Milestone – Medicate The Night EP

When you get a release packed with irresistible contagion of sound and passion and still is bursting with stronger promise of much more to come from its conjurers, then you know you have a band worth watching very closely. Such is the case with Welsh band Milestone and their excellent new EP Medicate The Night. The release is an insatiable rampage ignited by what is in some ways a mixed collection of songs, though when they only range from senses igniting irrepressible encounters through to hunger driven essential rock n roll drenched in pure virulence and all lead an awakened appetite into greed, you know you have been hit by passion sparking excellence.

Formed in February 2012 after meeting in college, the Bridgend quartet of vocalist/guitarist Jack Howells, bassist Adam Pain, guitarist Kris Archer, and drummer Lewis Pilling, took varied influences such as The Black Keys, Jimi Hendrix, Bob Dylan, Foo Fighters, and Them Crooked Vultures into their own riff powered invention resulting in an alternative rock sound which growls at and commands the ear whilst seducing it further with a raw voice of blues laced craft. Since emerging as a band Milestone has shared stages with the likes of Exit International, The Dead Famous, Gavin Butler from The Blackout, and Neil Starr from Attack, Attack, continually picking up new fans as they pushed into the UK, and with the new EP and a planned national tour landing their presence into wider recognition, expect explosive results.

     Medicate The Night immediately lights up the ear with Dirty Knees, the bass of Pain standing within a scuzzy mist of guitar to spread an epidemic of a grooved riff upon the senses, its tone offering a mischievous invitation coated in an irresistible swagger. Stomping away with glee and enterprise the compelling lure is soon joined by the caustic riffs of Archer and Howells, their wonderfully abrasive yet wholly tempting sister groove recruiting any remaining doubts about the song. Settling into a steady stride as the vocals of Howells next lay another expressive persuasion upon the song, the crisp firm beats of Pilling frame it all with equally incendiary inducement. It is a heavy slice of pure rock n roll which makes no demands apart from subservience to its riff and groove sculpted call, something which is willingly offered within the first minute.

From the scintillating start the following tracks Shoot Me Down and Blame Me have a tall order to make as big an impression and though they slip below the pinnacle set it is not without a massive fight and impressive results. The first of the pair starts with concussive rhythms scything the air before the guitars add sonic flames which burn and imprint upon the senses like sparklers in a jet black sky, their touch lingering and white hot as the vocals begin their strong narrative. There is a busy fiery energy to the song which coats an emotive embrace within the high octane breath of riffs and rhythmic caging whilst the spinal groove is less defined than in the opener but a beckoning which persists with sure success. The second of the two is similarly gaited in its individual blues veined stance, a sinew clad stroll of infectious vocals and harmonies within another wealthy charge of superbly crafted ferocity rife with raw guitar invention and rhythmic punctuation. Both tracks continue the strong grip the band initiated with the opener yet equally suggest there is much more to come from the band as they lack the knock-out blow found on the other songs. Not that they are lacking any punch or leaving anything less than total pleasure and satisfaction behind.

The title track slams in next and rips best song honours from the hands of the other tracks whilst reinforcing the quality and might of the band. Sabre like swipes of crunchy guitar and metallic beats smack the ear to rile up its hunger before bass and riffs romp all over the senses with a snarling addiction causing groove which leaves primal captivation roaming over thoughts and emotions. Even when the song lies back on its predatory ensnaring for the vocals of Howells to embrace lyrics and ear, there is an intimidating edge to the warm coaxing which flames in varied intensity throughout the outstanding piece of invention. It is a stunning song which has everything needed to promote ardour from its classic rock n roll bruising.

The closing Bless Your Soul is a slower emotive endeavour showing another string to the carnivorous bow of the band’s songwriting, its part acoustic and mellow vocal evocation the base for potent impacting sturdier invention. It is a fine finale to an excellent release, the Medicate The Night EP making a declaration that Milestone is destined to make a strong mark on UK rock if not right now certainly in the future.

www.facebook.com/milestonerock

8.5/10

RingMaster 12/05/2013

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The Howling Tongues – Keep The Dust Down

If you have an appetite for some old school rock n roll with vibrant resonance musically and passionately dripping from every note and element then Atlanta rockers The Howling Tongues is the band for you. Taking rich influences from the likes of Led Zeppelin, The Who, The Raconteurs, Band of Skulls, and Black Keys into their own distinctive ideas and adventure, the quintet leave thoughts and emotions aflame with their ‘Southern Rock & Roll Revivalist Movement’. This is a band on a rapid rise since forming two years ago and their EP Keep The Dust Down giving all the evidence as to why.

Ignited into action as a band in 2011 by guitarist Nick Magliochetti, vocalist Taylor Harlow, and drummer Tylor James, they soon recruited bassist Zach Smith and keyboardist Thomas Wainwright as the project instantly took off. An early EP and their live performances garnered a hungry and rapidly growing fanbase for their sound as they filled and lit up notable venues such as The Vinyl and The Hard Rock, their sound, self-termed as “no regret rock-n-roll”, igniting a greedy appetite in fans for more. Keep The Dust Down is their response, a six track burst of insatiable rock with loud guitars, thumping drums, and fiery melodics primed to ignite the passions. Recorded with top producer Tom Tapley, the release easily backs up the claim of a great many that the band is destined to be a household name in the very near future, as well as sparking the mightiest anticipation for their debut album currently being recorded and mixed for a release later this year.

The EP opens with a song whose title says it all, Party. Swaggering into view with stick beats and a lone beckoning guitar, the track explodes into a muscular stroll of scuzz lined riffs and throaty bass calls within a cage of rhythmic sinews and acid warm keys. Taking a breath for the vocals of Harlow to start their lyrical declaration with an effect coating to his expressive delivery, the song stomps its rhythmic feet and waves a welcoming sonic finger at the emotions which is irresistible. There is wantonness to the stirring and sturdy spine of the song whilst the keys and melodic caresses within the riotous breath bring virulently infectious sultry temptation.  The track dances like a combination of The Black Keys, Kings Of Leon, and Eighteen Nightmares At The Lux, leaving no passion and primal urge untouched.

The single from the release Makes You Tick  walks up to the ear with bulging beats from James offering a hypnotic lure to trigger instant intrigue before the guitar flashes its singular persuasion.  Once the outstanding vocals of Harlow and the keys of Wainwright bring their flames to the surface of the song the seduction is in full swing and reinforced by the outstanding bass invention of Smith, his dark grizzly notes prowling and enticing the senses with imagination and devilment. Like its predecessor the song has a confidence which recruits full captivation of ear and thoughts whilst the inventive textures and shifting gait of the track are incendiary temptations to fall hungrily before.

Both Nagasaki and One-Eye’d Barber induce further glee with their thrilling enterprise and imaginative blues enriched escapades, the first a track bringing stronger ripples of vintage breath, its engrossing melodic theatrics and again inciting swagger offering thoughts of the likes of Led Zeppelin and The Black Keys as well as in lesser strength other such as The Doors and Kyuss, whilst the second of the two is a slower emotive heat of intent and passion. It is as all the songs, locked in a mesh of formidable and enslaving rhythmic strength which entraps the listener so the potently expressive outpouring of the vocal and melodic narrative from the heart of the offering can seize the fullest focus and welcome.

The bass of Smith leaves more gravelly paws on the ear as next up Alibi sizes up the listener before strutting straight on through to the emotions with the guitar of Magliochetti scoring with impressive riffs and inventive teasing hand in hand with the continually outstanding bass taunting. Once the great vocal harmonies slip into play with scintillating variation to court the equally magnetic keys, the track stands to its full height with compelling and contagious grandeur consequently inducing a large sigh of bliss between its departure and final song José No Sé, yet another to induce predator strong greed for much more.

Keep The Dust Down is an exceptional release which makes the wait for the album impatient and probably irritable for you can never get enough of a good thing and that is certainly what The Howling Tongues bring. That idea of the band being a household name has certainly got impressive legs to its charge after this.

Get the album Keep the Dust Down for FREE @ www.noisetrade.com/thehowlingtongues/keep-the-dust-down

www.thehowlingtongues.com

9.5/10

RingMaster 10/05/2013

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

photo by Phil King

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The RingMaster Review 09/05/2013

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Freedoms Reign – Self Titled

    If you are looking for an album of pure, irresistible, and thrilling heavy metal than the self-titled debut album from Freedoms Reign is a must. Certainly the release is not going to send you into new undiscovered adventures but for insatiable and uncompromising rock n roll, it is a riot to devour with greed.

Formed by original Fates Warning guitarist Victor Arduini in 2011, Freedoms Reign is his return to metal since leaving former band in 1985 after the release of The Spectre Within. Alongside the vocalist/guitarist the band consists of guitarist Tommy Vumback, bassist Michael Jones, and Chris Judge on drums. It is a formidable unit with a sound to match, the Connecticut quartet fusing old school metal with an energy and breath borne of the now. Released via Cruz Del Sur, the Nick Belmore (Toxic Holocost/Hatebreed) produced album is a brawl of energetic intensity and hungry passion sounding like the incendiary offspring of Sabbath, Kyuss, and QOTSA with a loud whisper of Fates Warming to it too. It is a scintillating ride of compelling rhythms, greedy rapacious riffs, and pure adrenaline honed into one tempest of contagious might.

From the moment Ritual flies at the ear with thumping drums, leering basslines, and flesh chewing riffs the sense of something beyond pleasing is rife. It may only be a few seconds in but there is a feel and strength to the opening invitational assault which inspires immediate attention complete with a hope soaked grin. The track gets to work upon the passions with driving rhythms and sonic spirals of invention within the course of infectious riffing and alongside the drawing vocals of Arduini. It is expressive rock n roll with a mischief to its invention and adventure to its imagination. There is arguably nothing new on show but equally there are few rivals to its almost exhausting passion and high intensity realisation of existing aural weaponry.

From the extremely impressive start both Shadows Of A Doubt and Brother confirm the instant emotion about the album. The first of the two enslaves the senses with a rampant onslaught of intensive riffs with rhythms just as merciless whilst the vocals seal the deal with their persuasive earnestness. In many ways the track reminds of early Therapy? in the way its relentlessness comes with a hook laden intrigue and contagious forcefulness yet is enriched with flourishing melodic enterprise to temper and reinforce the temptation at large. The second of the two is a less imposing but equally as dramatic encounter with the lyrical narrative and thrilling solo leading the track into deeper ardour. Again with a greed which drives it on with no respect for allowing a breather for the listener, the song is an infectious enticement into what at this point already is a more than pleasing companion.

The outstanding Believe asserts its authority next with both Judge and Jones taking command of the senses with demanding beats and a throaty beast of a heavy riff respectively whilst around them the guitars scour the ear with caustic persistence. It is a rampaging storm of excellence ridden by the again impressive vocals. Bone splitting slaps posing as breaks herald the start of a great guitar solo whilst the bestial tones of the bass prowl and resonate through the ear drum, their impact as rich and compelling as the furnace of energy which thrusts the song forward from first note to last. Easily one of the biggest highlights on the album the track is the perfect way to leap into the release for newcomers, though any song can fit the role to be fair.

The likes of Up From Down with its doom laded presence and weighty intensity, the openly seductive To Be with its wanton harmonies and crunchy textures not forgetting corrosive sonic veining which ignites all the passions, and Long Way with its emotive shadows and impossibly absorbing sounds, all enslave the senses and emotions in very individual but equally virulent ways whilst in amongst them No Excuses unleashes another pinnacle upon the album. A ferocious blend of aggressive inventive rhythms and snarling riffs seduce the appetite into a rabid devouring of the offering whilst the broody grizzled bass tones make the prefect ally and temper to the warm expressive vocals, whilst the guitars especially in their solos, just ignite a sweltering enthrallment.

Looking Around completes the release with an opening almost chilling embrace, the guitars carving emotive lines in its air whilst the bass and vocals sculpt their own unique voices within the emerging narrative. As mesmeric as it is potently haunting, with muscular crescendos to intimidate, the track builds up an atmosphere of inevitability yet stands in its way by erupting into an explosive landscape of sinew framed intensity with a sizzling flesh burning solo surrounded by impressive vocals harmonies centre stage. It is a deliciously imaginative and skilfully painted experience which sums up the whole of the album in its majestic way. Arduini may have been away for a long while but with equally accomplished colleagues he has returned with what will be one of the best albums this year.

http://www.freedomsreignrocks.com/

9/10

RingMaster 03/05/2013

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The Elixirs – Long Gone

With a re-release via the excellent Texas independent Psycho A-Go-Go Records, Long Gone the debut album from Indiana cowpunk/psychobilly band The Elixirs returns to exhilarate and exhaust the world with its riots of passion driven energy fuelled rock n roll. The release is a nineteen track bonanza of contagious eager to devour slices of often bruising, occasionally provoking, and always thrilling adventure, the songs seeded in the devilry of horror, outlaw infamy, and salacious rock n roll roguishness with an impossibly infectious temptation from start to finish across the whole album.

The sound of The Elixirs brews up a 100% proof fusion of rockabilly, punk, country, and psychobilly with plenty of other rich additives such as punk and blues bringing their potent flavourings to play too. It is a sound which has marked the band out since forming with the album set to be with justice the trigger to the widest recognition and awareness. The beginnings of the band began with The Stumblers in mid-2007. Formed by vocalist and then bassist Dan Tedder (moving to guitar later in the story) with drummer Joe King and guitarist Dan Savage, the band progressed without really getting anywhere. The following year saw Tedder and King step forward with a new bassist as The Boneyard Elixirs, the trio playing as often and as hard as possible. A seemingly constant battle to find and hold on to bassists followed whilst highlights in their live events accompanying the period as well. The band by now simply The Elixirs next released the EP Gut Cuts with help from Gas City Records. This was followed by the departure of another bassist in Dewayne Hughes who had been with the band for well over a year over their most successful time to that point. 2011 saw Whitt join the band with for the first time an upright bass entering the equation. The recording and mid 2012 release of their debut album followed to strong responses and acclaim which the re-release this year will only accelerate. The story is not quite settled as since the album King left the band to be replaced with the sticks by Dave the Dudeist in the late fall of last year. Hopefully a settled period in members will allow the band to exploit and leapt forward from the might of what will be the first impressive introduction to a great many in the stirring shape of Long Gone.

The album opens up its charms with Water and Bread, a track with psychobilly sinews and melodic rock n roll endeavours speared by the delicious bass call of Whitt. Though it is not the most urgent charge to start the album, the song has a bite and prowl to its hunger which intimidates and seduces with pure primal potency. The vocals of Tedder drip expression and passion from every syllable passing his rapacious lips whilst his guitar equally sculpts an enslaving temptation proving irresistible not only here but across the album.

The following title track swaggers in with a vibrancy which awakens the senses even further whilst its catchy swing and anthemic chorus badgers a full compliance from the listener. It is an easy to ride song leading into firstly the wicked tease of the loping country punk hooked Tits Deep and the first of the highest pinnacles reached by the release in Cry For Me. The latter of the two walks into view on a Cramps like abrasive discord, the building stroll niggling mouth-wateringly on the ear whilst the beats and bass persuasion is a merciless repetitive invitation  to song and heart to which there is no defence. The core of the song would not be out of place on the classic Songs The Lord Taught Us release with the Gas City trio bringing their own unique extensions for an individual flame of excellence.

Across the likes of the country twanging Pleasure N Pain, the sixties punk spiced 17-12, and the darkened rockabilly crawl of Soul, the album ignites further fires of ardour towards its presence even if the tracks compared to others are only merely outstanding in comparison to the genius like statures of the two songs sandwiching the third of the three mentioned as an example. These tracks, Torn Rose and Sea of Lies are two more overwhelming beacons within the album, the first bursting from a gnarly confrontation into a roaming charge of biting riffs and enslaving rhythms, a near runaway train of Gene Vincent like garage punk, whilst the second is a horror punk/psychobilly blaze of raucous and coarse grained rock n roll, and both a match to the passions.

Every track deserves a mention to be honest, songs such as Dangerous Ways with its Sex Pistols riffs and Cramps squall, and the predatory death dance of Cowboy Rot feasts to devour but with the closing stretch of the album it’s most impressive, songs such as Park It On the Lawn shout for attention. The track is a carnivorous stalking of the ear with insatiably rubbing riffs and matching ravenous intent from drums and bass, its virulent groove and consuming energy illegally addictive. Its staggering presence is closely matched by the likes of the smouldering croon of Misery, a fifties seeded rockabilly siren of a song, and the brilliant Faster Than Hell, the string plucks and slaps of Whitt the bait for another full on enticement of epidemic proportions.

Long Gone is an exceptional album, a skilfully crafted seizure of the heart with nothing less than undiluted pleasure and inciting rascality in tow, as evidenced by a final boost of potency with the voracious Loser, another contender for best track, and the closing cowpunk stomp of Asshole. Thankfully we have all got a second bite at grabbing this outstanding album, only a fool would pass on or miss out on The Elixirs a second time.

http://www.theelixirs.com/

10/10

RingMaster 26/04/2013

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Thirteen Shots – Tales That Start With A Whisper

After the success of their excellent debut album Vaudeville just over a year ago, UK horror punk n rollers Thirteen Shots teased the appetite further with songs like Zombies From The USSR, a track which made up one of their contributions to a split release with fellow raisers of the dead, Trioxin Cherry and Raizing Hell. Little did it and fellow song Get In My Crypt fully reveal was the step forward and extra adventure the Birmingham quartet had explored for their outstanding new album Tales That Start With A Whisper. Employing even richer flames of numerous genres and decades, the nine track release is a riot to ignite the senses and passions, a seemingly uncomplicated yet fully involved feast of dirty decaying invigorating rock n roll.

Formed in 2011 by vocalist Johnny Rose and guitarist Joe Public, long-time friends who moved from the hard rock sound they had earned a good name for into bringing a unique form of horror punk n roll, Thirteen Shots immediately drew attention with the release of debut single Danzig in the September of their first year. Completed by guitarist Izzy, bassist GMT, and drummer Chelsea, the band had over 300 downloads within a week of the release of the single. As the year rested in its grave and the new broke free, the five-piece entered the studio to record their first album, Vaudeville which was self-released on April Fool’s Day 2012. With a subsequent re-release via Psycho-go-go Records, the album drew great and eager acclaim and set the band up for two full tours across the UK. With the band also having gnawed and infested audiences alongside the likes of Demented are Go, The Peacocks, Rezurex, Howling Wolfmen, Graveyard Johnnys and more, across the years and finding great appetite for their sounds not only from fans but people such as Michale Graves through that first single, Thirteen Shots stand at the gate to the widest recognition within all shadowed corners of rock n roll, the new album promising to be the key to swing the iron clad entrance wide open.

As their previous releases, Tales That Start With A Whisper finds the band infusing elements and textures of sixties rock n roll, garage blues, and horror punk with plenty of spice from psychobilly, punk, and rock, but this time it is all sculpted into brawling encounters which are more rounded, sure of their intent, and in league with each other whatever their individual stance in attitude and style. Whereas Vaudeville at times lost its way and has an undulating effect, its successor is one big eclectic bang on the senses; simply the band has come of age with a maturity honed into their sound for one insatiable and perpetually rewarding treat.

Opener Death Jam 2000 steps forward with a Jerry Lee Lewis like fired up hungry rockabilly call, with blues driven guitars flaming up the air and the vocals of Johnny snapping at the ear. With punchy rhythms caging the senses the song romps across the senses for the perfect start, simple, dramatic, and inciting not forgetting exciting. It is an easy introduction to the release which hands over to the outstanding Zombies From The USSR, an anthemic lure which never loses its potency and success no matter how many times you face its charge. With an intimidating riff driven gait and challenging breath, the song prowls and claws at the emotions, its crowding unrelenting stalking of the ear a restrained but deceptively quick and lethal hook to match the raptorial groove and vocal recruitment; it is the perfect soundtrack to any George Romero or modern zombie film. Having heard the song enough times to recall its declaration and words before remembering the names of all family member there is still the impossible to resist itch to hear the song at least twice before moving on to the rest of the album such its addictive hold.

The excellent Bewitched comes next, its scuzzy breath a fire within the garage punk unpolished embrace of the belligerent sonic confrontation and rhythmic caging. The bass of GMT is an exceptional temptation, its throaty grizzled snarl a contagious predator to menace and pushed the shadows of the song forth from behind the burning flames of the guitars. It is not the most infectious of the songs on the album but still consumes the passions with unbridled vehemence leaving Psycho Jukebox to work on the addiction side of things. Starting off with an Eddie Cochran like beckoning, the song then merges ska carved strokes and surf rock persuasion for a ridiculously catchy persuasion whilst its chorus is where the storm has its wildest greedy moments. Again bass and drums steal their share of the limelight with skilled mischief and again a different tone to their invention whilst the guitars simply sizzle with enterprise and swagger.

Get In My Crypt is another fiery garage punk rampage that sparks full participation and ardour, everything from guitar to vocals and harmonies to rhythms conspiring to leave an exhausted rapture clinging to its refreshing corpse whilst Nekro Sexual is a salacious and provoking slice of dirty devilry, a b-movie driven suggestiveness with a chorus of ‘Stomp On my Balls’ which defies anyone not to shout it persistently during and long after its devilment.

The album closes firstly with the brilliant title track, a groove laden addict making beats of a track writhing in classic/glam rock misbehaviour and horror rock roguishness not forgetting hook loaded grooves which would do the Buzzcocks proud. It is followed by two live tracks, Dead Girls Don’t Scream and This Looks Like A Job For Batman which tells you all you need to know about the band on stage and why you should not miss them if at a venue near you.

Anticipation and expectations were high going into the album but Thirteen Shots and the Freaky Pug Records released Tales That Start With A Whisper left them behind in their triumphant and impressive flesh chomping attack. A must have album for all horror, garage, rock, and punk fuelled fans.

https://www.facebook.com/thirteenshotsband

9/10

RingMaster 26/04/2013

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The Memphis 77 – Get Alive!

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

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

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

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

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

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

http://www.thememphis77.com

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

9/10

RingMaster 19/04/2013

Copyright RingMaster: MyFreeCopyright

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Dirt Box Disco: Peoplemadeofpaper

Holly Monroe Photography

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

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

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

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

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

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

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

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

http://www.facebook.com/dirtboxdisco

http://www.dirtboxdisco.co.uk

9/10

RingMaster 28/03/2013

Copyright RingMaster: MyFreeCopyright

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The Lost Souls Club: High Noon EP

    UK rock band The Lost Souls Club has earned a strong reputation and acclaim for their commanding shadowed rock n roll but as yet has not ignited the awareness they deserve. Whether their new EP High Noon will be the trigger only time will tell but it will not be for the want of quality and compelling invention. The release is a fiery and bruising encounter which offers no pretence nor makes demands but provides fuel for a raging fire of pleasure for its impressive offerings.

The Southampton quartet of Jon Tufnell, Simon Jackson, James Freemantle, and Jon Lamont, merge heated essences of varied rock flavours from alternative and psychedelic to melodic and indie with extra spicery from shoegaze and garage rock. Formed in 2010 the band takes influences from the likes of Led Zeppelin, The Jesus And Mary Chain, Placebo, Nick Cave and The Bad Seeds, and Black Rebel Motorcycle Club, to name a few, into their own distinct recipe of scuzzy rock n roll. Musically the band carry heavy whispers of the aforementioned bands so at any point a reference easily springs to mind but it sculpts it into an inspiring and raw gift of its own.

The release opens with the irresistible Romeo, a track which immediately feels like an old returning friend in new and inspirational clothing. The initial rich guitar lure is soon joined by ripe rampant beats and expressive earnest vocals, the combination as the bass offers its darkened menace, a compelling and inciting intensity upon the ear. The prime riff persists with its addictive resonating grip to fire up the passions the longer its feeds on their hunger and once the track breaks in to a punk rock storm of coarse energy and insidious seduction, the track needs persuade no longer to the calibre of its impressive presence.

The following Kiss Away The Sun caresses with a blistered enveloping ambience, its wrap veined by raucous guitar provocation and again emotive vocals which tell their own unique tale. The bass and drums bring a sinewy frame to the song and its dreamy if intimidating atmosphere, the union leaving a mesmeric invitation which is hard to refuse. A mix of The Jesus And Mary Chain, House Of Love, and The Mouth Of Ghosts with the raw edges of Birdland, the track induces another belt of rapture with its diverse and equally delicious enterprise and monochrome light.

Shoot Me Down bristles with menace and confrontation, the fuzzy guitar resonance and devouring bass evocation a charred encounter which is in no rush to claim its victory. Though brief the track commands attention and soaks the senses with a brooding and ravenous intent whilst musically the equally grave emotive wash lights a Nine Inch Nails/Queen Of The Stone Age smouldering in its sententious heart. Lyrically song and EP is themed by conflict between opposites within oneself and like the music creates evocative and seducing connections to the listener.

The release is completed by We Are All Gonna Die Anyway and I Know I Spoke Too Soon, the first another energised romp for the senses, its familiar tone and devices refusing to reveal their sources but vibrant with recognisable irresistibility. It is a punchy anthemic slab of feistiness which contrasts and introduces perfectly the closing simmering glories of I Know I Spoke Too Soon. Mellow and emotively magnetic the track is a psyched melodic dream which pervades the ear and beyond with elegance and flames of passion which sear at the touch.

High Noon is an excellent release which deserves to set the band on the path to the widest recognition. If it will time will of course reveal but The Lost Souls Club can hardly do much more to sway the listener.

https://www.facebook.com/thelostsoulsclub

8/10

RingMaster 13/03/2013

Copyright RingMaster: MyFreeCopyright

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Limozine: Johnny Got Shot By A UFO

It is Limozine time again as the UK rockers release their new single Johnny Got Shot By A UFO. It only seems like yesterday since they raised the temperature with previous single Tokyo 1970, but then the London based band have never held restraint in releasing their sounds with the last three years or so seeing nine singles, including the new one, and three albums. The new release continues the strong and intriguing presence of the band and their riot of uncomplicated energy to leave again keen satisfaction and enjoyment.

Formed in 2005, the band has earned a strong reputation for their unpolished encounter of garage punk and rock n roll, the sound a raw and honest brawl with feisty mischief able to charm and ignite audiences to their live shows and to releases such as their albums Car Crash Casino in 2007, Evil Love in 2010, and Full Service of 2012. With a new full length release You’ve Been Limozined, due later this year the new single sets it up with enterprise and intrigue even if the song arguably lacks the spark to ignite the ardour it probably deserves.

Released via Beat Atlas Records, Johnny Got Shot By a UFO instantly grabs attention with its psychobilly intimidation and rockabilly swagger locked to its punk rock core. The grooved riffs of Johnny Zero are an instant temptation alongside the bass enticement of Karl ‘da Kops’ Atlas whilst the snaps of beats from drummer Skip Intro frame it all with undemanding yet senses provoking craft. Bringing his guitar and vocals in to play soon after the initial tease, Limo Dean courts the ear with a delivery which matches the sound, uncluttered, direct, and deliberately devoid of anything not organically bred. Across its length the song sparks with its addictive grooves veining the rougher rock rub and throughout it leaves one engaged and involved.

The song does seem to fall one step short of firing up a full passion for its offering and though it certainly does the business of earning strong appreciation it does feel a little like the song missed the opportunity to stand out as one of the most addiction capturing singles likely to appear this year. Despite that Limozine continues to stand as one of the more entertaining emerging bands with Johnny Got Shot By A UFO making a good and pleasing persuasion for band and forthcoming album.

http://www.facebook.com/limozineband

7/10

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RingMaster 11/03/2013