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 Boy From The Crowd – Revelator

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Throwing blues, garage rock, and punk into a flaws and all slab of raw rock ‘n’ roll, UK duo The Boy From The Crowd make an intriguing and ultimately gripping entrance with debut single Revelator. The single actually embraces more flavours than mentioned in the last sentence, but takes that core into a wild and compelling riot of noise and attitude.

Consisting of vocalist/guitarist/songwriter Vinny Piana and drummer Vegas Ivy, The Boy From The Crowd on the evidence of Revelator, is not a band concerned with offering polished enticements but one driven by the rugged essence of dirt encrusted rock ‘n’ roll and the antagonistic tenacity of punk rock. Yet there is a vein of enterprise within the song revealing a definite thought bred resourcefulness to their sonic brawl which only adds to the success of the track.revelator-single-cover

A lone guitar teases ears initially from within a raw and dusty sonic haze before the track erupts with thumping beats and a heavy bass coaxing bound in a sizzling wash of blues drenched guitar temptation. It is a raucous blaze of noise and intent but one with a rein to its assault which increases its potency and potential. Vocally Piana provides a delivery which ebbs and flows in success depending on which aspect you look at, but at the same time brings captivating character to the growing anthemic nature and appeal of the song.

With fire to the pleasing guitar enterprise and the rhythmic incitement of Ivy pounding emotions into keen submission, the track is an intriguing and wholly satisfying introduction to The Boy From The Crowd. Its raw charm wins over the imagination right away and with only the lack of the intimidating snarl it often hints at a niggle, Revelator is strong entrance from the band’s and potent teaser for their upcoming album.

The self-released Revelator is available as a free download now @ https://www.facebook.com/TheBoyFromTheCrowd/app_262920113912164

http://www.theboyfromthecrowd.com/

RingMaster 22/09/2014

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The Black Waterside – Self Titled EP

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

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

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

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

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

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

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

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

https://www.facebook.com/theblackwaterside

9/10

RingMaster 02/09/2014

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Bite The Shark – First Blood

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With a sound as snappy and hungry as their band name suggests, Bite The Shark have made one impressive and attention grabbing entrance with debut single First Blood. Consisting of three songs which roar and swagger with a muscular rock tenacity and punk ferocity, the release is an adrenaline charged juggernaut of rock ‘n’ roll. If you are looking for music unafraid to get dirty whilst spilling bodily fluids then letting Bite The Shark and its single clamp its jaws on you could be one of the wisest moves you make this year.

Hailing from Manchester, the UK band only formed in the early days of 2014 and has swiftly drawn a healthy attention and fan base their way. The recently released First Blood equally took no time in garnering acclaim and more, its success leading to an invitation to the trio of Rory O’Grady and brothers Adam and Edd Langmead, to record with Romesh Dodangoda (Motörhead, Bullet For My Valentine, Twin Atlantic) this September. Like the music within the single, it is fair to say that Bite The Shark is on a charge.

Gas & Air right away tells you all you need to know about its creators, rugged riffs immediately sizing up ears before welcoming imposing rhythms and spicy grooves. It is a striking entrance which is as bold in its presence as it is addictive Microsoft Word - bitesuarez.docxin its explosive enterprise. Elements of Turbonegro and Buckcherry whisper across the raucous adventure as well as spillages of old school punk rock, all resulting in a richly flavoursome and highly anthemic stomp. Hooks and increasingly infectious grooves continue to enslave ears and emotions whilst vocally the band provides a captivating call and brawl of passion drenched energy. The song seems to be the one the band’s fans has grasped to their hearts the most and it is easy to see why as it flirts and romps around the senses.

For us though it is Burn em to the ground (sometimes seemingly just called Burn) which ignites the biggest lust. The track is a beast of an encounter, its opening prowl of beats and bass grooving irresistible and only added to by the sonic squall from the almost belligerent invention of the guitar. Lyrically and musically the song has a snarl and attitude which finds its seeds in bands like The Clash and Stiff little Fingers, whilst its addictive grooves and rapier like swings of rhythms infuses a hard rock riot into its predation. Politically powered and lyrically accusing with a weight of sound and tenacity to back it up, the track is immense and the seal to believing Bite The Shark is definitely going places with the potential to make a lingering mark.

The single is completed by the acoustic track Ms. Ratshit, a song with a swing to it that is bordering on rockabilly and vocals which simply captivate. Based on One Flew Over The Cuckoo’s Nest, it is another contagious stomp to cast praise and ardour over.

Do expect to hear a lot about Bite the Shark ahead and if you are wise you will jump on board their ascent right away with First Blood.

First Blood is available now @ https://itunes.apple.com/gb/album/first-blood-single/id899365205

http://www.facebook.com/bitetheshark

9.5/10

RingMaster 27/08/2014

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Spunk Volcano And The Eruptions – Injection

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After the insatiable brilliance of their self-titled debut EP, expectations for the first full-length from Spunk Volcano And The Eruptions was demandingly high and anticipation irritably impatient once news of its release was known. Though there was never really any doubts that Injection would live up to those hopes and wants, the thirteen track stomp swiftly offers much more with its heavyweight rampage of punk ‘n’ roll.

The solo project of Dirt Box Disco guitarist Spunk Volcano, with devilish help from DBD colleagues, drummer Maff Fazzo and bassist Deadbeatz Chris alongside guitarists Ste Lingard from Manchester based punk band Flat Back Four and Tom G Force Batterbee, Spunk Volcano And The Eruptions shows another side to the songwriting of the frontman. Certainly the band’s sound is bred from the same vat of devilry and punk ‘n’ roll as Dirt Box Disco but there is a leaner and more expansive essence to the songs, tracks also rewarding ears with a healthy seeding of old school punk rock. It is a virulently compelling and contagious mix which first ignited the imagination and passions with the aforementioned EP and continues in an even more adventurous and inventive vein across Injection. Released on STP Records on the opening day of this year’s Rebellion Festival, the album is an anthemic toxicity from start to finish, a release unafraid to please with recognisable and undemanding bait yet littered with lures and hooks which are as fresh and unique to the band as they are impossibly addictive.

From the first note band and album is surging through ears with bruising effect as opener I Am Gonna Kill Myself!! launches itself with pummelling rhythms and fiery riffs. The track is in no mood to show restraint even when it settles Injection - Coverinto a more even paced yet still forceful stride, though that too is unpredictable with its jagged scythes of guitar and beats. Spunk roars with his distinctive vocals, their suasion at times antagonistic but constantly embroiled in stirring up a riotous response with the storming sounds around them. It is an incendiary start to the album but only a teaser to the might of What You See is What You Get. The track saunters in with attitude to its air and raw riffery, an old school essence dripping from its flank as rhythms proceed to rap with agitated venom across the senses. It is a riveting provocation, the bass of Deadbeatz Chris gloriously throaty whilst the vocals of Spunk and band again lead an inescapable anthemic. With tasty sonic flames of guitar adding to the irresistible tempest of the song, it makes for an early pinnacle with its commanding slab of punk bred rock ‘n’ roll, elements of UK Subs and hard to ignore suggestiveness of Dirt Box Disco colouring its majesty.

It is with the following Platform 3 that the album starts spreading its flavour and imagination, the song producing a nagging punk spine of riffs and beats but crossing it with a power pop catchiness and melodic rock enterprise. The bass eagerly prowls the blend for another richly appealing hue whilst the aligning of raw and melody led tempting just flirts with ears and thoughts before making way for the excellent Another Nail In Childhoods Coffin. Fazzo shows little restraint in his initial swipes of sticks setting up an already hungry appetite for an expected fury to follow. That eruption does not really emerge but instead the song bounces with caustic energy and scowling riffs around another enthralling bassline. Lyrically the song is like a cousin of the more rabid Crossfire off of the previous EP, reflections of childhood revelry and losses easily sparking with listener’s thoughts.

As expected there is a huge grin to the sound and lyrical incitements which only adds to the lure of songs and release, the likes of Agree To Disagree and I Don’t Want To Have To Explain always carrying a wink or tongue in cheek to their still furiously designed and delivered propositions. The first of the two brings a potent melodic rock airing to its punky stroll, again resulting in a tasty mix of flavours within a catchy web of endeavour, whilst its successor snarls with a coarser attitude and sound. Riffs graze and lure whilst rhythms beat a submission with precise and eager definition but it is the excellent palate of vocals from Spunk and the band alongside a fine melodic enticing from the guitar which steals the limelight in the track. Neither song matches the heights of their predecessors but still spark an extra dose of hunger in ears and appetite.

The bluesy rock ‘n’ roll swagger of It’s Got Nothing To Do With Music thrills next, thoughts of bands like Turbonegro hinting in a song which, as all, only takes only a few chords to reveal it is a Spunk Volcano And The Eruptions stomping. The track is just another exhilarating twist in the diversity of the album. Its success is swiftly matched and left looking pale by Failure is Not An Option, a full on torrent of punk aggression with metallic intensity which scores and gnaws the senses for a lustful response. It might only be forty seven seconds in length but the song leaves a new greed awaiting the likes of I Can’t Stop Thinking About You and She’s Too Good For Me. The first of this pair brings a slight rockabilly toning to its invention, its opening coaxing alone finding a sense of Calabrese to its potent suasion. Once into its crisp rhythmic stride through a tenacious web of riffs, the song with vocals again commanding emotions, enlist feet and vocal chords to do its bidding, defying anyone to resist its melodic and infectious anthem. The second of the two is a slower paced encounter though the net of punishing beats from Fazzo has ears ringing whilst the enticing of the guitars in riffs and hooks is similarly imposing. It is another track which settles comfortably in the arms of satisfaction if missing the plateau of previous songs.

The final trio of songs take the album out on a lofty high. First up comes Oh For Fuck Sake, another scorching blaze of rock ‘n’ roll with a blues tint and ravenous bass sound veining punk rock animosity. It is followed by another major triumph in I Don’t Know Why. Opening with a Misfits toning and psychobilly like sultriness, the song is an immediate epidemic of warm harmonies, abrasing riffs, and inciting rhythms. It stomps purposefully around the imagination like a predatory seduction, every twist and dramatic idea irresistible as it takes best track honours on the album.

Injection closes with outstanding Rock n Roll Baby. Choppy hooks and Stiff Little Finger like riffs are to the fore as it instantly cages the passions before spreading out a stirring weave of controlled and richly enticing punk ‘n’ roll. It is a mighty end to an exceptional release which just gets more potent and immense with every listen. There has been a handful of punk releases in its many guises which have set new standards and inspirations for the genre as a whole, and Spunk Volcano has now been in the midst of two, coincidence? I think not.

Injection is released via STP Records on August 7th @ http://www.stprecords.co.uk and http://spunkvolcanoandtheeruptions.bigcartel.com

http://www.facebook.com/svate

9.5/10

 

Upcoming Spunk Volcano And The Eruptions live dates:

AUG 7-10 – Winter Gardens, Blackpool (REBELLION)

SEPT 12 – Hairy Dog, Derby

NOV 14 – Cottage of Content, Chasetown

NOV 15 – Zombie Hut, Corby

Nov 21 – Black Bull, Gateshead

NOV 22 – River, Glasgow

 

RingMaster 02/08/2014

Copyright RingMaster: MyFreeCopyright

 

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Jimmy & The Revolvers – Whistle For My Love

Jimmy Revolvers

Rattling along with revelry in its feet and joyous enterprise in its heart, Whistle For My Love the new single from UK folk n roll band Jimmy & The Revolvers, is virulent contagion at its boisterous best. Fusing folk music and rock ‘n’ roll with a Merseybeat inspiration, the Liverpool quartet has been drawing a potent attention and following with their vibrant sound, something which the new single just might spark into the fullest national spotlight.

Formed in the early part of 2013, Jimmy & the Revolvers consists of vocalist/acoustic guitarist Jay Rehm, vocalist/bassist Kurt Riley, electric guitarist Jimmy Moon, and drummer Ash Michael. The foursome took little time in stirring up strong interest with their debut single in the June of their first year, the AA sided Aimee’s Song/Frosty. The following Sunday Morning EP which was released on New Year’s Eve 2013 triggered a much more potent interest, the band being featured as one of BBC 6 Music’s Tom Robinson’s Fresh Faves and gaining support slots alongside Ian Skelly (former The Coral). Now Whistle For My Love has its moment to push the band into a wider recognition and it is hard to think of it failing to earn Jimmy & The Revolvers a new wealth of acclaim.

Opening with a keen vocal croon within a melodic caress, thoughts swiftly grab comparisons to the Arctic Monkeys though they are soon driven aside by the unique stroll of jangling chords and hooks aligned to a deliciously broad and throaty bass enterprise. That alone grips the imagination with feet and emotions just as swiftly in tow but it is the glorious flame of brass which completes the heated seduction. The song is insatiable in its infectious devilry, potent spices of funk and reggae hinting their flavoursome additives into the vivacious stroll of summery rejoicing. Thanks to the brass calls there is an additional sultriness to the track which colours further the already boisterous enterprise and adventure of the melody fuelled song and fires up the passions and appetite just that little bit more.

Each summer has a particular track to rejoice to and bask in, a blazing anthem to remember it by, and this year’s, even though it is late in arrival, is without doubt Whistle For My Love.

Whistle For My Love is available now on digital download and Ltd CD Release.

http://www.jimmyandtherevolvers.com/

9/10

RingMaster 04/08/2104

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Liquid Meat – In Meat We Trust

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Want a slab of rock ‘n’ roll just to lose yourself in and let inhibitions slip away with, then try out In Meat We Trust the new album from German rockers Liquid Meat. The thirteen track riot is from start to finish an honest and mischievous fusion of heavy rock, metal, and punk rock with extras, which simply leads passions astray and body into an unbridled stomp of instinctive devilry.

The creation of German born Rocker Freddie Mack, Liquid Meat was formed in Los Angeles in 2004 and was soon playing a horde of gigs around Hollywood. Two albums followed before in 2011, Mack returned to his hometown of Munich which meant a new line-up was needed. This led to the recruiting of drummer Manu Holmer and bassist Max Horch, and unsurprisingly soon after the trio was back into the swing of playing shows, drawing attention, acclaim, and notoriety musically all over again. Earlier this year the band began recording the Indiegogo crowd funded In Meat We Trust with legendary producer Reinhold Mack (Queen, ELO, Led Zeppelin, Rolling Stones, Black Sabbath, Deep Purple, etc.), the result one mouth-watering rock ‘n’ roll party which enjoyably wears its warts and influences like a badge.

The album opens with Liquid Meat Anthem, an uncomplicated bruising of choice riffs and crisp rhythms aligned to a great bass sound which probably grabs attention most of all on the track. The growling vocals of Mack instantly reveal the grin in his delivery and the song, whilst the backing calls of the rest of the band lays swift anthemic bait. It is hard to ignore the Motorhead like causticity and charm of the track as it provides one strong and inviting entrance into the album.

The following song right away shows the unpredictable and diverse flavouring to come across the release. They Lied sways in front of the ears with a sultry blues haze to its sonic enticement before prowling around the imagination with a IMWT Cover_1funk bred swagger which has the markings of Infectious Grooves. Equally there is a punk air to the blend which only increases the persuasion, especially when provides urgency through the chorus which brings another tasty spice, this time a Rage Against The Machine colour. It is an infectiously flavoursome track with twists of drama and an increasingly addictive groove. Its triumph is immediately matched by the outstanding Punch The Clock. Its opening intimidation of bass and predatory rhythms makes for an intense affair though that is soon lost to a big smile as the track starts flirting with what can be best described as Macho Man does Pantera. Mack does his best wrestler vocal impression as a groove certainly related to the one in Walk binds attention and appetite. It is insatiable in its luring and delicious in its devilment with Holmer providing her most magnetic rhythms yet alongside the throaty bounce of Horch’s bass.

The best song on the album is followed by the smouldering blues revelry of Double Standard Blues and then the punk joy of Black Out. The first also has a swagger which grips imagination as well as ears, whilst as with most songs lyrically it brings a devilish tone to climb on board with. Though not at the same heights of the first songs, it still provides a pleasing proposition which its successor soon over runs. Teasing and exciting ears with a riff stolen from The Ramones songbook, so much so that you just are waiting for the “Hey Ho! Let’s Go!” chant, the song is punk ‘n’ roll at its most contagious; hooks and beats as potent and greedily devoured as the driving riffs and bursts of caustic intensity. The track is another which makes claims on that best track title.

Both There Is No God and Guilty As Charged keep things strolling along nicely, the first with a dark blues whisper to its almost psychobilly kissed blues breath, which reminds of Joecephus and the George Jonestown Massacre, whilst the second puts a lighter shade of the first to a raw and incendiary classic metal canvas. Each song leaves a dose of keen pleasure behind whilst the next up Rock N Roll Will Never Die from a reserved but alluring opening melodic flame, breaks into a virulently catchy stomp of old school rock toxicity with a fevered rhythmic energy. There are no surprises with the song but a flood of hooks and inescapable trappings which leaves ears and emotions on a high as lofty as that forged by the groupie salaciousness of Up Against The Wall, never has rock ‘n’ roll romance been so aurally addictive.

The decent enough fiery rock sounds of classic/blues rocker Road House comes next before another pinnacle of the album arrives in the shape of Fuck That. The track is a return to a more punk led rampage, its jabbing rhythms and scything riffs again offering a slight rockabilly flirtation whilst the bass roams around like an adulterous predator. Revealing a parade of impossible addictive hooks and grooves blessed with a Dead Kennedys temperament, it is another glorious encounter which leaves the remaining pair of songs a task to match and leave the album on a high. That they do with consummate ease though, Smoke ‘Em a grizzled protest and confrontation of bruising raw rock ‘n’ roll and final song, The Devils Music is a noir cloaked stroll with sinister intent and psychobilly/blues intrigue. As all songs the tongue in cheek honesty is as infectious as the great sounds and adventure it rides in upon.

It is fair to say that In Meat We Trust is not going to be the greatest album you are going to hear but it will be one of the most fun and irresistible.

In Meat We Trust is available now @ www.liquidmeatlocker.com

8.5/10

RingMaster 25/07/2014

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