The Dropper’s Neck – Line Me Up For The Firing Squad

The Dropper's Neck

If you have not yet immersed in the mutated brilliance of Second Coming, the debut album of UK noise provocateurs The Dropper’s Neck, then firstly shame on you and secondly now is the time to immerse into the psychotic flight and sound of the band with their new single Line Me Up For The Firing Squad. Drawing on all the essences which instilled their album as one of the most striking and impressive releases of 2013, the band explores darker corners of their deranged imagination with the new single whilst forging a stronger rapaciously contagious causticity to their startling sound. It is a glorious onslaught of invention from a band evolving from something exceptional into a major player.

Bred from probably the darkest untoward psyches of Essex, The Dropper’s Neck formed in 2011 and soon had fans screaming in lust, and fear no doubt whilst dogs howled and cowered as rats sought out sinking ships, with their emerging irrepressible presence. Forged with inspirations of band such as Gallows and Queens Of The Stone Age as well as Pulled Apart By Horses and Eighties Matchbox B-Line Disaster, their sound swiftly took hold across the south of the UK as their debut EP was unleashed before the exceptional Second Coming sparked a country wide attention from fans and media alike. The album was as mentioned a thrilling slab of sonic and rhythmic devilry, one seemingly cultured by the hybrid stock of Eighties Matchbox B-Line Disaster and to a lesser degree fellow UK band Engerica. It led to a familiarity to its songs which only added to the potent spicery at play. Now Line Me Up For The Firing Squad shows the quintet of vocalist Lloyd Mathews, guitarists Chris Blake and George Barrows, bassist Jack Turner, and drummer Danny Keene, hatching a more unique and distinct sound to them, a proposition which The Dropper’s Neck are all the more better for.

A hypnotically rabid fury of noise and garage rock with all the antagonistic punk tenacity you could wish for, Line Me Up For The Firing Squad is right away a sonic buzz saw on the senses with a rhythmic punctuation which is as flirtatious as it is intimidating. From its first artillery of beats, the song is sending down cascades of warped grooves and sonic rapacity which swamp the senses. It is barely a few seconds before the squalling vocal grazing of Mathews is adding to the addictive animosity, but that too as the sounds around him, is part ferocity and part tenderising before he unveils a more composed and seductive enticement with a clean delivery which entwines with his abrasive roars.

There is a metal seeded aggression to the guitars and riffs within the song too, and a hardcore spillage across the vocals, their united tempest climbing rabidly all over the imagination. To that mix a predatory garage punk hostility drives the rhythms, though again everything comes with the devilish seduction that the band spawns all their songs from. Like a brawling maelstrom of Melvins, Cancer Bats, Queens of the Stone Age, and we still have to add but to a lesser degree Eighties Matchbox B-Line Disaster, the single is a ravenous and unrelenting furnace of corrosive rock ‘n’ roll enterprise, i.e. quite brilliant.

Line Me Up For The Firing Squad is released for digital download on 11th August through iTunes, Amazon, Spotify and all other online outlets.

9.5/10

The Dropper’s Neck upcoming UK tour dates:

THURS 14TH AUGUST – DUBLIN CASTLE, LONDON;

FRI 15TH AUGUST – FUEL, CARDIFF;

SAT 16TH AUGUST – SANTIAGO, LEEDS;

SUN 17TH AUGUST – SOUTH SEA LIVE, SHEFFIELD;

MON 18TH AUGUST – OPIUM, EDINBURGH; TUES 19TH AUGUST – BLOC BAR, GLASGOW;

WEDS 20TH AUGUST – RETRO BAR, MANCHESTER;

THURS 21ST AUGUST – LADY LUCK, CANTERBURY;

FRI 22ND AUGUST – FITZHERBERTS, BRIGHTON;

SAT 23RD AUGUST – CHINNERY’S, SOUTHEND.

thedroppersneck.com

RingMaster 09/08/2014

Copyright RingMaster: MyFreeCopyright

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Thom Bowden – Searching The Brittle Light

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From the release of his striking and impressive The Damage EP of 2012 there has been a healthy dose of acclaim placed around UK musician Thom Bowden and keen anticipation bred for his debut album. This week sees the unveiling of Searching The Brittle Light and those hopes are sure to be satisfied with the ten track encounter. It is not a release which impacts as potently and consistently as Bowden’s previous proposition but certainly it brings another wash of the rich potential within his songwriting and highly agreeable sound.

Surrey based, Bowden takes inspirations from the likes of The White Stripes, Nick Drake, Dresden Dolls, Fugazi, and Neil Young into his imagination catching enterprise. As mentioned The Damage EP brought strong attention and responses from fans and media alike, something you can only see the album repeating and increasing. A collection of songs written when Bowden was ‘at a low point in his life’, the album was recorded with and mixed by Steve Albini (Pixies, Nirvana, Manic Street Preachers) and mastered by Steve Rooke at Abbey Road. Inspired by some advice offered whilst the artists was in Chicago by Kim Deal, the album brings a raw honest intent and beauty to the ears. There is also a slightly more adventurous variation across the songs than on the last EP, a move you can only respect and embrace even with its slightly mixed success in comparison to the consistency of the previous release.

With guitarist Richard George and drummer Steve Matthews alongside Bowden, the album opens strongly with Click!, a song taking mere seconds to seduce ears and thoughts with its opening seduction of sultry blues kissed flames. a2137786508_2The slow swipes of guitar are soon joined by punchy beats and a darkly drawing bassline before the great expressively twanged and unpredictable voice of Bowden starts revealing the lyrical narrative. His voice and a rich essence of the music has a Frank Black like temptation which only adds to the smouldering enticement, an invitation which burns increasingly brighter as the song evolves and spreads its senses sizzling charms. The feisty stride of the track is an incessant call on the passions whilst the increasingly warped vocal delivery which by this point has a more My Red Cell essence, Bowden sounding similar to frontman Russell Toomey of the defunct Welsh band, only captivates with mischievous bait. It is a strong and gripping start to the album which without lighting fires sets up a keen appetite for its offering, a hunger soon spicily fed by the second song.

So So Long makes a controlled and infectious entrance, guitars and rhythms a simple but entrancing lure to which Bowden’s grazing tones lay angst spawned invention and caustic passion. The track never lifts its gait to anything more than a slow determined canter but with expulsions of sonic heat and expressive melodic energy, the song irresistibly wins over ears, again thoughts of the previously mentioned Welsh band coming to the fore. It is a masterful slice of sonic magnetism bringing a licking of lips. Its potent presence is followed by the ballad My Arms, the song a union of voice, guitar, and emotive textures which certainly stirs up thoughts and attention but brings an unexpected and underwhelming halt to the thrust of the album. Obviously a highly personal offering, it is hard and impossible to dismiss, or not enjoy, but the song is a wrongly positioned rein on the passions for personal preference.

The following Control brings the temperature and energy back with accomplished and thrilling enterprise. Rhythms roll invitingly through the ears as guitars swerve and let fly with melodic scythes of enticement and sonic tempting which reawakens a thirsty imagination. There is a definite eighties new wave feel to the track, another shade of familiarity which in different designs attractively flirts with most of certainly the rockier numbers on the release. As it continues to tease and impress, the glorious song casts a web of inventive guitar endeavour, melodic mischief, and sonic alchemy to treat and seduce the emotions; it all aided by an emerging Pixies sounding toxicity.

Next up How About It? slips into a gentler hug of emotive intimacy and melodic caressing around a spine of shadow involving rhythmic invention from drums and bass. It is a slowly burning temptation which takes longer than certainly the previous song to persuade but emerges as a deliciously riveting and evocative highlight of the release. Its broody success is followed by the forty five second instrumental , a piece which is just there before the outstanding With Pace unleashes its grunge spawned sinews and punkish desires. As its title suggests, the track romps with swift, heavily thumping feet and fiery riffs around which rapacious grooves and fuzz encased vocals flirt and rage respectively. There is no escaping a Nirvana comparison but as elsewhere it only spices up the brawling encounter. The album and Bowden seems to wear inspirations on their sleeve, definitely more than the EP, to predominantly bring stronger aural colours to embrace.

The raucous air and exhaustive pleasure of the triumph is swiftly tempered and brought back to the ground with the folk seeded reflection of The Water Is Cold, a decent and strikingly performed song but again an underwhelming shift in scenery and suasion. Its emerging emotional stringed flight and expressive vocal coaxing does light thoughts and feelings, but there is the thought that the track would be better served elsewhere in the order or set on a separate release to find the reaction it deserves.

The bluesy plaintive cry of In The Ground comes next to stir up a nest of satisfied thoughts and emotions with its persistent tendrils of sonic imposing and fiery enticement around another roar of vocal lament and expression. It is a track which you want more of before the final elegant balladry of Sweet And Tender brings the album to a musically and lyrically rueful close. Soaked in more folk seeded melancholy it is a captivating end to a fine if inconsistent album.

     Searching The Brittle Light is an impressive next step for Bowden but because of its intent and bravery in stretching its boundaries may be fails to match its predecessor. The songs are a clear step on in craft and maturity let alone invention but the album feels like two releases in one which defuses its impact whereas separating them into EPs of rock and ballad seeded tracks might have brought the showcase and clarity they deserve. Nevertheless Thom Bowden is an exciting talent which will be creating remarkable and keenly devoured statements ahead, we for one wait eagerly.

Searching The Brittle Light is available digitally, on vinyl, and CD now via Audio Candle Records and @ http://thombowden.bandcamp.com/

http://thombowden.com/

7.5/10

RingMaster 15/07/2014

Copyright RingMaster: MyFreeCopyright

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Dick Venom & the Terrortones – The MonsterPussy Sessions

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Still fresh from infesting our psyche with 7” single Invasion Of The Spiderqueen, Britain’s warped rock deviants Dick Venom & The Terrortones return with the just as salaciously compelling The MonsterPussy Sessions. The new EP provides five tracks of juicy sex encrusted rock ‘n’ roll soaked in the inimitable flavouring distilled and increasingly spiced by the Nottingham quartet. It comes with a new breath of individuality too, a stronger uniqueness which twists the inspirations from the likes of The Cramps and The Stooges into a richer vein of their own distinctive carnal devilry; quite simply it is the band’s finest slice of dementia yet.

Since forming in 2010, the band has been drenching audiences in live sweat and juices across the UK, recruiting eager bodies to their mischievous stomp of psychobilly, garage rock, and old school rock ‘n’ roll. Sharing stages with the likes of The Meteors, Bad For Lazarus, Demented Are Go, The Radiacs, Vince Ray & The Boneshakers, and Vince Ripper (ex-Alien Sex Fiend) has left a lingering mark just as their own one of a kind shows and releases. The RockinRollin VampireMan EP was the first to play havoc with morals and bland music followed more recently by Invasion Of The Spiderqueen. Now with a line-up of Wrex St.Clair and Dusty Vegas alongside the frontman, the band unveils an even more potent case of rascality and mischief upon the imagination for equally increased rewards.

     Valley of the AlleyAlligator Girls sets things in motion with a blues kissed flame of guitar coaxing and swiftly joining enticing rhythms, each a sultry lure on their own whilst together a captivating bait ready for the magnetic vocal Dick Venom & the Terrortones – The MonsterPussy Sessions prowling of Dick Venom. There is an immediate swagger to the song that recruits an instant appetite for its striding temptation and sex tinged horror kissed lyrical narrative. There is the heated and commanding stroll which is to be expected from the band but also a thrilling fire of a solo and a rhythmic shakedown into the song pointing to a new breath to the songwriting and aural tempting of the band. It is a masterful feet recruiting and passion igniting start to the release which is straight away backed up by next up BellySlam City.

The second song boldly walks in with its own individual striding and ear provoking incitement. Beats pounce with an eager reserve whilst the guitar offers an almost stabbing enticement amidst the rolling bassline. It is a simple but potently persuasive romp with the warped colouring of the band oozing from every limb igniting twist and creative shrug of its old school shoulders. Like Gene Vincent meets Lux Interior with The Pirates serenading both with trash rock revelry, the track seems to bask in the lustful hunger shown for its raw charms before making way for the dark seductive spicery of Crypt Tonight. Bass and rhythms throw out a net of rock ‘n’ roll shadows with virulent hooks whilst Venom canters over its canvas with his pouncing syllables and lustful expression. Again a garage rock blues bred toxin plays pleasingly with senses and thoughts as the release shows more of the richer maturity and diablerie coursing through songs.

The delicious garage/surf rock tempting of Dead DeadBeat Delinquent teases and thrills ears next, its prime hook an irresistible breeding of addiction to which fire cast riffs and dangerously hypnotic rhythms prey. It is a glorious roar of punk ‘n’ roll driven deeper into the passions by Venom’s bracing roguishness. The best song to come out of the band, certainly recorded, the track leaves psyche pumped and energy aflame ready for the closing No Good To Get Up To. The track seemingly is driven by its predecessor too, it’s thumping beats and high kneed entrance an agitated enticement of contagion and hot creative juices which spill into washes of sizzling soul infused squalls. The impressive burn of a track brings one exceptional release to a mighty and mouth-watering close.

Though there can never be another to rival The Cramps, it has not only been us who have thought Dick Venom & the Terrortones had the potential to be the British equivalent in potency and influence of subsequent sounds and artists. There is a long way to go before the band reaches those heights but The MonsterPussy Sessions shows that the possibility could definitely be a reality if further great impressive steps are continued.

The MonsterPussy Sessions is available now digitally and as a ltd edition cassette on Jailhouse Morgue Records @ http://terrortones.bandcamp.com/

http://dickvenom.com/

9/10

RingMaster 04/07/2014

Copyright RingMaster: MyFreeCopyright

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I ♡ The Monster Hero – Rhythm & Pals

I heart The Monster Hero.mvc

As seemingly deranged as it is openly seductive, Rhythm & Pals the debut album from UK rockers I ♡ The Monster Hero is an encounter near on impossible to tear oneself away from. Creating a distinctive almost swamp like mesh of synth pop, psychedelia, and garage rock with rich noise and garage punk spicing, the album is a mesmeric and disturbingly compelling proposition. It could be the soundtrack to absorbing dreams or the seeding to voracious nightmares, either blossoming within it’s simply thrilling imagination flirting rapacity. Consisting of eleven highly persuasive and at times welcomingly invasive fascinations, Rhythm & Pals is a rare and uniquely exhilarating treat.

Formed in 2011 and hailing from Dublin, I ♡ The Monster Hero include the likes of Aphex Twin, Love, Neil Young, New Order, Suicide, The Cars, The Supremes, Velvet Underground, Electric Light Orchestra, and Prince Edward Island in their long list of diverse inspirations, seeds which are explored, warped, and reconstructed into something impossibly magnetic within the band’s own brew of imagination. The band consists of Andy Walsh, Simon Dowling, Philip Clarke, David Crean, and Paddy Walsh, a quintet certainly taking the album as evidence who whips up psyche engulfing toxins which are just as virulently and commandingly effective on feet, senses, and passions. Following a couple of weeks back the very tempting release of the single Tony Bailey, which opens up the album, Rhythm & Pals takes the listener and their swiftly submissive mind on a riveting life improving flight through aural alchemy.

Tony Bailey idles in on an electronic whisper soon expanded with Casio temptation and crisp eager rhythms into a toe tapping shuffle. Joined by soft and expressive vocals as the keys cloud the skies with great repetitive nagging amidst bright melodic colours, the song expels a warm kaleidoscope of invention and sonic hues for imagination and emotions to devour greedily. Cored by increasingly enticing rhythms and a developing throaty bassline, the encounter simply bewitches as it inspires body and appetite to join its magnetic calling. It is a track which romances as it wraps resourcefully around the senses, something emulated if in different shades by the next up Send Goodvibes Only. With a croon of House of Love around its smiling yet darker lips, the song is a poetic venture soaking the ears in elegant shadows and vibrant almost crystalline melodies, it all coming in a surface of scuzz kissed and fuzz fuelled enticement.

It is a strong start to the release but only an appetiser to greater things reinforced by the rhythmically fuelled Little Gems, a song with a potent swagger and a dirty atmosphere which without lighting fires keeps attention and a steadily growing appetite well contented. The ascent to higher plateaus starts with Bozo Vs Slug, another track gripping ears with an initial lure of rhythms, these driven by raw sinews and tenacity. Thumping out the frame for an emerging graze of garage punk and psyche infused rapaciousness to trigger an awakening feisty stomp, the drums incite song and listener constantly across an increasingly psychotic and powerfully contagious landscape. It is a glorious encounter which turns already sparked pleasure lustful, as does in its own unique way Whisper. Thirty seconds of sultry blues bred seducing with discord spawned toxicity under fuzz lined melodic vocals it is a mere slip of a temptress but wholly alluring.

Both Do Dah and the blues spawned Clipper 61 keep the album striding across its highest point. The first emergences from a spatial intrigue filled breath with vocal harmonies and a gospel spiced climate before folk canvased scenery flirts and dances with ears whilst percussive additives quickstep their way through the tantalising electronic haze. With every twist of sound and second of invention the song adds textures and spices without losing its bright simplicity, ensuring another highlight within the album is devoured. It’s successor rumbles and canters invitingly across senses with appealing shadows and irresistible dark emotive charms within a raw guitar sculpted suasion of captivating coarse and reserved rock ‘n’ roll. Occasionally ripe with the sparkling lure of Buzzcocks like addictive hook belted melody, it shows as most of their songs, that I ♡ The Monster Hero is masterful at merging uncompromising and undefined swamp of sounds with sonically barbed but seductively enchanting hooks, allowing both to prosper individually and as an united smothering, but nowhere more impressively than here.

The ear romancing Madeline soaks thoughts and emotions next, the track a mesmeric cloak of enveloping sound and ingenious intrigue before the similarly potent and melodically pungent Hatchet steals its fair portion of the passions, with again infection soaked rhythms and coaxing effect washed vocals. Both songs whirl and swarm over the senses in individual but uniformly successful ways, enchanting and bewitching with siren like accuracy, with the growing rhythmic and melodic emprise of the second as near to aural addiction as anyone is likely to come across.

Car #9 steps in just before the end of the album to steal best track honours, its carnivorous bass growl and irrepressible gripping hooks within delicious expansive melodies and vocals, pure primal and irresistible enslavement. A merger of decades and varied flavours, the song is pop ‘n’ roll at its most formidable and majestic leaving the closing Electric Chainsaw (I Can’t Get You out Of My Head) a task and a half to compete against. Its attempt is impressive and thrilling, the song another pop caress to embrace and bask within as vocal harmonies and shimmering melodies conjure the strongest psychedelic enhanced beckoning. It is an outstanding end to a scintillating encounter, an album which thrusts I ♡ The Monster Hero into an immediately intensive spotlight. Rhythm & Pals is just the start of major things you suspect for the band and something to definitely lick lips over.

Rhythm & Pals is available via Crocfingers Records now!

https://www.facebook.com/iheartthemonsterhero

http://themonsterherolovesyou.tumblr.com

9/10

RingMaster 30/04/2014

Copyright RingMaster: MyFreeCopyright

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In The Whale – Nate & Eric

InTheWhale R! 2

This week sees the release of the Nate & Eric, a fireball of rock ‘n’ roll from US duo In The Whale. The album is actually the putting together of the band’s last two EPs and if they have escaped your attention this is an encounter you should urgently add to your collection of crucial sounds. As eclectic as they are ferociously contagious, the songs making up the release are encounters bred in everything from old school rock ‘n’ roll and punk through to blues, garage rock, and plenty more. It is uncompromising, honest, balls out rock ‘n’ roll, and quite simply irresistible.

Formed in 2011, the Denver band consists of Nate Valdez (vocals and guitar) and Eric Riley (drums and backing vocals), a pair which much like Canadians The Black Frame Spectacle, turn two sources of roaring instrumentation into a full-on rapacious beast of sound and energy. In 2012 In The Whale unleashed debut EP Cake, a well-received proposition which was followed by a just as impressive live presence, which has seen the band play with the likes of Murder by Death, Local H, Reverend Horton Heat, and Electric Six as well as The Airborne Toxic Event, Agent Orange, Bob Log III, The Pack A.D. and Slash. Second EP Eric hit ears in the latter stages of 2013 with its successor Nate being unveiled earlier this year. Now the last EPs come together to create one of the most inspiring and mouthwatering propositions of 2014.

Nate & Eric opens up with the Nate tracks, and specifically Robert Johnson. From its first breath a flame of energy and intensity hits image10-5the ears through intermittent strikes of raw riffs and punching beats beneath the equally imposing vocal call of Valdez. Bluesy air oozes from all aspects too before the track settles into a predatory dance of raucous riffs and anthemic rhythms to which the vocals burn and roar passionately. The track is like a mix of the previously mentioned Canadians, Reverend Horton Heat, and Eagles of Death Metal, and just as devilish as that mixture suggests. It is Devil music and unapologetically irreverent in its infectiousness and psyche twisting charm.

If the starter was mercilessly tempting than the following Wedding Bells should be labelled as dangerous, its initial southern psychobilly twang toxic bait to which the band erupts into a garage punk enslavement with impossibly addictive pop punk relish. For less than a minute and a half, the track stomps with nagging rhythms and agitated riffs, leading into a ridiculously commanding chorus; this all under the again gripping vocals of Valdez. It is a fiery mix that Valdez and Riley conjure; alchemy of sound sculpted with an adrenaline fuelled inventive voracity through simply one predacious guitar, an antagonism lit drum kit, and flaming vocals.

Both the hard rocking Lake of Fire with its again blues kissed rabidity and the feverish brawl of Grandpa Pete keep passions and ears greedy, the first a frenetic blaze of stoner-esque heavy rock with punk urges. Acidic melodies and darkly shadowed chords equally add their potency to the fire dance, hooks and grooves just as prevalent and mischievously compelling too. There is a little tint of Wall of Voodoo to the song, though admittedly for indefinable reasons whilst its successor is pure punk revelry with metallic appetite. Holding a touch of I Am Duckeye and Melvins in its barging garage punk tenacity and devilment, the track is pure aural addiction.

The Eric half of the album begins with On A Roll and immediately a scrub of blues guitar swiftly joined by muscular rhythms and honky-tonk piano covers the senses. As Valdez opens up the narrative everything settles into an ordered yet disruptive canvas of unpredictable rhythms and searing melodies beneath those dramatically expressive vocals. There is a rich feel of Queens Of The Stone Age to the riot but only as a potent spice in a loudly individual proposition. Its triumph is followed by the best track on the release, The Clash seeded Girlfriend. Beats set out a plain but gripping frame for both men to lay down their anthemic vocal call before the track explodes into a blistering punk temptation. The Vibrators meets Rocket From The Crypt with that Strummer and co blooding, the song is an incendiary trap to dive into head first for the greatest pleasure and lustful satisfaction.

The release closes with Sunbeam where again the pair step into a stoner landscape but this time with coarse rock ‘n’ roll and seventies garage rock scenery. It is a smouldering abrasing of sound and sonic tempting, keys again adding richer colour to the riveting and shifting terrain of the magnetic provocation. It is a glorious end to a sensational release, as mentioned one which if the EPs individually have evaded your sweaty hands, is a must have, do not dawdle purchase. In The Whale expels rock ‘n’ roll in its purest yet adventurous form, a furnace to get persistently and brilliantly burnt by; the proof is all there on Nate & Eric.

The self-released Nate & Eric is available now!

www.inthewhalesucks.com

10/10

RingMaster 27/06/2014

Copyright RingMaster: MyFreeCopyright

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Slumlord Radio – No Trick Pony

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Taking the dirty out of their previous impressive EP Tokyo Roadhouse Sonic Sex Castle, US punk ‘n’ rollers Slumlord Radio have caked it in further grime and scuzzy glazes for the new and equally compelling release No Trick Pony. The five track EP sees the Grand Rapids/Flint based band turn to the grimier side of their invention to unleash another brawling confrontation to incite senses and passions. Its sound twists and squalls with an antagonistic might which takes no prisoners and has no concerns with making friends, preferring to eyeball the imagination whilst brewing up a thick moonshine of sonic rewards.

Slumlord Radio was formed in 2010 and wasted no time in stirring up attention locally with their fiery mix of punk, heavy rock, and garage punk. Rich essences of sludge and hardcore also add their toxins to the uncompromising sound which sparked acclaim within 2012 debut release The Cats Pajamas EP. The following year saw Tokyo Roadhouse Sonic Sex Castle ignite another flood of attention and praise upon the band which No Trick Pony should only add to with its raw and raucous charm. The new EP like its predecessor does not break into new realms but similarly uncages a thrilling cluster of passionate and inventive endeavour which leaves the appetite greedy for much more. The trio of vocalist/guitarist Tommy Erickson, bassist Mike Todd, and drummer David Flynn, who has been left the band since the recording with Matt Claucherty replacing him to beat guitars laying down the living daylights out of rhythms, prey on the senses whilst treating them to aural riots which are not always an instant temptation but persistently end up a proposition eagerly devoured.

Devil You Know starts things off, opening up its presence with an early temptation complete with southern twang and expressive tone. The bass takes little time to join the coaxing before a vocal squall announces an expulsion of energy into a confident swagger which instantly recruits attention and appetite. With the coarse notes of Erickson similarly riling the air alongside the sounds, the track has an air of Joecephus and the George Jonestown Massacre to its country punk breath though one integrated in a dusty cloud of predatory rock ‘n’ roll. The track continues to prowl and stalk the senses, feeding it grooves and hooks as infectious bait whilst stirring up a dust storm with discord kissed and scuzz glazed voracity. It is a tremendous start to the EP which as mentioned earlier pushes the trio’s sound into its darkest dirtiest depths yet for thrilling results.

The following Scuzz delivers what you expect with its title but much more besides, it’s initial melodic enticement almost folk like in its touch and soon entwined in another punk bred canter of flailing rhythms and caustic riffs. It does come with restraint though which takes a firmer grip as the song dips into a magnetic stroll to flirt with the imagination. It is not allowed to play for long though as the fire in the belly of the track explodes into an abrasive and anthemic chorus before the mesmeric cycle begins again. The song was one which took a little longer than others to permeate emotions such its evolving intent, but with its masterful grooves and blazing aggressive energy, even in the quieter moments, and the stoner-esque twists which colour the outstanding imaginative encounter it emerged as the most potent and exciting proposition on the release.

Keeping the release on irresistible flight White Owls and Cheap Champagne comes in next with riffs and hooks blazing whilst rhythms beat their suasion with poise and skill. There is a weight to the track which smacks of a Sabbath-esque seeding whilst the corrosive air and vocal riling reminds of Social Distortion at times as the song proceeds to stomp, stalk, and incite the senses. Dirty insatiable rock ‘n’ roll at its most hellacious, the track provides another flavoursome antagonist to the release and spark for the passions even if against the previous triumphs it lies just behind.

The virulently contagious Riverboat Gambler stands toe to toe with ears next, the song another which enters on an epidemic of riffs and acidic grooves which seduce a submission within seconds before relaxing to expand its heart and narrative. The haze to the vocals and the resonating bass tempting grabs attention first whilst the guitars weave a distorted surface to their grooves and designs in a delicious merger of garage rock and grunge which is quietly ingenious. The track continues to seduce, employing a sixties punk spice to the agitated invention to stand side by side with Scuzz as the pinnacle of the release.

No Trick Pony closes with Freelance Viking, a vigorously captivating tapestry of sonic and scuzz lined intrigue. Easily the coarsest and rawest song on the encounter vocally and musically, it takes the longest time to convince though there is an addictive lure working away within the murky sound which ensures you go nowhere whilst it is offering its declaration. With a temptress of a sonically spawned melody and the scintillating bass sound courting its core, the track makes for an engrossing conclusion especially with the ferocious outburst of punk rock fury which comes in right at the very end.

Slumlord Radio continue to impress and stir up the passions as proven by the tremendous No Trick Pony; they are not for part time punk and dirt rockers but for those with a real passion for sonic bruises a prime joy on a steady and potent rise.

No Trick Pony is available now as a buy now name your price option at slumlordradio.bandcamp.com

https://www.facebook.com/SlumlordRadioMI

8.5/10

RingMaster 14/05/2014

Copyright RingMaster: MyFreeCopyright

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Full steam and sexy brawls: an interview with Jack Kansas of Damn Vandals

Jack Kansa photos by Julian Simmons

Jack Kansa photos by Julian Simmons

In every decade there is a band which flouts the rules, kicks up sonic dust, and sets new templates for the following young protagonists of rock to set their inventions by. Right now it is hard to look past UK psyche rockers Damn Vandals as one of those inspirational rioters, especially taking their new album Rocket Out Of London as evidence. Their second album is a mentally twisting maelstrom of psychotic goodness from the London based quartet, a scintillating brawl of garage punk, psyche, and raw rock ‘n’ roll which brings addiction, dementia, and vigorous pleasure into a feverish union. Greedy to find out more and celebrate our competition to win a copy of their brilliant album, we accosted frontman Jack Kansas who, with the rest of the and breathing down his neck, talked about origins, killer riffs, the turn of a vicar’s ankle, and Star Wars analogies…

Hello and welcome to the site. Thanks for taking time out to chat with us.

Great to be here, the pleasure is all ours …

First up can be get some background to Damn Vandals and its members, their personal histories and how you all linked up?

Damn Vandals are a pan-European sludge (part Swiss, part Sheffield, part Northern Irish, and part London) that evolved and crawled on to land just over three years ago. We’ve now mutated in to a rock monster sustained purely by a love of rehearsing alongside a blue plastic bag full of beer.

What was the spark with brought the band to life; any specific intent?

Foremost, we just try to entertain ourselves. If you’re going to spend the day lugging amps around and dodging over-zealous traffic wardens, then it’s best to ensure you’re getting your fun come show time.

What about the band name…an admission of a misspent youth? ;)

Hell yeah. Here at Damn Vandals HQ we strongly advocate misspending as much time as possible. Benefits include better song titles and a higher quality of pool playing.

It is fair to say that your debut album Done For Desire was eagerly devoured by fans and the underground press upwards, but it looks like the release of your new incitement Rocket Out Of London is poised to stir up a bigger hornet’s nest. Did you have any feeling in its making as to how it would impact on people and so swiftly?

We recorded the album in about ten days so there wasn’t really much time to think. I remember a lot of shouting and a lot of noise. Being in the studio can be a narcissistic process, but I can’t recall much of that sort of thing. If anything, it was like running naked through a hall of mirrors whilst bashing yourself on the head repeatedly with a hammer. Great fun if you like that sort of thing. Glad people are picking up on the urgency in the music.

Both albums have that Damn Vandals distinctive sound but the new release feels like it explores deeper depths and shadows within your songwriting as it brews a stronger almost intrusive virulence to its imagination. How do you see the difference and evolution between the two?

Yeah, Done For Desire is a bit bonkers, but Rocket Out Of London is full-on bonkers … this time we just plonked a bag of bricks on the accelerator and fastened our seat belts really.

The new release draws on the rich essences of everything from punk to noise rock, psychobilly to garage rock in its own form of rapacious DV coverrock ‘n’ roll. Have you taken any deliberate directions with Rocket Out Of London or has it emerged predominantly organically?

Adam the bassist has been yelling for the songs to be faster, shorter and harder for quite some time now. Basically he’s worn us down. He’s the Frankenstein. Personally I put it down to the soft abrasion of his Northern Irish accent – so trustworthy, yet so compelling. I love that man.

The album, as the first, seems to find inspiration and themes either lyrically or musically from the darkest seductions available. Where do you find your strongest sparks and inspiration seem to brew from?

You only have to turn on the internet to realise that the world is ablaze with billions of screaming voices, each with a bunch of weird stories. I guess we tap in to that and form a playground in the darkness. It might scare some, but hey Star Wars would be the dullest movie on earth without Darth Vader. You’ve got to a least entertain the dark side a bit, shake the tree and see what fun can be had with it – else there’s no sense of wonder when you finally blow the death star to smithereens and speed off in a blaze of glory screaming yee-haa. If in doubt, a highly complex Star Wars analogy answers most difficult questions – that’s what I usually say ….

How does the songwriting generally emerge within Damn Vandals?

All good rock songs should just start out as a killer riff – I learnt that by watching a BBC documentary on Black Sabbath, I think it’s the only thing TV has ever taught me. The riff works better if there’s a punchy hook. After that we smash the idea around the rehearsal room and see what joy we can have with it.

Does it run smoothly for the main or is there a tendency for vivacious debate when it comes to creating songs initially?

You can’t polish a turd. We learnt that early on. If an idea isn’t getting all four of us excited then it’s best to bin it as soon as possible and move on. That’s the ideal. We’ll probably have a blazing row now tonight …

I believe you were going to call the new album This Music Blows My Tiny Mind, also the title of one of the tracks on the release. What triggered the change to Rocket Out Of London?

It just sounded cooler. TMBMTM was a great working title that reminded us to keep the music on the edge of crazy. It just had too many words in it. ROOL just seemed to exactly fit the 10 songs.

The band and albums have been graced with comparisons to plenty of bands even with your uniquely flavoured sound and we have been no different though we seem to differ in finding a healthy flavour of Irish eighties rock band Fatima Mansions and now additionally Rocket From The Crypt in the new release also. What are your strongest inspirations personally and upon the band which have added a breath to your music?

At the end of the day, all we want to be is Led Zeppelin in their prime. That’s all any guitar boy really wants. Only a few of us are man enough to admit that.

 Marcus Maschwitz Photography 2012

Marcus Maschwitz Photography 2012

Is there a particular moment within Rocket Out Of London which gives you a naughty tingle of satisfaction, an essence where you feel the band has found the sweet spot?

One moment that hits the tingle button for sure is in Too Lazy To Die, Too Stoned To Live (Adam the bass player gets the credit for that song title, he said it down the pub once). Tingle time comes at about half way, as the tempo gears up and Frank flings himself in to one of his demonic trademark solos. Watching Frank lay down guitar tracks in the studio blows my mind. I love that guy.

You recorded the album as you did the first with producer Julian Simmons, what does he bring to the recordings which sparks the band’s creativity further in the studio?

Julian Simmons is the most aerodynamic man I know. He is also a genius and a man of considerable wit. Like most super heroes, however, he does have a weakness – his being a soft spot for hot female vicars. It’s his Kryptonite. Just the thought of a toned lady’s ankle swathed in the trim of a swaying cassock turns him to jelly. Other than that, he’s a dream to work with. He brings light, warmth, happiness, but most of all discipline in to the studio. Love that kid.

Did you change anything around or to the recording of the album which differed or evolved dramatically from the creation of Done For Desire?

There was just way more sweat this time around. I remember Chris the drummer emerging from the live room after takes looking as if he’d just sprinted at full tilt down to the Cost Cutter and back. He really shredded those skins to bits, relentlessly for days. Great drummer…Got to love that dude.

The first single from Rocket Out Of London certainly raised extra appetite for the album and makes a contagious opener for the album. Can you give some background to Twist Up And Tangle and its breeding?

Twist Up was the most recently written of the ten songs. It came together quickly in the rehearsal room and just made the recording session by a whisker. Frank’s guitar sounds as if it’s going to tear your ears off at the beginning – just seemed like a lovely way to start an album …

You have a big reputation for your feisty and fiery live performances too; we can expect plenty of shows in support of the album across the rest of 2014?

We’ll be playing as much as we can. First up, this May bank holiday we’ve got a couple of back-to-back festivals – Off The Tracks in Castle Donington on the Friday and Lechlade on the Saturday. They’re two great festivals – looking forward to those … of course there will be others too …

Are there any other plans for the year from Damn Vandals you can give us a sneak preview of?

Let me just open the pad lock on the DV’s box of top secrets … ah, I see wonderful things … some plans for a video involving 20 dancing girls, a Pooh bear suit and a giant pot of honey – not sure where we’re going with that one … oops, Frank’s coming – better shut the box …

We cannot let you leave without hearing about the wonderful story behind a song from the first album, The Revenge Of Spider Toothy.

No one believes me when I say that song was written by a three-year-old child. But once again I’ll scream it’s true … It’s based on a conversation I had with this kid. He had an imaginary anti-super hero friend called Spider Toothy who was out to seriously f-up human kind. I just nicked all the crazy things he did and all the creepy places in which he hid then made the odd bit rhyme. Bingo…Instant rock ’n’ roll. The kid’s got another track on the new album called I Hate School. Nobody believes he wrote that one either.

Once again our big thanks for sharing time with us. Have you any last thoughts to leave us pondering?

The pumps don’t work ‘cos the vandals took the handles. Bob Dylan said that. Thanks for having us Ringmaster, love Jack and all the DVs xxxx

http://www.damnvandals.co.uk

Check out the Rocket Out Of London review @ http://ringmasterreviewintroduces.wordpress.com/2014/04/07/damn-vandals-rocket-out-of-london/

And win yourself a cd of the new album @ http://ringmasterreviewintroduces.wordpress.com/2014/04/27/win-a-copy-of-damn-vandals-spanking-new-album-rocket-out-of-london/ but hurry as closing date is Saturday May 17th

Pete Ringmaster
The Ringmaster Review 09/05/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

Trioxin Cherry – Let’s Take Off And Nuke The Site From Space

TC Photo by Holly Monroe

The excellent Hell To Pay EP in 2012 more than suggested that its creators had the potential to make a big mark on the UK punk scene but Trioxin Cherry go far beyond making a mere potent impression with their debut album, unleashing one of the real treats of the year so far. Let’s Take Off And Nuke The Site From Space is a virulent contagion of rock ‘n’ roll, a brew of garage and horror punk which sculpts its own identity whilst insatiably working on senses and passions. Carrying hooks like a gunslinger and grooves like a nocturnal temptress, the release is punk at its riotous inventive best.

The Nottingham bred trio as mentioned made their first sizeable impression with their Hell To Pay EP, a raw and magnetic five track release which stirred up eager attention and support for the line-up of guitarist/vocalist Rebecca Campbell, bassist/vocalist Pete Grady, and Ryan Murphy on drums. Their two song contribution to the Chainsaw Ballads split with Thirteen Shots and Razing Hell only cemented their promise and an eager appetite for their presence and sound. The releases certainly hinted at the possibility of big things ahead from the band but may be not to the extent offered by Let’s Take Off And Nuke The Site From Space or certainly as soon as its release. Since the recording of the album Murphy has departed the band to be replaced by Nathan Hart but he has left being part of a massive breakthrough and step for Trioxin Cherry.

The raw energy and intent of the previous releases has been retained in the new album but honed into a concentrated and clear proposition TC cover which simply ignites ears through to passions from first track to last. After a Japanese spoken intro, opener Baka Manko thrills and catches the imagination by surprise. Also sung in the oriental language, the song bursts into view like a robust caped crusader, muscles flexing and energy brewing for a riot. Riffs stride purposefully and rhythms stomp with crisp sinews but not for the last time it is the bass adding the danger to the character of the song. It has a grizzled throat to its prowl, a gnarly air which is infectiously toxic alongside the similarly virulent riffs and soon to charge vocal declarations. As to what the song is about who knows, but it matters not as the romp is irresistible and an open call to feet and imagination to climb on board with the awaiting rampage.

The brilliant Fly, Bill Murray! steps up next, riding on a rigid spine of grooves from bass and guitar punctured by again firm rhythms. It is a composed yet hungry stroll of rock with nostrils flaring in its intensity and inventive chorus. The song sees the band just as keen to twists vocals and harmonies as they are their sound, but never taking its foot off of its anthemic potency as it roars and badgers as a fiery climax comes into view before making way for the equally voracious Psycho Killer. Campbell takes little time to unleash a masterful howl as the new track establishes a predacious stalking of the senses, guitars climbing over ears with hungry riffs as the bass again bringing a bestial growl to the scenery. Caged by a similarly intimidating stroke from the drums, the song crowds and pressures the senses until submission is inevitable, wiry hooks and that grizzled bass temptation only adding to the addictive lure with Campbell’s vocals the icing on the bloody cake.

It is a massive start to the album which only builds and seduces the further you go, Good Day To Die the next triumph in line to steal the passions. Campbell brings her Fay Fife like tones out for the song, backed by some great vocal shadows from the band. The track is a real predator, lurching and glaring with withering riffs beside antagonistic rhythms, but it is the glorious twisted surf rock toxicity of the emerging groove which is the most venomous and scintillating temptation and helps send the track to the top of the pile.

Both the melodically sinister Wrong Turn and Let’s Take Off continue the slavery of thoughts and emotions, the first a blaze of discord kissed sonics and pacey beats lorded over by the ever fine tones of Campbell and plays like the result of a demonic act between The Rezillos and The Duel. The second of the pair launches from another deliciously primal bass sound, guitars soon replicating its lure in their own colours. The song swings and saunters belligerently as it gives the kiss of death to the world below, adding its rapacious stomp to the dust.

A reworked version of the acclaimed title track from the band’s EP comes next, Hell To Pay crafted into an even stronger and irresistible enticement than before. Cored by a sultry groove which worms under the skin within seconds, the bass again providing its own addictive dark poison, the song manages to brew richer hues and darker corners to it’s just as epidemically contagious incitement, a success matched by another revisit to a track from the previous release, Hit Me. This track again develops new toxins and depths to its original premise but also an even greater aggression to its defiant spite and avenging intrigue. With another groove which simply winds so tight around the passions that lust bleeds from pores, the track is quite magnificent and with the previously mentioned song makes the atmosphere tough for the song splitting the two to contend with. Not that the old school punk bred Ratbiter notices as it rampages with relish, riffs and rhythms abrasing with contentious brawls and badgering as ridiculously catchy hooks and another bass exploit provide something more to drool over. It is the storming chorus though that clinches the deal, its venom and enterprise sensational.

You Belong To Me is the most adventurous song on the release but also pleasing ‘messy’. Like a fog of intense sonic squalls and thickly clouded aural animosity, the song is the soundtrack to hell, a caustic hymn to the outbreak of ravenous cemeteries and waiting devastation. It’s a noisy maelstrom which works a treat and shows more of the adventure of the band and further hints of how strong the band is yet going to become.

The album is completed by the excellent Rebellion, a storming ode to the renowned UK festival. Starting with an acoustic caress of Campbell and guitar, the track explodes into one last stomp of punk rock. It is the perfect anthem to close the release, like a mix of Holly and the Italians and Flogging Molly. Do remember to hang on after its conclusion too, as a great acoustic version of the same track is hiding in the silence.

Let’s Take Off And Nuke The Site From Space is a massive festival of punk rock, multi-flavoured and diversely sculpted and proving that punk is always an essential proposition and Trioxin Cherry one of its new masters.

Let’s Take Off And Nuke The Site From Space is now available on STP Records (www.stprecords.co.uk) and @ http://trioxincherry.bandcamp.com/album/lets-take-off-and-nuke-the-site-from-space

https://www.facebook.com/trioxincherry

10/10

RingMaster 29/04/2014

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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WIN A COPY OF DAMN VANDALS SPANKING NEW ALBUM ROCKET OUT OF LONDON

dv cover

Without doubt one of the most highly anticipated albums of 2014 has been Rocket Out Of London, the sophomore full-length from UK psyche rockers Damn Vandals. It is quite simply an exhilarating romp of psychotic rock ‘n’ roll which more than lives up to the greedy hopes and feisty expectations lying in wait for it. The album has not only reinforced the reputation of the band bred with debut album Done For Desire as one of the most original and promising propositions in British rock but cast the London quartet as a new template for psyche rock and sonically twisting ingenuity.

Featuring brawling incitements made from maelstroms of garage punk aligned to psyche and stoner rock, the album is a raw and hypnotic riot of insatiably addictive and demented rock ‘n’ roll. With tracks such as the aurally rapacious Twist Up And Tangle, the swamp-esque I Bring You Love, and the volcanic This Music Blows My Tiny Mind as well as the wickedly virulent title track, Rocket Out Of London is a dark and mischievous masterpiece and one you can get your fevered hands on for free.

Damn Vandals and Manilla PR have linked up with The Ringmaster Review to offer the readers the chance to win a free copy of Rocket Out Of London. It is the opportunity to romp voraciously one to one with one of the year’s major highlights from one of Britain’s most creatively dramatic and dynamic bands and we have two CDs up for you to win.

Simply answer this question in the comment box below leaving your name and email address. Submit your answers by Saturday May 17th when we will choose two winners randomly from the correct entries and be in touch for mailing details.

Now for the question…

What is the title of the first single taken from Rocket Out Of London?

 

Good Luck!

 

Read the review for Rocket Out Of London @ http://ringmasterreviewintroduces.wordpress.com/2014/04/07/damn-vandals-rocket-out-of-london/ …it might give a clue ;)

Check out Damn Vandals @ http://www.damnvandals.co.uk and the new album @ http://damnvandals.bandcamp.com/album/rocket-out-of-london

 

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

Witching Waves – Concrete/Chain Of Command

WW Concrete Cover Art

Duos especially within the ranks of garage rock and punk are becoming a real source of imaginatively flavoured treats this year, the likes of the garage punk blessed album Ghost World from The Creeping Ivies and the sixties garage pop punk glory of the self-titled Kristy And The Kraks EP just two examples currently igniting the passions. Now we have a further mesmeric abrasing triumph from UK band Witching Waves to enthusiastically drool over.

Hailing from London, the band is the creation of Emma Wigham (Weird Menace) and Mark Jasper (Sound Savers Recording Studio), two musicians bringing the maybe now expected union of guitar and drums for a fevered grip of noise. What does not feed expectations is the imaginative caustic beauty of the two songs making up the limited cassette single, Concrete and Chain Of Command simultaneously seductive and rapacious as well as strikingly dramatic. Sound wise the band brew up a raucous and evocative mix of garage punk and post punk, but also a healthy melodic acidity which teases and captures the imagination even further. It is an abrasive encounter but one with incendiary tempting to fire up ears, thoughts, and passions.

Witching Waves began in the April of 2013 and since forming has bred a strong reputation for themselves through their stripped down attention grabbing sound and their appetite to share it across as many shows as they are able. There is a definite ’77 independent feel to the sound and presence of the band, in their approach to music and a DIY attitude. The new Soft Power Records release follows the band’s self-titled release on Suplex Cassettes last year and threatens to cast Witching Waves into a whole new intensive spotlight.

First track Concrete wraps itself around the ears with a scuzz kissed lure of guitars and belting rhythmic incitement, the track teasing whilst demanding attention. The opening hook has a definite Buzzcocks lilt to its grazing potency, an enticing call coaxing in the similarly pleasingly honest vocals of Jasper. The song manages to be melancholic and vibrant at the same time, never favouring either trait but giving both a healthy voice to intrigue and involve thoughts. The entrance of Wigham’s equally unfussy voice sparks a small urgency in the beats though the song never breaks a sweat across its enthralling body. For just a two piece there is plenty of variation and adventure within the encounter, the outcome bringing the idea that if the Yeah Yeah Yeahs became The Cramps it would sound like this.

The song is a masterful persuasion and skilled provocation of emotions but only an appetiser for the outstanding Chain Of Command. The song is glorious and outshines its companion with ease. An opening croon of guitar with its slight surf rock twang steals full attention first before an additional citric groove weaves its way around the senses. Both provide a sultry suggestiveness to cling tightly too, rhythms only caging their potency until the song erupts into a thumping stomp of flaming dishevelled sonics, coarse melodic toxicity, and anthemic rhythmic and vocal seducing. The track scorches the senses with its sonic fire, at times meandering and exploring barely connected pastures before reeling it all in for ridiculously infectious and insatiably addictive choruses, maybe better described as orgies of seductive brawls. The song alone will make you develop a stalker like appetite for Witching Waves and in companionship with Concrete provides evidence that this is potentially a boundary pushing band of the future.

The single is a very limited proposition so it is suggested to act fast, its 25 blue cassette option already sold out leaving 75 baby pink versions to be snapped up, though there is a 12” vinyl EP planned for the summer also on Soft Power.

Concrete/ Chain of Command is out on April 21 via Soft Power Records.

http://softpowerrecords.bandcamp.com/album/concrete-cassette-single

http://witchingwaves.tumblr.com/

9/10

RingMaster 20/04/2014

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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