Sunshine Riot – A Fresh Bottle A Brand New Day

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It has to be said that initially A Fresh Bottle A Brand New Day, the latest album from US rock band Sunshine Riot, was an underwhelming proposition though it certainly kept attention rigidly in its grasp. The band brings a mix of country, rock, blues, and punk to their sound but across the album it is more a case of individual tracks investigating one of those flavours rather than merging them into one rich brew. In hindsight it was that which possibly restrained satisfaction the most for the album at first but given deserved time and focus it has to be said that the Americana glazed release has emerged as a rather pleasing proposition. It does not light any fires in the belly of passions but without doubt it is an easy to frequent and keenly digest companion.

The quartet from Boston began in 2007 at the creative hands of vocalist and rhythms guitarist Jonny Orton and bassist Jeff Sullivan. Completed by the more recent additions of lead guitarist Mark Tetreault and drummer Shakes Tvelia, the band has had their sound described as “Johnny Cash meets Kurt Cobain”. It is a description you can see in the band even if it does not really paint the inventive textures which ripple throughout their varied songs, certainly those upon A Fresh Bottle A Brand New Day. Renowned for their live performances and work ethic, Sunshine Riot’s bio say that things really clicked into place with not only the current line-up coming together but just before that the band linking up with 16 time Grammy nominated producer, multi-instrumentalist, engineer, and composer George Dussault. New to the band we cannot say if that was the key but certainly there is a craft and inventive heart to their music which suggests something has come to ripe fruition.

The slamming of a heavy door awakens the album and opening track Norfolk County Jail, its intensive provocation the starter for a wistful melodic caress before defiance and urgency bursts with striding guitar and rhythmic incitement. The vocals of Orton ably backed by those of Sullivan, unfurl the narrative of the song with the track lyrically and musically a steely and expressive encounter which sparks the imagination. Of all the tracks this is one which fits that earlier description of the band’s music, its melodic rock drama fuelled by a flush of punk and grunge like tenacity. It is a very pleasing start to the album setting up a ready appetite for things to follow though that hunger is given a bit of a false start by the following Natural Causes. Immediately soaked in a country blues twang and atmosphere, the song steadily strolls into view and provides an accomplished and emotive venture to contemplate. There is something openly familiar to the track which makes it accessible but does defuse any originality and thus the spark to excite ears and emotions. Nevertheless it is enjoyable and memorable.

Both the more than decent rock canters of Cotton Fevour and Old Soul Blues like their predecessor keep the album alive in pleasure if not excessive excitement. The first is a blues washed slice of Americana complete with a throaty twang and the second a sultry slice of reflective melodic rock. Again the pair pleases but fails to emulate the success of the opening track or the livelier gaited and magnetic Quicksand Love which follows them. There is a simple honesty to the song’s first persuasion which coaxes before the vocal blend and plainly attractive hooks make their bait known. The song in turn is then left looking a little pale by firstly the impressively catchy and deliciously soulful Elizabeth Stone which features the richly textured vocals of R&B singer Carl Smitty Smooth around a core of virulent temptation and then even more so by the outstanding Senorita Punk, which as its title suggests is a riotous temptress bred in prime punk rock. Both songs provide the pinnacle of the album, taking it to new heights, especially the second with its voracious attack and scuzz smothered energy.

The next up Margaret Mae with its deep bass growl and jagged guitar bait continues to keep album and pleasure high, the song a vivacious stroll with eighties new wave vibrancy and mischievous alternative rock enterprise. The track saunters with a gentle but bold swagger, teasing ears and thoughts with persistent relish before bursting with eager will in its chorus.

The climatic Boxcar Cowboy brings a spaghetti western landscape into a union with an Americana rigour to capture the imagination again with its individual drama before the fiery and more intensive rocker Sweet Kerosene spills its sonic energy and melodic flames over the senses. Both tracks reinforce the fact that the second half of the album is a more compelling and thrilling venture to explore with the band than across the first few songs. Whether by coincidence or by intent Sunshine Riot save their strongest explorations and dramatic creations to the rear of the album and it works a treat though you wonder if a different order of songs would have made the release more consistent in its suasion.

Closing with the acoustically guided and okay Home, Sunshine Riot and A Fresh Bottle A Brand New Day provide an entertaining proposition which took its time to fully convince. This it does though, even with a few moments still lacking the kindling to light the passions, and invites a definite interest in the band’s new full-length marked for later this year.

The self-released A Fresh Bottle A Brand New Day is available now!

http://sunshineriot.com

7/10

RingMaster 21/04/2014

Copyright RingMaster: MyFreeCopyright

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Two-Bit Sister – The Jackal EP

Two Bit Sister Online Promo shot

Whilst not setting burning fires with their debut EP, UK alternative rockers Two-Bit Sister make a sizeable and lingering impression with the very enjoyable release. The Jackal EP consists of four rock/pop songs infused with valid essences of blues, grunge, and punk. It is a mix which took a little time to entrench its seeds into the imagination but once there blossomed into a rather pleasing and accomplished endeavour.

The band is the union of Leon Peskett (guitar and lead vocals) and Connor Bluemel (drums and backing vocals), two musicians from Margate who from knowing each other at school and jamming together over previous years united last year for Two-Bit Sister. It was not long before the pair had a clutch of songs and was lighting up shows across the summer of 2013 and beyond. Taking influences from the likes of Nirvana, Jack White, Arctic Monkeys, Blink-182, Led Zeppelin, The Beatles, Queens Of The Stone Age, and Band Of Skulls into their stripped down yet full sound, the band then set about creating this their first release. The Jackal provides a rich insight into the open potential and imagination of the band, not a release to send the passions on a fevered rapture but certainly one to ignite an eager appetite for them and their future.

The title track opens up the release and despite its vibrant sound and bouncy stride is a little bit of an underwhelming proposition. Though Two Bit Sister Cover Artworkwarming to the song over time it never really hits the spot, its folk touching presence lacking the creative and impacting spark which lights up the other tracks. Nevertheless with crisp beats and strolling guitar suasion, the song does swing along with the sound of summer and an engaging melodic prowess matched by the smiling vocals of Peskett. As with all the tracks there is a familiarity to the song, the band’s inspirations an open colour, but it only goes to give this and subsequent offerings an extra contagious element to their adventures.

It is a decent start holding attention but it is the remaining trio of tracks which wake up a keen appetite starting with Turbulence. A shadowed guitar coaxing lures in thoughts first before a wider weave of enterprise from the strings of Peskett allied to the rhythmic temptation of Bluemel increase the temptation. Vocally the tones of Peskett also find a darker lilt whilst the backing of Bluemel brings a mixed weave of croons and harmonies to continue to keep things interesting. A Nirvana-esque expression erupts around the eager chorus whilst the tempered canters in between them explore a more Audioslave like premise. The track is a riveting encounter which seduces more and more over time, potent hooks and grooves persistently marking its passage, and at times reminds a little of fellow British band Feud though it forges its own identity for Two-Bit Sister.

The following Wanna Know has an immediate punk feel to its rawer sound, opening hooks coming with a spice of the Sex Pistols whilst once into its stride the track has a feel of early Buzzcocks to it. With its uncluttered presence and unfussy intent there is also a flavour of Television Personalities to the song, it all adding rich hues to another compelling slice of rock pop from the band. Once more riffs and rhythms combine to offer fully magnetic bait whilst vocally the pair provides a solid and expressive swagger to the stroll of the persuasion. This and its predecessor are the pinnacles of the release, tracks drenched in exciting endeavour and rich promise revealing much more about the songwriting and band than the opening song.

The closing track Times also stands tall, its decent opening caress of guitar and vocals giving no hint of the Weezer styled romp to follow. Though the song never bursts into an over energetic urgency it undeniably strides vivaciously through ears with grooves making gentle persuasions and rhythms providing a sinewy frame. A blues expression breaks out inventively midway, vocals and sounds soaking it up, to further spark up a keen attentiveness towards track and EP. As it entices and romps with the senses, an understanding of why Queens Of The Stone Age references, which have been kindled about the band opens up, though the band again provide a not exactly distinct but a certain individual presence for themselves.

The Jackal EP is a richly satisfying introduction to Two-Bit Sister; a very appetising and enjoyable base for the duo to build and spring from. Creating songs which truly linger long after departure is a craft many bands take time or fail to master, but Peskett and Bluemel do it with ease on their debut which makes them a proposition to watch closely.

The self-released The Jackal EP is available from Monday 21st April from http://two-bitsister.bandcamp.com/

http://www.twobitsister.co.uk/

8/10

RingMaster 20/04/2014

Copyright RingMaster: MyFreeCopyright

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Mothertone – Got It Memorized

 

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On the evidence of their new single Got It Memorized, Scottish band Mothertone has a rather accomplished handle on merging various flavours for one highly appealing brew. Our first introduction to the Edinburgh quartet is a feisty and contagious exploit which shows why there has been a keen buzz brewing up around the band from their previous EPs, Four Stars and IV, from which the song is taken. Creating a not exactly unique but definitely attention catching form of heavy rock from a multitude of essences including heavy metal, classic rock, punk, and grunge, the band’s new single entices and lures the imagination with a robust stomp of thumping rhythms, mischievously inciting riffs, and blues kissed melodies. It is an urgently captivating slice of rock ‘n’ roll which ensures that better late than never is continued to be proven.

Formed in the middle of 2012, Mothertone as many went through a number of line-ups before finding the right potent mix with vocalist Eric Mothertone cd babyBrock, guitarist Kieran Gallagher, bassist Dean Gordon, and drummer Rikki Smith. Across their time they have also have built a strong reputation for their live performances, lighting up venues around Scotland such as the Liquid Rooms, Classic Grand, King Tuts, and Cabaret Voltaire. Their next aim is to infiltrate the rest of the country and with the likes of Got It Memorized in their armoury you feel it should be a done deal in stretching their presence and fanbase.

Slamming beats and rigorously swiping riffs open up the encounter, their jagged provocation sparking an instant appetite which the song exploits with a subsequent stroll of flaming guitar enticement alongside those still commanding rhythms and an irresistible growling bass lure. A virulent groove also adds its potency, the song building heavy rock bait with contagion in full throttle from its start. Intensity and urgency adds its say to the encounter soon after as the clean vocals join the affair, their entrance sparking a punk breath to the antagonism of the imagination infecting song. Vocally Brock is impressive but without a real snarl to his tones the production of the song leaves him a little adrift at times though it makes no ultimate impact on the success of the song and his enjoyable lead.

Throughout the song twists and swerves with invention and craft whilst the guitar solo towards the impending climax of the song flames brightly with skill and poise. With a final beefy stab to end its show, Got It Memorized leaves you wanting more and though as mentioned the band is not setting new templates for rock music with it, the single proves that they definitely give it another tasty choice for fans to devour eagerly. Expect to hear a lot more of Mothertone as they invade the rest of the British Isles, to which no one will be disappointed we suggest.

Got It Memorized is released via Coffee Jingle Records (www.coffeejinglerecords.com) on 17th March.

https://www.facebook.com/mothertoneband

8/10

RingMaster 13/04/2014

Copyright RingMaster: MyFreeCopyright

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Damn Vandals – Rocket Out Of London

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It is fair to say that psyche rockers Damn Vandals swiftly set themselves a place in British rock as one of the most exhilarating and promising propositions with their 2012 debut album, Done For Desire. It was an encounter drenched in originality and a feverishly diverse flavouring setting the band apart from most. To confirm and stretch all of its potency within a new mentally twisting maelstrom of psychotic goodness, the London band now unleash the senses infestation that is Rocket Out Of London. It is a glorious swagger of caustic abrasion and acidic ingenuity honed from a brawling incitement of garage punk, psyche and stoner rock, as well as a vein of raw punk, simply put demented rock ‘n’ roll at its most addictive.

As for a great many, our admittedly eager affair with Damn Vandals began with the release of their Beautiful Mind EP, a widely acclaimed encounter awakening attention and appetite for the potential and instantly impressive presence of the band. The release and subsequent songs though was only the taster for bigger and major things to come, Done For Desire thrusting the quartet to new levels and into a richer spotlight with its release. Uncompromising but with a contagion to its presence which works under the skin like a welcome niggling itch, the band’s sound has found a new depth and power to its virulence with the new release whilst still retaining the raw dark textures and unhinged threat which stirred up the passions so quickly upon their emergence. As evidenced by Rocket Out Of London, it has become a twisting intrusive beast which wraps with almost insidious intent around the ears, permeating every pore and synapse with an exhaustive toxicity which simply ignites the imagination and passions. Produced by Julian Simmons (Midlake, Ed Sheeran, Guillemots, Goldheart Assembly) as was its predecessor, the album takes the listener on a dirty and intimidatingly shadowed ride through explorations of themes such as celebrity stalking, hard liquor, death by dreams, madness and homeland security amongst many but ultimately just through the creative mad ingenuity of the band.

The album opens with the first single uncaged from its wonderful aural rapaciousness, Twist Up And Tangle. Released mid-March, the dv coversong laid down the strongest bait for the full-length and still holds its intensive grip with an epidemic bait of granite sculpted rhythmic punches and scything sonic swipes of guitar. From its first second the song is an inescapable cage for the senses and emotions, a scarring provocation soon given richer fuel by the ever distinct and voraciously delivered vocals of Jack Kansas. The track is swiftly into a predatory stride, prowling around the ears with a sonically slavering intensity from the guitar of Frank Pick and the dark throated voice of bass held in rein by Adam Kilemore Gardens but still adding commanding menace to the whole of the psychotic fare. It is a masterful and insatiable stalking driven by the magnetic beats of Chris Christianson, but one which with its spewing discord and melodic flames as well as corrosive hooks and breath, provides a raucous dance to shield the fact we are being preyed upon.

Like a mix of Fatima Mansions meets The Birthday Party, the opener alone wakes a hunger to which the following Cities Of A Plastic World adds its own imaginative virulence. The track opens with a rhythmic drama speared by a ridiculously contagious hook, its abrasing hot touch a niggling pleasure just hard to get enough of. Around its tempting Kansas again parades the song’s narrative with unbridled expression whilst the guitar of Pick continuously lights up new corners and adventures to court his primary enticement with skill and enterprise, the album easily his finest inventive and moment yet, as it is of the band itself. The track sculpts another immediate pinnacle in the impending lofty range of the album and is soon equalled by Too Lazy To Die Too Stoned To Live, a sultry stroll with a citrus edge to its grooves and melodic teasing. There is a definite lick of Queens Of The Stone Age initially and Eagles of Death Metal later to its constant erosive taste and hypnotic stance.

I Bring You Love which made up part of the earlier mentioned single keeps the album coursing potently through the body, its psychobilly/Cajun swamp-esque stomp with sliding toxic mesmerism and blues bred frisking irresistible. The track just gets better and more virulent with every crossing of its red-neck terrain with dirty violating rock ‘n’ roll scenery. With more than a feel of Screaming Blue Messiahs to it and always an essence of the previously mentioned Cathal Coughlan led band to the presence of Damn Vandals, the track is a delicious lingering antagonist to unreservedly submit to.

Both Number One Fan and Whisky Going Free provide a new mischief to fully devote attention and passions to, the first merging classic and incendiary garage rock for a rampaging stomp built upon the intensive frame work of Christianson, a cage again laced with riveting guitar revelry and craft. Its successor sidles boisterously up to the ears with tight sinews and deviously coaxing addictive grooves, the track a less expansive dark tango than say the last but with a no less leaner determination in its air and voice to seduce and inflame the passions, which it does with ease.

The following I Hate School hits the spot perfectly but lacks the spark of other tracks, a familiarity and somewhat predictable essence to its body slipping up against the surrounding triumphs. To put it into context though, with absorbing blues/psychedelically teased guitar invention from Pick and a certain unavoidable catchiness to its lure, the song still has feet and emotions fully engaged before next up Mad As Hell takes them on a similarly successful and potent ride, if again without quite matching earlier heady heights. The track rumbles and strolls with attitude and a thought immersing design all the same to keep the fire for the album burning eagerly.

The closing pair of tracks takes the release back to its highest plateaus, the first This Music Blows My Tiny Mind, another incitement with the stance of a predator and the drive of a volcanic eruption expelling sizzling melodic flames, searing hooks, and climactic rhythms building to a quite scintillating final drama. Its successor, the title track brings the album to a glorious closure, its addiction forging rhythmic slavery and scorching guitar endeavour an inescapable virulence guided as masterly as ever by the gripping tones of Kansas. Like a mix of QOTSA, Julian Cope, and Rocket From The Crypt, the track is a brilliant finale to a quite outstanding taking of the soul.

Rocket Over London with ease reveals that Damn Vandals is no longer the potential future of certainly raw British rock ‘n’ roll and garage punk but the template.

http://www.damnvandals.co.uk

http://damnvandals.bandcamp.com/album/rocket-out-of-london

9.5/10

RingMaster 07/04/2014

Copyright RingMaster: MyFreeCopyright

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Jargon Party – Self Titled

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The debut album from US band Jargon Party is an encounter which equally tests and tempts the senses, a proposition which concerns and spellbinds simultaneously. It is a release which maybe will not find a welcome with everybody though at its heart there is a seductive revelry and potency which refuses to relinquish its magnetic hold. The solo project and release of Zach Lewis, the album challenges and stimulates from start to finish, its sound heavily influenced by The Beatles and sixties pop whilst fusing plenty of invention and tasty flavours from indie to punk, surf to garage rock. Its biggest lure is the wonderful continuous drift of discord which soaks every aspect of the songs but its main and really only issue are the vocals of Lewis. Though successful at times his voice struggles with notes or vice versa, to defuse enough of the undoubted qualities of the songwriting and the generally thrilling sounds, something you can see putting many off before giving the release a chance. As it stands the album is an engaging and imagination feeding satisfaction but with a more accomplished singer it is easy to suggest the release would be stirring up passions and being talked about loudly.

Originally from Brooklyn and recently based on an Island off of Portland, Maine to record his new album, Lewis creates a lo-fi, garage feel to his sound which easily grabs ears and an healthy appetite. Jargon Party began around two years ago after Lewis moved to New York City aged 22 after years of playing in different live bands in Richmond, Virginia. The band was initially a six strong proposition before other projects and personal interests saw members leaving and the band dwindled down to a duo and subsequently just Lewis. A multi-instrumentalist, having learnt as many instruments as he could since a child, Lewis recorded his debut in his apartment and that of drummer Dave Charboneau who contributes to the album also. Released last year but still drawing in attention, as ours, the album parades openly the inspirations of the man, the likes of The Kinks, Arctic Monkeys, Of Montreal, Radiohead, Wolf Parade, and David Bowie adding to the loudest soak of the previously mentioned Liverpudlians.

Exploring ‘the ups and downs of life and love’, the album opens with Isabella a masterful romp of garage rock; sultry guitars entwining fab four like vocals whilst rhythms romp with a lively smile and mischievous suasion. The sixties lilt to the melodic stroll of the song and psyche teasing revelry to its touch makes an absorbing and exciting  start to the album, like a feisty mix of The Kingsmen, Thee Headcoats, and The Youth. Everything about the song is a contagious incitement bridging nostalgia and modern imagination to set the release and anticipation off in fine style. That heady expectation is soon well fed by the intriguing Internal Clock. The bass and guitar coax thoughts and emotions from the first second whilst delicious washes of discord providing unpredictable bait to devour eagerly. The effected wrapped vocals also add to the lure of the song, their touch shading the first signs that the vocals may be a weakness on the release. The wrong footing twang of the sonic designs continues to ignite a hunger towards the release, its confident and carefree provocation on ears and assumptions a very pleasing toxicity. With guest keys from Lydia Velichkovski adding to the mesmeric mayhem, Jargon Party keeps its initial grip firmly in place.

The following Lucy Melanie unveils a fifties rock ‘n’ roll swagger to its romp, vocals again cloaked in effects for the sixties pop bred dance though their hold on notes and harmonies begin to show signs of wear. Like the opener, the track slips easily through the ear musically offering garage rock seeded pop to breed very willing participation whilst the twists of discord and direction succeed with thoughts and satisfaction. The lo-fi, DIY touch of the production and recording also adds to the potency of this and all songs, its rawness hiding some of the sins and accentuating the nostalgia spawned voice of songs.

The smouldering croon of I Want to so Much embraces with appealing tempting, especially with the celestial twinkling of the keys though Lewis gives it too much to overcome with his delivery to match the previous tracks; it much the same with Surf Rock Anthem 7 though its opening provocation of dark moody basslines, crisp rhythms and punk guitar sets up an infectious incitement which persists across the whole of the undiluted garage punk dance.

The slow psychedelic pop of Giraffe fails to capture any real hold on the emotions, mainly because of those vocals again, though it takes corners and flavoursome turns which again shows the strong promise of Lewis and the project, whilst next up Under the Sun with its bluesy guitar flames and thick climactic melodic heat proves the enjoyable variety to the sounds bred in the album.

The release is completed by Will You Space Tonight and Sky Pilot, two tracks distinctly different to the others with further spatial investigation within psychedelically toned atmospheres and dream pop embraces. The first of the two is a decent enough flight whilst its successor thrills more with its evolving landscape which takes in scenery from progressive and psychedelic pop through to noise rock and eighties indie rock. It is a great end to a release which ultimately captivates with its excitable invention.

Vocally Lewis should reassess his options for greater success but musically Jargon Party, project and album, shows plenty to warrant being given proper attention.

https://www.facebook.com/JargonParty

http://jargonparty.bandcamp.com/album/jargon-party

7/10

RingMaster 04/04/2014

Copyright RingMaster: MyFreeCopyright

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I Am Duckeye – Double Riff Action

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The base morality of the world is always open to a new lesson and our favourite Australian reprobates I Am Duckeye has given it another welcome swipe to the balls with another infuriatingly addictive riff fisting through their new single. After the release of their exceptional album Husband last year; where riffs, rhythms and testicular examinations were wantonly encouraged, it was easy to wonder how the band could improve on its irrepressible delights. The Double Riff Action single provides an instant answer, its double A-sided suasion featuring the first temptation to the band’s upcoming full-length Commando Too, an anthemic bait of riotous proportions. Consisting of nine tracks running around fifty minutes and also featuring live cuts, remixes, and interview, the release is a chunky slab of Duckeye goodness bursting with honest depravity and juicy hilarity.

Formed in 2008 and consisting of brothers Sam (Sydonia, Afterwhite) and Classic Matt Haycroft (Chico Flash), bassist Jules (Dirty F, Afterwhite), and drummer Sean (Sydonia), I Am Duckeye has begun to solicit passions far beyond their already submissive state, especially hometown Melbourne. Their sounds are being voraciously grabbed in the US, France, UK and further afield with almost lecherous attention. It is early days but an appetite is ripe for their merging of comedy and the heaviest riff infused rock available. They provide an encounter which equally feeds of the ripeness of punk and metal, and helps create a rising force to give parents the shivers and grannies tingles.

Double Riff Action as mentioned comprises of an array of tracks led by the two A-sided singles. First up is Son Of A Riff, the lead single double-riff-action-coverfrom the upcoming album. From its first breath guitars are scraping at ears and senses with a scramble of riffs as the vocals introduce the premise of the narrative. With rumbling rhythms carrying more weight than a sumo wrestling team and the bass growling like a bear with crabs, the track erupts into a juggernaut of voracious endeavour and carnivorous intent. Lyrically as expected the band does not leave the funny bone unsatisfied either, the opening presentation….

This is a song, a song about cooking riffs
A cooking song!
Not a cooking song, a song about rolling spliffs
Smoking a bong!
No not smoking a bong Matthew, but writing yourself a hit
Hitting is wrong!
Yes hitting is wrong, unless your song is utter shit
Now!

…telling all.

The track carves up air and senses like a herd of kamikaze first time weightwatchers, though it also throws in a few respites and a My Sharona like hook which we will forgive them for. The song offers more than enough to spark a girly anticipation for Commando Too whilst the following track reminds just how immense the last album was.

The Riff the delivers an even greater cantankerous attitude and predation with its opening riffs, they snarling with bestial intent to provide exactly what it says on its label whilst unearthing a carnal enticement  for which mass mutilation seems a fair price. With sonic repetition and heavy duty oppressiveness an intimidating pleasure, the song is a glorious predator; almost a normal song at times, ok washing my mouth out with soap right now guys.

The rest of the single is made up of firstly acoustic live performances of Tuesday I Go the Blues Way, The Riff, and the should be world anthem Punching Dicks, all thoroughly enjoyable with pipes, violins and more in tow, but it is the verbal antics of the band before and during songs which steals the show more often than not.

The full live track of The Riff recorded at The Cherry Bar, Melbourne last year is a hungry gem whilst the remixes End Of The Riff and Punching McVomit, a squalling version of Punching Dicks hit the right spot before a hilarious interview with the band closes up shop.

Double Riff Action is another great intrusion by the band, its two lead songs sheer I Am Duckeye alchemy and the band as contagious and unstoppable as ever. The hunger for the new album is destined to be impatient and demanding after this…in fact hurry up with it you taunting teabaggers. ;)

http://iamduckeye.com

9/10

RingMaster 27/03/2014

Copyright RingMaster: MyFreeCopyright

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Lazytalk – Just A Ride

 

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    When the body is turned into an eager puppet you know you are in the hands of something special and that is exactly what the new single from UK rockers Lazytalk is. Just A Ride is an insatiable stomp fusing the richest essences of indie, ska, and punk with plenty of other variously seeded excitement like drum ‘n’ bass. It draws in ears and imagination from its opening note, never relinquishing its contagious grip until the final vivacious second.

      Lazytalk was formed in 2011 and it seems was soon raising up the passions from a loyal following with their resourcefully inventive sound. Exhilarating venues and audiences across London and the UK ever since their debut day, which has included supporting Babyshambles on their UK tour, the band drew strong responses with their debut EP, the Gordon Raphael produced Luzaville. The new single follows the release of the excellent track Memories which came out as a free download a couple of months ago, and treats ears and imagination to their finest irrepressible slice of revelry yet.

Just A Ride opens with jangling guitar strokes which immediately suggests an Arctic Monkeys like bred adventure ahead. The joining rhythmic bait of Tag Ara soon accelerates the already brewing appetite for the song, impressively aided by the vocal beckoning of Piers Robinson. It is a tremendous temptation which explodes to another plateau once the bass darkens its tone whilst the guitar of Jack Wilson aligned to the keys of Joshua Culter, scythe across and thicken respectively. the riveting dance of the encounter. There is a definite eighties new wave swagger to the more angular aspects of the adventure, one which slips seamlessly beside the gently stabbing ska enticement and the fiery and infectious weave of melodies. The rhythmic cage of Sam Woodward keeps the vivacious energy and irresistible mischief of the song encased in a controlling body but one which allows devilry like the pleasing sax croons from Culter and the raw vocal harmonies to play and add their engaging hues to the scintillating and wonderfully exhausting romp.

      Lazytalk is one of those bands you just sell your soul to, well we did as once Just A Ride placed its hand on ears and passions there was just no escape. If is safe to say that we will not be alone in offering up our submission and doing it time and time again as the band realises the rest of their potential and rises to the loftiest heights of attention and ardour in the UK music scene.

http://lazytalk.co.uk/

10/10

RingMaster 23/03/2014

Copyright RingMaster: MyFreeCopyright

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The Teamsters – Play Along With…The Teamsters

Photo by Mark Shackleton ©

Photo by Mark Shackleton ©

    A blend of sixties pop, indie, beat rock, and punk rock sounds an intriguing concept just on paper alone but in the hands of a band like British rockers The Teamsters it emerges as a frighteningly compelling recipe. The proof comes with the North London hailing trio’s new EP Play Along With…The Teamsters, a four track riotous encounter which enslaves feet and emotions to do its devilish bidding. The release is a tremendous party of precise yet organically bred sounds driven by imagination and unbridled passion, a mix which transfers its energy and incitement easily into its recipient. Simply it is one of the most exciting introductions to come along over recent years.

    Consisting of guitarist/vocalist Tom H. Wing, drummer/vocalist Bret Bolton, and bassist David Peter Jorgensen for the EP, The Teamsters grabbed the attention of Hamburg based label Moody Monkey who leapt in to release their debut. Play Along With… needs only a few seconds to steal attention and maybe a minute to fully ignite imagination and passions. From start to finish it has a wealth of enterprise to satisfy and excite fans of punk, mod, R’n’B, garage rock and plenty more. It is an excitable and insatiable stomp but one with a control which ensures it has a simultaneously clean and raucous impact.

     Diggin´ An Early Grave starts things off with a hefty roll of drums triggering a stroll through dramatically jangling riffs, a 1607057_233699483469843_267368660_nswaggering bassline, and instantly enticing vocals. The track dances across the senses with an unrelenting spring to its keen gait and near on wanton adventure to its guitar sculpted persuasion. There is a familiarity to the song too bringing forward the catchiness of sixties pop but just as strongly the track holds a modern raw causticity which only intensifies the stirring prowess of the song.

   From the excellent start, the similarly impressive Girl (How Could Ya?) takes things up a notch, its initial stabbing rhythms and guitar scythes an immediate incendiary fire for body and emotions. Like its predecessor the song has a contagiousness which flirts with the senses like a brewing epidemic, stroking and imposing upon them through two minutes of sixties beat meets rock pop, in a way like the Kinks meets Supergrass.

    The second half of the EP is even more invigorating and emotionally inflammatory. Don´t Come Back Home leaps at the ears with beats and guitars creating a magnetic web of lustful endeavour ridden by the vocals and harmonies. It is a spicy ball of voracious energy and senses searing sonic rowdiness bound to a tempest of flailing rebellion and eye balling contention. As mighty as it is, the track is surpassed by the closing A Girl Named Linda, the best song on the release. Imagine the R&B revelry of Bo Diddley in league with the garage punk rascality of The Hives aligned to that of Thee Exciters. Add a little Rocket From The Crypt in there and you edge even closer to the unique romp but still leave plenty of ingenious adventure to be imagined and discovered in song and ultimately the EP.

     Ensuring feet never have a moment to relax or emotions to settle into mere appreciation for its scintillating celebration the track is an irresistible infection on psyche and passions, a final triumph of a sensational debut. Expect to hear a lot more of and from The Teamsters, as shown by Play Along With…The Teamsters, one of the most exciting and ridiculously addictive bands to emerge so far this decade.

https://www.facebook.com/TeamstersMusic

10/10

RingMaster 18/03/2014

Copyright RingMaster: MyFreeCopyright

The Teamsters – Digging An Early Grave

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FFR UK Reggae Punk Mondays 17th March 2014

17 March 2014

With its ever growing reputation and success, FFR UK’s REGGAE PUNK MONDAYS bring another unmissable night to the 12 BAR CLUB on March 17th. The fan acclaimed event presents the best underground punk and rock sounds that the Capital has to offer and this week mounts yet another irresistible offering.

segs ruts dc

segs ruts dc

Firstly your resident hosts, DJ SEGS and London punks THE DUEL, provide their usual unbridled passion to the night. Innovative impresario and a founder of punk legends The Ruts and Ruts DC, Segs Jennings once again entwines the evening with his constantly acclaimed and surprising DJ set playing the best inspirational sounds, whilst The Duel who regularly fire up the event with their uniquely adventurous and passionate music, promises to have an extra snarl this week as they celebrate the recent confirmation of their appearance at the Rebellion Festival for the ninth year running.

the duel use

the duel

Reggae Punk Mondays reputation for inviting the most inspirational special guests to play, adds yet another potent string to its bow as the night welcomes one of rocks finest underground artists, DAVE KUSWORTH. From his first band T.V. Eye in 1977, Dave has built a rigorously respected career though bands like The Hawks, The Jacobites with Nikki Sudden, and The Bounty Hunters. Always passionately faithful to his roots, Dave brings his very distinct flavour to an eagerly anticipating night.

dave kusworth

dave kusworth

dnny fury

Danny Fury

Adding to the thrills and spills will also be lead singer and songwriter of Tango Pirates, DANNY FURY and the irrepressible FREEDOM FACTION. Danny will for the first time ever be presenting an unplugged set, a proud exclusive for FFR UK whilst the old school bred Cambridge quartet will do what they do best; create musical havoc and ignite the passions.

freedom faction

freedom faction

Compared by Bart Barton as The Spirit oF Andy Warhol, FFR UK casts another must see presentation on London’s musical landscape, and for those elsewhere the whole night will be streamed live @ http://ffruk.com/ffrukmonday

Tense Men – Where Dull Care Is Forgotten

Tense Men promo

    Bringing a primitively lustful tingle inside with its post punk bred fusion of noise and psyche rock, the Where Dull Care Is Forgotten EP from UK band Tense Men, is one of those delicious treats which flicks all the right switches. Band and release is a ripe proposition for those with a strong appetite for post punk, repetitious discord, and minimalistic adventures of noise and maybe less tasty not for those with different appetites, but we would suggest still a rewarding encounter leaving a lingering mark whatever your penchant.

    Tense Men was formed in 2011 by Cold Pumas guitarist/vocalist Oliver Fisher and singer/drummer Richard Phoenix of Sauna Youth. Combining drums, guitar and a loop pedal the duo made people stand up and notice with a clutch of live performances before recording the six track Where Dull Care Is Forgotten. Since its recording the Brighton band has expanded with the addition of Omi Palone bassist Liam O’Neill. Now with its release via Faux Discx on 12” vinyl and digital download, the debut EP from Tense Men is poised to push this union of craft and noise sculpting into an eager awareness, its success on the strength of the release something hard to doubt.

    As soon as opener Stages Of Boredom scars the ears, imagination and an already assumptive hunger are lit as guitars lash the Layout 1air with sonic persistence matched by a rhythmic enticement. The first piece of insidiously addictive weaponry is unleashed within seconds, a repetition driven groove entwining the senses with seductive potency as the vocals of Fisher offer a mutually monotone seeded suasion. Into its full drone bred swagger, the track baits the emotions with a mix of The Gaa Gaas like psyche temptation and the post punk causticity and repeating moroseness of Joy Division. It is a magnetising provocation which worms itself under the skin with an insatiable toxicity and an intensively powerful lure into release and band.

    The following RNRFON resonates through bone as its rawer body presses on the senses with a bass cast coaxing rapidly joined by equally unrelenting rhythms. Across their flanks shards of caustic guitar sear the air before the vocals join the affair with a sombre wishful tone to their delivery. The track reminds of another English band; The St Pierre Snake Invasion with its rawer punk lent persistence, again restrained torrents of repetition veined by squirreling guitar leading the passions into another ardour clad response. With a coat of discord to the jangling swipes of Fisher’s strings in dramatic contrast to his vocals and the low hum of the track, Tense Men has imagination, theirs and ours, tightly clasped in their hands.

     Lie Heavy (Desperate Times) has a thicker rapacious throat and presence to its sound, Mary & Jesus Chain with a touch of Birdland coming to mind whilst the enticing jagged guitar melodies add a touch of The Fire Engines to the abrasive incitement. Though the song does not spark the same depth of greed as its predecessors it still leaves satisfaction basking in a resourceful web of noise which the title track tries to exploit further with its slow and patient consumptive breath. The dark wash of the track almost swarms as it offers its doomy pressure, the drone preying on body and thoughts and in a different guise repeated through the equally potent Nonentities. The track has a slightly lighter atmosphere which also ventures into a Reid brothers inspired premise as its predecessor, but still allows no respite from the intensity and mesmeric call that unbridled reduplication brings.

    The EP ends on a riot to match the incredible start of the release, Opiate Glow the dramatic treat. The rawest punk spawned track on the album with post punk voracity, the tempest emerges from a two barrelled incitement into a ridiculously contagious stroll, rhythms and vocals simultaneously beckoning and taunting before expulsions of furious guitars and energy savage the air. It is an outstanding trap which has more than a whisper of Wire to its devilment, in fact the song like a close relation to the legend’s track 12XU, just a few generations on in the family time line.

     Where Dull Care Is Forgotten is a fabulous release, a scourge of nostalgic and modern smothering which ignites the passions from start to finish. Whether Tense Men will have to bide its times as its members return to their day jobs we will see but already the anticipation for their next offering is impatient.

http://tensemen.tumblr.com/

http://fauxdiscx.bandcamp.com/album/where-dull-care-is-forgotten

9/10

RingMaster 10/03/2014

Copyright RingMaster: MyFreeCopyright

 

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

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