Censored – 2014 Demo

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Everything about the sound of UK metallers Censored is heavy; from avalanche like rhythms and thunderously toned vocals to juggernaut riffs and guttural basslines, their music resonates through ears and bone as forcibly as it does the psyche. Squeezing their insatiable sound into four slabs of heavy metal, the band recently released their debut release, the 2014 Demo. It shows that the band plays metal unafraid to infuse healthy doses of hard and punk rock with just as potent mixes of thrash and stoner rock, into its sizeable provocation. The release is raw, uncompromising, and thoroughly enjoyable.

Formed in 1997 by vocalist Big Al and guitarist Paul C (better known as just PC and also founder of Beguiled and Dream Asylum), the Cumbria band, going on the quality of the songs alone on the demo, we assume had a healthy success. There is little background we can find for the band to be honest but we do know at some point Censored called it a day or went on a hiatus only to be resurrected in 2012 by the pair. Joined this time around by bassist Webby, formerly of Mindcrime and Transgression, and drummer Smurf, the band looks like staying around which on the evidence of their Demo is definitely a good thing.

First track, All In My Name instantly tells you all you need to know about the band. From the first touch of a wiry groove followed swiftly by imposing beats and swipes of cantankerous riffs , the band is pressurising and imposing on ears, their heavy presence inescapable from the off. It is a slow build leaving no room for respite which after a delicious wash of corrosive bass intensity, explodes into a feisty stride of thumping rhythms and caustic riffery. The instantly magnetic lure is increased in potency by the rich tones of Big Al and the increasingly dangerously seductive bass growl breathing down the song’s spine. The track continues to stride purposefully, every swipe from Smurf and abrasive torrent of riffing cast by PC inviting hostility, but veined with a just as appealing melodic acidity. Completed by the excellent vocal devilry of Big Al it is a mighty start and introduction to release and band.

It is just a teaser though as swiftly Carbine Thunder sets a greater incitement to greedily devour. With melodically howling guitar aligning with dark voiced bass bait and rhythmic jabbing, the song makes an intimidating and enthralling start. That potency is soon spread across a controlled but challenging in the face roar of sound and vocals, each element reined in with inventive prowess but dripping passion and energy. Prowling around senses and thoughts, the song is a masterful provocation which is as much belligerently punk as it is voraciously metal, whilst a blues rock spicing only adds to the infectious hue and pleasingly unpredictable nature of the encounter.

   N.F.V. comes next, riding in on a swaggering groove through a muffled sonic breeze. From there a melodic bordering on folkish revelry plays with the imagination, before it all merges for a constantly evolving landscape of thrash bred urgency and slower but sizzling emotive ideation. At times the track leaps at the passions and in other moments wanders off from personal tastes, meaning it lacks the spark and strength to match its predecessors but still leaves a fully satisfying proposition to mull over and pick the rich bones from, like the punk endeavour which fuels the bass.

From that slight slip the EP re-ignites with closing track Demon Bones, a blaze of anthemic ingenuity and raw aggression which from its opening rolling thunder of beats and grizzled riffery enslaves ears and passions. Another addiction breeding enticing from Webby sets up fresh hunger in the appetite before the swing of Big Al’s vocals and those of PC’s grooves, invigorates further the wonderfully turbulent and sonically fiery storm twisting heavy metal into a new shade of pleasure.

Censored unleashes metal which nails its balls proudly to the table and roars with as much passion and mischievous enterprise as it can muster. It is raw and rough around the gills but the band’s first demo is an exciting hint of things to come.

https://www.facebook.com/themightycensored

RingMaster 17/10/12014

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Manilow – Cease and Desist EP

 

 

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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

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Vaudeville Remedy – Ladykiller EP

 

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If you are looking for some blues punk rock with a raw and tenacious presence than you could do a lot worse than to check out the Ladykiller EP from Canadian rockers Vaudeville Remedy. It is a lo-fi and honest brawl of rock ‘n’ roll which is as captivating as it is passionate, and very easy to engulf the senses with time and time again.

Recorded in the basement studio of the Assiniboia, Saskatchewan trio, the DIY EP presents an in your face presence with songs which have been recorded live and are uninfected by polish and trickery. As mentioned the band has an honest sound which says take me as I am and it makes for an intriguing and enjoyable proposition. It is always fun to climb on board with a band at the relative start of its emergence, Vaudeville Remedy founded in 2009, and watch it grow. This trio is no exception, the new release showing a more aggressive and angry intensity and intent to that found on its predecessor, the thirteen-track Squeaky wheels of 2012. This is a band still evolving and exploring its depths and sound, but as Ladykiller shows one set to provide thrills along the way.

The release opens with The Winds Of Shit, an atmospheric piece of portentous sonic haze swirling around cinematic samples and stalking yet restrained beats. It is an attention awakening entrance into the EP though no real hint of what ladykiller ep cd coveris to come. What does follow is the rampant antagonistic devilry of the title track. Senses grazing riffs and rolling rhythms make the first impression alongside a great weave of blues scented grooves. It is an imagination holding blaze of craft and easy going but imposing riffs linked to those fiery grooves. The vocals, as the song, are offered in their rawest form and though they do not always capture ears as potently as the sounds around them, they only add to the live and dirty feel of the occasion of the song’s recording.

From the compelling rolling beats and the blistering sonic lure of the guitar, especially the excellent scorching solo, through to the antagonistic prowl of the bass, the song is a potent and exciting start but soon surpassed by the excellent Superhero Jizz. It is dirt clad, abrasing rock at its most captivating; again riffs and rhythms sculpting an irresistible riot of energy and temptation which is rabidly coloured by excellent vocal incitement and sizzling melodic acidity. The best track on the EP, it is a blaze of contagious and essential heavy, hungry rock ‘n’ roll.

Next up is Bong Rips, a brief slab of infection rising from a thick enticing bassline and growing strands of blues kissed sonic endeavour. It is as raw as it gets on Ladykiller, coming over as if it is right there staring at the listener face to face and again very satisfying, the same feeling and success which can be applied to closing song Headbanger’s Blue. Whereas the earlier songs feel like they have had a little time put into them for the recording, the final pair are as live as it gets, and a great notice of what the band is like in person and why they should be checked out in that state.

Vaudeville Remedy is a band with a sound and approach as honest as the day is long. There are no shortcuts and frivolous flourishes to their music, just the essential ingredients for real rock ‘n’ roll. This band is not re-inventing the wheel but they are heating up the original with some relish.

The Ladykiller EP is available digitally, on CD, and vinyl now @ https://thevaudevilleremedy.bandcamp.com/album/lady-killer-e-p

https://www.facebook.com/pages/The-Vaudeville-Remedy/237873806253225

RingMaster 10/10/2014

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The Youth – Nothing But…

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Having been thrilled and seduced by the contagious revelry of their recent single Fancy You, the anticipation for the debut album from Danish rockers The Youth, was as excited as it has been for any release this year. Now that Nothing But… unveils its collection of flavoursome rock ‘n’ roll on Dirty Water Records, it has to be said that thoughts and hopes actually underestimated what was to come. The album is a glorious stomp of creative passion, a fiery blaze of raw and voracious sound which is as contagious in its unpolished sonic enterprise as it is addictive in the honest and organic energy which fuels it. The album is as much punk as it is beat, as potent in blues as it is garage rock, but ultimately it a release bridging nostalgia and modern ingenuity for an essential r’n’b bred triumph.

The Copenhagen quartet of guitarists Jesper Jensen and Lasse Tarp, bassist David Peter Jørgensen, and drummer Sune Christian Thomsen unveiled The Youth in 2012 and swiftly were making their mark and earning acclaim through their live performances around their homeland and across Europe, including festivals and clubs in England, Germany, Austria, Switzerland, Norway, Italy, and Spain. They earned a rich reputation for their energetic stage presence and sound; the latter certainly confirmed and reinforced by the aforementioned limited edition 7” single Fancy You, as well as other tracks unveiled previously. Nothing But… is a new ballgame from the band though, a proposition with all the majesty and melodic fury to push The Youth into the most potent spotlight and a pinnacle for not only the band but modern r ‘n’ b.

From the opening rapping of beats and riffs on ears, the swagger which radiated out of the band’s last single is there in full stride as Come On eagerly leaps upon the imagination. It is an instant temptation for feet and emotions as grooves and melodic hooks ensnare a waiting appetite and a rhythmic shuffle takes the body. The vocals of the band equally incite a keen response which the song’s addictive chorus exploits to full effect. With a healthy tinge of power pop to its beat urgency, the song is a quick fire persuasion to set the release off in fine style, a dramatic entrance soon surpassed by the following Looking at You. With the riveting skill and charm of a bluesy harmonica incitement as vocal as the rhythms and jangling riffs filling the start, the track stirs up a raw bluster which is as much seeded in seventies punk abrasion as it is in sixties beat vivacity. It is as contagious as it gets in music, the variation of vocals as exciting as the heavy fleet footed sounds which frame and shape the first pinnacle of the album. A song which should undoubtedly be the next widely spread single, it is an irresistible gateway into the compelling world of The Youth.

Both You’re Leaving and Girls Like You keeps things creatively and energetically rampant, the first a soulful flame of potent sonic simplicity aligned to a melodic web around harmonious vocals and the second, a busy and sultry dance DWC10??LP:Standard 3mm Spine Albumof inventive and rhythmic agitation under a hazy atmosphere. It is a captivating incitement especially when briefly drifting into a delicious discord lit twist of adventure, and a song to have dance halls a blur of swerving and inflamed bodies.

Bubblegum strolls in next with open confidence in its gait and enticement. An initial throaty bass and crisp drum sculpted bait sets the first incendiary kindling of the song which catches fire a second time with the coaxing flames of harmonica within an entangle of riffs and melodies. As all the songs on the album, it defies feet to stay still and emotions to resist its infectious energy and flirtatious charm, a point straight away confirmed by the Merseybeat lure of Vicious and its gripping and addictive sonic toxicity. With a dose of surf and garage rock spicing to its lively yet smouldering presence, the song is other diverse seduction in an album as bold and impressive in its diversity as it is in its magnetic sounds.

Already by this time listening to Nothing But… is exhausting on limbs and energy, such its insatiable revelry but there is no let up as the hungry rock ‘n’ roll of Count leaps upon ears with the energy and lustful temptation of a swingers party, and matched right away by the grooved delights of Suede. Whereas its predecessor has a modern fervour and attitude which whispers Arctic Monkeys and The Black Keys, the second of the pair basks in a sixties pop flavour to its smooth and catchy recipe, The Merseybeats and Small Faces a comparable hint to its mellower but no less stirring enterprise.

The essential sounds and tunes just keep on coming, the blues infused That’s Your Problem a garage rock provocation with a punk attitude which adds yet another colour to the album. The bass and harmonica steal the show here when given space by the excellent vocal belligerence and swiping craft of the guitars. The track is a searing enjoyable punch on the senses but soon a memory once the vocal croon and jagged mastery of Save Me My Love absorbs ears and imagination. Raw and warm in equal measure, the song is another controlling shuffle for body and soul cast around a commandingly persuasive Bo Diddley bred rhythmic and riff sculpted spine.

The Norwegian Feeling is similarly constructed but soon installs its own blues and sonic identity, rhythms a pounding suasion to which guitars and bass wrap their tangy riffs and grooves, it all enhanced by excellent vocals from across the band and the scorch of harmonica beauty. Another major moment to the album in only high points, the song makes way for the swinging brilliance of About to Run; again British sixties pop essences caressing ears from within the vibrant and wonderfully raw canter, and finally the closing Baby, I’m Back. The last song coats the senses in a surf blues wash which as the vocals, simply seduces with every slow glide of its evocative texture and invention. The first time the album brings energy levels a more relaxed time, the track goes to work on thoughts and emotions with its hot climate veined with imposingly seductive and sultry rich melodies. It is a spellbinding close to a stunning album and another unique string in sound to the release’s bow.

Nothing But… is all treats and energy sapping fun provided by songs which embrace the old and new for one of the explosive and impossibly satisfying triumphs of the year. The Youth is destined to greatness, hell they are already there thanks to their stunning debut.

Nothing But… is available on Dirty Water Records now digitally as well as CD and vinyl versions @ http://www.dirtywaterrecords.co.uk/shop/#!/The-Youth/c/10017014/offset=0&sort=addedTimeDesc

http://theyouth.dk/

RingMaster 07/10/2014

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Cross Wires – Your History Defaced EP

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If you were caught in the ridiculously captivating web that UK band Cross Wires spun with their Assembly EP earlier this year, or indeed the releases before it, be prepared for a new rapture with the band’s recently released Your History Defaced EP. For all those new to the invigorating brew of post punk, new wave, and garage rock which the quartet potently brew, the release is quite simply a devilish treat just waiting to infest your senses. Consisting of five eclectically and creatively warped slices of sound which is simultaneously nostalgic and refreshingly new, the EP reinforces and pushes on the riveting emergence of this severely tantalising band.

Hailing from the creative depths of Bethnal Green and Romford, Cross Wires who take their name from a track on the XTC debut album White Noise, took little time from forming in breeding an impressive reputation locally through their live performances and sound. It was a presence soon spreading with their first pair of releases in the tasty shape of the Forward/Repeat and Animal Heat EPs in 2011 helping spark that growing awareness which the Dark Water EP a year later, soon drove to even wider recognition and attention. Assembly saw the band take another step in sound, songwriting, and success which Your History Defaced looks like not only emulating but surpassing as it seduces fans old and new, as well as the underground media alike.

Opener Modern Art is an instant irresistible offering, slithers of acidic guitar crossing a bulging bassline and feisty beats for an irrepressible coaxing of ears and imagination. Instantly thoughts of bands like Fire Engines and Wire come to mind but just as swiftly the song shows a more rounded and fuller sound from the band than ever before but one still draped in open originality. Right away the vocals of Jonathan Chapman romp with the same mischievous potency as that spicing the sonic intrigue of Peter Muller’s guitar and the rhythmic bait cast by drummer Ian Clarke and bassist Pete Letch. It is arguably the most pop friendly song from Cross Wires to date but one swinging with a rhythmic swagger and melodic flirtation which is virulently infectious and unpredictable. Think Franz Ferdinand meets The Freshies and you get a good hint of the impressive romp.

   Shades Of Light And Dark comes next and soon has a jangle of angular guitar temptation teasing ears as vocals dance with resourceful frivolity over the feverish agitation of beats. There is also a chunkiness to the riffs which ignites the passions as easily as the sonic persistence and repetitious ingenuity flourishing within the thrilling weave of enterprise. The song continues the EPs strong start but is soon surpassed by the thumping and imposing devilry of Tab Clear, everything about the song heavier and more intensive yet equipped with the same contagious weight of hooks and spicy grooves as those before it. The bass of Letch is especially a throaty treat whilst the vocals straddle the whole encounter with a lustful energy and expressive magnetism which seemingly inflames the scintillating tempest of sonic and discord washed endeavour around them.

The thumping rhythmic entrance of Last Stand is all that is needed to ignite the passions, an immediate ardour which is enhanced by the layers of scything riffs and pulsating bass persuasion which underpins the again impressive vocal adventure of Chapman and band. There is a Buzzcocks like flavour to the imagination binding grooves and hooks whilst the song’s overall unconventional catchiness reminds of fellow emerging UK band Houdini. The result is another addiction sparking encounter which in turn is surpassed by the closing punk spawned storm of Vultures, a deliciously raw and rapacious stomp of Swell Maps like causticity and dour infectiousness courtesy of bands like The Lurkers. It is a pungent and thrilling end to an outstanding release from a band hard not to take a lustful shine to.

If new wave and postpunk with a modern mischief excites the ears than Cross Wires and the Your History Defaced EP is a must.

Your History Defaced is available now @ http://crosswires.bandcamp.com/album/your-history-defaced

https://www.facebook.com/CrossWires

RingMaster 02/10/2014

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The Sticky Boys – Make Art

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An album which is as much punk as it is hard and heavy rock, Make Art is an unexpected pleasure which is simply what all great albums should be, out and out rock ‘n’ roll. The new slab of dirt encrusted sleaze kissed revelry from French trio The Sticky Boys, is certainly not making a major statement of originality but for riotous fun aligned to bruising voracious sounds it is hard to think of many better mischievously enjoyable heavy rock rampages this year.

Rampaging out of Paris in 2008, the trio of guitarist/vocalist Alex Kourelis, bassist/vocalist J.B Chesnot, and drummer Tom Bullot drew attention with their early demo Rock’n’Roll Nation two years later but more so with debut album This Is Rock’n’Roll in 2012. The album was an easy on the ear arguably unsurprising but thoroughly satisfying rock ‘n’ roll. Make Art can in many ways be described by the same line but with its stronger fresh adventure and that punk seeded ferocity to an undemanding presence, the Listenable Records released album is a new and attention grabbing offering from The Sticky Boys.

Opening track Mary Christmas swiftly ingrains flavoursome riffs upon ears before unleashing a feisty tide of thick guitar and bass enterprise punctuated by the jabbing beats of Bullot. If like us you have an aversion to seasonal songs never fear as the lyrics soon steer towards the salacious side of festivities whilst hooks and rhythms bring an intoxicating spirit. Like Turbonegro meets Skid Row, surprises are few and pleasure high as the track strolls proudly towards the following Bad Reputation. Here a Motorhead influence is open as grimy riffs entwine with predacious hooks and rhythmic confrontation. There is also a breath of Offspring to the track, the punk bait making its most vocal suasion yet around the subsequent melodic flames of Kourelis which scorch and treat ears simultaneously.

A great throaty bassline opens up the AC/DC spiced High Power Thunder and continues to spine the stroll of heavy metal draped in guitar cast melodic flame. It is a strong if unspectacular track, keeping attention and appetite keen 10501716_10152593575618919_2268711738949228514_nbefore making way for the similarly toned classic rock coloured Mrs Psycho and subsequently Uncle Rock, a quickly pleasing anthemic stomp primed with a classic hard rock swagger and belligerent rhythmic attitude. Again neither song sparks a fire in the belly but leaves the body drenched in sweat and emotions well satisfied.

There is no need to reveal the theme of Party Time, its title the perfect summing up of the addictive energetic mosh and rhythmic contagion. It the previous track was anthemic this is a brawling call to arms for the devil’s mischief and rock ‘n’ roll at its primal best , a triumph swiftly matched by The Ramones spiced The Future Is In Your Hands. Equally there is an essence of The Clash to the album’s best song, both flavours adding to the captivating hard rock cored encounter.

Love On The Line explores the same classic rock/punk scenery as found in Bad Reputation to similar success as Make Art continues on its most potent stretch to date, its sonic intrigue and craft a compelling texture to probably the most intensity soaked song on the album. That high level is reinforced by the excellent agitated confrontation of The Game Is Over. Persistent scythes of rabid riffs and uncompromising beats gnaw and flirt with the senses whilst the bass sculpts another dark temptation as Kourelis explores a seemingly Lemmy inspired delivery. It is a thrilling proposition which makes its own claim for best track accolades.

Make Art concludes with the more than decent pair of Juicy Lucy and its title track, each providing a strong and in the case of the closer a thrilling finale to the release. The first of the two is an all-out heavy rock charge and the last a punk infused rocker which opens with Boomtown Rats like keys and proceeds to twist and flirt through pop punk hooks, sonic causticity, and aggressive vocals, all within a melody strewn hard rock climate. It is a real grower and to be honest over time manages to make the strongest persuasion with its adventurous and imaginative invention; think 999 meets Mötley Crüe.

Not carrying major surprises but loaded outright creative revelry and undiluted fun, Make Art offers the kind of devilry it is hard to get enough of. Every rock ‘n’ roll party, riot, and rampage needs a heart to drive it and they do not come much more enthusiastic and enjoyable than this from The Sticky Boys.

Make Art is available now via Listenable Records @ https://itunes.apple.com/ee/album/make-art/id904560291

http://www.stickyboys.eu/

RingMaster 30/09/2014

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Dirty Dishes – Thank You Come Again

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A smouldering seduction of fiery sonic tenacity and vocal charm, US band Dirty Dishes has been a gripping proposition for quite a while through their attention grabbing releases and senses scorching sound but the band have laid down their most potent and thrilling marker with new single Thank You Come Again. Entwining grunge, punk, and noise rock in one raw and spellbinding wash, the band’s new release ignites an instinctive hunger in ears and emotions with consummate ease and skill.

Hailing out of Boston, Massachusetts, the now Los Angeles based band is the brain child of Jenny Tuite (guitar/vocals) and Alex Molini (synth/bass), the pair initially meeting at a party before subsequently uniting their creative craft and vision in the feisty shape of Dirty Dishes. It took little time for the pair to spark eager attention and appetites for their sound and presence, the band going on to play over the years with the likes of Passion Pit, Autolux, Speedy Ortiz, Trail of Dead, Best Coast, and Weezer. Both their self-titled EP of 2010 and the following The Most Tarnished Birds EP two years later drew acclaim but it is easy to suggest their contents were mere appetisers for the deepest inventive majesty of the band to be discovered, starting with Thank You Come Again. The single is a new twist in the noisy invention of the band, a loftier peak of contagious yet uncompromising sonic devilry which is quite scintillating.

A swift and brief blaze of guitar bred noise opens up the gates for a heavier breath of sonic intensity to escape the song, before it relaxes into a gentle caress of excellent vocal temptation from Tuite. Her voice mesmerises from the first note, its beauty courted by a dulled bass tone and jabbing beats before the returning caustic flame of energy and sound returns to ignite the senses. The song continues to revolve and merge both aspects of its raucous and transfixing beauty, the track enslaving thoughts like a mix of The Pixies, Sonic Youth, and Belly.

     Thank You Come Again is a sensational sweet abrasion on ears, a rigorous examination which flirts poetically whilst searing the senses. An introduction for some to Dirty Dishes and a continuation for others of their already impressive presence, the single is a gripping next step in the rise of a band destined to breach a global spotlight.

Thank You Come Again is available from September 29th @ http://dirtydishes.bandcamp.com

http://facebook.com/thedirtydishes

RingMaster 28/09/2014

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