /November          READING             BOWERY

Fri 27 /November            BRISTOL               FLEECE

Sat 28 /November           COVENTRY          KASBAH

Mon 30 /November        SUNDERLAND    THE POINT

Tue 1 /December             EDINBURGH       ELECTRIC CIRCUS

Wed 2 /December           ABERDEEN          TUNNELS

Thu 3 /December             GLASGOW          CLASSIC GRAND

Fri 4 /December               LIVERPOOL         EPSTEIN

Sat 5 /December              LONDON              BRIXTON JAMM

Thu 10 /December          TUNBRIDGE WELLS          FORUM

Fri 11 /December             WOLVERHAMPTON        SLADE ROOMS

Sat 12 /December            LINCOLN              PLATFORM

Fri 18 /December             GLOUCESTER     GUILDHALL

Sat 19 /December            NORWICH           UEA

https://www.facebook.com/spacetheband   http://spacetheband.co.uk/

Pete RingMaster 19/10/2015

Copyright RingMaster: MyFreeCopyright

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Sleep of Monsters – Produces Reason

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pic: Niklas Kapanen / Nakkertton Photography

With dark beauty and compelling drama oozing from every note and syllable, Produces Reason is one of those creative emprises which almost deviously seduce ears and imagination. It is a proposition stocked to the rim with rapturous melodies and harmonies but of often within a frame of predatory rhythms and voracious intensity which intimidate as they entrance. Released by Finnish metallers Sleep of Monsters, the album is gothic rock in its most accessible and fiercely inventive incitement. Already available and greedily devoured in the band’s homeland, the album recently had its worldwide release through Svart Records and it is fair to say that already passions are submitting and appetites becoming greedy for album and its creators.

To be honest it is no surprise, Produces Reason is a riveting collection of individual dark dances united in the creative theatre cast by the Helsinki band. Equally there is maybe no shock due to Sleep of Monsters being the brainchild of ex- Babylon Whores vocalist Ike Vil. Other than his startlingly distinctive tones there is no real similarity between the two bands though, the former a raw and voracious death rock confrontation and Sleep Of Monsters a blazing seduction of melodic grandeur and tenacious gothic temptation, but experience and adventure never loses its potency. Alongside Vil, the band sees the equally skilled invention of guitarists Sami Hassinen (formerly of Blake) and Uula Korhonen, bassist Mäihä, drummer Pätkä Rantala (who played on HIM’s acclaimed debut album), and Janne Immonen on keys. It is a creative powerhouse but to that there are also The Furies, a trio of vocal sirens going under the names Hanna Wendelin, Nelli Saarikoski, and Tarja Leskinen, who soar across and spice songs with a part angelic part devilish seduction. As evidenced by the Pekka Laine (LAB, 45 Degree Woman) produced album, it is a combination blurring lines between the darkest romances and the brightest emotional consumptions in enthralling songs which have little problem igniting the imagination.

Produces Reason begins with the brief ethereal harmonic lure of Holy Holy Holy, thirty five seconds where The Furies seduce ears and thoughts into the arms of the album and the following Nihil Nihil Nihil. A mesmeric guitar sculpted melody opens up the song before the bulging sinews of rhythms and imposing riffs join its coaxing. As ears swiftly come to realise, every moment is just that in a passage of a song, a breath in a continual evolution which here sees a mellow yet fiery stroll with infectious arms surrounding the impressing tones of Vil. At its darkest twists and especially the chorus, Sisters Of Mercy come to mind and in its most charming mellower moments the song is simply fresh and spicy ingenuity. With pungent beats and the haunting harmonies of the ladies as potent as the fiery guitar endeavour and lead vocals, the track is an immense start to the release swiftly matched by Abomination Street.10689922_618393148275006_5434782575254450074_n

The third track is another unafraid to show its sinews but also explores a flavoursome eighties synth pop adventure, keys and vocals combining at numerous points to brings thoughts of Blancmange to mind. The accompanying press release describes the album as bulging with “radio-friendly” songs and as much as that term annoys, it is easy to see where they are coming from with this and its predecessor alone. Every moment is an anthemic and ridiculously catchy proposal yet not to the detriment of venomous shadows, dark places and thoughts explored as swiftly shown again by Murder She Wrote. There is a Victoriana air of danger and dankness to the opening bass resonance, the suggestiveness soon joined by the expressive tones and narrative of Vil within the emotional embrace of darkly dramatic keys. As the song expands and grows so does the tension and sinister theatre of the track, as well as noir lit adventure in the imagination. It is a glorious proposal, guitars adding mesmeric flames whilst vocals croon with depth and elegance.

The tense atmosphere of Christsonday comes next, its classic metal colouring a rich flame within the gothic breath of the song. Again, and it is fair to say it pleasingly toys with most songs, there is an eighties tinge to essences within the imposing and descriptive ambience of the track. It provides a canvas for thoughts to colour and an aural painting for ears to immerse in, before making way for the sweltering heat of Our Savage God. Striding resourcefully within a sultry climate with contagious enterprise, the track is irresistibly sensational. Think Chris Isaak and Helldorado meets Pete Wylie and equipped with one of the most ridiculously catchy and inescapable choruses possible, the track puts its head above the rest of the peaks filling the album.

Horses Of The Sun grips body and mind next, its opening tribal coaxing as shamanic as it is satanic, The Furies’ enticing aligned to an intimidating rhythmic baiting as menacing as it is hypnotic. The song evolves from here into an intensive impassioned croon with vocals and keys a prominent seduction, the track like a merger of Walker Brothers and Poets of the Fall as it unveils another beauteous aspect to the landscape of the album.

The engrossing adventure and drama of Through A Mirror Darkly is next, the song infusing Eastern mystique in a fiery melodic flight with has a loud whisper of The Mission to it. Its triumph is followed by the fascinating melodic and vocal evocation of Cobwebs Of Your Mind, another song also recalling elements of Wayne Hussey and co. It should be stated though that for all the references offered every song emerges as something unique to Sleep of Monsters, just they come with excitingly familiar whispers.

The album closes with the magnetic smouldering of Magick Without Tears, a track which ebbs and flows like waves lapping the senses, every strong wash of sound and emotions bringing thick resonance and virulent drama. Produces Reason does have an additional bonus track not on its Finnish release, the song being I Am The Night Color Me Black which continues keeping the appetite contented though it has yet to convince as successfully as the other songs on the album.

Babylon Whores was an underrated and for many an undiscovered confrontation but it is hard to imagine Sleep Of Monsters slipping under the broadest radar, especially after releasing easily one of the year’s best debuts in the transfixing shape of Produces Reason.

Produces Reason is available now via Svart Records @ http://svartrecords.com/shoppe/home/2735-sleep-of-monsters-produces-reason-cd.html

www.sleepofmonsters.com

RingMaster 05/12/2014

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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Venus de Vilo – Handle With Scare Pt 1

Venus de Vilo

Horror’s temptress of the night returns with the first part of her debut album Handle With Scare, and from the six tracks it is fair to say that Venus de Vilo has lost none of her seductive revelry and demonic enticements, in fact only increased their potency along with her musical toxicity. With macabre bred passion and tales aligned to an equally dark acoustic temptation, the first teasing of the album has just bout turned an already eager soft spot for her sounds into a stalker-esque compulsion.

Venus first drew blood and attention with the siren call of her previous Edgar Allan Ho EP, a collection of songs which lingered far beyond their intent to become a fixture on the playlist of fans and underground attention, including our own podcast. The Dublin born songstress of the dead has turned the graveyard into her canvas for sonic bloodlust and sinisterly melodic adventure since 2011, proceeding to find a growing legion of fans through her performances across the city’s rock/metal bars, Burlesque and Cabaret nights, and open mic nights. Her presence has subsequently seeped further afield which the Edgar Allan Ho EP only concentrated with its devilish charm and sounds.

Pleasingly Venus has not taken a detour from her individual sound and songwriting which so potently lit up her last release, instead honing it into an even more precise and sirenesque proposition as evidenced by the new songs, starting with I’ve Got 99 Zombies And A Witch Ain’t One. Venus immediately cups ear in her potent voice to open up the song, a Wanda Jackson like depth and potency an immediate hook to which her guitar stabs lend extra drama. Though just voice and guitar, the track is instantly anthemic, swiftly lighting the imagination and sparking cinematic ventures as lady and music unveil the heart of the narrative. Twists in the vocal delivery and guitar stroll beneath haunting harmonies only add to the great melodrama caressing thoughts and emotions, an invitation which feet and voice are unable to resist.

The following Absinthe Makes The Heart Grow Fonder is just as enthralling and compelling, harmonies a delicious croon around the infectious Imelda May like bait of the song primed by Venus and her stringed enticement. Once again a full engagement with the listener is an inevitable rapid success, imagination given further inducement to explore personal shadows and gothic climates. As this and other songs lay ravenously on the psyche, there is a feel of a new confidence and precise intent working away in the heart of the tracks subsequently providing a richer clarity and persuasive tenacity than found in the previous release.

Both Bubbleglum! and Dead! Dead! Dead! keep mortuaries and ears basking in dark vaudeville temptation, the first an incessantly striding tango of stabbing riffs and ghostly harmonies around bewitching vocal predation whilst its successor decides to stalk thoughts before similarly swiping at the senses with feisty chords and Lilith incarnate vocals. Both tracks dance with wicked intent and salacious suasion, enslaving the imagination with vocal hooks within a simple but virulent stroking of guitar.

The Dead Don’t Dance slips into something even more darkly comfortable, a psychobilly whisper flirting with the theatrical colour of the menacing as harmonies shape a thick fog of expression. It is a song which takes a little longer to wrap its shadow spawned tendrils around the passions but eventually does so with unbridled success to emerge as one of the most inventive and dramatically powerful track of the sextet.

Final song Personal Satan swings with sixties embrace in its addictive tempting, essences of Shangri-Las and in some ways the Walker Brothers permeating the mouthwatering graveside balladry. It is a riveting end to a thrilling introduction to Handle With Scare.

With the album’s second half looking to be unveiled later this year anticipation for its full uncaging has gone up in impatience and excitement thanks to this teasing, and if the likes of Horrorpops, The Revillos, Imelda May, and fifties female rock ‘n’ roll instigators is a very palatable attraction for you then Venus de Vilo is a venomous treat just waiting to inflame and devour your lives.

Check out Handle With Scare Pt 1 @https://soundcloud.com/venus-devilo/sets/handle-with-scare

https://www.facebook.com/VenusDeViloSongsFromTheStalkersPointOfView

9/10

RingMaster 18/06/2014

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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Silhouettes – Ever Moving Happiness Machines

   Silhouettes pic

    Silhouettes last single Gold Tag offered a sizeable hint and thrilling teaser for the UK indie/electro band’s debut album, a taster which itself has continued to grow and impress since our coverage of its charms. Now that Ever Moving Happiness Machines has arrived all anticipations and expectations of the release have been fed and fully satisfied. The ten track encounter is an intriguing and inspiring slice of creative diversity and poetic imagination, a proposition which ignites the senses and thoughts in a richly varied and at times challenging way for an enthralling incitement which never leaves a moment devoid of emotive provocation or absent from riveting drama.

Hailing from Wolverhampton and formed in 2008, Silhouettes has earned themselves a sizeable reputation for their sound and live performances, a presence more than complemented by a couple of EPs. It was Gold Tag though which has arguably been the spark to a greater spotlight, its more electronic seeded presence a fascinating and tantalising evolution in the band’s sound. Created by Nathan Till (vocals, guitars), Jay Cuthill (guitars, keyboards, drums), and Ben Blewitt (keyboards), Ever Moving Happiness Machines has the potential and certainly the invention to push the band to the next level, and with a line-up completed by Xander Roberts (bass, vocals) and Ben Dargue (drums) live, Silhouettes is poised to take intensely emotive electronic music by storm.

Ever Moving Happiness Machines does not come without the occasional less impacting twist or turn but from the opening Gold Silhouettes coverTag it is an unrelenting feast of striking enterprise and emotional exploration which has ears and imagination hungry for the album’s impressive offerings. The first track immediately unveils an eighties influence, a flavouring which occurs throughout the album, as small but vivacious guitar crafted melodies entice the ears. As they find themselves joined by a magnificent and robustly throaty bassline there is a strong essence of The Farmers Boys at play, a spice which takes on a definite Orange Juice tang as keys and the great vocals of Till add to the exotically vibrant picture. The song strolls with a masterful confidence which in turn recruits a bold reaction from feet and emotions, its crystalline key sculpted melodies and expressive harmonies a seductive glaze to the contagious waltz. It is a glorious entrance which in its fullest form has appetite and imagination aflame especially through its ridiculously addictive rhythmic closing stretch.

From the lively enticement the album glides into the glistening evocative embrace of Creaking Universe. Its initial lure sparkles like sonic crystal, the keys erupting like dust in a shaft of light before a melancholic shadow and croon clouds over ears to tempt them with its darker touch vocally and musically. Slipping into a seductive breeze which soothes the ears and intrigues emotions, the song from a decent beginning becomes a potent magnet, its ever increasing pull through string orchestrated melodies and brooding textures masterful. Imagine The National meets the Walker Brothers and you have an idea of the voice and might of the track.

The next up Sacrifice is another track which needs time to grow but does so with immense success. It opens with a celestial blaze of electronic persuasion, an Orchestral Manoeuvres in the Dark like wind hugging the senses before the falsetto charm of the vocals lie romantically upon the ears. First impressions are strong and rewarding but as with quite a few tracks on the album, it is one which deviously works away leaving a haunting toxin which repeats time and time again, to return at any moment unannounced. The exciting track is instantly emulated by Cold Water/Grey Flesh, its chillier climate and singular expression a bewitching temptation which again is strong at first but masterful over time. With the keys casting an almost intrusive web which the guitars and vocals unveil colourful and poignant hues over, the song dances elegantly seeping a stark breath of lost hope and scenery. It is a highly evocative narrative which could be described as Joy Division meets Sigur Ros.

The intensive melancholy of I Miss You, I Want You, I Need You, I Love You carries a rich Radiohead vein to its despondent emotion and cold breath. It is an impressively crafted and presented piece of music and emotion but for personal demands fails to strike the flame other songs on the release do so easily, though the flume of strings create a resonating tempting for the imagination to immerse within. It is not a low point but one personal taste cannot connect with, something the brilliant Prufrock’s Dream has no trouble achieving. The new single from band and album is an enthralling adventure of sound and imagination. Written as the sequel to the TS Eliot poem The Love Song of J Alfred Prufrock, the song teases ears with a sultry guitar weave at first before expanding into an exotically rhythmic and mystique soaked flame of sonic and melodic seduction. The guitars continue to bind the senses in a psychedelic glaze of Eastern promise and thought inciting majesty whilst the voice of Till croons with potent expression and absorbing texture. As it persistently flirts with ears and emotions entwining radiance and shadows, whispers of the likes of Teardrop Explodes, The Verve, and Nick Cave make their presence known in a song which is scintillatingly original and unique to Silhouettes.

Both Scuff Marks and Ferry Me Away slip in the wake of their glorious predecessor, though again it is primarily down to preferences. The first has a pulsating core and evocative ambience which increases potently over the length of the song for an enveloping climax, but again with a Radiohead similar breath it fails to spark any real reaction, though Silhouettes is a much more exciting proposition to be fair. Its successor also carries that Thom Yorke and co breeding but evolves into an emotionally infectious play with melodic toxins which seduce with wanton ease and a folk bred gentleness which elevates it to a stronger footing. Neither are songs to pass over swiftly but possibly suffer being stuck between the triumphs of Prufrock’s Dream and the outstanding Black Within The Black, a track unafraid to show its roots in the early days of The Cure. With the bass rapturous bait and rhythms pure anthemic lure, the track is an unbridled temptress to which Till brings his own style of haunted tones and expression for exceptional success. The song invades and seduces every pore and thought to provide another heady pinnacle.

Closing with the climactic Boys, a track from small melodic and expressive seeds grows into an epically shaped tower of intense emotion and powerfully evocative colour, Ever Moving Happiness Machines is a gripping adventure which provides a kaleidoscope of invention and imagination, not forgetting creative passion. It is not an album which quite succeeds with every chapter, but is a radiant success across its whole body as Silhouettes more than delivers on their original promise.

Ever Moving Happiness Machines is available via Integrity Records now!

http://silhouettesmusic.net/

8.5/10

RingMaster 02/06/2014

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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Allusondrugs – Nervous

Allusondrugs Promo 1

UK alternative rock band Allusondrugs continue their very impressive and striking emergence, already signposted by two previous riveting singles, with a third in the tasty shape of the tantalising and bewitching Nervous. Providing another side and hue to their adventure and sound, the new single is a fire which smoulders just as potently as it blazes with stirring sonic flames. It also confirms that this is a band on the verge of potentially major horizons given the right opportunities and hearts to enthral.

Formed in 2012 and hailing from Castleford in West Yorkshire, the quintet has taken little time in capturing the passions locally and further afield with previous singles Plasters and the following MyCat/Fruit, as well as their highly thought of energetic live presence. The underground and main media has not been slow in embracing Allusondrugs either, a hug which you know will only get tighter as Nervous works its way around defences. Released like its predecessors on Clue Records, the band’s third single adds another magnetic piece to the jigsaw that is Allusondrugs’ sound. Every release has been distinctly different but openly related and you sense still only offers an incomplete picture of the band’s instinctive invention and aural canvas.

Nervous opens with jabbing beats to which a sonic swarm of melodic enticing drapes its temptation, the guitars weaving an acidic NERVOUS Front Covercoaxing which soars across the emerging scenery of the song. With dark bass shadows adding to the premise, it is a gripping entrance which just as swiftly as it seduces is transformed into a minimalistic sultry landscape which the still potent rhythms and lingering tendrils of melodies enrich as glorious vocals and harmonies expressively colour the new climate. The track at this point is like a mix of The Walker Brothers and The Pixies offering a sixties croon aligned to a sirenesque surf and psyche rock fusion. It is irresistibly mesmeric which the subsequent grunge bred eruptions only accentuates as they roar with the creative endeavour the band showed they were so efficient at in the last single. Impossibly infectious and healthily addictive, the song is a transfixing treat easily matching the might of its predecessors.

The lead song is accompanied by the similarly impressive and thrilling Handicapped, a wicked lure of noise rock which worms its way under the skin and into the heart within its opening seconds. A deviously contagious groove nags and squirms venomously around the senses first before grouchy beats join its toxic brilliance. It is not long before the heavy throated bass and additional caustic scrub of guitar add to the virulent erosion which is washed by again strikingly melodic and refreshing vocals with courting harmonies. There is a sense of UK band Jingo and US rockers Solar Halos to the evolving narrative of the song, strong spices in something which is unique and incredibly compelling, especially with its vein of Eastern mystique which whispers provocatively from within the fiery encounter.

Completed with an acoustic demo version of Nervous, the single is another simply sensational incitement from Allusondrugs, a band where only bad decisions and poor luck will stop them becoming one of the leading enticements of British rock.

Nervous is available digitally and as a limited edition CD run of 300 via Clue Records now!

https://www.facebook.com/Allusondrugs

UK Tour Dates:

30th May – Castleford – Black Bull (Headline Show)

31st May – Hertfordshire – Club 85 – Hitchin (w/ Fizzy Blood)

01st June – Oxford – Wheatsheaf (w/ Fizzy Blood)

04th June – Birmingham – Actress & Bishop (w/ Fizzy Blood)

05th June – Hereford – Herdsman (w/ Fizzy Blood)

06th June – Corby – Zombie Hut (w/ Fizzy Blood)

07th June = Lounge 41, Workington

10/10

RingMaster 21/05/2014

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