MFC Chicken: Music For Chicken

Sometimes things are just meant to be and that is the strong feeling when it comes to rock n rollers MFC Chicken and the background story to the band. It all started with the arrival of Canadian Spencer Evoy who with his trusty sax in tow moved over to the UK around a year ago. On what he called a pilgrimage to the recording studio of Joe Meek he found himself outside a fried chicken shop on Holloway Road, London. With stomach yearning for the delicacies within but pockets financially incapable to fully assist, Evoy slipped out his trusty friend…his sax you naughty people…and proceeded to busk for his supper. His sounds made their eager way through the window of the flat above the shop leading to its occupant bassist Bret Bolton to call out his appreciation and thus two musical brothers were united from that point on, the pair within days forming a band named after the now closed down shop, MFC Chicken.

It is a story which almost reaches fact is stranger than fiction heights but surely is the proof that this band was destined to bless the world with its presence, and wow does it do that with its debut album Music For Chicken. The release is pure joy from start to finish, Evoy and Mancunian Bolton alongside Brazilian Alberto Zioli on guitar, and London boys Reverand Parsley and Ravi on keys and drums respectively, unleashing the purest joy with their poultry themed party of garage rock n roll driven rhythm and blues. There is one warning though, for some reason it will make you feel rather hungry by the end of its final slice of pleasure.

Released August 6th via Dirty Water Records, a label which cannot do any wrong right now with its releases it seems, the album strolls up to the ear with a confident swagger called Chicken, Baby, Chicken. With initially the guitar teasingly showing off alongside great group harmonic shouts, the song erupts into an eager tonic for the heart through a fiery blend of Billy Haley, Johnny Burnette and Hasil Adkins. It is a great start easily matched by the following Every Girl on The Tube. From its first surge of Evoy pumping the senses full of tenor sax goodness the song ignites a feisty air for its greedy sounds, a garage rawness which lights the fuse for further submission and adoration. The guitar of Zioli is as keen and wonderfully teasing as the sax play and combined with the beats, keys, and playful bass sounds makes for one exuberant track.

As each song leaves its crazed energy the album simply gets better and better. It is not that the latter songs are any better than the earlier ones just that the accumulative effect is overwhelming and leaves one grinning like a man who just got lucky, which I guess is what happened. Tracks like the hot and crazed instrumental  Wild Safari with its elephant sax sounds and slight Batman theme sounding hook has limbs and emotions jumping even if the lack of rampaging chickens and stampeding cockerels noises is disappointing, whilst the  throbbing Laundromatic  is a scorching melodic blitz upon the ear with seeds in the band which has influenced MFC Chicken by their own admission the most The Sonics, which simply excites.

Music For Chicken at times offers up flavours which are easily recognisable in other bands and songs though you always feel it is merely coincidence such as with Chicken On The Bone, the song a dead ringer for a Showaddywaddy song  well if it had been given steroids and introduced to Johnny Kidd and The Pirates. Wine, Women, Rock’n’Roll is another with familiarity from a seeming heavy spice of Johnny Carroll splashed with a wash of Screamin Jay Hawkins.

The album closes as magnificently as it started with the trio of Man-Sized Tissues, Family Value Meal, and Fifty-Seven Acres of Pain ensuring every drip of pleasure is wrung into the heart of their recipients. The middle of the three is especially wonderful, its explosive melodic beauty of keys and guitar punctuated with sensational sax clucking a delight not heard since the fifties Fat Daddy Holems song, strangely enough called Chicken Rock.

Music For Chicken is nothing but total pleasure and a party for the ear and heart to gate crash relentlessly  whilst MFC Chicken has one diving into the fridge, damn them.

https://www.facebook.com/MFCChicken

RingMaster 10/07/2012

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Interview with Comron Fouladi of Athel

Though there is a strong and decent wave of melodic punk bands around there are not many which stand out from the crowd consistently. One exception comes in the vibrant and unique shape of Chicago band Athel. Recently the band dropped their debut album Open Your Eyes To Society, its impressive tracks a blaze of vibrant and completely infectious rock/punk sounds. Needing to know about this aural contagion and the band itself we had the great fortune and opportunity to fire off questions to bassist Comron Fouladi to learn more.

Hi Comron and welcome to The Ringmaster Review, many thanks for talking to us,

How did you all meet and when did Athel emerge?

I met Cristian in middle school and Justin just from the local band scene we were in. I introduced the two.

Who are the biggest influences to you as a musician and maybe for the Athel sound?

My favorite band of all time and inspiration is CKY.

In our review of your great debut album Open Your Eyes To Society we said the band and release was one to stand out from what seems plenty of good new punk bands but generally uniformal in sound. What is it you have which you feel sets you apart?

The CD doesn’t stick to one mold. It’s not cookie cutter music. One song will be really punk or metal, then we have something like a classic rock song come then something like modern music mixed with 90s vocal melodies.

Did the band evolve into something more than maybe you expected or reach to where you exactly envisaged?

Definitely, we started working on some of these songs when we were first starting out. I was hoping to build a local following and have some fun with some small tours. I didn’t know we would later be signing a deal and releasing them in stores worldwide. I think my kids will all think I’m a liar with all the tour stories I will tell them.

As we have already mentioned it tell us about the album and your hopes going in to its creation?

I was hoping to put out something different, I don’t think there has been many good bands to come up in the past few years and I’ve just been really pissed about modern hits so we tried to create something different haha.

How long did Open Your Eyes To Society take to make?

We started writing this in 2009. We started recording in November 2010 and finished Feb 2012.

Was it already primarily composed and written before going into the studio or grew within those creative walls?

All the songs were done before the studio with multiple demos other then These are the Times, Kara’s Carousel, and Me, Myself, and I.

How does the songwriting work within the band?

Justin will write a guitar part and vocal melody, then bring it to the table and it evolves into a full song with many ideas front here.

What predominantly inspires your songs and lyrics?

Appreciation of life is something we always talk about in our music. So many people say they want to kill themselves all the time but really the chance of life happening is a trillion to 1. You’ve came this far and are now alive might as well try and make it the best you can.

The album is your first release since signing with Mortal Music. How did the link up with the label come about?

From building a local following of 500+ kids at every hometown show and then spending 300 dates on the road one year helped as well meant a few labels took attention to Athel but I felt Mortal was right and I’m extremely happy to work with those guys.

We called the album…Mildly aggressive, vaguely intrusive, and wholly infectious…fair comment?

Definitely! We wanted this album to be our angsty album.

You previously released a couple of EPs which drew strong acclaim too but how has your sound changed if at all since starting out?

Our sound hasn’t changed much just the writing sounds like it has matured.

The album marks the band as one which is intent on giving full pleasure and riotous fun, one imagines your live shows are exactly the same?

I’ve always been a fan of putting on the best show possible. If you ever come to an Athel show I promise you won’t be let down!

What makes a great show for you?

Seeing the people unite at a concert to have fun and enjoy life. It’s an escape from the modern bullshit we have to deal with.

You have shared stages with the likes of Chris Cornell, Gwar, CKY, and The Audition. Anyone you would sell your grannies to play with?

I would love to tour with Escape the Fate. They have always been so awesome and our fans love each other.

Any chance we might see you guys over this side of the big water in the near future?

I’m hoping in 2013. We need to be there soon!

What is next for Athel?

Rob Zombies guitar player Riggs has a new band called Scum of the Earth, we will be doing an East coast tour with them August 31st through almost all of September.

Once more thank you for sparing time for us.

Any last words to end on you would like to share?

Thank you guys. Please have us back again soon. As for last words, no one ever settle for anything less then what you want in life.

Read the review of   Open Your Eyes To Society http://ringmasterreviewintroduces.wordpress.com/2012/05/18/athel-open-your-eyes-to-society/

The RingMaster Review 10/07/2012

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Enabler: All Hail The Void

Stripped bare, relentlessly violated, and left a gibbering wreck on the floor, no not a scene from an entry within the Hostel movies franchise but the course and aftermath of the annihilatory bliss that is All Hail The Void from the Milwaukee-based extreme metallers Enabler. To call it an assault is to underplay its ferociousness and merciless intensity but within the violent hurricane of sound there is a creative brew of imagination which without attention can almost go unseen. Given focus the release emerges as one of the more exhilarating albums to corrupt the ear this year.

All Hail The Void is not an easy listen but nor is it so harsh that it offers nothing for those with more melodic veins to their tastes. Enabler unleash a storm of hardcore, punk, crust and varied flavours of extreme metal  but spearing it all are some of the most delicious and addictive grooves and hooks you could wish for. Ok they come with a caustic rub for the senses as intrusive as the aggression but they are as sweet as the cruellest pain and equally addictive.

Formed in 2009 by vocalist/guitarist Jeff Lohrber (Harlots, Eyes Upon Separation, Trap Them, Today is the Day, Shai Hulud), Enabler persistently has drawn increasing attention with their powerful sound. Consisting of guitarist Greg Thomas (Misery Signals, Shai Hulud, The Risk Taken), bassist Amanda Daniels, and Andy Hurley (Racetraitor, Kill the Slavemaster, Fallout Boy, The Damned Things, Earth Crisis)on drums alongside Lohrber, the band through the release of splits with the likes of Drainland and Ambassador Gun, and their EP’s Eden Sank To Grief and War Begins With You (both re-released together on the album Year One CD), have twisted metal inside out, gathering extreme flavours into their own fury of creativity. All Hail The Void is a mighty continuation of their staggering sound and a real treat.

Released July 16th via Southern Lord, the album captures the imagination from the start, the emotive strokes of a lone guitar at the beginning of F.A.T.H. an irresistible invitation for the ear even with the brewing intensity lurking behind it. A gentle start full of drama the song soon explodes into a knee buckling force of aural vengeance as riffs bruise the ear and sonic melodic scythes blister every surface they come in contact with. Like being trampled underfoot by a raging bull in the tight streets of rural Spain the track leaves one breathless and drained, senses grabbing for some kind of security though the chances of safety are destroyed as the following song The Heathens soon crushes any bones and sinews left intact. An equally vindictive piece of songwriting and its eager realisation the track contorts synapses with vicious melodic scrapings and a rampant groove intent on submission. With drums pummelling and laying bruise upon existing bruise whilst guitars flay the air mercilessly Lohrber spews unrestrained anger and spite with the strongest accuracy, the combination of all like in the opener quite glorious.

The excellent Speechless with its hypnotic dirty sonic groove and prowling bass from Daniels which intimidates with every note continues the impressive start. It is a riot of insatiable energy and twisted riffs which ignites every favourable spark within. More punk than hardcore it is another of many possibly destined to be classics on the release.

Though the album barely exceeds the thirty minute mark it feels much bigger and certainly has a titanic effect on the body. Tracks like the title track with its stalking riffs and taunting groove, the unpredictable They Live, We Sleep with its sonic blinding of the senses and haunting sanity twisting melodies, and especially Save Yourself, are all mesmeric violations which rupture and fire up every part of their recipients. The latter of the three is the best song on the album, a nasty stomping brute of a song with destructive grooves so addictive they leave one with permanent whiplash.

All Hail The Void initially came over as an impressive album but its persistence on the ear and our increasing insatiable desire to keep returning to it saw it evolve into one of the hungriest and fully satisfying intrusions of the year, and Enabler a band which should be in the ear of everyone.

RingMaster 10/07/2012

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Poisonous: Perdition’s Den

Originally out in 2010 as a vinyl release through Blood Harvest Productions, Perdition’s Den from Brazilian death metal band Poisonous is one of those albums which deserves a wider route into the ears of the world and that is just what it has got with its upcoming re-release through Metalhit.com on July 17th.  The album is not one to rip up the blueprint of the genre or overtly stretch its boundaries but is simply a well formed and strongly presented slab of straight forward unadulterated death metal.

Poisonous emerged from the ashes of Impetuous Rage, a band which found its own decent respect in the underground scene and for their album Inverted Redemption. Whereas Impetuous Rage had a sound which could be said to be influenced by the likes of Monstrosity, Deicide, and Vital Remains, the sounds of Poisonous have a heavier and fuller consumption borne from the dark corners of death which bands like Autopsy, Immolation, and Incantation frequent.2009 saw a two track demo from the band gain good approval and included a great version of The Black Vomit from Sarcófago, the same song also closing up Perdition’s Den to great effect. With the re-release of their album one can only think those great responses will escalate far beyond what it received with its previous limited exposure.

The album immediately rears over the senses with opener Subterranean Rules, its bulk a weighty intensity preying on the ear with shuddering riffs and jabbing beats. As the lurking evil of the song exposes itself through the vocals the track raises its temperature and attack, the rhythms at times stepping out of the driven assault to offer a seemingly chaotic and loose aspect to the track. It is all intended and controlled though and is a pleasing feature which reappears throughout the release.

The venomous Worthless Christ ruptures synapses with pure malevolence next to be forcibly backed up by the ravenous breath of Creeping Impurity and the sheer blackness of heart and sound of Blasphemy Arises from the Knowledge. The album as it drives through the ear to permeate every pore with its tenacious venom is a soiling storm with only earns positive thoughts and reactions. From the songwriting through its realisation in further strong songs like Black Clouds And Fever and the title track, to the giving production, Perdition’s Den is an enjoyable and easy to access release. As mentioned it does not force open new avenues but brings what we will call traditional elements of death metal through a fresh and sure touch.

Poisonous have a release which makes no apologies for exposing and violating shadows or the black heart of its victims. It is nasty, uncaring of your sanity, and a vicious rage, it is also a release all old school death metal fans will adore.

RingMaster 10/07/2012

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The Inner Sanctum 22

Persistently striving to find new heights and never settling on what is easy The Reputation Radio Show last week unleashed its first full episode of The Inner Sanctum. Never a show for the faint hearted but for all with a heart for the best new music this was an event which flew on full boosters and unbridled mischief.

Hosted by the unpredictable talent of Johnny Summers aided by the simply indecipherable Pete Ringmaster, The Inner Sanctum left scorch marks in its tracks with some of the finest new sounds and artists yet to be featured on Reputation Radio Show as a whole, which with their pedigree and impressive finds shows the quality of what was unveiled alongside favourite new and older independent classics.

The show also featured live a persistent offender musically and comically on the show in drummer extraordinaire Paul Holden and new victim rock guitarist Matthew Meadows. With two artists as unable to contain their enthused banter as the host of the show it was a car crash made in heaven and irresistible listening. What emerged from within the mayhem was an enthralling update firstly from Paul about where he was musically. With the demise of the band Nowhere Fast, the drummer unveiled the reasons for its end and where he was looking in regards to the direction of his musical career. He also talked about the cover band he plays in, The Djinn which knowing the thoughts and aversion to such things by half of the Reputation crew was a brave move, who said drummers had no sense of humour.

Matthew Meadows had no problems with bands though one feels he would in many ways like to at some point in a positive way. The show was let into the early life of Matthew as the man talked about his days as a ballet dancer, the move to being a guitarist, computer programming, and his sexual relations with R2D2 and his carnal knowledge of a dalek. Ok the last two might be more our imagination as due to mic problems his end he sounded occasionally like Robby the Robot on a washing machine so we are making assumptions of what he might have said. Seriously though it was enlightening to learn more about the man who perpetually confuses people before it dawns on them where he is coming from with his striking videos and eager to impress sounds.

On the music front the show was no less thrilling as it brought to its audience for the first time the simple mesmeric beauty and charm of the music of Holly Walker through her song Modern Life taken from her brand new EP Bedroom Bangers and the surging rock imaginations of The Secret City with a track from their new self titled album in the shape of A Call. Both went down a storm with requests to hear the tracks again on the same show which unfortunately time did not allow but Johnny and Pete had already decided such their own enjoyment and impressed responses to both songs there would be more airings on future shows.

The show also featured an exclusive play of the title track from the just released Eloquently Violent album  from electro/industrial band Illustrial whose Baz Badrock joined the show in the chatroom as did the band and tour manager of another band to be featured especially on the show Our Innocence Lost. Taken from their latest album Like A Complete Unknown, it was the first time the song End of Time was played on the Reputation Radio Show and it also went down a storm with the audience. The play was also enhanced by the fact the band who were playing a gig that night were listening in through the wireless set up of Manager Rog in their tour van outside the venue whilst the event was going on. Such their enthusiasm to hear they hid from the venue staff until the very last minute just so they did not miss the song and then proceeded to blow the venue, audience, and the other bands away with the powerful performance of which they are renowned.

With additional great music from the likes of Tim Bennett, The Escape,  Slam Cartel and The Shanklin Freak Show, to name just four of the multitude played, it all added up to a brilliant and enjoyable show. It was not as confrontational, dangerous, and in your face as before…no it was even more so and all the better for it. On every Friday from 9PM UK time, The Inner Sanctum looks like being one show which no one will want to miss and if they do they have the podcast of the show to greedily unleash their inner mischief with anyway.

Check out the podcast of the show @ http://www.spreaker.com/user/reputationmedia/innersanctum22 and tune in live each week @ http://www.reputationradioshow.com/

Find out more about the artists featured @…

https://www.facebook.com/hollywalkersongs

https://www.facebook.com/pages/The-Secret-City/270623946291067

https://www.facebook.com/ourinnocencelost?ref=ts

https://www.facebook.com/pages/Illustrial/104161896358

https://www.facebook.com/matthew.meadows

https://www.facebook.com/paul.holden1

RingMaster 09/07/2012

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