We-Are-Z – Walkaway

pic by@AndyWillsher

pic by@AndyWillsher

The song might be about “taking a journey into the recesses of consciousness, exploring perceptions and angles that don’t add up”, but musically Walkaway is just one inescapable funk ‘n’ roll devilment of indie pop come new wave virulence. The song is the new single from We-Are-Z, a UK band which on the evidence of their new release, springs a sound on the senses as agitated and warped as it is infectiously magnetic. It incites body and imagination with tribal like rhythms amidst paranoia kissed sound, each racked with St. Vitus dance like activity within theatrical melodies and mellow washed vocals. The track is pure temptation, like Shriekback meets Late Cambrian in a Two Door Cinema Club embrace, yet different again.

The London based Anglo/French quintet formed in 2012, with its line-up already seasoned musicians bringing experiences of playing with the likes of Beyonce, The Waterboys, and James Morrison into the mix. Debut track Airbrush swiftly drew strong attention and support from media and fans alike, whilst the band since then has lured in diverse comparisons from Vampire Weekend to Devo and Franz Ferdinand to XTC. Inspirations are equally varied within We-Are-Z, the likes of David Bowie, Serge Gainsborough, Talking Heads, Blur, The Clash, and Static cited but as their new single shows, the band ultimately emerges with something yes a little familiar but perfectly peculiar to them.

Walkaway from its first touch is a rampant shuffle of jabbing beats and a dark flirty bass lure from Guillaume Charreau and Marc Arciero respectively. The guitar of Drew Wynen adds a lively temptation to the attention grabbing start also, little but gripping hooks and slithers of melodic spices a flirtatious tempting adding to the instant magnetism. Seductive and quirky keys are colouring the song further next, Clement Leguidcoq bringing a smouldering coaxing seeping around and within all the other tenacious textures at play whilst vocalist Gabriel Cazes has a drama and flirty quality to his insatiably vibrant tones and harmonies. There is no escaping the enslaving effect of the song, the puppeteer like lure of rhythms on limbs and the addictive contagion of everything else on voice and emotions, a proper feel good treat.

According to reliable sources, with an energetic and irrepressible live presence to match the adventure of their new single alone, it is easy to suggest we will all be hearing and devouring a lot more of We-Are-Z from hereon in.

Walkaway is available via Sputnik Records from May 18th

http://we-are-z.com/   https://www.facebook.com/WeAreZmusic

RingMaster 17/05/2015

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

Yeallow – The Trick

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Yeallow is a French band which plays Brit rock; well that is the unexpected sound which their bio states they produce. Taken from their latest album, the Strasbourg quartet has just released new single The Trick to follow up a series of shows in the UK and reveal what their music is actually like, sounds which have feet and appetite happily involved within moments. It reveals that the tag only vaguely hints at the flavoursome concoction of styles which actually converge within the band’s music, though there is no escaping opens whispers of bands like Muse, XTC, and Pulp either.

The band openly pulls on a wide range of styles for their music, sounds and ideas which come from the wide musical backgrounds to and influences upon its members. Everything from jazz to blues, alternative rock to thrash adds spices to the creative pot of four musicians on an adventure “built around a story of strong friendship where the vital need to make music is the common denominator.” The release of Yeallow’s first album 2891 seconds in 2010 quickly lured the attention of a promoter in the US, leading to the band playing a tour of legendary Los Angeles and San Francisco clubs which included venues such as Whisky a go-go and Cat Club. Back in France the band’s stature and success equally rose whilst a tour of the UK in 2012 had British audiences catching on to the band’s sound. It is fair to say that the band has made a widespread impact with a series of tracks/singles across the next couple of years continuing to keep things bubbling, especially the 2014 released Clocks. It is new album Homebred which has ignited the broadest attention yet upon the foursome of Fred aka PMGM (vocals, guitar, keyboards), Ted (guitar, backing vocals), Bill (bass), and Ced (drums), backed by the tour and now The Trick.

Bass and guitars offer an initial drama with their potent entrance before the single quickly settles down into a feisty stride with raw riffs and sharp hooks. The song relaxes into a mellower gait though as the vocals come in, the bass providing a throbbing background to voice and jangling guitar tempting. The track’s scenery is ever evolving though, unpredictable melodies amidst flowing sonic enterprise teasing and sparking the imagination further whilst the rhythmic underbelly of the track never relents in offering low key but constant anthemic bait. Small and engaging crescendos only add to the infectiousness of the song and though it is not an encounter to blow your socks off, it worms under the skin and incites more enjoyment with every listen.

The Trick is a smart and inviting lure into the band and indeed their new album, a temptation ultimately hard to ignore.

The Trick is out now and the album Homebred @ http://yeallow.bandcamp.com/album/homebred

http://www.yeallow.net/     https://www.facebook.com/Yeallow.Club

RingMaster 03/05/2015

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 Hokum – Fools, Mules and Baggage…

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Recently UK indie pop rock band The Hokum awoke a fresh wave of attention with latest single Mind Over Matter. It was one of those songs which just gets under the skin, into the psyche, and announced the band as one to pay closer notice of. That meant taking a look at their debut album Fools, Mules and Baggage… from whence the single was plucked. As enjoyable and infectious as the song was it is fair to say that it barely hinted at the adventurous variety and captivating enterprise to be found on the band’s highly enjoyable full-length.

The Hokum hails from Sheffield and emerged in 2013 and is centred round the magnetic songs of songwriting duo Jacob Stanley and Anthony Isaac Stone. As swiftly evidenced by the album, the band’s sound is a vibrant and warm blend of rock and indie pop but also merging in numerous additional spices such as folk and eighties new wave. It is an energetic mix with a swing, even in its seductive ballads, which turns the songs into little anthems of fun impossible to resist. It all starts with Gold Clock, a track which from an almost mischievous prodding of guitar turns into a striding slice of rock ‘n’ roll with stirring riffs and instantly inviting vocals. Bass and beats soon add their heavy lures as the song becomes busier in flavours and energy, stomping along with feisty textures and an increasingly bracing attitude.

It is a great start matched by the smoother swagger of Left for Dead. Opening melodies have a sixties air to their hues, a tone carrying on into vocals and the more power pop nature of the song. As its predecessor there is no escaping being wrapped up in its catchiness, feet and voice ready to comply with its reflective lyrical and musical temptation before it makes way for the blues balladry of Framed. Well we say the song is ballad like but with its folkish essences and tenacious imagination, the encounter simply takes ears and imagination by the hand for a magnetic dance of revelry whilst adding extra seduction with moments of mesmeric calm.

cover170x170     As great as the first few tracks are, they all bow down to the magnificence of Pigs. The first single taken from Fools, Mules and Baggage…, the song is an incitement which has the listener as vocal and fired up as the song itself. Its chorus is pure addiction, served well by the tangy hooks and melodic jangles which colour its way into the passions. Folk pop meets indie rock, the track bounces along with a scent of a snarl to its riffs, moodiness to its basslines, and unbridled persuasion in its contagious invention.

Thankyou has the unenviable task of following the pinnacle of the album and does so with its own caress of harmonies and melodies floating around another lively and charming sixties/seventies inspired ballad. Though it cannot match up to the previous treat, its lingering temptation and smouldering beauty ensures over time it becomes a potent offering just like the more unpredictable and compelling Six of One which follows. Rhythms jump around whilst the guitars send intrigue loaded twangs across the bows of the melody rich stroll. The fascinating song reminds of fellow UK band The Sons, but builds its own distinct identity with constant evolution and a stock of unexpected surprises in gait and imagination.

Next track Knives provides a potent presence though suffers from a raw distortion on the bass when it enters. Whether it is a flaw on the CD or production, it does a great song no favours, which is a shame though normal exciting service is resumed with Cheap and Nasty straight after. Rampant rhythms alone have ears and appetite licking lips, and even more rigorously once vocals and guitar bring their flirtatious swing and festivity to the increasing riot of creative devilry. The blast of blues guitar provides a layer of icing to the excellent aural cake, and the song another great twist in the increasingly impressive album.

Through the ridiculously addictive Duck and latest single Mind over Matter, the band ignites another fresh spark of pleasure, the first a blues/pop tempting equipped with fiery harmonica and bouncy hooks. As across the album, at varying times you get whispers of bands like The Kinks, XTC, and Split Enz to name a few, this song finding breaths of the first two certainly whilst the third is more inspired by Mind over Matter where guitars offer an electrified mischief whilst percussion and beats bring the addictive lures. It is the new wave nature of the hooks and vocal delivery though which provides the really irresistible heart of the outstanding song. As across plenty of Fools, Mules and Baggage…, there is a familiarity at play in the song which only adds to the enjoyment and creative drama, and helps the anthemic quality of songs to take even swifter hold.

The album closes with Monkeys, another thrilling eighties marked slice of punchy pop and new wave contagion with a slightly deranged imagination to its tantalising persuasion. It is a great end to an impressive album, both leaving a want for more and the need to press play again.

Fools, Mules and Baggage… will not necessarily come into your list of classics for the year but as a favourite it is a done deal, certainly once its fourth song starts its devilment.

Fools, Mules and Baggage… is out now @ https://itunes.apple.com/gb/album/fools-mules-and-baggage…/id921949091 and most online stores.

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

RingMaster 26/04/2015

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

Abandcalledboy – George Best In Show / Paul Simon’s Daily Routine

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You know when you are on to a winner when you realise your feet have already joined in the devilry before thoughts and emotions have caught on. In such cases there is an instinctive lure which digs into the primal essence of what incites personal tastes and musical passions, and so it is with the new single from Belfast noise/indie rock band Abandcalledboy. The two track bewitchment simply took over the body, then the imagination and emotions. It did not ask for permission or make an initial request but just stole its booty whilst providing a seriously compelling and contagious introduction to its creators.

Though our first meeting with them, Abandcalledboy has been making a stir in the Irish music scene for a while, spreading it around the UK at times. 2014 saw the release of their self-titled debut EP which earned the band keen attention across the Irish music press whilst the self-produced video for the song Cliff Richard captured strong interest and praise from Therapy? guitarist/vocalist Andy Cairns. Shows with the likes of Rolo Tomassi, And So I Watch You From Afar, and The Futureheads amongst many has only reinforced the emergence and growing stature of the band but now it is the turn of their new single to nudge a new and broader awareness and appetite for their sounds, and it is fair to say that already George Best In Show / Paul Simon’s Daily Routine has made one new conquest.

Abandcalledboy - George Best - Paul Simon - ABCB 2015 Promo 2The single is the first release from Abandcalledboy as a quartet and shows a shift in direction of sound from the foursome of Ryan Burrowes, Adam Smith, Mark Finnegan, and newest member Chris Ryan. George Best In Show is the first to step forward and in the matter of two breaths has ears and appetite enslaved with its almost voracious rhythmic shuffle. The swinging beats border on salacious and are irresistibly inviting as the surrounding tempting of guitar brings a B-52s like teasing to its melodic mischief. It is not the only thing worming away under the skin and into the psyche though, a sonic bluster erodes the senses with its caustic noise whilst a dark menacing bass tone simply adds to the addictive tempest. It sounds like it is a threatening start but it is the complete opposite, in fact it is a gloriously captivating stirring up of air and listener which levels out into a more stable though still agitated landscape once warm vocals join the affair. The song continues to impress and inescapably seduce, slowly raising its intensity and sonic causticity again towards a blistering finale. There seems to be hints of bands like XTC, Baddies, and Swound! in the song but spices in something predominantly unique.

Second track Paul Simon’s Daily Routine is a more emotionally and physically settled proposition, though again its rhythmic side comes with a volatile nature, especially in the drums. The raw radiance of keys and guitars is a flirtatious dance bridging the dark hues of bass and the agitated beats of Ryan to the harmonic caresses of the vocals and acidic melodies. Fuzzy and mesmeric, noisy and transfixing, the song explores a different kind of chaotic adventure compared to its openly twisted companion, a more temperate brew bristling with sonic enterprise within an imagination lit climate.

Abandcalledboy might have escaped attention from a great many of us until now but that slow awakening will surely change for everyone else with the unveiling of George Best In Show / Paul Simon’s Daily Routine. It thrusts the band onto the widest noise rock map with forceful energy and invention whilst suggesting there is even greater, template shaping things to come. We cannot wait!

George Best In Show / Paul Simon’s Daily Routine is available now as a name your price download at http://abandcalledboymusic.bandcamp.com

https://www.facebook.com/abandcalledboy

RingMaster 21/04/2015

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 Birdman Rallies – Wild Sisters

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If you can resist the opening resonance of beats which opens up Wild Sisters, the new single from the UK’s The Birdman Rallies, then you have formidable resistance as alone it is a seriously irresistible temptation. It is only the first of a fluid weave of instinctive seductions which makes up the fascinating offering from the North Yorkshire quartet though, just one lure in a melodic bewitchment.

The song is the second single taken from the Harrogate band’s recently released and acclaimed album Real River. It is a transfixing album putting the band finally on the radar of a great many, though The Birdman Rallies has been recruiting eager attention and hearts to their highly flavoursome sounds since 2009 across a host of releases. Their self-titled album in 2008 made the first temptation, followed by the You And I EP a year later, but it was second album Moons which in 2012 sparked keener awareness and following of the band. Their sounds still eluded many though, including us, with Real River providing the remedy to that issue, now reinforced by Wild Sisters, the successor to the first single from the album, Telescope Katie. Vocalist/guitarist Daniel Webster recently described the new single as, “a poem written on a night out in Cork, Ireland, where the women are made differently to where I grew up. I observed these three sisters, dancing wildly, letting it go on a weekend in a strangely old-fashioned way. There was nothing cool or try-hard about it. The song wrote itself, with requisite yearning.”

As mentioned at the start, Wild Sisters has its infectious hooks in from its first breath with the rhythms and electronic beats of drummer David Armstrong alongside the multi-instrumental skills of Adam Westerman (guitar, vocals, keyboards, drums, glockenspiel). It is not a single strain of bait for long though as the equally delicious and earthy tones of bass from Ash Johnson are soon adding their irresistible throaty charms to the enticing. Magnetism does not come much stronger or persuasive and both aspects continue to almost tauntingly seduce across the length of the song. Around them melodies and harmonies soon bloom within the contagion, Webster and Westerman creating warm harmonies to match the emotive caress of strings provided by Angellina Bjerregard and Nicky Woods, and the reflective character of guitar and keys. Thoughts of XTC come to the fore as the song explores even greater enterprise and creative emotion; an essence soon confirmed when reading after listening to the song that the Swindon band is a favourite of The Birdman Rallies alongside others like Field Music.

Wild Sisters continues to enthral and delight right up to when it takes its leave on the same magnetism it entered upon, leaving ears glowing and appetite hungry for more. It is a reaction sure to be felt by most immersing in its summer embrace, with an exploration of its source, Real River, the only subsequent option, apart from diving back into the song one more time first.

Wild Sisters is out now with the album Real River available @ http://thebirdmanrallies.bandcamp.com/album/real-river

https://www.facebook.com/thebirdmanrallies

RingMaster 30/03/2015

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://reputationradio.yooco.org/

 

Passenger Peru – Light Places

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The acclaimed self-titled debut album from US duo Passenger Peru was quite simply inventive pop in its rawest and most compelling form. Released at the dawn of 2014, it instantly pushed the Brooklyn band if not into a category of its own, certainly on to a loftier perch than most other pieces of melodic exploration. Now the pair of Justin Stivers and Justin Gonzales returns with its successor Light Places, venturing into arguably even less polished but increasingly fascinating realms of invention and sonic weaving across its enthralling majesty. The album peers into new and at times darker places in the creativity of the band and the emotions of the listener, but never moving too far away from the melodic imagination and psyche seducing mesmerising which marked so impressively their debut.

Shadows have been a constant flirtation and temper in the music of Passenger Peru, but upon Light Places there seems a stronger contrasting of light and dark elements musically and emotionally. From the emotive lyrics through to the unpredictable tapestry of sounds, the release embraces the intimate warmth and cold of life, colouring them with a maze of inventiveness which at times almost borders on the warped and constantly leaves ears and imagination yearning for more. It is a gripping persuasion which starts from opening track House Squares and never relents across an ever twisting range of sounds and expressive atmospheres until the last sigh of the album’s final note. The opener immediately flirts with ears through a vibrant rhythmic dance which is soon courted by sober yet bright melodies from guitar and bass alike. There is haziness to the song too, but only a thin veil over the imaginative warm weave of melodic colour, concentrating more on the effect wrapped vocals. The song never deviates from its compelling repetitious stroll, simply adding new sounds and colours to the mesmeric tempting ensuring a fascinating start to the album.

It is a constant intrigue which is given more to ponder and explore with the charming Friends Don’t Call, a song which from a gentle soothing touch, boils and grows into a tempestuous vocal and musical climax. It has ears engrossed and imagination bewitched, each especially seduced by the dark throated bassline which grouchily pulsates through the song’s increasingly bedlamic climate. Already the album is showing darker tendencies in its nature and exploration compared to the last album, but also a ridiculously addictive invention which erupts in full ingenuity for The passengerperuBest Way To Drown. The first track revealed from the album just before its release, the imperious incitement is an instant dance of rhythmic devilry and tenacious strumming, elements forging together the pathway to powerful and climactic crescendos throughout the song’s landscape. Alongside vocals croon with a seductive sway whilst the nimble fingers behind guitars and bass sculpt a potent drama for the picturesque acoustic scenery, the latter showing a breeze of XTC and Slug Comparison in its radiance. The song is quite gripping, forging a new pinnacle in the album which is matched occasionally and worried constantly by the remaining encounters within Light Places.

Placeholder engrosses thoughts next, its Beatles-esque simplicity a rich lure which is at times buffeted and swallowed by a bedlamic tempest of noise and intensity; further contrasts strikingly conflicting with and complimenting each other. The pleasing flame of the song is surpassed by another major album peak in the fuzzy shape of One Time Daisy Fee. A touch of Melvins flirts from within its scuffed up invention, but also moments of folkish mischief and punky irreverence, all transforming a great adventure into a moment of brilliance.

Both the angular pop tantalising that is Break My Neck and the transfixing Failing Art School leave ears smiling and appetite greedy. The first manages to be a little clunky and simultaneously velvety in sound and touch whilst the second, which is predominantly an instrumental stroll through a visually melodic landscape of possibilities and emotional mysteries, simply sends the imagination off on its own poetic adventures with new evolutions in the script with every listen. The pair of songs are spellbinding, the latter especially engrossing before the outstanding Better Than The Movies parades its own inspirational ingenuity. Seemingly worldly in its influences and cosmopolitan in its flavour, the track is creative voodoo casting an inescapable spell with rhythmic minimalism within an electronic paint box.

Impossible Mathematics brings a calm back to the festivities; initially at least before its own raw textures and voracious ideation breaks out in varying degrees alongside juicy grooves and corrosive riffs as appetising and frequent as comforting vocals and sparkling melodies. It is another fresh twist to the flight of the album; its variety unrelenting as the dirtily lined sounds of Crimson Area Rug brings new dark emotions and exploits, and a character which is summed up by a word repeated in the song “paranoid”.

Light Places is brought to a close by firstly the soft and docile yet creatively lively On Company Time and lastly the delicate Pretty Lil’ Paintin’ with its balmy vocals. Neither track has a fire in its belly but both leave a warm glow around the listener which pleasingly relaxes emotions after the rigorous textures of other tracks before them; those contrasts again working beautifully.

Passenger Peru conjures unique embraces and experiences with their music; something already established with their debut album. Now though Light Places takes it to new and in some places intrusive depths; the result being another essential release from the band and a new exciting escapade for the listener.

Light Places is out digitally and as a Ltd Ed cassette via Fleeting Youth Records on February 24th @ http://fleetingyouthrecords.bandcamp.com/album/light-places

http://www.passengerperuband.com/

RingMaster 24/02/2015

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://reputationradio.yooco.org/

 

The Permanent Smilers – One Real Big Identity Crisis

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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