Parading The Dirt: an interview with Spunk Volcano of Dirt Box Disco

photo by Phil King

The recent release of their second album Peoplemadeofpaper, confirmed what a great many already new, that UK punks Dirt Box Disco is the future of punk n roll. Following up their equally impressive debut Legends, the Burton on Trent quintet has grown into a formidable, mischievous, and thrilling conspiracy to have fun for fans and music in general. Fresh from their appearance on the recent Misfits UK tour, we grabbed guitarist Spunk Volcano to find out what we could about the band and their album and that tour.

Hi Spunk and welcome to the site, cheers for taking time to chat with us.

Hard to believe I know but for those still unaware of Dirt Box Disco, can you firstly introduce the band and tell us about how it all began?

I think dirtbox was started when someone was sick and tried to make little figures out of the sick mess then a witch put a spell on it and we came to life.

What is the musical history of the members before the band?

I don’t have any history. I think Deadbeatz Chris was in Ken Dodds backing group in the 70s and Weab played banjo on a few Kylie minge records. Danny Fingers writes dirty music for sex films. Fazzo used to play for Rod Jane and Freddy from Rainbow when they toured live. Crazy times.

Musically and visually you are larger than life, putting fun and urgency back into musical rampage, but truthfully you are quiet retiring types right?

Yes we are very quiet and sometimes so quiet we whisper and fall asleep. Like fish.

Since those early days as a band how would you say you have evolved musically up to the new album Peoplemadeofpaper?

I think it’s the same. We just play. No plan. No evolution. We try a tune, if we like it, it stays. The thing that’s changed is more people get to hear ‘em.

Has your intent and purpose within the band changed as you continue to grow towards being one of the major names of UK punk rock?

Naaaaa. Still same. Make a good cd; throw yourself into your shows 101%, OR DON’T BOTHER. People don’t want to come to a show that’s boring, they wanna smile and sing and feel part of something!!!

As mentioned you are about to release your excellent new album Peoplemadeofpaper. Having just come off a number of dates with Misfits and Goldblade does this feel like it does for us, like a moment where things are at that edge of exploding into greater maelstroms of awareness?

Dunno it could be trapped wind haha. It’s hard to judge other peoples opinion unless it’s written down for u to see. If people are out there saying good stuff then great.

In our review of Peoplemadeofpaper, we said the album was not striking on from your previous gem Legends but was a sister slab of mischievousness in quality and intent; a fair comment?

Yes, it’s Dirtbox!!! We’re never going to be ground-breaking but we will be consistent and enjoy every minute of it.

Previous release Legends is an album which thrust you into the greater recognition and passions of a great many, did its success made you look at the new album differently when writing and recording it?

Difficult second album, more of the same, dunno what you do? We just jammed it out, aimed for the singsong jugular and kicked off! Nothing different as far as I’m aware, but I am special ….

Did you learn anything from the previous album and its creation which you used to greater effect for Peoplemadeofpaper?

Make sure you can tell what people are singing. People like singing in the car. Make the album sleeve colourful. Swear words are naughty. Dirtbox is too rude for kids. Kids like rude things.

How does the songwriting work within the band and what inspires your ideas and songs? Any substance to the rumour it is alcohol and lusty ladies?

It works like this, I write a song. They say if they like it, yes or no.  We crack on and make it superior. Main inspiration is being a nutter. Just close your eyes, it’s all there ……

Is there any particular track or moment on the new album which makes you a little prouder than you are for the rest of the release?

“I wanna kiss or finger fuck you” from Top Shelf. A Very rude thing to put in a song but it captures the moment of confused teenage hormonal stress, I couldn’t explain any other way. Minge.

As mentioned earlier you have just played a number of dates with the Misfits, how did that come about?

The Misfits rang us up and said please come and open up our shows ‘cos we’re your biggest fans and we’ve got all your records and we’ve got Dirtbox tattoos and posters all over our houses and we sing your songs as we go to bed and we love you so much it makes us cry. That’s true, that’s what happened.

Is this your biggest experience live to date in regards to consistent crowd size and fervour as well as bringing new fans to the cause?

Yes it is, and it was ace!! The Misfits were great to us and Goldblade too. We had a top tour.

How did the legends themselves feel about being blown away each night by your good selves?

Didn’t happen, they are legendary. Each to their own opinion on that one but we did ok.

You are a band which obviously is always looking forward and not back but any sense of an anti-climax once the Misfits shows were over?

It was terrible when it finished. We all started crying, we were devastated. We tried to kill ourselves in the dressing room by drinking cilit bang!!!! Then I got taken away and told to write album 3 asap!!!

Talking of live shows, your songs all have an anthemic irresistibility which ensures each has a passionate following as fan favourites. Therefore you will eventfully disappoint some at shows by omitting their personal passions, do you at all feel guilty? Ha-ha

That’s already started; you can only play so many songs in 30 / 40 mins. Loads of good ones tho’

In our recent interview with Charlie Harper we talked about whether bands today underestimate their fans adventure so avoid or are scared of trying new veins and directions in their music. Dirt Box Disco is a band which does stretch its self within that as mentioned anthemic skill it has; this is an important aspect for you as musicians as well  one suspects.

There is no other direction for Dirt Box Disco. It is punk rock n roll!! Dirt box or die! Like it lump it.

You gig constantly, have a hunger to perform and give a good time to all. Has it become more difficult to keep up your live presence over the past years or are bands that do say it has just making excuses for their lack of drive do you think?

We love playing live. It’s why we’re here. We try to do as much as possible. It’s always been about us and the crowd coming together for a fantastic super singsong!!!

You are not a band which is seemingly demandingly political with your music certainly compared to other genre bands, but there is a middle finger attitude which can rival any if need be within your music. Are there times you feel like putting the world to rights with a stronger voice musically?

Other bands do the political stuff much better than we could. There are bits and bobs and the odd song but we’re more about a big general fuck this, let’s have some fun!!!

What is next from and for the lustful deviancy of Dirt Box Disco?

Album 3 next April, got a Xmas song in me pocket, loads of great shows. That’s quite good.

Again a big thanks for chatting with us, any last thoughts, words, or antagonism you would like to leave us?

People should go out to watch bands live to get the full effect. Watching them on YouTube is bollocks and doesn’t give u the fair result.

..And finally tell us a dirty secret which emerged on the Misfits tour from yourselves or the headliners.

All the Misfits wear glasses. Shocker!!!!! Cheers SPUNK V x

Check out the review of Peoplemadeofpaper @ http://ringmasterreviewintroduces.wordpress.com/2013/03/28/dirt-box-disco-peoplemadeofpaper/

The RingMaster Review 09/05/2013

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A Sudden Vengeance Waits – The Rising Cost Of Free Speech EP

The Rising Cost Of Free Speech EP form Welsh punks A Sudden Vengeance Waits is a release ready to brawl with the ear, senses, and anything else or one it can get its riotous hands on. It is also beneath the live raw and abrasive surface a forceful confrontation which reeks of potent promise.

Hailing from South Wales, the quintet of vocalist Peran Bennetts (aka Piranha), guitarists Dan Magonk and Tom Connor, bassist Rob Tornya, and Jon Swain on drums, has earned their sonic knuckle dusters through experiences playing in the likes of Black Eye Riot, Da Capo, Four Letter Word, Energetically Challenged, The Bundy Men, In The, The One Chord Wonders, and Smash TV. A Sudden Vengeance Waits sees the bruising musicians forge an assault from the blend of punk and hardcore driven by some of the most potent and filthy rock n roll riffs available to the imagination. The EP is an unpolished and merciless fury upon the ear but beneath that surface abrasion it shines and begs to be given the richest of opportunities to really rip its heart out and recruit the passions.

Opener Blast Pattern Of The Blunderbuss emerges within a sonic niggle whilst throaty riffs stretch their sinews for the impending explosion of intensity and attack. Into its stride the vocals of Bennetts squall with Harperesque provocation whilst the drums bitch-slap the ear from within the caustic rub of guitar persistence. The bass of Tornya adds its own deep growl to the track and with the thumping beckoning and inventive course the song takes it all elevates the contagion of the song.

The Huntsman follows and immediately is gnawing on the senses with a deliciously predatory bass snarl and equally eager to consume riffs. Slipping into an intensive groove and air squeezing sonic acidity with vocals to venomously match, the song persuades with infectiousness which is irresistible and a barracking rock n roll attitude which sets up the emotions for recruitment to its uncomplicated yet passionate cause. Barely has it departed then Drag Me Down leaps at the ear with equally hungry intent in its rampage, the song a cacophony of bone splintering rhythms, heavily tuned bass insistence, and rasping grasping vocals, individually and as a combined storm. As its predecessors the track provides a hook impossible to refuse and sets up the rest of the EP with a new greed.

The Rising Cost Of Free Speech is completed by firstly Unite And Fight, a distortion fuelling addiction causing tempest of prime punk rock, vocals and riffs an easy temptation to devour and its discordant groove an insurance plan to seduce the passions in case the other elements still leave doubt, and Hiding To Nothing. The closing track sums up the release perfectly, toxically unrelenting, flesh scarring, attitude spitting, and completely insatiable in its hunger and the appetite it ignites in the listener.

Admittedly the EP is really only going to appeal to genre fans, its punk destructive tones certainly with the demo quality and pure rawness of the sound not going to persuade the undedicated, but The Rising Cost Of Free Speech has plenty to inspire the suggestion that in the right environment they have a triumph in them which many many more will fall before. For the now A Sudden Vengeance Waits certainly has us convinced.

http://dbs101.wix.com/asuddenvengeance

7/10

RingMaster 25/04/2013

 

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The Memphis 77 – Get Alive!

Raw adrenaline soaked rock ‘n’ roll coated in a dirty feisty embrace is never a sound to ignore and the new release from Finnish rockers The Memphis 77 is certainly no exception. Consisting of four riotous blazes of energetic, bruising, guitar sculpted fire, the new EP Get Alive! is a richly satisfying encounter. Released digitally and as a 7” vinyl via Secret Entertainment, the record is a high intensity explosion of energy and raw infectious sounds and a release to put The Memphis 77 on the map of wide awareness.

Hailing from Lappeenranta, The Memphis 77 was started in 2009 by guitarists Jimmy Scissors and Rodney Pistoléro, the aim to create and play real rock n’ roll music, something which was absent in the previous  projects and was not rewarding artistically the energy and time given. Recruiting long-time friends in bassist Paul Graven and drummer J. Slider as well as vocalist Pete South, the band worked on their sound and songs with the last weeks of the year seeing the release of debut EP Born in a Body Bag. Following release the Licks to Please EP was recorded the next year with its release to strong responses and acclaim coming in April of 2011. The seven track release put the band on the radar of a great many but was followed by changes in the line-up with the departure of Pistoléro and Slider. South took over second guitar in addition to his vocal duties and after an intensive search the band found Sammy Lee to take over the sticks. The latter part of last year saw the band record Get Alive! and a video for the lead track, and as the impact of the EP is surely set to reach out to even more eager ears, the band has a schedule of touring and writing songs for their first album planned.

The mentioned lead song from the EP is Small Time Lovers, the first track on the impressive release. A crisp clump of beats sets up the instantaneous onslaught of gripping riff and an equally immediate contagious groove. The song is into its stride within seconds gripping the ear with fiery sonic inducement and anthemic temptation from the squalling tones of South and the incendiary beats of Lee. The song rampages with mere swifts breaths quickly taken within the direct attack for any kind of respite from its flaming energy and persuasive confrontation. It is a sweaty dirt clad gem of a song which recruits the primal energy and passion of the listener with relentless ease.

The following No, Buddy has a slight dip in its intensity without reducing its muscular force and effect, the hooked melodic persuasion an addict forming tease and the thumping rhythms a spiteful conspirator to further raise the ardour of the already enthralled heart. As across the release there is nothing strikingly new going on within the song, but for two minutes plus it is just honest, undiluted rock ‘n’ roll at its hungry best.

The other two brawls are just as impressive and greedily devoured by the senses and passions; both Get a Life (and Fucking Die) and Back to Where It Started punk ‘n’ roll encounters which ignite the appetite further for the band and their mighty sound. The bass of Graven is especially throaty and compelling within the first of the two whilst the vocals of South supported by the rest of the band, and the contagious groove and swagger of the song, leave only a heightened craving for their debut full-length effort. The final song slaps the senses with even more potent sinews and synapse carving guitar craft for a closing storm of pleasing and invigorating pleasure. Arguably the weakest song on the release it is still a formidable and fully persuasive pull into the heart of The Memphis 77 and their incendiary sound.

Get Alive! is an outstanding EP and for some of us the very welcome introduction to a band which will be lighting up our days with further glories one suspects.

http://www.thememphis77.com

http://fi-fi.facebook.com/pages/The-Memphis-77/84722386427

9/10

RingMaster 19/04/2013

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The Sea – High On…

There is always a twist of excitement when approaching a new release from UK rock band The Sea, fresh anticipation which has yet to be let down across their singles and especially their excellent album of last year, Rooftops. New EP High On… continues the immense satisfaction continually bred by the band though this time it offers their greatest moment yet in power, passion, and fiery invention.

      High On… is a muscular release which explores the rock and blues elements which was sniffed at on the eclectic Rooftops, though there is still a place for melodic charm and emotive enchantment. Like its predecessor the EP is unafraid to mix up its sound and ideas to keep intrigue and captivation as lively as the energetic storm which cores the release. Consisting of brothers Alex (vocals, drums) and Peter D’Chisholme (vocals, guitar, piano), the duo from  Newquay, Cornwall has leapt upon the passions of rock pop with an insatiable enterprise and fire which is hungrily devoured by their growing legion of fans worldwide. Since forming in 2007 the pair has ignited Europe, US, and Canada with their fevered stage performances, whilst drawing potent acclaim for their releases including debut single Love Love Love, first album Get It Back, and of course the mighty Rooftops, all like the EP released on their own Lusty Records label. The band has a desire and greed when it comes to music which translates into their thrilling sounds, a drive which sees them relentlessly gigging including sharing stages with bands such as Muse, The Kills, The Enemy, and James Morrison, and overcoming in 2011 a freak surfing accident which saw Alex breaking his neck. Surprising all, especially as he faced the possibility of being unable to even walk again, the drummer was back touring within months and as the new release shows is back more formidable and feisty than ever.

High On… finds The Sea igniting their passion for dirty rock n roll with influences of the likes of MC5, The White Stripes, and the Stooges, all essences which make strong whispers across the EP though the band undoubtedly trigger their own unique presence through it. It also sees the band stripping down their sound to one guitar, a set of drums, and impassioned vocal squalls, the result a fire as raucous and commanding as anything on their previous releases with their more expansive armoury, but with an intensity and contagion which with ease declares the release as the best thing from The Sea yet.

Opening track Letter Bomb takes mere moments to ravage the ear with towering rhythms from Alex and a blaze of sonic persuasion from the guitar of Peter. It is an incendiary start which though settles into a less demanding gait with picky riffs and tempered beats once into its stride still, it agitates and excites with a sinew of aggressive intent. The vocals of Peter equally flame upon their entrance to offer a scintillating glaze to proceedings whilst the combination with all elements burning eagerly for the chorus is a brawling treat leaving senses and heart wrung out with passion. At its heights there is also a definite Rage Against The Machine intensity to the breath of the song with the blues gaited guitar solo raising temperatures further.

The following Run steps back on the directness though still refuses to bring a calm gait to its encounter. It is a hard rock/blues inducement with a furnace of emotive fire swaggering through sounds and vocals. It does not quite live up to the stunning opener but with the guitar offering a sure temptation and the energy of the track merciless in its smouldering soaking, you can only bask in its impressive heat.

The EP is, as is expected from the band, a diverse creature even within this heavy rocking direction bloomed on the release, Number One a gentle rock croon musically and vocally which barely makes a minute and a half in length yet still raises hairs on the neck in its brief presence, another magnetic twist of sound. Its short stay is more than just an interlude and makes a perfect lead up to the best track on the EP, Get Up Stand Up Die. The song is a monster of a rock tune with again the drums of Alex caging and igniting the senses with a rapid storm of beats to start things off before the guitar lays a sturdy rub of coarse and infectious riffs into the mix. It is an explosive fury of contagious confrontation which leaves one exhausted and grinning from ear to ear, even if like its predecessor the track is too damn short, but then again the best punk rock tracks usually are.

Completed by another triumphant tempest of exhausting energy, massive beats, and vicious guitar enchantment in the ferocious treat Lost It/ Never Had It and the pulse pumping slow burner Wednesday Trap which is as near to a rock show tune you could wish for and get wonderfully away with, High On… is another sensational creative bomb of a treat from the best emerging rock band in the UK right now. The Sea is destined to the greatest heights but why wait when there is this mighty feast of sound to enjoy right now.

https://www.facebook.com/theseauk

http://www.theseasounds.co.uk

9/10

RingMaster 09/04/2013

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Dirt Box Disco: Peoplemadeofpaper

Holly Monroe Photography

After what for many of us was a modern classic punk album in the shape of Legends, UK band Dirt Box Disco set themselves a tall order to follow up its insatiable mischief and riotously contagious sounds. Its successor Peoplemadeofpaper quite simply makes easy meat of that task, the album another irresistible rampage of punk and rock n roll fused anthems to ignite the passions and pollute the airwaves with devilish enterprise and attitude.

Since forming in 2006, the Burton on Trent quintet has grown into a formidable and thrilling proposition for fans and music in general; a band showing that punk rock is not only alive and kicking but has a fresh and invigorating enterprise to its modern confrontation. Consisting of vocalist WEAB.I.AM, guitarists SPUNK VOLCANO and DANNY FINGERS, bassist DEADBEATZ CHRIS, and drummer MAFF FAZZO, all complete in flawed superhero like visual costumery, Dirt Box Disco first lured strong attention in their direction with the Are You Ready? EP in 2011 as well as incorrigible live performances which once tasted left lingering and welcomed scars for evermore. It was Legends of last year which thrust the band into the most potent awareness not only in punk but across the eager critical gaze media and country. The STP Records released Peoplemadeofpaper builds on the presence and success of its predecessor with equally accomplished and irresistible feistiness. The album does not break down any new doors from the previous album for sure but it brings more of the scintillating and deviously addictive brawls of pleasure which marked so magnificently Legends in a new fire of aural debauchery.

Opening track Freaks is an infectious introduction to band and release, an urgent stomp of lustful rock n roll which riots on a niggling persistent and a torrent on delicious grooves and en masse vocals steered by the teasing vocals of Weab.I.Am. Complete with equally inciting melodic guitar invention, the track lights up ear and senses with the middle finger passion of punk and the licentiousness of glam and unbridled rock n roll. It is an easy to enlist to song and the perfect way to start off another uncompromising slab of aural horny goodness.

The following My Life Is Shit and She’s My Baby step up to up the ante in regard to thrills and spills, the first a straight forward rocker with flaming guitar and vocal unity which recruits as soon as it touches the ear for an instinctive Dirt Box Disco anthem driven declaration and the second an impossibly infectious encounter with a flush of garage punk flowing through its veins. The step into a bass led aside with punchy rhythms adds another barbed hook impossible to escape, not that you will want to as the track feeds all primal hunger and demands.

Now well into its heart, the album digs into its invention to become even more roisterous and compelling, the uncomplicated but richly virulent What You Gonna Do About It starting off the newly heightened infatuation bred by the album with the potent honest and defiant call to arms musically and lyrically. As with all their songs Dirt Box Disco find a surface engagement which is simple, undemanding, and thoroughly rewarding but it equally belies the skilled and honed ability of the band to ignite the passions and recruit the listener into their intent with virulent hooks and persuasive melodies locked n loaded with criminally effective rhythms and incendiary energy.

Top Shelf unleashes all the grievous salaciousness of the band in another epidemic of insidiously persuasive riffs and hooks caged in a barrage of merciless rhythms. The song hassles and provokes until it has voice and limbs in league with its corruptive temptation, but then again every song achieves that control and subservience to their dirty charms. The track is soon surpassed by the best track on the album, Round In Circles a song which initially simply hits the spot with skill and again unchained pure rock n roll but by its departure leaves the realisation that it has overwhelmed and chained the heart with satanic efficiency and devilment. By the end of the first track it is impossible to not be joining in with the release but if this song does not do it than its recipient is deaf or dead.

Through the mighty aural villainy of My Dad Is Bigger Than Your Dad, My Girlfriends Bestfriends Sister, and You Think You Know Me, the band leaves blissful exhaustion in their wake as well as extra variety to their inspiring rhythmic lechery and punk rock soaked creative mastery. They hold back another major highlight within nothing but pinnacles, for the rear of the album with the dirty rock swagger of Aftershow Girlies, another vehicle for unbridled fun and unruly behaviour from song, band, and listener.

Completed by a final two slabs of meaty lust in All For One and Punk Rock N Porno, the album is a sensational slice of rascality from a band with alchemist like hands when it comes to breeding sounds to soundtrack and inspire urgent, greedy good times. Peoplemadeofpaper is an outstanding follow-up to a brilliant album, no better but an equal in every way and a co-conspirator in bringing insubordinate fun to the heart.

http://www.facebook.com/dirtboxdisco

http://www.dirtboxdisco.co.uk

9/10

RingMaster 28/03/2013

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The Senton Bombs: Chapter Zero

     

     Offering a thrilling and incendiary riot of punk infused rock n roll, Chapter Zero the new album from UK rockers The Senton Bombs is a feisty and rebellious instigator to mischievously party in tandem with. The eleven track album is prime sinewy attitude and inventive urgency with a hunger and passion to match, but most of all it is a thumping great time to swagger alongside and to be undisciplined to.

Formed in 2004 as The Terrorists, the Blackpool based band has grown into one of the best live and energetic forces within British underground rock music, continually improving whilst garnering persistent acclaim and rapidly increasing a fervour driven fan base. Their early days saw the band reach the semi-finals of the largest unsigned battle of the bands in the UK in 2005 followed by the release of their debut record, the five track demo DDT. Well received the release was followed a year later by second demo Death Valley Driver which spawn songs destined for good radio play and appearances on varied compilations. As well as sharing stages with the likes of Epoxies (Fat Wreck-Chords), The Imperial Vipers, One Way System, and C.J. Wildheart and the release of the Crimson Mask demo, the band also went through an unsettled period with line-up changes though they still were unrelenting in laying waste to audiences with their constant hunger to gig. Next release From Parts Unknown received great reviews and feedback in early 2008 though the same year saw another departure to leave the band as a three piece though it had little effect of holding them or their intense work rate back.  With the release of their debut album Sweet Chin Music in 2010, The Senton Bombs a quartet once more, felt a more intense force of acclaim to its release. The foursome continued to gain great plaudits for their explosive shows, headlining and alongside bands like Random Hand, and successful festival appearances, whilst the 2012 album Gambit set the band up as one of the prime punk n roll instigators in the UK. After its release the band took no time in writing and working on third album Chapter Zero, finishing it this past February for a STP Records release which stands as their finest inventive and invigorating moment to date.

The title track kicks things off with muscular riffs scoring the ear, the guitars of Damien Kage and Johnny Gibbons chewing the senses whilst the firm rhythmic pulses of drummer Scott Mason cage and lead with skilled intimidation. Into its stride the vocals of Joey Class begin to fully incite the emotions whilst his bass throbs and prowls within the already in place raucous encounter with menace and attitude. The song is a stylish mix of the swagger rock of a Wildhearts and the punk fire of a Backyard Babies/Eddie and the Hot Rods union, and leaves the senses hungry and alive for more with ease and accomplished craft.

The potent brawl hands over to the equally contagious stomp of Nothing Quite Like This, a track which stands with crown jewels and posture to the fore and its infectious sounds crawling all over the senses and passions. The track is not overly original but impossibly addictive and leaves the eagerness to enlist in its passion and energy with voice and feet an overpowering lust. There is nothing within the rock n roll debauchery not to like or devour with greed and it continues the immense start of the album with pleasing cockiness.

From the refreshing encounter of Heading For The Guillotine, a song which has a familiar ring to it without revealing the source of that impression, the album explodes into an even more striking and stimulating conspiracy to work on the passions starting with the imaginative fusion of the mellow and forceful that is So Cavalier. The vocals and surrounding melodic whispers smoulder within the testy rhythms and riffing to like most of the album, reveal the strength and variety to the songwriting and its realisation. The following Tornado and No Rest For The Rockin’ rip the skies to grip greater heights, both sharing top honours on the release. The first is a thumping electrified fury of big rhythms, sonic flames, and bass snarls coated in the excellent tones of Class and ignites the strongest inner fires soon copied and surpassed by the brilliant No Rest For The Rockin’. It is punk rock at its best, a song best described as having the infectious cheek of The Undertones, the defiant intent of UK Subs, and the melodic flames of New York Dolls, and an insatiable irrepressible triumph.

Both Reapers Sow and Medusa ensure the exacting power of the album is undiluted, the first a track which initially bewitches with slow soothing vocals and acoustic guitar before burning a hole in the senses with its furnace of energy and the second an avalanche of resonating big boned beats and mischief inciting riffs. After the last thrilling note of the track the album then unexpectantly finds inspiration in American rock sounds and whilst certainly the excellent Darkest Horse, and the closing pair of Acid And Alkaline and The Rider with their hard rock breaths impress and leave nothing but deep satisfaction, they do not quite match the earlier punk enriched glories.

Chapter Zero is nevertheless an exceptional release which no matter how many times it is allowed to infiltrate the ear it and The Senton Bombs leave a breathless and voracious hunger behind.

https://www.facebook.com/thesentonbombs

http://thesentonbombs.webs.com/

8.5/10

RingMaster 27/03.2013

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Destroy D.C. : The Pride Of The ASBO Generation

    Having just caught our breath after the outstanding recent release of XXIV from UK Subs, British punk has another explosive piece of inventive ferociousness to thrill us with in the formidable and exhilarating form of The Pride Of The ASBO Generation EP from Destroy D.C. The four track release is a stunning intense fire of energy and passion honed into a formidable compelling force, an irresistible inciting fusion of progressive punk and roots and dub.

Destroy D.C. began when Spike T Smith, the drummer for Conflict, wanted a project to bring forth the songs he was writing and had created round the time the legendary punk band went on hiatus in late 2009. Enlisting guitarist Gav King who was also looking for a vehicle for his ideas, and bassist Si Turner, the trio squeezed in writing, rehearsal, and recording between their individual busy touring schedules, Smith on Steve Ignorant’s Last Supper shows, as well as festival appearances with Killing Joke and the New York Dolls, King with Fields of the Nephilim and both men more recently with the return of Conflict, as well as all three members being the backing band for HewhocannotBeNamed (The Dwarves) for his solo UK dates. Destroy D.C. was officially launched on 21st December 2012 with the March 26^th released The Pride of The ASBO Generation through DIY label Revenance the first of a procession of EPs.

The release opens with the raucous and uncompromising Road To Redemption, a track which stares eye to eye with the listener whilst teasing and tempting them with brawling vocals, lethal hooks, and a contagious breath. The fiery groove which frequents the song throughout is the first encounter for the ear soon joined by punchy rhythms and a rich growling bassline. As eager as it is hungry, the song rampages through the ear without a much respite from its corrosive riffs and melodic sparks, yet still teases and taunts with a wonderful adventure to its gait and prowl. Within a restrained yet intimidating deep breath in aggression, the band also brings a sensational diversion sculpted by imagination and ingenuity which seduces and eats the passions with equal strength to the marauding sounds elsewhere. Ending as it began with a further hardcore scowl to the vocals and intensity to its punk rock abrasion, the song is an immense first confrontation to band and EP.

The following Those Days Are Gone also strikes its first blow through a magnetic almost insidious groove which captures the imagination before the song fully unleashes its physical and inventive might.  A frantic inferno of attitude, passion, and ravenous agitated drums from start to finish, the song is potently veined with that addict making groove within an insatiable appetite to chew and incite thoughts and emotions. It is caustic rock n roll at its best, a fusion of hardcore and original punk which rewards as dramatically as it accosts the senses.

Whereas elements of the previous songs mildly suggest the roots and dub influences third song Tear It Down is a full on pleasure incorporating both aspects of their main influences for an impossibly compelling and thrilling ride. Like a blend of Dub War, Steel Pulse, and Ruts but with its own individual heart, the song is a simmering yet fiery piece of emotive and provocative majesty. A pulsating crawl through a reggae soaked reflection book ended by punk snarls, the track is a sensational creative declaration which rivals the aforementioned Ruts classic Love In Vain.

The band close up the EP with another striking slab of imagination in the erosive pop punk triumph of the title track. This is no glossy melodic piece of musical candy though but a caustic and raw stomp with loud dub whispers and old school punk aggression. The song shifts and evolves throughout to ignite further lustful ardour for the release especially with the drop into a slow melodic and shadowed prowl midway which recalls the Dirk Wears White Sox era of Adam and the Ants. It is a brilliant ending to an outstanding and invigorating slab of punk at its best.

Knowing that The Pride Of The ASBO Generation is just the opening assault of what creatively is to come ahead from Destroy D.C. it is safe to assume that the anticipation and wait for the next release is going to be very impatient.

https://www.facebook.com/DestroyDc

9/10

RingMaster 25/03/2013

Copyright RingMaster: MyFreeCopyright

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Turbogeist: Ancient Secrets EP

    Having fallen in love with an Alien Girl…the first single and song from UK punk rockers Turbogeist which mischievously teased these ears two years ago, anticipation going into the Ancient Secrets EP was on full alert with arguably already preconceived  reactions ready to pounce. The five track release certainly did not let down or disappoint expectations and though it did not quite light those same fervour lit fires as did the single, the EP is a thrilling and richly satisfying piece of devilment.

The London based quartet take their influences from seventies punk and eighties hardcore with particular inspiration from the likes of The Replacements, The Damned and The Misfits. Their sound though is more open than that suggests, with loud whispers of garage punk and feisty rock n roll adding their devious temptation to the energetic and raucous flavours the band taunts and pleases with. Lyrically the songs of the band and on the EP are just as cunning, the mix of sci-fi tongue in cheek pestering wrapped around  thoughts on the ‘stuttering evolution’ of man as aggressive and devilish as the infectious musical  brawling around them. Co-produced by the band and Chris Sheldon (Pixies, Radiohead, Foo Fighters), the digital and numbered coloured vinyl 10” releases of Ancient Secrets should be the first key to a deserved wide recognition for the band, which the released of a debut album later in the year will undoubtedly feed upon.

Mermaid’s Revenge winds itself in to view with sonic flames of guitar coaxing the ear whilst rhythms and bass shuffle into position. With all things in place the track swaggers with confidence and mischief as the vocals begin the tale of man’s ill-fated attempts to conquer nature and the siren lure of the deep blue. Aided by strong group backing shouts and a muscular prowl to the gait of the song, things become more contagious and riveting by the sinewy second with the elevated energy and scorching breath of the song now a stirring punk and rock anthem for the ear. As across the release, the song fails to find that irresistible lure of the previously mentioned single but undoubtedly holds sway over the passions with accomplished intent and antagonising presence.

The following Zero Friends stands eye to ear with the listener and makes its statement on social networking and its effect, something which always feels ironic considering the unavoidable need bands today have for the medium, but Turbogeist is a band not fearing nipping on the hand that feeds. It is a brief punch of a punk song which again lifts emotions and satisfaction to pleasing heights soon equalled by Black Hole. Immediately forging through the ear with thumping rhythms and apocalyptic declarations, the track is the band at its heaviest and vigorously potent, a classic metal wind guiding its hardcore soaked concentrated aggression. Already across the EP there is diversity to the sound within the distinct umbrella sound of Turbogeist which excites and fires up expectations for the impending album.

The opening to Up Front instantly feeds the inner fervour with uncompromising bone splitting drum beats and a gravelly primal bass grind which seduces with predatory persuasion, soon joined by taunting vocals adding a tease through repetitive announcements. It is an inciting entrance which explodes into a prime punk abrasion to spark further greed in the passions for its uncomplicated yet insightful sonic and rhythmic hooks and barbed company. Ending as the favourite track on Ancient Secrets, it seals any doubts, which were barely audible, into a lost cause.

Closing song Rats is a final riot for an ardour seeping fever to devour, the stormy union of classic rock and garage punk a last infectious entrapment on the EP. Released via Spinefarm Records, Ancient Secrets confirms that our earlier set in infatuation was well placed and probably set to find deeper lust ahead with the debut album. Cross Every Time I Die, Red Tape, The Cramps, and Hagfish and you do not get Turbogeist but you come closer to their individual sound.

http://turbogeist.com/

8/10

RingMaster 21/03/2013

Copyright RingMaster: MyFreeCopyright

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Forever snarling: an interview with Charlie Harper of the UK Subs

Charlie Harper

Since its emergence in the latter part of the seventies punk rock has spawn some of the most influential and impacting bands which no one more essential to fans and the genre than the UK Subs. From 1976 the band and its founder Charlie Harper has been a driving force for subsequent bands and the genre itself over the years and as their new album XXIV shows, the band has not lost any of its strength and hunger to stretch themselves and punk, in fact they just get better and more inspiring, an incredible feat for a band well into its fourth decade, though its seeds goes back further. The RingMaster Review had the pleasure of finding out more about how the band, its ability to stay so essential, and about their twenty fourth album XXIV, by having the distinct honour of firing questions at Charlie… and this is what he revealed….

Hello Charlie and a big welcome to the site, many thanks for sparing time to talk with us.

I have to start with the obvious question of how has the band retained its hunger over the past forty years or so and as your new album shows, equally stayed fresh too?

Well…thank you Ring Master…we just have this will to have fun with the music and make it as exciting as we can.

I am aware of keeping it “fresh” but it’s not something that we work on, I suppose it’s because we spend so much time in clubs where I listen to all the other bands on the bill and I listen to what they do wrong, as well as the good stuff. We have done so many LPs  but we are just beginning  to use a studio, we also have a 5th member by the name of producer Pat Collier, we have worked together,  mostly on than off for so long now.

As we mentioned it let us talk about your excellent new album XXIV. I am sure you will not disagree that is your finest work in quite a while but what for you makes it stand out above your other strong releases over the past years?

It has more power than the previous records; I left a clue in the last track of “work in progress” in Robot Age.

There is a rich eclectic flavouring across the album brought with the expected UK Subs passion. Has this use of other musical influences been brewing up in the band and its songwriting for a while now or something you sat down and purposely filtered into XXIV?

No, there is nothing planned. We will write a bunch of songs, say 6 each and just pick the ones we think are best, this time Alvin was the first to come up with a couple of gems and set the bar very high, it was a big challenge.

There are some fine punk bands and releases around right now in the UK but arguably few seem to have the thought or want to explore and use the resources available through other sounds within rock n roll to vary their sound as you have shown upon XXIV. Do you feel the album could be a catalyst which might get some genre related bands to rethink their musical thoughts?

I don’t think so, among our contemporary’s, were bands like the Damned and Stranglers, it was all about songs. Bands now seem to go for style, same beat same sound same growl but hey…they said that about Elvis.

The album is a twenty six track feast of nothing but impressive and impacting songs. It is hard to think of many albums with such a number of songs where all have such strength and richly rewarding presences, the lack of ‘fillers’ refreshing; at what point did you personally realise how potent the album would be?

Potent is a good word and music is a powerful medium. I learned a few trick with those three chords, the killer is the one, very few people are aware of, because it’s invisible but whether you play live or on record, the first chord on a follow up song, has to be compatible with the last chord of the previous song, if it’s a good match, it will give you a high, if it’s a bad match, it can bring you down. We have to go with this, as our songs are in rapid succession.

 Is there any predominant theme or emotion which has fuelled or shaped the album?

Yes there was. It was the present conflict of the new and ancient world.

The Icon with the machine gun (baby Jesus gone) is a clue

You are a band which obviously writes for your own satisfaction and creative invention, so does it frustrate you when other bands within punk rock especially, create their sound and then almost use it as a uniform across each subsequent release thereafter, or do you only concentrate on the band and its imagination within the genre?

Well…take a band like Crass, they took that ridged uniformity to the limit but they were great. It takes all sorts and yes we just go on our merry way. I do encourage young bands to be different and find their own way

Do you think some bands underestimate their audience’s and their own adventure in taste and need, carry a fear to try new things?

Many do but there is a new batch of young musicians who are a little more brave, and that is pretty key, you have to have a musical bravery

The UK Subs seems to have found a new leash of life in many ways over the past two albums, the new release evolving the first ‘new breath’ found on Work In Progress. Is that a fair comment?

When Jet joined the band and we did the first album (Work in Progress) with him, it really felt like a new beginning and along with our not so ‘secret weapon’ Jamie, who contributed so much and Alvin coming to fruition as a major song writing force, we have the feeling that we are only just starting but that is very true of the acoustic side, we are absolute beginners.

Has this new energy to call it something, with no disrespect to past members, come in some way from the stability of the current line-up of the band since I believe 2005?

Be careful, when anyone talks of stability, things seem to happen. One drummer had a big tattoo across his chest, it said ‘Loyalty’, he left the band soon after but he has been with his present band for ten years now.

With the whole band having involvement in the core songwriting of different songs in different combinations, how does the songwriting process generally happen within the band?

Your questions are much too serious and prodding, I’m giving away all our little secrets. Well…it’s a nightmare, I was supposed to write all the lyrics but as I said before, Alvin is doing some major work, which gives me a breather. I tell the guys to keep it simple but they don’t do simple. I told them write one song for the next album, a Jet song and a Jamie song, they will struggle but I will find a way, Jamie is the best singer in the band but he is very shy, Billy Idol was just the same. Jet will sing in Japanese, some of that Japanese hardcore is amazing.

One suspects that there is an open approach within the band to ideas from the other members not involved in the original creation of particular songs as they evolve for recording?

One is right, you should pop down for the next recording your input would be much appreciated. I always look for somewhere to stick some backing vocals (B/Vs)then Jamie goes out to the mike and just does magic, mine are a bit oi.

The album also includes twelve acoustic tracks which I must admit took us by surprise in the best way possible; when did the idea to do this emerge or was it the intent from day one?

The acoustic idea was around a while, we were all writing songs but it was going to be another release but Captain Oi asked if we could put it on this release as an extra. We were not quite ready for that but we did our best. As I said we are just beginners but we write most songs on acoustic guitars, and we did the CD within the day.

Was the acoustic idea something to challenge yourselves or your audience more do you think in hindsight?

Definitely a challenge for us…I’ve played a couple of Subs unplugged, they go down very well but again, Jamie’s songs were a big challenge, Alvin took one and I took on the other, Alvin came out with the very spooky “Confessions…” I had just got back from Oslo where I was at the Puberty exhibition by Edward Munch; that was my inspiration for “Metamorphosis”.

What was the reaction towards the acoustic tracks even before people heard them and now after the release?

So far the reaction has been good, we have always dabbled with acoustics so it’s not so very new, we use the old sea shanty “Drunken Sailor” as an intro, it has a raging fiddle played by Simon Some Dog and the Subs.

Will you be taking this approach and tracks into a live setting at some point?

We were playing “Detox” on the last tour; we hope to add the “Coalition Government Blues” song and hopefully a few more.

Is there any particular moment on XXIV which gives you the strongest tingle of satisfaction?

There are a lot more on this album than most others we’ve done. As I said before, the B/Vs are my babies, as far as I am concerned , Jamie really nails them down, then there is the outro of “Black Power Salute”, the outro of “Implosion”, the noise guitars on “Failed State”, and some intro’s that I don’t remember right now and it’s the wee hours, I can’t play it.

The next day…

And anything you would have changed or tried differently now looking back?

That’s hard to say, we never get enough time in the studio and like it like that. Its nose down to the grind and making sure that we all have their stuff worked out before we walk in that day but the best laid plans… always go tits up. I hate things over produced but the early stuff is pretty horrific, right up to ‘Endangered Species’.

Yourself Charlie, and the band was inspired by The Damned back in 1976 but are there any bands or artists now who have impacted on your new ideas in regard to songwriting or sound?

I’ve always loved the Ramones, that simple back beat, the sound of the distorted Mosrite, Joe’s vocals, perfect.

I’ve always wished to write like Iggy but my style is completely different, it’s easier to write your own than try to work out somebody else’s stuff.

What is on the near horizon live shows wise of the band?

A UK tour in May. We will add more songs from the new album but no less old ones.

Once more very big thanks for sparing time for us. Any last thoughts you would like to share?

Just a big thank you, to all our followers and fans. We really do appreciate the support over so many years.

We have always found time to have a chat over a pint and some have become very close friends.

If there are any budding musicians out there…Go for it! There are ups and downs but it’s worth every mile.

And lastly once the band has released an album for every letter of the alphabet what comes next….

Hey let us get there first but we will still be on the road. I will just be too old to remember new songs.

Read the review of XXIV @ http://ringmasterreviewintroduces.wordpress.com/2013/03/12/u-k-subs-xxiv/

Interviewed by Pete RingMaster

The RingMaster Review 20/03/2013

Copyright RingMaster: MyFreeCopyright

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Hype! : Hype

   

    Hailing from Zrenjanin in Serbia, Hype! is a band on the march and with their debut album about to set European rock music alight. Blending an incendiary blend of alternative rock, punk, and mischievous rock n roll, the band with their outstanding album is on the first step of a rapid rise of recognition, certainly if there is any reward for providing such an impressive and thrilling release.

Formed in 2009, Hype! takes influences from the classic rock and the punk fleshing of Seattle and Detroit in their prime. With a more than healthy wind of rock pop in the mix their sound is epidemically infectious with intimidating sinews coated ion the most delicious seduction. Openly accessible but still with a menace to all who enter, the album is the mightiest introduction to a band which is as honest as it is passionate and accomplished. Since forming the band has earned a strong reputation for their live performances which has seen them igniting numerous festivals including Exit, Warriors Dance Festival, and the INmusic Festival. The time is ripe for the band to step into the view of a much wider and further afield audience and they could not have made a more impressive first encounter than with Hype.

The Odlican Hrcak released album takes mere moments to set ears and senses on alert, the initial firm riffs and rhythms of Weird setting the scene for the soon to join fiery guitar teasing and the outstanding vocals of Dragana Mijatović aka Gaga Lee. With a mutual snarl and melodic kiss to her tones the front lady oozes attitude and seduction with her delivery to bring the lyrics and heart of songs to life alongside the inspiring energy and creativity of her band mates. Into its prowling and accusing stride the track is a compelling instigator with loud whispers of Spinnerette and L7 to its presence, and an irresistible first engagement which is unafraid to switch tact and gait within its imaginative confrontation.

The single from the album Erase steps up next, the song retaining the feisty elements and tones of its predecessor whilst adding deviously addictive grooves and barbed melodic beckoning which remind of Biting Elbows at times. With a roguish bassline entangled by sonic hooks and acidic guitar wraps, the song romps with restraint but unbridled passion to continue the already in place infatuation upon the release, something the likes of What Do You Want From Me, Still Right Here, and Just A Boy only elevate. Though arguably the trio do not have the same impact as the first pair, all captivate with diverse and vibrant invention, and it is only the might of the other two which leave these slightly in their shadow. Still Right Here with its smouldering vocals and great throaty bass taunts from Miloš Kralj (also in Memlah) as well as air sizzling guitar craft from Pavle Kirćanski (Impurita) and  Dalibor Kurjak (ex-Gluve Kučke),leaves warm and excited emotions behind whilst the bluesy Just A Boy is simply a heated fascination.

From the Karn8 like joy of Same Stuff, the album hits its greatest heights with firstly Come Get Some soon equalled by Kill ‘em All. The first of the pair is a maelstrom of agitated rhythms and slashing riffs thrust into a psyche rock riot of invention, sound, and belligerence. Offering a further Red Hot Chili Peppers/ SOAD like grooved interference caged by the sturdy rhythms of drummer Darko Kurjak (Partibrejkers, Memlah), the track is an irresistible infestation of noise rock imagination. The following Kill ‘em All is a thumping pulse firing slab of melodic punk with Distillers spite attached to a Jimmy Eats World melodic craft, and again impossibly addictive, both tracks cementing the already seeded ardour with hungry relish and enterprise.

The magnetic Soulmates and the mesmeric Suicide with its smouldering elegance and enveloping shadows complete a truly impressive and breath-taking album. An explosive spectrum of imagination and varied flavoursome sounds, Hype is a release which sets Hype! as one of the immensely promising and invigorating bands to hit rock music in recent times.

www.hype-band.com

https://www.facebook.com/hypezr

8.5/10

RingMaster 14/03/2013

Copyright RingMaster: MyFreeCopyright

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