Warped romances and deathly seductions: exploring the psyche theatre of Dedwardians

Dedwardians

The recent release of AA-sided single Love Sick/ Like An Animal reinforced UK garage punk/psyche rockers Dedwardians as one irresistibly primal and infernally seductive incitement. Breeding a raw and scuzz lit infestation of the senses and imagination from the essential essences of psychobilly, garage punk, psyche rock, fifties rock ‘n’ roll and plenty more, the London quartet has emerged as one of Britain and garage punk’s most exciting and flirtatiously inventive propositions. Already carrying a lustful appetite for the band’s sound we thought it was time to learn more about the dark sonic beast that is Dedwardians, so with thanks to drummer Ben Auston we explored the band’s origins, sound, new single and much more…

Hi and thanks for sharing time to come chat with us.

Firstly can you tell us about the background to the band and how you all linked up?

Hello there. Paul (vocals) and Gaff (guitar) found me (Ben, bass) via the bands manager at the time. We met up for a few drinks in Soho and we took it from there. We went through a couple of drummers before finding the boy wonder, Dan Bridle. As for our backgrounds, I can only guess that Paul and Gaff, being men of the North, were raised listening to Venom whilst working in a shipyard or something equally manly. We’ve all grown up playing in rockabilly, punk and rock ‘n’ roll bands….so we’ve all been cut from a similar cloth. …Faux leather.

The band members I believe hail from cities like Liverpool, Leeds, and London, but now all London based for the band. Why the choice of the Capital for the band’s home and would you Dedwardians Bencontemplate living anywhere not beginning with the letter L? ;)

We wanted to move to Aleister Crowley’s old dwelling, Boleskine House on Loch Ness, but the bedroom tax malarkey ruined that, so we settled on a 6 berth caravan in South London.

Many bands seem to start with one direction or idea of sound before emerging with or evolving to their true sound, Ministry maybe the biggest named example. With Dedwardians, I get the feeling you were all born to create the music you do, so was the sounds gracing your two singles it from day one?

Kind of…We started off with a bit more of a 1950’s rock ‘n’ roll sound with our first single – almost Jerry Lee-esque, but somehow we have gone a bit darker and twisted with the newer stuff…which I guess is more true to how we actually sound live. The name was a bit of a play on the Edwardian Drape Society/Teddy Boy thing, so we’ve not strayed too far off from the original ethos.

In our review of the new AA-sided single Love Sick/ Like An Animal we drew on comparisons to the likes of The Cramps, The Dropper’s Neck, and Eighties Matchbox B-Line Disaster, and we could have mentioned Gene Vincent, The Heartbreakers, early Misfits for example too. What are the predominate inspirations which have shaped your tastes and influenced your invention?

You’ve pretty much nailed it on the head with those, but The Cramps are the band we’d all agree on though if I had to pick one. We’re an eclectic bunch on the whole though. Glam through to Psychobilly, Garage Punk to Goth…we’ll borrow shamelessly from wherever. Might confuse some listeners, but hey ho.

As you just mentioned your sound really is a creative frenzy whipped up from essences of numerous styles. Has this diversity just come from all your varying tastes over time or always been there in the songwriting from day one?

It’s been there from the start. It’s becoming more diverse as things progress, which has been tricky in the past when it comes to picking what to play live as we’ve been worried about jumping too far from one style or genre to another. Somehow it always sounds like us nonetheless, so it can’t be too far off. I think we’ve got it down now though, so not too many perplexed looking faces in the crowd. Hopefully.

How would you describe your music to newcomers?

Errr, something along the lines of Gene Vincent, Lux Interior and Captain Sensible on a night bus home.

We love the band name, The Dedwardians speaking for itself and of course you touched on it earlier, but who came up with it?

I think it was Paul and his love for Teddy Boys…Or boys with teddies…Can’t remember. Good though.

Are both your singles Bang Bang Die/Stop Destroy and now of course Love Sick/ Like An Animal songs written around the same time or over different periods?

There was a bit of a gap, maybe a few months at the most. What delayed things was trying to find the right studio to get the sound we were after. Some studios we tried made us sound way too clean…completely not what we wanted, but then we didn’t want to sound too digital or heavy metal. We ended up picking Andy Brook to work with, who I’ve known for years. I wish we’d just gone to him in the first place. We’d have an album sorted by now…maybe.

Dedwardians2How are you seeing the evolution in your songwriting and sound as the band grows and matures together?

The songs are getting a bit more thought through and taking longer to sort out the final arrangements. I don’t mean in a Math Metal/Prog direction, we’re just trying to get the most out of the dynamics and avoiding becoming formulaic. Sometimes it’s tricky doing so with just one guitar, bass and drums. Saying that, Gaff is often louder than two guitarists…Sound men love him.

Is there a predominate inspiration to the lyrical and emotional side of your songs?

The only recurring theme I’ve managed to pick up on is DEATH. Which is odd, as Paul is generally a pretty cheerful chap.

Tell us about the recording of the new single. Did you have any particular intent with the tracks?

We wanted it to be loud; fuzzy guitars, big drums, over driven vocals and dirty bass. Andy Brook (engineer) pretty much got what we wanted straight away. He knew our influences better than the other studios we had recorded in, so that took a lot of the guess work out.

The songs have an instinctive, almost primal lo-fi breath. This edge makes them predatory and insatiably addictive, certainly for us drawing out the true heart of the tracks. Many bands seem almost afraid to tap into raw sounds, what lures you into this approach?

It’s probably the hatred for the opposite. We’re not Hi-Fi for sure. We’re really not about high end boutique guitar amps and overly compressed tracks. Our influences aren’t squeaky clean, perfectly auto-tuned performers. Raw is always better…Red raw.

It is fair to say you make music for you, sounds that you adore and then hope others feel the same?

Yep. Haha. Utterly selfish. When me and Gaff are writing together, we’re honestly not bothered about trying to please a certain scene or genre. If you go that route, you’d just end up sounding like you’re trying to suit a certain style.

Tell us about the video for Sick Of Love?

We shot it in a dark rehearsal room in a few hours, again, about as lo-fi as you can get. I shot most of it and edited it…DIY all the way. It’s not that we can’t afford something more grand though…we saved up enough cash to get Martin Scorsese interested, but we ended up blowing it on a night out in Skegness.

You have earned strong praise and acclaim for your live performances as well as the singles. Rampaging in front of the audience is where you really get a fire in the belly I am guessing?dedwardians3

Yep. We go for it on stage. Who doesn’t want to watch 4 sweaty blokes playing too loud for 25 mins?!

Where can people catch the band live next?

Butlins. No, err, The Finsbury, 18th December.

Any Christmas treats in store for fans with shows?

Yes, naturally. The venue’s ceiling will be so heavily adorned with mistletoe that it resembles stalactites. We have a list of all the naughty girls – Dan will be dressed as Santa for their pleasure. Paul will be dressed as an Elf. Me and Gaff will be head to toe in black leather, with tinsel detailing…humming Wizzard’s festive classic – I Wish It Could Be Christmas Everyday. We’re the gift that keeps on giving.

Thanks again Ben for sharing your time, anything you wish to shout out to finish off with?

A dog is for life, not just Christmas…and buy our fucking record!

Cheers Pete! Merry Crimbo!

Ben Auston

Read our review of Love Sick/ Like An Animal @ http://ringmasterreviewintroduces.wordpress.com/2014/11/22/dedwardians-love-sick-like-an-animal/

https://www.facebook.com/Dedwardians

Pete RingMaster

The RingMaster Review 11/12/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

Witching Waves – Fear Of Falling Down

Witching Waves press small

Having been hooked by the band with their limited edition cassette single Concrete/Chain Of Command earlier this year, there was a fair few tingles running through anticipation with the announcement of the debut album from Witching Waves. Those urges have grown to lustful proportions now that Fear Of Falling Down has infested ears and psyche, the release confirming all the promise and thrills experienced before whilst showing a broader adventure and creative resourcefulness in songwriting and sound.

Hailing from London and formed in 2013 as the brainchild of duo Emma Wigham and Mark Jasper (Sound Savers Recording Studio), Witching Waves through their unrelenting appetite for performing live and songs swiftly drew keen attention their way. Fusing as many essences of punk as you can imagine in a noise and discord sculpted garage pop incitement, the band bridges the DIY essence of the late seventies and the voracious causticity of modern invention; kind of like Swell Maps meets The White Stripes but for a truly unique and tenaciously addictive proposition.

Released via Soft Power Records, Fear Of Falling Down sees the duo now a threesome with the addition of a bassist, though we cannot tell you the name. The band’s fourth release, after Witching Waves LP Cover Artthree cassette singles, is a master class in raw sonic temptation and primal rhythmic slavery; each song united by a certain anthemic swing and creative tenacity yet alone in warped character and discordant agitation. Recorded on to 8 track tape, the album is a minimalistic yet inventively involved incitement, a cavernously toned but intimately delivered protagonist to excite ears and imagination with ease.

The album’s title track is the first to get the juices flowing, the opening jangle of guitar just the prelude to a rhythmically driven slice of agitated pop. The excellent vocals of Wigham soon join the rampancy of drums and the scrub of guitar before Jasper takes over with his equally captivating tones. Virulently catchy with a bounce to match, the track dances with ears and emotions from start to finish; every note, beat, and vocal enterprise simple but expertly creative seduction.

The post punk kissed Cold Out comes next, the contrast of the harmonic elegance and rawer expression of Wigham and Jasper respectively, alone a gripping enticement. In some ways there is an early Siouxsie and the Banshees feel to the song but also the flowing melodic quaintness of a Morningwood, the combination an addictive proposition, though soon surpassed by the poppy endeavour of Better Run. A slight spring of surf rock runs through the garage rock bred song whilst again vocals are as broadly bewitching as the slim but pungent sounds around them. As most tracks on the album, it is hard for feet taps and vocal participation to restrain from joining the band during the progress of its gently cacophonous croon before it makes way for the post punk infused stroll of Counterpoint. With repetitious riffs and infectious rhythmic bait, the song is a more challenging persuasion with its soaking of acidic discord and off key dynamics, but another to leave ears and passions basking.

The raw charm of Concrete comes next, its opening Buzzcocks spiced hook an instant attention grabber whilst a courting stride of rhythms draw their own submissive response. The plain almost disillusioned monotone vocals of Jasper contrast perfectly with the fluid melodies of Wigham, whilst the throaty melancholic bass prowl simply adds an addictive icing to the enthralling coaxing of body and mind. Like an unhinged blend of the Yeah Yeah Yeahs and The Cramps, the song is an aurally dishevelled but controlled temptress, and the perfect appetiser for the brilliance of the following Creeping. Stalking ears with rhythmic eagerness, the song stomps with muscular and concussive beats as riffs and basslines flirt with their own rowdy enterprise. There is for not the first or last time, a similarity to Scottish duo The Creeping Ivies about the band’s sound across the album, here being a potent comparison though again Witching Waves emerge as individual and original in every sonic aspect.

Both the outstanding News, with its hypnotic rhythmic baiting and spicy garage rock keys around a creative drama, and the intrigue drenched Wait Around keeps the adventure of Fear Of Falling Down on its highest plateau. The first of the two is a web of colour rich discordance and imaginative confrontation honed into a ridiculously infectious trap which simply leaves ears, thoughts, and emotions grinning whilst its successor juggles sonic abrasion with warm pop harmonies for another song which takes longer to reach the peaks of others, but only adds to the unpredictable and captivating climate of the release.

Fear Of Falling Down closes with the excellent Barber where garage punk and eighties post punk meet for a contagion filled stamp of punchy beats and wiry hooks aligned to velvety heavy bass lures. It all of course infused with the wonderfully clashing and superbly united vocal attack of Wigham and Jasper.

If Witching Waves have impressed before with their early appetisers then the album offers a fuller and more flavoursome meal of dissonant and melody bred noise. For those new to one of the UK’s most thrilling propositions, Fear Of Falling Down is a sonic lust in the making.

Fear Of Falling Down is available via Soft Power Records as a Limited Edition Vinyl LP (250 Copies) and digital download @ http://softpowerrecords.bandcamp.com/album/fear-of-falling-down

http://witchingwaves.tumblr.com/

RingMaster 08/12/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

 

 

Thirteen Shots – White Noise EP

10380836_752679404805359_4656208060752077616_o

Ever since the release of the single Danzig in 2011, UK rockers Thirteen Shots have been evolving a sound which seemingly chooses its own direction through each release. It is an organic journey which constantly surprises fans and at times maybe even the band itself. The predecessor to the band’s new EP hinted at one potent and striking shift which the White Noise EP now confirms whilst also suggesting more and that it too is just a sign post towards a yet to be reached destination. Early tracks and debut album Vaudeville offered rock ‘n’ roll with a voracious psychobilly/ punk ‘n’ roll devilment but the unleashing of last year’s Tales That Start With A Whisper seven-track brawl explored rich strains of horror and garage punk in its varied adventures. Now White Noise has stepped forward to push those essences further, the result a diversely flavoured slab of rock which is as at ease employing blues and classic rock as it is garage punk and rock, the result a mouth-watering blaze of raw and dirty rock ‘n roll.

Formed in 2011, the Johnny Rose led Thirteen Shots was swiftly firing up attention, especially after the release of the acclaimed Danzig which was backed up by a live presence which had also garnered equally potent recognition, the band sharing stages with bands such as Demented are Go, The Peacocks, Rezurex, Howling Wolfmen, Graveyard Johnnys and many more these past few years. Their following releases only reinforced their emerging presence whilst relishing the movement in the band’s sound, a journey continued with captivating ferocity through White Noise. The beginnings of the Birmingham quartet when Rose linked up with co-founder guitarist Joe Public, saw the pair move away from a hard rock breeding but with the new release it almost feels as if Rose is drawing on the best essences of that earlier time and flavour to add another flame and spice to the next twist in the ascent of Thirteen Shots.

The new release also sees the introduction of drummer Tom Fenn, who replaced the departing and also band original Chelsea McCammon, and opens with the imposing turbulence and attitude Thirteen Shots- White Noise- Coverof Doom. From its first breath, intense and corrosive riffs graze the senses whilst a bulky bassline joins crisp rhythmic punches in accosting ears. It is a formidable wall of sound, almost Sabbath-esque in tone and predation as fiery grooves wind around the distinctive tones of vocalist Rose. Lyrically the band is still spinning great tales from b-movie and horror inspirations but in sound the track instantly reveals a fiercer and more intimidating air, though it is just one aspect in the varied character of the release.

Next up is the first of two recorded tracks taken from last encounter Tales That Start With A Whisper, and in some ways reveals the most about the shift in sound as you compare versions. Nekrosexual whips up an immediate rich garage blues fuelling to the southern kissed garage punk encounter. There is admittedly not a major change in the song’s textures and sonic winery but everything has a new flood of intensity and incendiary colour to it, a rawer rock ‘n’ roll clarity which just gets the juices dribbling.

The following Blue Lagoon features Silpha, the vocalist from German horror punks Silpha & The Corpseboners and label mates on Rose’s own label Undead artists. The track roars from its first second, a bracing horror punk causticity scarring the air around the expressive and magnetic tones of Rose and Silpha. The track is a contagious stomp, the guitar of Lewis Manchip an uncompromising squall and the pulsating throaty bass lures uncaged by George Chick inescapable bait as they collude with the wicked swings of Fenn. The track is punk rock at its finest at its core and a lingering treat even after making way Psycho Jukebox, the other song re-recorded from the EP’s predecessor. A firm favourite of ours from Tales That Start With A Whisper, the new version is a little less convincing yet with its new roar and bluster turning the swagger loaded rocker into a ferociously compelling provocation, the track only adds bruising drama and incendiary enterprise to the release.

Inspired by the romance of the silent film star and film icon Mary Pickford, First American Sweetheart is the EP’s pinnacle, its infectious gait and rockabilly temptation wrapped in hard rock grooves and garage punk contagion. The song is outstanding; another in a line of underground classics sculpted by the band and the deserving of a wider spotlight. It plays with a Turbonegro and The Damned meets Rezurex type stomp and alone does enough to confirm that the new generation of their sound’s evolution is a step in the right and thrilling direction for the band.

Final song Padded Cell Blues is exactly as it says on the tin, a feisty blues drenched slice of deranged rock ‘n’ roll which shuffles and rampages across its sultry confinement with captivating tenacity and invention. Adding another open colour to the canvas of the EP, the song is a thickly satisfying close to another fascinating and exciting release from Thirteen Shots. Playing as a taster of the band’s continuing journey and an anticipation triggering teaser to a new album out next year, White Noise is a treat for all Thirteen Shots’ fans but also a rigorously enticing invitation for all appetites of unpolished, unclean, and masterfully invigorating rock ‘n’ roll.

The White Noise EP is available now via Undead Artists digitally and as a limited CD @ http://thirteenshots.bandcamp.com/album/white-noise

http://thirteenshots.com

http://undeadartistsbooki.wix.com

RingMaster 03/12/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

Dedwardians – Love Sick/ Like An Animal

dedwardians

Crawling the senses and imagination with mausoleum bred romance and a sound as carnal as it is predatory, UK garage punk/psyche rockers Dedwardians unleash new AA-sided single Love Sick/ Like An Animal, an encounter unleashing the beast in the passions. The release is a raw and primal proposition, a caustically bracing protagonist providing modern rock ‘n’ roll with an older devious seduction.

The new encounter follows last years acclaimed single Bang Bang Die/Stop Destroy, an attention grabbing release igniting a feverish following which Love Sick/ Like An Animal will only inflame further. The London based Dedwardians expand their songs from a fifties rock ‘n’ roll inspired core, drawing in the darkest essences and warped delights of psychobilly, garage punk, psyche rock and more. The best way to describe their sound is the ravenous punk of The Cramps colluding with the fuzzabilly devilment of Eighteen Nightmares at the Lux to engage in illicit unions with the psyche dementia of The Dropper’s Neck and the gothic rockabilly charm of The Orson Family. It is a concoction which as mentioned made a gripping infestation for the first shadow cloaked swoop of the band and rises to even greater infernal irreverence and beauty with the new single.

Love Sick opens with an instantly addictive and tangy groove, the fiery enticing from guitarist Gaff almost insidious in its lure and reminding of Damn Vandals in tone and inescapable temptation. Jabbing beats from Dan Bridle skirt the image001toxicity soon after, adding predacious swings as vocalist Paul Gautrey begins unveiling the dark toned narrative. The heavy throated lure of Ben Auston’s bass only adds to the demonically erotic seduction embracing ears and imagination, almost egging on the darker tempting of the song as it immerses the psyche. Virulently contagious and greedily insatiable, Love Sick is raw sonic alchemy with grooves and hooks as spicy and venomous as the instinctively enslaving rhythms and emotively ravenous vocals.

The accompanying Like An Animal is no different, an organically lo-fi persuasion with its own unique and epidemically driven infestation of sound and hungry passion. The track simmers with a sonic coaxing initially before again grooves lay the first tasty bait, it all subsequently joined by a persistent and intimidating shuffle of drums and harsh scythes of guitar. The track is a riveting tempest, hooks and splices of melodic acidity spearing the tempestuous prowl of the song whilst Gautrey like a barker from the darkest depths, leads and directs the incitement with his expressive tones, backed by the rest of the band in rockabilly style. The track as its companion is pure temptation, from the bulging basslines to the hoarse vocal and sonic squalls, as well as the scorching melodic expulsions of inventive manna, simply irresistible.

The track having reinforced those references in sound mentioned before, also holds a potent breath of The Eighties Matchbox B-Line Disaster, and in many ways is probably the closest comparison to Dedwardians. For all like us who still mourn the end of that great band, we have a new contender to fill that gaping gap in British music. Do not be deceived though, Dedwardians is and has a sound unique to themselves and with the release of the new single will surely turn the ripe buzz around them into a full blaze of attention and ardour, especially as you are not likely to have heard many singles matching its brilliance let alone surpassing it this year.

Love Sick/ Like An Animal is available on Nov 24th @ https://itunes.apple.com/gb/album/love-sick/id935793228?i=935793244&ign-mpt=uo%3D4

https://www.dedwardians.com/

RingMaster 22/11/2014

Copyright RingMaster: MyFreeCopyright

 

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

http://audioburger247.webs.com/

 

The Mobbs – Garage Punk For Boys

Photo 2

Ever wondered what would happen when you mixed ’77 bred punk rock with garage rock? UK rockers The Mobbs obviously did and with additional doses of sixties beat and R&B have crafted a sound which insatiably infests body and soul. In the mischievous shape of their third album Garage Punk For Boys, this adventure it is fair to say also provides one of the releases of the year. The accompanying promo sheet for the album suggests that “The Mobbs play a Wilko Johnson infused Billy Childish explosion”, an accurately pungent description of their sound but to that we would add the unreserved devilry of Radio Stars, the raw charm of Television Personalities, and the bracing fever of Thee Exciters in its armoury. The concoction is a riveting and exhilarating stomp with a hunger as shown by Garage Punk For Boys, which infects the listener from head to toe.

Formed in 2008, the trio from Northampton has persistently lit up stages, earning a rich reputation for energy strewn live performances, a stirring presence backed up and spread further by their greedily received full-length It’s… The Mobbs of 2011 and its acclaimed successor Stiff Upper Lip & Trousers To Match last year. With a couple of singles equally stirring the passions, the band has been a live spark in the European garage rock scene, though it is easy to expect Garage Punk For Boys being the trigger to a far more ferocious spotlight upon the inimitable uniqueness of The Mobbs.

The trio of vocalist/guitarist Joe B. Humbled, drummer Cheadle, and bassist The Bishop, who is making his recording debut with the band on the album, unleash an instantly grabbing eighteen second punk brawl through Gpfb to set GPFB-FRONT-COVERthings off, following it with the magnetic grooving of Get Your Hair Cut. Bass and guitar cast the first spicy lure on the second track, before snipping scissors unlock a feisty stomp littered with a wholly seductive bassline and similarly alluring hooks. Matching the devilment of the sounds, Humbled incites ears and imagination with his raw and unfussy delivery, a boisterous and infectious enticing to misbehave or conform depending how you want to take the exceptional track.

Its bewitching bounce is followed by the tangy presence of I Am the Anticlimax, clanging riffs an easy enslavement from the first breath. With The Bishop adding another delicious velvety tempting on the bass within the crisp rhythms of Cheadle, the track entwines beat and vintage punk rock, kind of like The Rockin’ Vickers meets Leyton Buzzards. Striding with attitude and sonic enterprise, the song is an instant anthem, as so much of the album, an almost concussive and certainly inescapable treat whipped up by scything guitar and punchy rhythmic enterprise, everything lorded over by the compelling tones of Humbled.

Do the Bishop! comes next and is just the wickedest instrumental baiting possible. The skills of The Bishop seduce and rumble throughout whilst Humbled’s guitar launches its own virulent seducing as Cheadle smashes anything in arms-length resourcefully. With a tang of blues sweetness to its epidemic waltz, the song sets up further hunger in the appetite for the album before making way for the melodic causticity and intriguing narrative of Demobbed. The track is primarily garage rock but at times you can almost swear there is an element of The Undertones in its slim but impossibly potent sonic endeavour.

The hungrily vivacious ride of the album is taken to another level with We Don’t Need a God, a brilliant furnace of searing grooves and greedy hooks ridden by the punk honesty of the vocals. It is pure addictiveness, every twist and tenacious slither of bait soaked in infectiousness and anthemic irreverence, leaving feet, body, and soul blissfully exhausted and thoughts rebellious. Imagine The Masonics flirting voraciously with The Adicts and you get not only the heart of the song but arguably of the whole release.

The title track is next, romping with ears and nostalgia through jabbing beats and jangly hooks, its title summing up song, sound, and the whole garage premise which fuelled punk and garage rock at their outsets. It also has thrilling melodic warmth to its gentle uprising, everything aligning for an irresistible rousing of pleasure, taken on again by the blink and you miss shortness of second instrumental Chicken Run. Its enticing strut is swiftly pushed aside by the exceptional sonic commentary of Where’s the Punk Rock!?, angst and fury as much a part of its gripping clang and garage punk fever as creative relish.

Photo 1   It is not exaggerating to say that every song on Garage Punk for Boys is devious rascality, all instinctively and simultaneously appealing to the styles it weaves its propositions from, One Erotic Thought another fine example with its sixties spawned beat infused garage rock tromp. As here, they all keep feet and limbs as busy as ears and imagination, and whilst thoughts may not be erotic as the song reveals of itself, they are nevertheless keen to indulge in knavish practices after each encounter.

Put It in Your Pipe clunks and swings in next, riffs bulky lures courted by compelling bass craft and vocal devilment, everything framed by precise and eagerly wicked beats. Stepping out with a punk seeded swagger, the track also wears the mischief breeding charm and adventure of King Salami and the Cumberland 3 and the aforementioned Billy Childish, drawing out more lust for the album from the passions.

The final stretch sees the blues rock induced R&B stamp of Just as Bad as You light up air and ears first before the exotic swing of Mk II immerses senses and imagination in a sultry dance of the seven salacious temptresses, well in my dreams anyway. Both songs leave appetite as greedy as ever whilst closing riot of Mad! is an aggressively spirited and ferociously contagious garage punk assault, and oh so scintillating.

It is impossible not to drool from start to finish over Garage Punk for Boys, a release which if anything from punk to garage rock, beat to flirty rock ‘n’ roll gets the juices flowing, is a must. The thing with The Mobbs is they not only create sensational stomps but do it with a presence and flavour like no other, this simply makes them one of the UKs seriously exciting and innovative bands.

Garage Punk for Boys is available digitally and on CD now via Cravat Records @ http://themobbsuk.bandcamp.com/album/garage-punk-for-boys

http://www.themobbs.co.uk/

RingMaster 21/11/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

Manilow – Cease and Desist EP

 

 

Manilow

With the aggressive contagion of Fuckshovel, the sonic seduction of PiL, and the raw energy and antagonism of UK Subs, UK punks Manilow make a striking and irresistible entrance with debut EP Cease and Desist. Consisting of four varied and ridiculously compelling songs, the release is a spark lying in wait to ignite the passions of all punks past and presence, as well as the start of a potent and greedily devoured presence for the band.

Tagged as post punk but as much punk, alternative, and noise rock as that equally rich spice, Manilow springs from South London and has seemingly already brewed up a strong buzz around themselves in the year since forming. Now making a fuller and wider announcement of their presence, sound, and intent, the trio of vocalist/guitarist Dean Moston, drummer Gary Cardno, and bassist Paul Chamberlain stir up a nostalgic and distinctly fresh and antagonistic storm with the excellent Cease and Desist EP. Co-produced by Part Chimp’s Tim Cedar and mastered by former Quireboy Guy Bailey, the EP twists and stomps with a creative relish and down to earth attitude which seizes the imagination whilst inflaming old school ears and fresh adrenaline fuelled bodies.

Cease and Desist opens with Missing, an instantly caustic blaze with bluesy riffs and grooves flirting with throaty bass bait and heavily jabbing beats. Unpolished and excitingly abrasive, the track strides with a seventies breath recalling the likes of Angelic Upstarts and Ruts, and a garage punk scuzziness with whispers of the Stooges. It is an instantly and increasingly addictive encounter, easy to add limbs and voice to whilst it roars and provokes.Cease and Desist CD Cover

The following Law Here ventures into the post punk side of the band. From a potent and firmly coaxing cold bassline, guitars respectfully flare up and drizzle psych kissed sonic designs over ears and thoughts. That PiL reference is a strong whiff here with the breeze of keys provided by Chamberlain tempering and seducing that appealing scent. Perpetually colourful in its elegant and reserved but caustically toned flight, the song swirls and growls like something related to early The Horrors and The Damned whilst transfixing ears with constant resourcefulness and magnetism.

Things kick up another gear with the final pair of tracks. Firstly there is the brawling tenacity and charm of Control Issue. From its first second, riffs snarl and badger the senses whilst the beats of Cardno rap with fresh menace. Fuelled by the aggressive tones of Moston, the song seems to grow in attitude and contempt but invites further listener participation with its terrace like bred chorus and sonic invention. It is a rip-roaring treat of a provocation matched by the closing might of Vitamins. A resonating throb of bass announces its intimidating appearance, a predatory lure swiftly wrapped in a sonic acidity from Moston’s guitar. From within the impending assault a rhythmic hypnotism emerges, Cardno soon gripping feet and hunger with a Wire like temptation. It is not too long either before compelling and contagious hooks leap at ears and passions, their simple but irrepressible enticement the lead into a vocally raw chorus. With spicy blues hues brought through the melodic and scorching endeavour of the guitar to flirt with the uncompromising hook driven spine of the song, the closer is a riveting and blissfully satisfying end to an excellent debut.

Punk in all its shades and corners is going through a thrilling adventure right now, especially in the UK, and adding another fresh and delicious string to its bow is Manilow.

The Cease and Desist EP is available from October 10th @ http://manilow.bandcamp.com

https://www.facebook.com/Manilow.band/

RingMaster 10/10/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

 

 

The Black Waterside – Self Titled EP

10431485_620541601398113_6020783093786604949_n

Like a bottle of fire breathing bourbon which as soon as you take a taste you are addictively hooked, the sound of UK rockers The Black Waterside instantly grabs the balls and passions to create a lustful understanding and hunger. Fusing the richest spices of blues, psychobilly, Americana, and vintage rock ‘n’ roll then fuelling it with a modern attitude and aggression, the Kent band has created a unique and ridiculously flavoursome proposition in sound and their self-titled debut EP. It is a masterful blaze of dirt encrusted and grouchy rock ‘n’ roll with irresistible drama and pure devilry to its every note and syllable, and simply irresistible.

Formed in the latter stages of 2011, The Black Waterside draws on inspirations from the likes of Tom Waits, Sun House, Kill It Kid, The Cramps, The Clash, The Black Keys, and Led Zeppelin to create a fascinating and explosively provocative sound as evidenced by their thoroughly impressive EP. Imagination and passions drips off of every skilful chord and rhythmic swipe emulated by the great grizzled tones of vocalist Adam Bray and the riveting canvases of the songs themselves. They are dark adventures which are as unpredictable as they are imposingly dramatic and incendiary to the imagination, and all irreversibly compelling.

A ‘vintage’ radio introduction to the band sets the opening shot of Four Minute Warning! in motion, before ragged riffs and beats instantly ignites senses and appetite with their rockabilly snarl. The gravelled tones of Bray soon covercountdown the full force of the song from within its initial addictive bait, the guitars of Holly Kinnear and Dan Lucas dancing feistily across ears as the throaty lure of Joe Whalen’s bass adds another delicious texture and enticement to the swiftly enslaving song. A blues swagger and breath cloaks the bouncy stride of the song, similarly spicing up the flames of enterprise and sultry designs of the guitars. It is an anthemic treat; feet governed and urged on by the thumping beats of drummer Jim Davies whilst body and passions are led into salacious endeavours by the swinging groove of the song.

The sensational start is matched by Whorehouse Down On The Southeast, another immediately fascinating and enthralling proposition. The track makes its own captivating start, though this time there is grouchiness to the vocals and rhythmic enticing which is no less inviting than the more embracing start of its predecessor. A hungry scything of electrified riffs ignite on the senses from virtually its first breath whilst rhythms tumble relentlessly to incite another wave of hunger in the passions. There is no escaping the trap for thoughts and emotions, especially with the entrance of the increasingly potent roars of Bray backed this time by the just as potent and gripping vocals of Kinnear. It is a powerful mix matched by the increasingly thrilling blues vapours and contagious twang which breeds its own temptation within the explosive track. Like Seasick Steve meets Tom Waits at the instigation of The Reverend Horton Heat, it is another striking and virulent contagion to devour greedily.

   Brand New Cadillac has that psychobilly tang and swagger which never gets tiring, a confident rebellious stride entwined in guitar and bass grooves which flirt with every note of their wonderfully toxic tempting. There is much more to the song though, a surf wash of acidity and an imposing cloud of garage punk bringing dramatic textures and diversity to the stunning track. As hot and heavy as a vat of blazing liquor and passionately intensive, the track is pure infectiousness and wholly enthralling, especially in its closing twist where Bray shows the qualities of his clean delivery in a simmering bed of emotive seduction.

The release closes with Wrong Side Of The Track, a slow crawl of blues fire which croons as it wraps a sizzling sonic and lyrical narrative across the imagination. A real slow burner in comparison to the previous tracks, it evolves and increases its potency over its length and time, showing further creative depth and musical invention in the band which can only lead to excitement and demanding anticipation for their subsequent adventures.

A must for every fan of blues and psychobilly too quite simply rock ‘n’ roll, The Black Waterside is a lustful addiction just waiting to offer you its first inescapable lure.

The Black Waterside EP is available now @ http://www.theblackwaterside.bandcamp.com

https://www.facebook.com/theblackwaterside

9/10

RingMaster 02/09/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/