Dope Body – Lifer

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In covering Natural History, the previous album from US noise sculptors Dope Body, we boldly declared the band as ‘without doubt one of the most exciting bands in music right now’. Returning with its successor Lifer, the Baltimore quartet has done nothing to change or dispel that declaration. The release is a glorious and voracious maelstrom of invention as now expected from the band, but also one with another open twist in the evolution of Dope Body’s sound. Certainly Lifer is the band’s most rock ‘n’ roll release to date, raw and attractively abrasive, but within tracks and sounds are as dramatically eclectic as ever.

Formed in 2008 for originally just a one off show, Dope Body soon saw and found their sound stirring up the local scene and its passions. Early releases via HOSS Records drew potent attention but it was Natural History, released as the new album through Drag City, which widely announced the band as one of the more original and creatively warped fresh breaths in modern music. Between albums the band has feverishly toured and played shows before seeing the latter part of last year out taking time focussing on other endeavours, bassist John Jones on his solo project Nerftoss and guitarist Zachary Utz and drummer David Jacober with their two piece band Holy Ghost Party, whilst vocalist Andrew Laumann turned to his visual arts side and exhibited work at the Galerie Jeanrochdard in Paris, the Pre Teen Gallery in Mexico City, and Signal in Brooklyn. This year though soon saw the foursome back together in the studio and with producer Travis Harrison creating what is another stirring encounter from them.

The album opens with Intro, an instrumental with carnival-esque vivacity and mischief to the gripping rhythmic juggling of Jacober and scuzz bred tenacity of guitar. It is a great raucous start to the album, instantly unveiling some of the varied rock ‘n’ roll seeded essences to be explored across the release. The piece subsequently slips seamlessly into Repo Man and its opening slow caress and shadowed crawl. Right away the distinct tones of Laumann entice and flirt with ears before raging to match the increased intensity and aggression of the music. It is a captivating track which has as much an air of Nirvana to it as it does The Stooges. In hindsight it is a steady opener to the album in many ways, a raw encounter which as the album, holds a real live feel to its touch and breath, but proves to be just a taster of greater things to come.

That stronger potency grips ears and imagination right away with Hired Gun. From a deliciously acidic web of sonic revelry, the song strides out with a garage punk energy and causticity, though it is still prone to the great scythes of sound liferwhich opened up the encounter. Taunting senses with a devilish swagger and punkish rabidity, the track is a transfixing slice of noise rock, but as expected from the band only part of the story as seductive surf rock sultriness and rhythmic tantalising emerges before a fiery finale. From this song the album really takes unpredictable and diverse shape, the following Echo sauntering through ears with a smouldering blues climate aligned to garage punk turbulence. Like Tom Petty plays The Cramps, the song is an enthralling croon with tendencies to expel caustic ferocity as it makes another step up towards the album’s highest peaks.

They come in the next clutch of songs, starting with AOL. A brawling slab of blazing hard and punk rock incitement, whispers of The Clash and Melvins hinting away, the track comes loaded with lingering grooves and biting hooks for a relatively brief but scintillating roar. It sets ears and emotions up perfectly for the even richer triumph of Rare Air. A song which kind of bridges this and the last album, it emerges from a metronomic coaxing lined with a ridiculously infectious sonic tempting. Instantly there is a post punk emprise to the song, bass and guitars flirting with a mix of Joy Division, Tones On Tails, and John Foxx led Ultravox breeding. It is a gripping adventure with Laumann as vocally enterprising as the tapestry of sounds and textures around him. The pinnacle of the album, the song alone reasserts Dope Body as the imaginative masters of sonic and noise alchemy.

Straight away confirming that point, the dark seductive Day by Day steps forward next. With a heavily shadowed bass resonance spotted by sonic elegance making the first gentle touch, the track forcibly intrigues and entices senses and imagination, increasing its lure and potency as it gathers pace to craft a Bauhaus like tension and presence. That increase in energy also brings a funky gait and appetite to the song, which in turn leads to squalling clouds of scuzz lined ferocity and garage rock devilry. With a pinch of psychobilly and a dab of old school rock ‘n’ roll too, the song takes the listener through scenery of explosive invention and bold creative mischief, all persistently cored by the irresistible throaty bassline which kicked it all off.

Toy strides purposefully across ears next to return the album to another boiling garage punk/grunge soiled stomp, engaging ears in a dusty rampage of Rocket From The Crypt meets Damn Vandals like irreverence. As everywhere though, references only give a slight idea of something uniquely Dope Body, the band forging new templates and imagination smothering ingenuity at every turn, proof of course immediately coming forward through the pair of Nu Sensation and I’d Say to You . The first of the two is another multi-flavoured rocker, seemingly embracing every corner and era of rock ‘n’ roll to give birth to an uncompromising and inescapably addictive rock devilry, whilst its successor is a torrent of repetitive hooks and lingering grooves as catchy as the common cold and sneakily lingering.

The album is closed by the striking Even In the End, a song opening on another skilfully conjured rhythmic contagion before spreading its melodic and atmospheric tendrils into a progressive terrain of bracing sonic invention and immersive dark shadows. Within that landscape though, guitars and beats unleash imaginative and lively agitation whilst vocals range from slow drawls to raging emotion. It is an absorbing exploration bringing the outstanding release to a mighty close.

Lifer is not a step forward in quality for Dope Body but a side step from Natural History into similarly impressive and individual waters. The excitement brought by a Dope Body encounter continues and the band grows in stature once more.

Lifer is available via Drag City now.

https://www.facebook.com/pages/DOPE-BODY/310914069790

RingMaster 23/10/2014

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Limozine – Party On The Bus/Tequila Shots

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Ahead of their fifth album, UK punk ‘n’ rockers Limozine ignites anticipation and appetite for their forthcoming release with new double A-sided single Party On The Bus/Tequila Shots. Two stabs of garage punk in its dirtiest wanton form, the single finds the Londoners at their most irreverently and creatively impressive yet. There is also a fire to the songs which declares that they know they are good and come loaded with a devilry to seduce, which they both do with ease.

The single is the quartet’s tenth and follows the previous acclaimed Johnny Got Shot by a UFO in the March of last year and before it the 2012, Tokyo 1970. The impending album is the band’s fifth, their list of full-lengths starting with Car Crash Casino 2007, which brought the band an eager attention. Through Evil Love two years later and Full Service two years on again, Limozine continued to impress and grow, hitting a pinnacle with last year’s You’ve Been Limozined. If the new single is to be believed though that plateau is going to be pushed to new heights with the upcoming album and we for one cannot wait.

Party on the Bus gets things loose and excited first, hollow sounding beats and antagonistic riffs waking up ears ready for the vocal swagger which infests the senses soon after. Revealing touring debauchery with its narrative, the track brawls and incites the imagination in a fusion which at times is like The Stooges meets Rocket From The Crypt with healthy essences of Turbonegro and early The Damned bounding the devilment. Hooks and riffs captivate across the scorching riot whilst the rhythmic enterprise of Timmy enthrals and enslaves the senses. Vocalist Limo Dean as ever is a raw and compelling lead whilst his guitar and that of Johnny Zero impress and tantalise with consummate ease to help create a monster of an addiction forging song.

As excellent as the song is though, it is just the appetiser to the brilliant Tequila Shots where old school punk and raw rock ‘n’ roll make a pact to seduce and enslave. From its first second the bass of Karl Atlas is a rapacious bait and shadow to the more fiery guitars, cock sure vocals, and gang harmonies. Of a liquor fuelled seduction and commitment, the song parades its lyrical suasion on bulging rhythms and sonically varied endeavour, flaming riffs and deep lying hooks insatiable temptation matched by the web of vocals and emerging melodic toxicity permeating the climax of the outstanding protagonist. It is a glorious track which alone leaves lips licked for the new album but alongside Party On The Bus makes for an inescapable trap before it’s unleashing.

If Limozine has not pulled up outside your attention and emotions before now then Party On The Bus/Tequila Shots is the perfect way to open up an exploration of one of UK’s still relatively hidden best secrets; though you will soon suspect like us that once the new album is there inciting, Limozine may be a much louder name in the country’s ears.

Party On The Bus/Tequila Shots is available via Beat Atlas Records

http://www.facebook.com/limozineband

9/10

RingMaster 09/06/2014

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Boy – Darkest Visions

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Imagine a mix of The Angelic Upstarts and UK Subs with an equally potent blend of Rocket From The Crypt and Turbonegro, and you have a sense of Czech punks Boy and the body of their outstanding debut album Darkest Visions. Fusing old school British punk with a touch of glam and raw rock ‘n’ roll, band and release make a dramatic entrance to a worldwide market with their Rebel Sound/Voltage Records released rampage. It is an encounter which has a welcome familiarity to its brawl but just as strongly a unique breath and substance which marks out Boy as a band with a potentially mighty future within the world of punk rock. The band name suggests wishy-washy media friendly teen pleasing blandness, what you get is raw antagonistic punk rock of the finest order.

There is little we can reveal about the background of the band with any available bio offered in Czechoslovakian, but they are a quintet from Brno who have previously released a three track 7” EP via Voltage Records last year and before that had a track on the 2012 compilation Brno stále v plamenech (Brno Still In Flames). Their new full-length is produced by Turbonegro’s Tommy Akerholdt and features numerous guests including Ronnie King (who has worked with NOFX, Rancid, Offspring, Snoop Dog) on piano, Shawn Smash (Total Chaos) on guitar, Daniel Marusack (Chancers) on flute, Theresa Kovalová (Calm Season) on cello, and Martin Maleček (ex – Centaury ,SRK) on conga. That piece of info alone tells you the flavoursome design and sounds bursting from within the punk bred tempest, though the album starts off with a more straight forward belligerent sound.

The title track opens things up with a fiery welcome, hooks blazing vociferously within the ears whilst vocal samples bred from 9/11 place front coverthe drama of the release. It is a heavy weight welcome with sinews building up their intent and intensity ready for the following I Need Your Hate. The second track is immediately snarling and gnawing at the senses, riffs bordering on carnivorous and rhythms an imposing barracking. The excellent rough vocals roar and confront with a voracity which matches the passion of the sounds around them, the song further flaming with seductive melodies from within its rapacious onslaught. There is nothing dramatically ground breaking about the song but with impressive individual skills, a scorching solo, and anthemic band vocals it is an irresistible proposition.

Never Break Us Down binds the imagination next with an instant addictive groove, a lure aligned to numerous sharp hooks and that again virulent anthem seeded suasion which already the band proves they are expert at sculpting. The resourceful romp offers that earlier mentioned RFTC comparison as well as holding a touch of The Mighty Mighty Bosstones to its catchy temptation, both elements re-occurring across the album and adding extra spice to the outstanding raucous charge of punk ’n’ roll. It is a mix which lights up Back For More to a different degree, the band grazing the senses with greater causticity and ravenous breath. Again there is a compelling contagion to the track which has attention and appetite impatient for more which Stay Free more than happily provides. Abrasing ears with acidic sonic swipes from the first second along with an evocatively brewing wash of keys, the track broadens its riveting narrative with a wonderful dark cello croon and atmospheric shadows. It is like a mix of UK band The Duel and Russian punks Biting Elbows, an invasive seduction which subsequently stretches further into a NOFX like imposing. The track is quite glorious, pushing the invention and songwriting of the band whilst still entrenched in their epidemically appealing seventies seeded punk.

Stop Talking To Me stalks and riles up the imagination next, riffs on a chunky prowl speared by predatory rhythms. The vocals are vitriolic in delivery and malevolent in intent, a seemingly different voice leading the intrusive belligerence as the track squares up to the senses and emotions. It is a great strike but one which ends far too soon, only one minute forty seconds in length, and closes on a frustrating and actually very annoying fade-out. These grievances are soon forgotten though as Drop The Bomb scores ears with an acrid flame of guitar punctuated by keys and wisps of melodic guitar invention. The song strides purposefully with a slow predation, absorbing imagination and the by now constantly submissive passions. It is another total captivation revealing yet more of the depths of sound and invention within Boy, the unveiling continued with the heavy rock exploits of It was the Alcohol. The track is prime punk and hard rock with glam devilry and metal toned hunger, and impossibly addictive especially its infectious chorus which is bait only the deaf or the six feet under could resist joining in with.

The album comes to a close with firstly the thrilling quarrelsome bluster and catchiness of Fashion Police then the incendiary glory of Just A Number. The last track is an aggressive scrap of spellbinding hooks, fierce riffs, and punchy rhythms all merged into a rabid contagious punk spat, a last lingering triumph to sear the sound and name of Boy in to the memory and passions.

Darkest Visions is one of the punk glories of recent years and a potent suggestion that Boy has all the armoury and invention to be a real force in punk and rock rioting across numerous horizons to come.

Darkest Visions is available through Rebel Sound and Voltage Records now as a black vinyl release with a 12 -page booklet and in a deluxe version clad in silver foiled artwork.

https://www.facebook.com/PUNKROCKHOOLIGANS

http://www.boy-punk.com/

9/10

RingMaster 19/04/2014

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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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Black Checker – Fast

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As 2013 comes to a festive close the unexpected treats just keep coming this time in the sizeable excellence of the Fast EP from Washington, DC rockers Black Checker. Made up of six rivetingly addictive and thoroughly contagious slices of hungry punk pop with a power pop excitability, the release stomps with a presence which is hard not to be captivated by and breed a keen appetite for. There is something also familiar to the band’s sound which only endears itself to the imagination, an essence which is recognisable and undeniably fruitful in furthering the EP’s appeal. Black Checker may be new to most outside of their home state but Fast suggests it is only brief situation on the band’s richly potential rise to full recognition.

The trio of vocalist/bassist Jim Cordes, guitarist/vocals Tony Porreco, and drummer/vocals Names Thompson immediately spark attention into life as opening track Bagel Girl mischievously bounces into view with great jagged ska kissed riffs and a broody bassline. There is a warmth and swagger to the track which rapidly draws out a strong hunger, the rhythmic tempting and slightly gravelled vocals of Cordes just as appealing. Thoughts of Joe Jackson and Super Happy Fun Club are sparked at times as the track continues to stroll with confidence and skilful temptation drawing in emotions, additional fiery guitar invention and an intensifying feisty energy only adding to the irresistible lure.

The following Can’t Let Go takes the impressive start up another level or two, the track a rousing feast of rock pop with Black Checker - Fast - coverstriking sinews and anthemic melodic fire. The drums of Thompson provide a hypnotically addictive frame for the charged riot of riffs and sonic endeavour to playfully incite the imagination within whilst again bass and vocals grip the ears with relish and thrilling temptation. It is a scintillating track which almost alone cements the presence and strength of the band and its sound as a new rapture in the passions. Black Checker has been tagged with comparisons to the likes of The Replacements, Cloud Nothings, Hüsker Dü, and Ted Leo & The Pharmacists, references which are easy to understand but certainly this song amongst a few suggests an even closer link to another band, unfortunately that reference evades realisation as this is written which is extremely frustrating, like trying to pick up a needle wearing boxing gloves, so close but so far.

    Never Doesn’t Mean Someday bursts in next with another riot of pop punk to greedily devour. The bass produces a great funk gait to its dancing on the ear riff whilst the guitars flirt with enthusiastic and accomplished devilry, grooves and hooks stoking the passions with addictive taunting and creative mischief. Though the song does not quite find the same heights as its predecessors it still takes the listener to an insatiable voracious rock ‘n’ roll party as hosted by Rocket From The Crypt. Its successor Blick Badger also keeps the quality and variety coming on strong, the opening range of riffs provided within a cavernous air to set up thoughts for the emerging blues kissed adventure. With a whisper of Graham Parker to its suasion the song provides another absorbing and firmly enticing recruitment of thoughts and emotions.

The jangling scythes of guitar which sculpts next up Man Enough soon has feet joining up with the bruising and thrilling urgency of its proposition. Vocals and rhythms are no weak link in the submission of the passions either whilst the melodic fire scorching every note and the rapacious energy driving the track forcibly through the ear  make virulent contagion which refuses to take no for an answer from a now lustful hunger for more.

The closing track A New Way opens with a reggae seeded gait and lilt from bass and guitars whilst the riffs and their neat hooks are close cousins to those crafted by early XTC. It is a magnetic start which then slips from its initial pedestal as the song sweeps into an emotive and restrained embrace, though the return of the opening enticements does spark things up when they interject across the track. It is an undeniably strong and superbly crafted song but against what came before pales in success and presence. Nevertheless the final song still only reinforces the impressive presence of the band and their mouth-watering sound.

Fast is a storming slab of rock pop/ power punk which excites from start to finish declaring Black Checker as one of the finest and promising first encounters for us this year. Expect to hear the name a lot more ahead.

http://blackcheckerband.com

https://www.facebook.com/blackcheckerband

9/10

RingMaster 18/12/2013

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The Twin Dracula – Introducing

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Making their entrance with a rather tasty and raucous release, UK punk rockers The Twin Dracula instantly set themselves as a band rich in potential and strong on antagonistic craft. Their debut EP, Introducing is a brawl of contagious enterprise and belligerent passion cast within a hardcore animosity. It is an aggressive and confronting encounter but also one unafraid to throw in a captivating hook or rhythmic seduction and a host of melodic creativity which only accentuates and compliments the riotous heart of the songs. The EP is maybe not quite stretching borders or sculpting new heights but certainly is providing a potent breath and promising fire to thrust the band firmly on the punk rock radar.

Formed in 2012, the quartet takes inspirations from the likes of Kid Dynamite, Propagandhi, and The Bronx into a proposition coverwhich grabs attention with ease. Comprised of four eager and bold tracks with a raw energy and similarly uncompromising intent, Introducing takes mere moments to enclose the ears in an intimidating and fully persuasive encounter. Opener Check Mate is choice punk rock from start to finish; it’s first touch a rapping of rhythms and last a lingering toxicity which draws you back time and time again. It takes mere seconds for the track to hit full stride, riffs and rhythms stomping with attitude and intensity whilst the vocals scowl and challenge thoughts with a semi clean scowl of a delivery enjoyably reinforced by group shouts and barracking. The rhythmic core is a constant temptation throughout the song and keeps the pressure going perfectly even when the song impressively dips into a restrained and melodic detour before returning with nostrils flaring for an anthemic finale. It is a striking and thrilling start to the release and as a first engagement with the band, a song drenched in promise providing unbridled satisfaction.

The following Guts has a heavier imposing intensity and gait compared to its predecessor, one skirted by a sonic enterprise which lights its darkest corners. The almost lumbering entrance holds a menace to temper the melodic design searing its edges and combined the elements give the song an intriguing lure, especially when the sounds come to a halt and an excellent expressive lone vocal expels the first calls of the narrative which in turn coaxes out a fiery return of striding riffs and imaginative flames framed in a rampant rhythmic temptation. It is a smouldering slice of rich enticement which shows a depth to the band’s songwriting and their ability to stretch it further again with sound and imagination.

The next up All The Fours brings an immediate swagger and enticement to its initial scrub of riffs to confirm the potential and quality shown in its predecessor. The addictive tone and jagged edge of the guitar brings thoughts of Rocket From The Crypt to mind whilst the subsequent abrasive and compelling fury has the marks of fellow emerging Brits Dead Retinas to its caustic presence. Like the opener the track is an addictive anthem of rhythmic pugnacity and sonic rascality forged into an infectious charge which stirs up the senses and passions with aggressive revelry. A punk stomp with muscular heavy rock intensity, it is a formidable incitement to again easily hang the passions upon.

The closing Woodley Swine is a hardcore bred slice of punk ferocity, a direct and scathing lashing of sound and vocal hostility which without matching earlier heights riles up the emotions and imagination in strong and hoarsely rowdy style. It is a fine conclusion to an excellent debut from The Twin Dracula; Introducing the first impressive step of a band with the fire and potential to make a deep mark certainly on the evidence of this entrance.

http://thetwindracula.bandcamp.com/

http://www.thetwindracula.com

8.5/10

RingMaster 17/12/2013

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Black Belt KARATE – Volume 1

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Strap in and release the hand break to your appetite and emotions as Black Belt KARATE have just given garage rock a boost of adrenaline with their debut EP Volume 1. A five track blaze of refreshing indie punk, garage rock, and a spatter of blues devilry, the release is a thrilling rampage of passionately crafted sounds and fiery intent which awakens senses and emotions with its first romp and proceeds to increasingly enslave and dazzle across subsequent ventures down its exciting road.

Hailing from Los Angeles, the quartet of vocalist Ryan Hanifl, bassist Harry Ostrem, drummer Ryan Brown, and guitarist/EP producer and engineer Jason Achilles Mezilis, came together in the summer of 2012 with Mezilis and Hanifl reuniting from their time together in Your Horrible Smile. Soon a foursome, the band whose members also feature in other bands, Mezilis in Owl and Ostrem as tour bassist for Guns n Roses’ Dizzy Reid’s band for example soon grabbed attention for their groove littered rock ‘n’ roll. Constant gigging equally built up a potent and fervour led following with the band again rapidly moving to the largest stages and festivals such as Ink-n-Iron Festival in Long Beach where they shared a stage with the likes of Iggy and The Stooges, Sublime, Bad Brains, Rocket From The Crypt, The Offspring, Dead Kennedys and many more. Self –released this past April in the US and August 19th in the UK, Volume 1 now brings all the potency and power of the band which woke up their homeland to the other side of the big pond, and it is hard not to see Black Belt KARATE seducing once again.

As soon as the throaty grizzle of the bass and the equally raw and incendiary guitar scrubbing consumes the ear in a delicious prowl the BBK REVISED - iTUNES DIGITAL BOOKLETworld narrows into just their tunnel of existence, the introduction a sizzling beckoning soon enhanced by the excellent vocals of Hanifl. Rigamortis instantly holds attention in its enterprising hands, taking a considered stroll through the ear to start working on the senses with a sultry temptation and underlying snarl reminding of Queens Of The Stone Age. There is also a wantonness that licks at the passions without ever showing all of its illicit charms, its own lure holding a touch of Eagles Of Death Metal, and only adds to the full persuasion fingering the passions from first note to last.

The following Servant saunters in with a less intensive rabidity to its core but a still predacious hunger from guitars and bass speared by the steel rhythmic punches of Brown. Once again it is hard to tear thoughts away from prime QOTSA but with the continuing to impress vocals and melodic toxicity which engulfs the heart of the song and the listener, as well as the playful devilment peeking throughout the track and release it is a fresh and magnetic proposition which only leaves a greedy appetite behind. The song is simply a straight forward slice of riled rock which despite being three minutes seems over before it has begun and demands that replay button is used.

Push cracks open a riot of agitated rhythms driving a voracious tempest of blues rock loaded with punk attitude and concentrated intensity. As with all the tracks the band does not overdo or stretch out the delicious flourishes to distraction but uses them to colour the body of the song making with the vocals a perfect temper for the almost savage and addictive growl of bass and riffs.

A Stones like tease drapes around the opening of Building Walls and continues to whisper throughout the slower tempo gaited sonic croon. Though it is not as tightly gripping as the previous tracks, the enthralling almost mesmeric hug of vocals and the persistently caressing sonic touch of the guitar takes the song right to the emotions to place its firmly in a vat of satisfaction.

Kaleidoscope is left to complete the release and does so with the best moment of the EP. A vibrant enticement of drums cages the passions from the first second and is soon given a bass sculpted warder that ensures contagion is absolute. It is a riveting and scintillating start expanded to a similarly breath-taking dance of rhythmic incitement, insatiable riffs, and a sonic tonic which adds a lingering taunt for full rapture. Strenuous and athletic, infectious and compelling, the song is blues rock n roll at its finest and the final piece of evidence in the case for declaring Volume 1 as one of the intoxicating debuts this year maybe the most electrifying.

http://www.BBKofficial.com

9/10

RingMaster 19/08/2013

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