Medusa – In Bed with Medusa

 

Having found ourselves taken with sound and invention of UK trio Medusa with their 2011 released second album, Can’t Fucking Win, it quickly became apparent that there was nothing predictable about the band’s music but as confirmed by its successor Headcase’s Handbook three years later it has persistently proved a thickly compelling affair. Both albums were rich in the band’s punk fired rock sound and bold in their intrigue loaded magnetism, traits again just as fertile within the band’s new album, In Bed with Medusa.

The new release though is a whole new beast to be tempted by, one which still bears the inimitable breath and touch of the London based outfit but as its title suggests has an unwrapped intimacy which challenges as much as it fascinates. It is a far darker and rawer involvement with Medusa, one which startled from the off and has persistently caught us off guard with its almost feral emotions and untamed enterprise but fair to say with every listen has left us thickly hooked.

Emerging in 2006, Medusa is the creation of vocalist/guitarist/songwriter Julian Molinero, the band’s line-up on the new release completed by bassist Kotaro Suzuki and Towers of London drummer Snell, the latter recruited barely eight weeks before recording which took place with Steve Albini at his studio, Electrical Audio, in Chicago across the first four days of  December 2019. You can only imagine this intense recording time has added to the raw energy and heart of a release though equally such its resourceful drama and touch you can only feel it was always meant and going to be such a soul bearing proposition.

Oblivion opens up the album, a song which instantly unravels an instinctive infectiousness in voice and sound even before hitting its more aggressive and energetic punk ‘n’ roll stride. Molinero’s tones are as bare breathed and provocative as the melodic wiring escaping his guitar between punk bred chords, rhythms a potent anthemic incitement beneath it all.

*love not included seamlessly springs up from the closing straits of its predecessor, the track another with a persistent, indeed voracious catchiness to its punk ‘n’ roll incitement. Hooks and sonic wiring lured and gripped ears as boldly as rhythms and vocals, the track provoking and inviting keen involvement in its naked heart and touch before River Phoenix, inspired by a biography on the actor, lays a calm hand on ears before erupting in a tempestuous rock ‘n’ roll squall again embroiled in emotional turbulence.

There is an open richness to Medusa sound which is entangled in a host of rock flavours, alternative and hard rock textures among them involved within the melodically woven, deviously contagious reflection of The Girlfriend Experience while Lost in Dystopia shares more classic hues in its virulent canter; a grunge lining to both tracks as well as others within the album accentuating the wonderfully unvarnished feel of its presence and heart. Indeed Ride the Styx bears Nirvana-esque shading to its greedy nagging of the senses, the first of our favourite moment considerations within the album swiftly set.

The pair of No Such Thing and Inverse Paradise offer up quick challenges to that choice though, the first with something of an Everclear air around a classic metal wired holler another pinnacle of the release with the second eclipsing both through its almost XTC like setting bound in blues nurtured wiring as Molinero muses proving irresistible. The latter is also one of a pair of acoustic tracks which were recorded in a hotel room overlooking Bran Castle, known as Dracula’s Castle, in Transylvania.

Lenore provides a fiery enticement for ears, maybe one which lacks the sparks of its predecessors for us but still held eager attention before that final slice of acoustic enterprise in the shape of Distress Signal brought In Bed with Medusa to a fine close. Whether bred on intimate experiences of its creator or through observation, it is a potent engagement with ears and thoughts alike; one epitomising the stripped and exposed fertility of the album.

A release which grew in presence and enjoyment by the listen, In Bed with Medusa simply backs up its predecessors in suggesting Medusa is one of Britain’s brightest and unique propositions and with its own openly individual endeavour a band all should at least consider checking out.

In Bed with Medusa is out now and available @ https://medusaworld.bandcamp.com/

http://www.medusaworld.co.uk/   https://www.facebook.com/medusauk   https://twitter.com/medusaworld

Pete RingMaster 26/03/2020

Copyright RingMasterReview: MyFreeCopyright

Pia Fraus – Empty Parks

Photo by Joosep Volk

There are numerous traits which enthral attention within the new album from Estonian band Pia Fraus with with fascination leading the way. In its contrast lit body it offers an embrace of ears and imagination thick in melancholy yet is as life affirming and rich in hope and optimism as any heart could desire.  From its first to last shoegaze nurtured breath Empty Parks eagerly beguiled whilst presenting tracks just as keenly buoyant with contagious dreampop instincts.

Formed in 1998, Pia Fraus has crafted a potent sound and reputation across five studio albums and a host of similarly well and enthusiastically received EPs and singles not forgetting a wealth of shows and tours across Europe and further afield. Their new album, which the band declare their poppiest yet, sees the sextet of vocalist/synthist Eve Komp, vocalist/guitarist/synthist Rein Fuks, bassist Reijo Tagapere, synthist Kärt Ojavee, drummer Joosep Volk and backing vocalist Kristel Eplik linking up with producer John McEntire (Tortoise, The Sea and Cake, Stereolab, Broken Social Scene, Teenage Fanclub), himself a true musical inspiration to songwriter Fuks.

Empty Parks has emerged as one spellbinding encounter, a dreamy soulful whisper of pop magnetism sure to provide a warm knowing hug around any dark day whilst recognising the shadows such times bring. From the moment album opener Hidden Parks spread its pensive seduction Empty Parks was charming ears and senses. A soothing touch of keys is swiftly entangled in intoxicating strands spun by the guitar, rhythms a darker hue in the contemplation but just as encouraging with their catchy stroll. With the familiar and always beguiling mix of Komp and Fuk’s vocals, the song effortlessly slipped under the skin, the band’s expected but never dulled blend of female and male vocals rapture in its own right.

 An even paced enticement, the track makes for a transfixing start though the following Love Sports had body and attention quickly bouncing with greater urgency straight after; its pop virulence and melody thick mesmerism pure captivation. As with all tracks there is a delicious claustrophobic effect to the song’s temptation, an easy and whole immersion in its creative enchantment which never warrants a wish to escape in this song or the album as a whole.

Slow Boat Fades Out is next up, a track which shares the radiance and bearing of nineties bred shoegaze with the band’s distinctive character of touch and sound which is further lit up by that sublime vocal union while successor Mr. Land Freezer bounds in on a spirited canter drenched in a thick electronic mist. Both tracks share imagination stirring hooks and melodies which caress like lustful lovers and each with increasing dexterity had the body swinging as they slithered under the skin.

Across the wonderful Young Marble Giants meets The Pastels like graceful beauty of Sweet Sunday Snow and the similar tantalising of The New Water with something of an XTC air to its riveting pop enterprise, the album only tightened their hold on ears and pleasure with Paper Flower Projects adding its own substantial enticement. In comparison to its predecessors, it is almost rowdy in its energy and muggy in its breath but another provider of melodic and harmonic radiance around a rhythmic inducement which makes you want to dance within a web of guitar and bass fertility which grips ears and accentuates the pleasure.

If not quite inciting the passions as those before it, You’re Not in Love held attention firmly in its dextrous hands before Nice and Clever and Late Summer Night soon after shared their respective melancholy bound and increasingly tempestuous serenade and balmy yet similarly suggestively mercurial and intense proposal on ears, the latter with a captivating drone like quality.

Australian Boots brings Empty Parks to a close, the song a final absorbing caress which harbours its own emotive disturbance, one which openly and eagerly simmers but never quite erupts. The track is a joy of intrigue and intimation within an equally thrilling embrace and a fine end to a release which simply kept the real world at bay for forty five odd minutes.

Empty Parks is out now via Seksound / Vinyl Junkie; available @ https://piafraus.bandcamp.com/album/empty-parks

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

Pete RingMaster 05/03/2020

Copyright RingMasterReview: MyFreeCopyright

Fertile Reptile – EP

Life’s trials and tribulations can be said to be character building and certainly it is easy to feel that about the Fertile Reptile sound. An acoustic parade of craft, passion, and energy, it is a rousing affair with a definite emotive edge as eagerly shown by the trio’s new EP, cryptically named, EP.

The band is based in Co Cavan Ireland, a place already tattooed on our eager senses through another threesome, The Radioactive Grandma. Large in space, small in populace, the county has a music heart which cannot be ignored, for us that band and now Fertile Reptile stand right at the centre. Both bands have an acoustic rock bred sound and there is no escaping thinking of the sadly demised Radioactive Grandma when listening to the Fertile Reptile EP, that band’s Johno Leader indeed mixed and mastered the quartet of tracks, but it swiftly and firmly proved the latter has its own distinct sound. It is a proposition which also teased with essences sparking thoughts of The Wonderstuff and The Woodentops in varying degrees which equally only added to its rich captivation.

As mentioned the band’s journey to date has not been plain sailing. Formed early 2009, the trio of vocalist/guitarist Peter Denton, bassist Jamie Byrne, and drummer Dwayne Kiernan leapt into the local live scene taking punk, metal, and ska influences into their intimately themed songs. “Due to mental and physical health difficulties” though the outfit disbanded towards the close of the following year but their friendship endured and saw them coming together to jam from time to time and work on other projects. In 2015, Kiernan underwent surgery for a rare spinal disorder but complications left him with brain injury and mobility issues leading him to have to give up playing drums. Music will have its day though and he turned to the bodhrán and in 2018 the three came together with a couple of acoustic tracks in Denton’s pocket and emerged as Fertile Reptile; his electric guitar swapped for an acoustic incitement to join the electric enticement of bass and that, as within their first EP, quickly addictive intimately manipulative bodhrán.

To be honest everything about the band’s EP got under the skin and quickly, its first track, Can’t Feel Anything, invading with a swing no hip or foot could ignore. Denton’s guitar is a smiling enticement, the darker hues of Byrne’s bass the perfect companion as Kiernan’s rhythm on goatskin, or whatever his bodhrán wears, dances. Denton’s vocals equally had ears and thoughts keenly involved as the song eagerly strolled all the time inviting and receiving enthused participation.

Virulently infectious it is a tremendous start to the release and quickly matched in catchiness and enterprise by Forget About It. It was with this magnet of a song that The wonder Stuff spicing more firmly revealed itself and similarly there is a tint of XTC to its gleeful canter. Like a spirited embrace of summer around reflective words, enlivened even more by the violin of Christophe Capewell, the track had body and appetite bouncing before making way for the equally irresistible Abusement Park. The rawer rock heart of the band’s sound fuels and shapes the character and imagination of the song, its emotive dispute and physical boisterousness together rather than at odds in its galvanic shuffle; Kiernan’s zestful backing vocals another alluring texture in the contagion.

There is a calmer pose to closing track, Tubby Lad, though there is no avoiding its instinctive catchiness and inherent spirit. Again lyrics tap into intimate thoughts as melody and harmonies caressed an already greedy appetite for the band’s sound, the song a powerhouse of incitement and vibrancy even in its reposeful gait.

We have had the pleasure to check out some truly enjoyable and thrilling treats this past year and the Fertile Reptile EP stands tall among them.

The EP is out now; available @ https://fertilereptile.bandcamp.com/album/ep

 

https://www.facebook.com/fertilereptile/    https://twitter.com/ReptileFertile    https://www.instagram.com/fertilereptile/

Pete RingMaster 07/11/2019

Copyright RingMaster: MyFreeCopyright

Stoor – Fleam

Though addictions are triggered early on they seem to put on truly inescapable nagging shackles over time but there is one for us which was immediate, thickly gripping and has just squeezed the life out of free will ever since and that is the new album from Scottish outfit Stoor. Admittedly the seeds had been sown and blossomed already for the Dundee quartet’s unique sound through their 2015 uncaged self-titled debut album but a craving Fleam has now escalated to all devouring heights. Like the last and first thought around sleep will be of a true if maybe unattainable love, right now our every musical urge starts and ends with Stoor.

It is hard to believe that Stoor is still not a band eagerly on the lips of thick waves of indie, rock, and post punk fans after their striking first full-length but surely a puzzle going to be solved through the aberrantly extraordinary Fleam. Again bred in a sound which has echoes and inspirations of seventies/eighties post punk and rawer new wave antics, Fleam has discovered a whole new level of virulence in the hooks, melodies, and imagination which made up its predecessor. It is a mischievously multi-flavoured experience though which leaves predictability and expectations barren on the kerbside of its compelling adventure.

Released through Stereogram Recordings who are ever reliable to bring fascinating proposals to the ears, Fleam opens with the appetite securing instrumental simply called Stoor Theme. As the album’s title represents, the band’s fresh sound strikes at the heart and cuts through the thick, wasteful but deceptive excesses which fatten the success and manipulate the common ear into providing undeserved attention and through the simple but incisive groove ‘n’ roll of its initial offering makes the first hook loaded score.

It is an imagination sparking, body twisting coaxing quickly matched in craft and temptation by successor, Pain. Instantly there is an air of sonic vexation from which a bold and boisterous stroll swings forth wrapped in the wiry enterprise of guitarists Ross Matheson and Davie Young whilst driven by the tenacious rhythms of drummer Scott McKinlay and bassist Stef Murray. The track was soon scooping up lusty attention and even more so as it twisted through a great and devilish pop infested post punk escapades within its undiluted rock ‘n’ roll. With Murray’s lead vocals just as magnetic and persuasive to participation, the track easily stole the passions.

It is a success soon shared across Fleam starting with the pair of Lovebombing and Dig. The first comes equipped with danger and threat as well as another dose of pure musical contagion that infests ears and instincts. Nurtured in punk ‘n’ roll ferocity and armed with a lyrical prowess which grips as effortlessly as the feral sounds surrounding it, the track simply enslaved before the second of the two sauntered in and exploded in a flame of melodic discord and eccentric invention. With a breath akin to The Nightingales in league with Television Personalities to it, the track burrowed under the skin laying bait and temptation which for just over two minutes feasted on any possible resistance to its esurient endeavour.

Ark follows, its opening lure loaded croon posted in a dusty mono background before eventually leaping through ears with Murray’s tones riding its undisturbed stride. Within, the primal edge to his bass is just as appetising but equally so are the strands of sonic thread igniting the senses courtesy of the rapaciously enterprising guitars; it all seemingly imposing greater temptation as the track’s volatility ignites and erupts in a predatory trespass.

Dancing around as the world crumbles, new single Atrocities is next and immediately has the body bouncing and imagination flirting with its XTC/ Orange Juice-esque celebration bred in a Fire Engines tuned jangle cast amidst the howl of windy discordance and apocalyptic corruptions. Haunting and rousing from its first sonic rattle, its uninhibited dust finally settles as the adventurous exploits of Agags Groove steps forth. As ever the persistently captivating and manipulative beats of McKinlay steer an inescapable quest for band and listener, the instrumental simply a web of intimation and temptation spanning past decades of flavouring woven into its own unique espionage.

McKinlay is even more a puppeteer within Founding Father, straight away directing body movement with provocative craft which soon invites guitars and bass to add their own similarly devious ideation and touch. Celestial melodies subsequently escape to expand the fascination and draw of another sublimely delicious moment within Fleam, the track as seductive as it is a cauldron of disquiet and dark suggestion before the following Unlike Them brings a declaration of defiance, anarchy and musical insurrection to bear on an apathetic landscape.

The album concludes with the incendiary magnificence of Chivers; a tapestry of rhythmic stalking, carnivorous basslines, and melodic friction united in irresistible incitement further loaded by thought grabbing vocals. Lure and challenge, a term which can be applied to the whole of the release, the song is unapologetic slavery and a glorious close to the album, its mercurial but always agitational and rousing body pure inspirational pleasure.

If Stoor had been there helping drive the Scottish post punk/postcard scene way back they would be cited as an inspiration for so many just as Orange Juice, The Fire Engines, and Josef K but do not confuse that suggestion with thoughts that the band is not one of music’s most fresh and exciting propositions right now and with releases like Fleam you can be sure they will be inspiring the creativity in numerous propositions to come.

Fleam is released on white and black vinyl, CD, and download via Stereogram Recordings March 30th across numerous online stores including https://stoor1.bandcamp.com/ with a special album launch show at Dundee’s Beat Generator Live! the release night.

https://www.facebook.com/stoormusic/   https://twitter.com/STOOR44   http://www.stereogramrecordings.co.uk/artists/stoor/

Pete RingMaster 26/03/2019

Copyright RingMaster: MyFreeCopyright

Upanishad – Crossroad

Its press release calls Crossroad, the debut album from Italian outfit Upanishad, “…a trip, an adventure, physical and dreamlike.” It has also been a journey for the band to reach the point of its release and a collection of ups and downs with experiences which have undoubtedly gone into one fascinating, captivating, and refreshingly imaginative encounter.

Hailing from Florence, Upanishad began in 2000 and quickly began breeding their own unique sound from a blend of rock, punk and indie flavours. The following decade saw a first EP which sparked attention and opportunities, departures and additions to the band’s line-up, and live success leading to greater moments and chances. The departure of members in 2010 as the band prepared work on a first album saw Upanishad go on hiatus for a couple of years before two of its founders in vocalist/guitarist Vanni Raul Bagaladi and drummer Lapo Zini resurrected the project; bringing in bassist Mirko Bazzocchi to complete the band’s line-up. Quickly writing new songs, the band found, whilst still embracing those earlier hues that their sound was quickly embracing a new and richer as well as broader flavoured character with bold imagination aligned to technical adventure. It is a mix now making their debut full-length one truly fascinating proposal and one which just seems to grow in ears and appetite by the play.

Crossroad opens up with Look At You and instantly had attention on board as the bass of Bazzocchi alone lays down enough intrigue carrying bait to hook any appetite. A sonic swirl gathers in the background as it beckons, eventually sparking a further melodic enticement through the guitar of Bagaladi whose vocals I turn make swift company to the already magnetic incitement. Though slim in body it is a union thick in spicing and tempting which revels in the web of hues making up increasingly and creatively agitated not forgetting irresistible rock ‘n’ roll.

This Room follows and instantly hits its own alluring stroll with unpredictability oozing from every pore, a proposal gaining momentum by the second as the song grows, twists and reveals its mischievous invention. Like a fusion of T-Rex, Pere Ubu, and Mucho Tapioca as psychedelic and progressive imagination collude in rock ambition, the track is a voracious cosmopolitan sounding adventure exploring fresh skies and earths simultaneously.

Quickly establishing itself as one of the album’s truly tantalising moments it is quickly matched by the daring rock ‘n’ roll of Feelings. The band’s latest single, the track launches through ears on gnarly riffs entwined in Red Hot Chili Peppers like funk infused devilry, grooves and hooks spared lusty tenacity across its virulent swing and flirtatious stroll. Again there is a mercurial bent to its boldness, every breath and mania gaining turn soaked in unpredictability and resulting pleasure before Side Effects leads the listener into sultry surf washed climate of sound and atmospheric intimation. The throaty tone of bass ensures a great earthy connection to the loftier exploration as essences reminding of bands such as System Of A Down and 6:33 add to the acceleration of wit, vision and pleasure.

The thought tantalising instrumental Spikes Trap brings its own shadows and mystery to bear next, the technical dexterity of the trio quickly establishing a mental picture for the imagination to conjure with before Connected envelops the senses in its fuzzy sonic smog and melodically fired threads. Though not a track which inflamed as fully as its predecessors, it made for a potent addition to the album’s persuasion which its title track emulated in its sepia coloured storm embraced acoustic serenade.

Across the seductive ears smooching inducement of Parasite and the haunting almost sinister atmospherics of Clouds enthralment with Crossroad was only further cemented; the first of the two alone a lively croon of inventive virulence and emotive attraction impossible to say no to and another peak to the album.

Through the contagion lined canter of The River, a track with a great whisper of XTC to its melodic breath and inventive suggestiveness, album and band unveiled yet another aspect to their sound and quest before leaving No Way Out to close things up. Its opening tease is eighties post punk nurtured, subsequent melodic and harmonic dissonance post rock toned with both flavours embroiled in greater adventure as the song swells with creative initiative and impassioned intensity.

It is a riveting end to an equally engrossing release; a true slab of originality and audacity. Whether Crossroad will take Upanishad to the attention of the biggest and numerous spotlights it deserves to tempt it is impossible to predict but it is easy to say that it is an album which will leave a lasting imprint and joy in those taking the plunge.

Crossroad is available now via Red Cat Records across most online stores.

https://www.facebook.com/Upanishadproject

Pete RingMaster 21/03/2019

Copyright RingMaster: MyFreeCopyright

Threatmantics – Shadow On Your Heart

As we have suggested before, originality can be found in numerously various places within music but uniqueness is more of a holy grail as each decade passes. One band which radiates the latter is Welsh outfit Threatmantics; well certainly their third album, Shadow On Your Heart deserves that declaration and as frustratingly it is our own introduction to the Cardiff quartet we will eagerly generally tag them with it too.

Like mischievous troubadours, Threatmantics weave tales and musical adventures with a fusion of art and folk rock; though that alone only hints at the essences which make up their deviously tantalising sound. It is a proposition which embraces the hues of bands such as The Cardiacs, XTC, This Heat, Mr Bungle and Gorky’s Zygotic Mynci in various ways and places throughout Shadow On Your Heart but essences only spicing the band’s hard to pin down music and imagination.

Recorded with French producer Anne-Sophie Ouvrier, Shadow On Your Heart opens up the theatre within with it’s title track; initially tempting with snarly riffs before breaking into a smiling melodic saunter. Those few seconds alone had ears fully intrigued and attentive, the viola of Heddwyn Davies a summery lead alongside the earthier moves of Gareth Middleton’s bass and the crystal touch of Andrew Rhys Lewis’ guitar. Davies’ vocals are just as magnetic with their bard-esque character, a swing to their lilt matching that of the outstanding start to the album.

First Things is next up and just as much a tease of musical lures from its first breath; viola and rhythms colluding in instinctive temptation before vocals bring their own invitation to the immediately infectious brew. With a controlled but rousing burst of chorus and unpredictability in every move and twist in its drama, the song is aural devilment led by the equally catchy swinging beats of Huw Alun Davies. Echoes of Zanti Misfitz and The Cardiacs shimmer within the riveting encounter before Now You Are Gone reveals its own individual magnificence. Middleton’s bass is a delicious grumble, the guitar of Lewis sonic nectar while the vocals of Davies just recruit participation in the virulent saunter.

Who Is Afraid Of Patrick Wolf? is folk encrusted rock ‘n’ roll so easy to be enslaved by; a Horslips like scenting adding to its indie natured entangling of ears and appetite while Cold Warts darkly serenades with a Gorky’s Zygotic Mynci flavoured breath. Both tracks were as irresistible as those before, the second of the two adding Cardiacs meets post punk ingenuity to its kaleidoscope of multi-decade sourced antics.

The band’s new single follows, Dangos Dy Ddannedd a darkly lit seducing with volatility in its belly and melodic bedlam in its instincts. Increasingly intensifying in fever and pandemonium, it makes way for the McLusky natured mayhem of Krystal Pystol. A rousing ruckus of punk infused noise it in turn breaks from the speakers to allow the calmer breath and charm of Under The Sun to caress the senses. A rugged stomp emerges from its slightly disturbed tranquillity to manipulate and escalate an already in place satisfaction with the song’s exploits.

The album closes with the impish folk ‘n roll of Mother Folker From Hell, a song alone showing the array of flavours employed in the Threatmantics imagination and lastly the sludge thick chunter and feral crawl of Little Johnny. Imagine the mutant offspring of 12 Stone Toddler and Melvins and you get a sense of the sublime end to one glorious album.

Like us for us there may be many to whom Threatmantics is an undiscovered thrill so we suggest making Shadow On Your Heart the moment the rapture begins.

Shadow On Your Heart is out now through Ffatbyrg Records @ https://threatmantics.bandcamp.com/releases digitally and on 12” vinyl, with a limited edition, numbered run of hand printed covers by acclaimed Welsh artist John Abell.

https://www.facebook.com/Threatmantics/   https://twitter.com/threatmantics

Pete RingMaster 05/03/2019

Copyright RingMaster: MyFreeCopyright

Marshmallow Coast – Memory Girl

As warm and boisterous as an eager summer day yet but one lined with intimate shadows carrying their own magnetic melancholy, the new album from Marshmallow Coast is little short of pure captivation. Across near on thirty minutes and eight cheerfully swinging tracks, Memory Girl is a fresh electro pop rock lover very easy to take in the imaginative arms and boisterously dance with.

Hailing out of Athens, Georgia, Marshmallow Coast is the brainchild of Andy Gonzales (The Music Tapes, of Montreal, Mind Brains).With Sara Kirkpatrick, Jim Hix, and Steven Trimmer alongside the band has conjured a release which embraces the senses like the rising morning sun. It is rich in warmth and hope, suggestive in knowing intimacy and understanding yet as mentioned has that darker intimation which haunts everyday life and new experiences.

Memory Girl begins with Warm Bodies and immediately the song’s balmy air and comfy touch hugs the senses. Its buoyant stroll is boisterous yet has a restraint which has hips swaying rather than the body bouncing but movement as inescapable as it is eager. There is an eighties synth pop glow to the track, a bright and engaging hue spilling across the whole of the release as swiftly confirmed by next up Take You On. With a gentler urgency to its gait as firm beats pounce with metronome like insistency, the song is a hazier affair compared to its predecessor. Indeed keys bring an almost dirty breeze to their otherwise crystalline shimmer at times, Gonzales’s tones falsetto similarly kissed whilst providing a warmly affectionate proposition to song and listener within the embrace.

 Lover’s Leap follows, sauntering in with a bold funk nurtured swagger as guitars melodically tease around it. Again the body was manipulated into involvement as the resourcefully infectious track cheerfully strolled along though once again a raw mist of sonic intimation rears its suggestive head throughout the captivation before making way for the equally inviting K. Freeman Enslaved with its Orange Juice-esque jangle and that eighties synth pop exuberance which itself brings a further XTC like imagination.

 Through the electro pop exploits of Sinz Of My Father, a track which is something akin to a meeting of Thomas Dolby and Devo, and Shooting Star with its tantalising celestial glide, the album just accentuated its hold on ears and appetite with the first of the two emerging as a real favourite play by play. They are in turn matched in success by the funk pop waltz of the increasingly compelling Foxy Boy, a track which almost stalks the listener with an infectious smile on its face and a seductive tease in its movement.

The album’s title track brings things to a close and though it is a song which did not grip our ears as tightly and dramatically as its predecessors, it left a warm glow and a taste for more of its mellow, thoughtful, and sultry intimation.

It is a fine end to a release which just grew in presence and temptation by the play; its summery haze a real but knowing escape to the shadows of daily life.

Memory Girl is out now through Happy Happy Birthday To Me Records.

https://www.facebook.com/marshmallowcoast/

Pete RingMaster 8/01/2019

Copyright RingMaster: MyFreeCopyright