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

Black Checker

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

Copyright RingMaster: MyFreeCopyright

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The Twin Dracula – Introducing

TTD

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

Building_Walls desaturated_lores

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

Copyright RingMaster: MyFreeCopyright

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Waves Of Fury: Thirst

Sounding like the deliciously steamy hybrid from a union of Sam Cooke, Thee Vicars, Rocket From The Crypt, and Jesus and Mary Chain, Thirst the debut album from sonic teasing crew Waves Of Fury is quite magnificent. Consisting of ten garage punk filtered rock n roll/R&B classics, the release pulsates with an instinctive and inspiring brew of infectious sonic grazings wrapped in warm and refreshing imagination. It is excitable yet equally held by a restraint which allows every individual element and idea to shine within the acidic surface smouldering of sound. Quite simply Thirst is a triumph of noise and heart.

The Somerset based quintet of Carter Sharp (vocals, guitars), Jamie Bird (pianos, vocals), James McPhee (drums), Fil Ward (guitars, vocals), and Bim Williams (horns), has been making distinct waves both sides of the pond, the band undertaking  successful tour of Southern States in the US before venturing into the studio to record their album. With its magnetic charms and sounds Thirst is destined to spark an even fuller and wider recognition, it is hard to imagine a release this dynamically compulsive doing anything less.

The album opens with Death Of A Vampire, its initial shadowed music hall like echoes the introduction to a storm of fiery horns and fuzzy guitars paced by flattened chilled keys. As the distinct hollow lilted vocals stroll within the sounds the track flares up again and again with shimmering melodic expulsions and contagious enterprise. It is a merciless lure, a barbed splendour to envelop and seduce the senses and passions, something which can be applied to Thirst as a whole. There is a tomb like atmosphere to the song which only accentuates its immediate and masterful inventive presence.

From the incendiary beginning the following I Don’t Know What To Make Of Your Fucked Up Friends and Businessman’s Guide To Witchcraft offer their own caustic fires to overwhelm the heart. The first is a riled Motown gaited piece of magic which like an insidious puppeteer controls limbs and voice whilst unleashing its own cutting intent and opinions. The second is an amazing mix of shall we say Joy Division and The Four Tops, a constrained riot of sound and passion yet unbridled in its mesmeric strength and teasing. It is glorious, arguably best track on the album though that does wander as a choice with each listen of Thirst.

As tracks like the dark and schizo spiced Killer Inside Me with its scuzzed breath the perfect shadow to the melodic shards hooks and barbed horns, Pretender Soul, and The Everlasting Thirst state their claim on the affections the strong variety to the songs and writing of Sharp is unmissable. The second of this trio is a gentle emotive breeze within a flesh burning sonic heat whilst the latter is an acutely driven stomp across the ear with spotlights of horns sparking up a dazzling sheet of nagging sonics and consuming energy. The album is a perpetually twisting joy, each track bringing something new and unexpected but with a swagger to turn heads and ignite desires for much more.

After the brief Buddy Holly like pleasure of Nervous Exhaustion, the album closes on the mighty Viodrene, a song which just hypnotizes with its varied ideas and noise wrapped in a furnace of raw guitars and explosive horn crescendos. With an excellent break midway to allow a breath before the equally staggering conclusion, the track is all you need to know about Waves Of Fury and their quite brilliant sound. Lyrically the album is inspired by gothic writers like Poe and Saul Bellow but also by life and everyday manipulations, this song dealing with celebrity culture in an acerbic and mischievously skilled ingenuity.

Waves of Fury have created an album and songs which take all the wonderful discord and cryptic facets of melodic and sonic elegance and conjure them into their own unique and irresistible beauty. Thirst is outstanding and will easily makes a late and formidable impression on those best of year lists.

https://www.facebook.com/pages/The-Waves-of-Fury/204286162955259

RingMaster 29/10/2012

Copyright RingMaster: MyFreeCopyright

Dope Body: Natural History

Baltimore band Dope Body is predominantly tagged as noise rock but they should just be under the category eclectically unique. They are likely to be alone in the list which is as it should be as despite the band drawing on a flourishing feast of influences and suggestions no one truly sounds like or comes near to Dope Body. With the release of their new album Natural History they have widened further that divide between themselves and the rest. There are plenty of exciting and discord driven noise rock artists out there but none use the tools with an imagination and skill to create songs which are maybe raw and jagged in their surface but have a rounded balance, an instinctive and rich life, and are near abhorrently senses disassembling.

Natural History is the second album from the band and named after the The Museum of Natural History in their home town where they played their first and meant to be one off show. Formed in 2008 the band felt and knew from the destructively chaotic sounds they were creating and success of the night this all felt right so they continued gigging and creating. Released via Drag City, Natural History is pure sanity bending air fragmenting sonic poetry and possibly the best aural treat since the big bang. It is a release and sound which will work for you or not but if it does its genius in its simplicity and complicated inventiveness.

How to describe the band? Well it is impossible as you will see when we mention some of the tracks but imagine a primal mix of At The Drive In, Hot Hot Heat, Morkobot, The Three Johns, World Domination Enterprise, and most definitely early Wire. Oh you can add a slither of your favourite sludge, stoner, and grunge band too for good measure…and still not really come close. It is an individual sound to the band which will bring different references from each individual who hears it, something one wishes all bands would give the problem of.

Dope Body makes initial contact through the disorientating Shook. At first it drops falling essences of sonics through the air before a bass pulse begins its bruise of the atmosphere and the vocals of Andrew Laumann score the ear with caustic and disentangled melodies. Air ripping and blistering the song is a sludge/doom driven intensity littered with inquisitive and ultimately challenging pokes and disturbances, a mighty corruptive start to check if one is up for the fun ahead.

The following Road Dog is quite simply wonderful and the first of an unrelenting feast of brilliance to leave one breathless and with the biggest smile possible. Stirring up the ear with prickly guitar strokes and near smooth melodies alongside perfect infectious hooks, the song explores the senses with acidic enterprise around the prowling bass of John Jones and the eager vocals of Laumann. It has that primal early Gang Of Four rhythmic core with a Clash/Rocket From The Crypt punk sound especially with the additional mid reggae additive. The garage feel of the song is strong too and all in all is simply magnificent.

Beat and Twice The Life manipulate and ignite the passions further. The first is a striding beast of discord, its bulk rippling and pulsating with sonic guitar from Zach Utz and ear splicing melodics which spear the air with predatory menace and venomous intent. The track circles like a ravenous wolf its sounds gnawing on bone and synapses to leave one floundering in pure bliss. The second takes a lighter approach with the unpredictable rhythms of David Jacober puncturing its distressed yet mesmeric warm breath, again that reggae/punk air lights up the senses. Of course the song is wonderfully as disturbed as ever.

Arguably the best track on the album Powder is pure infection and just as dangerous as any illicit contagion. Insatiably eager and disturbingly joyful, the track with a grin as sinister as the hook is impossibly irresistible, easily and willingly draws one into the riot of senses fragmenting ingenuity.

Every song is immense; the snarling caged manic Out Of My Mind and the twisted rock n roller Weird Mirror just two delicious slices of further brilliance. That is the most apt word for the whole of Natural History and when a release ends on a bonus track like Alpha Punk, a near one minute pure Wire homage with the song sounding like the bastard cousin of Mr Suit or 1.2.X.U., you know it has been something special.

Dope Body is without doubt one of the most exciting bands in music right now if not the most and Natural History quite possibly album of the year, it will take something truly outstanding to match it.

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

Ringmaster 13/07/2012

Copyright RingMaster: MyFreeCopyright

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Supercharger: Retox EP

UK rock band Supercharger gave strong indication they were a band to watch out for with their debut EP Smashing Up The Future and compounded that and more with their debut album Wrong Side Of The Head. Now the band are set to unleash their new EP Retox May 7th and simply they have taken another leap forward to further mark themselves as one of best underground rock bands in the UK and mere steps away from larger and further afield recognition.

Formed in 2007, the quartet from Newcastle Upon Tyne create rock music that hits hard, snarls and bites with aggression, and is as infectious as a nudist beach to under aged teens. It is loud, eager, and thoroughly mischievous, just how rock n roll should be. As mentioned from their debut release through Nascar Records Supercharger immediately drew attention not to mention their raucous and irrepressible live shows but it was with a line-up change in 2009 that a definition and focus emerged to take the band on to another level. Their music is fuelled with attitude, a boisterous mix of rock and punk that is like The Wildhearts and DC4 in a riotous union with Eddie and The Hot Rods and The Damned with a splash of Therapy? in for good measure. Since forming they have shared stages with the likes of Wednesday 13, Sorry and the Sinatras, Bullets and Octane, and Eureka Machines, as well as Ginger “wildhearts” and friends, their sound a ready and eager fit with all styles of rock.

The EP comes with three tracks that burst with muscular combative riffs, infectious melodies and compulsive grooves all  wrapped in a middle finger punk intent that whips the senses up into a willing frenzy.  There is also an unapologetic pop punk essence that adds to the addictive sounds making each song an immediate friend and rebellious companion. The title track is the perfect example; opening up on an easy going punk vocal from Nick and the commanding beats of Denz it grabs attention from the start with incoming direct and stirring riffs. It then dips into a melodic deep breath before exploding with a chorus that reminds of the excellent UK band of the nineties Skyscraper. It is heady stuff easily matched by the other two tracks on Retox.

Postcards is a punkier slice of rock which infects with a groove that teases and taunts until compliance. The song lays a flurry of diverse and imaginative but always absorbing sidesteps as it progresses to ensure predictability never has a place near the music. With a strong flavour of Therapy? the song pulsates persistently luring one in deeper and deeper, the guitars of Nick and John winding the senses around their open and acidic riffs whilst the riffs of Nasha grumble and growl like a bass always should. The song throws in a rock solo before its pulsating corruptive end which should not work but the band make it work to make any prospective moans redundant.

Third track Hold It Down completes the release with the same quality and irresistible presence as the others. The track stalks in with menace to then flick into a pop punk gem full of urgency and eagerness. It starts off like The Vapors, turns into Rocket From The Crypt/Hagfish before bringing the Wildhearts in to rile it all up. Do not mistake all the references for the impression the songs simply slap pieces of other bands on, it is a mere series of spices that make strong songs even tastier. The track is excellent and it and the repeat button is a need that is impossible to tear one away from.

There were expectations of something good to come from Retox but it has gone way beyond the imagined great sounds. Supercharger is a band on the march and now is the time to join their ascent before they trample you under foot on the way up.

https://www.facebook.com/pages/SUPERCHARGER/104983436206547

RingMaster 27/04/2012

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De Keefmen – Me Keefmen, You Jane (part 2)

De Keefmen are one of those bands that will hit the spot instantly or linger and request acceptance but never quite make that bridge into the heart, whatever the reaction to their distinctive and unpolished sound they are a band which defies a dismissal of their songs. The band and their music is seeded in the Dutch sixties Nederbiet sound, influencing a style which leaves the ear at times shell shocked, blistered but always happy. De Keefmen unleash rough and coarse tunes which reverberate and scrape around the senses, their melodies are caustic and vocals verging on desperate in tone but wrapped together with infectious rhythms and frantic energy conspire to make songs which excite and inspire.

Their new EP Me Keefmen, You Jane (part 2), a three track intensive plead on the ear, continues on from Be That Guy/Jane, the two songs which made up previous single Me Keefmen, You Jane (part 1). Released on vinyl via Kuriosa and digitally through Dirty Water Records, the new EP is an intense and emotively powerful trio of tracks which stir up a reaction every time they twist up the senses. The garage rock essence to the music is raw and at times feels like an aural scouring with the harsh delivery, but it is equally constantly mesmeric.

De Keefmen formed in 2008 out of the ashes of The Miracle Men who broke up the previous year. Inspired by the sixties, the line-up of vocalist/guitarist Henri Sulmann, bassist Peter Kroes, and drummer Dennis De Lange released their first single Cryin’ At My Door in their first year. To gathering acclaim further enhanced by the release of their self titled debut album, the band shifted releases between Vinyl Junkie Rekkids and Kuriosa Records, and for their following Mirror Of Time album Dirty Water Records of 2010. Following on from Part 1 from last year, Me Keefmen, You Jane (part 2) once more grabs attention with a dynamic and consuming sound which is as intense as it is hypnotic.

The songs on Part 2 take a different sideways step to the preceding release. Part 1 contained two songs offering forceful rock music with a dirty Rocket From The Crypt like sound and aggression but on this new release there is a drop in the intensity to explore an even more emotional level to their music. Opening song Wrong Kinda Place sweeps through the ear with jangling guitars and slightly more reserved vocals from Sulmann. He still drips feeling and heart from each word and phrase but the urgency is more restrained than usual though we are soon back to his full on sense of despair and anxiety on the second song Don’t Ask Me. The song is irresistible and the best on the release. It is assertive and eager, the music highly intense and enthused in bringing the vocals pleas forth with the strongest effect.

The song is completed by Anything, a track which argues its case with anxious dirty guitars and firm commanding rhythms. As with all of the songs the vocals take centre stage with the passion and emotion Sulmann musters deep from within but one should never underestimate the power and equally expressive sounds beneath his delivery as shown on this excellent song.

There is a discontent to the sound of De Keefmen and at times a crudity from the lo-fi recordings which strikes home wonderfully bringing a roughness and attitude to influences that seem to range from the likes of Otis Redding and The Sonics to The Byrds and MC5. Me Keefmen, You Jane (part 2) uses this to ruffle the senses and provoke reaction ensuring it is an EP that cannot be passed off as just another release but one that needs your attention and more.

RingMaster 05/03/2012

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Beat Seeking Missiles – ‘Break My Fall’/’Dr. Strangelove’

Warm, enthusiastic and completely magnetic, the debut single from Beat Seeking Missiles jumps all over the ear to offer riotous beats, melodically curved grooves, and insistent energy.  ‘Break My Fall’/’Dr. Strangelove’ knows what it has and is unashamed in bringing it directly and openly to one’s senses. It has irrepressible blends of beat and surf rock coupled with garage and heartfelt rock ‘n’ roll to merge into a sound that brings sixties vaunt alongside punk attitude and garage rock honesty, it has unbridled dirty charisma.

Released on Dirty Water Records the single brings elements of the likes of The Stones, Bo Diddley, Link Wray and in some ways The Modern Lovers. For all the artists their music does remind of the Beat Seeking Missiles as evident on the single, has a distinctive rugged sound of their own, offering influences as spices to their thick spirited creations. The band is comprised of a pedigree many bands would drool for. There is Sir Bald Diddley (from the Wig Outs/Big Wigs/Alopecia Records), Mick Quinn (dB Band and founding member of Supergrass), Kid Wig (of the Wig Outs/Big Wigs), and Bruce Brand (Pop Rivets/Milkshakes/Thee Headcoats/Masonics), a collective that certainly with this first single combine their experience and attributes into a stimulating and very exciting proposition.

Lead track is ‘Break My Fall’, a sixties lined slice of electrified raw pop. Combining a feel of the Who and the Troggs with The Stooges and The Ramones, the track flows with spiky melodies, soaring Beatlesque harmonies and tenacious riffs. The song openly wants the ear captivated, thrusting a simple but eager driven riff through its centre to allow the guitars to bring scorched diversions and enterprise to the track. The song is an excellent introduction to the band but soon left in the shade by its partner track.

Dr. Strangelove’ or to give it the full title on the single sleeve, ‘Doctor Strangelove, or How I Learned to Stop Worrying and Love the Beat Seeking Missiles’, is a rumble upon the senses. Part rock ‘n’ roll, part rockabilly, and part sixties enthused blues, the track is monstrous. Its persistent beats are hypnotic and the vocals dogged, the mix recalling the likes of Reverend Horton Heat, Link Wray and at times Ray Campi, plus the punk essences of a Rocket From the Crypt, It is wonderful stuff that gets better with the explosive melodic crashes and cascades within the song. The track plays with an arrogance and self belief that is irresistible and easily confirms that this is a band one needs to hear more of and go see live.

Beat Seeking Missiles are an instinctive need for your musical day, simple as that. Just trust and go listen to this single for your proof.

RingMaster 08/02/2012

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This Vicious Cabaret – City Of Ghosts

City Of Ghosts the debut EP from UK post-hardcore band This Vicious Cabaret is a fresh and exuberant burst of rock that pounces upon and feeds the ear with accomplished ease and lingering satisfaction. The four track release is a rewarding energetic introduction to a band that one feels has even more promise and quality within them than shown on what is a thoroughly pleasing first release.

From Watford This Vicious Cabaret has  built up a fine reputation for their highly charged live shows since forming in 2009, their creative blend of aggressive hardcore and catchy melodic rock sounds drawing in an ever increasing following and support from media, radio and fans alike. From the evidence on City Of Ghosts it is no surprise how they are growing in stature and one assumes rapidly as the songs here have no intentions other than to please, thrill and entertain their audience, simply put to give all a good time.

The opening title track tells you all you need to know about the band, energetic with thumping rhythms, stirring riffs and a bassist in Lex Mead to mesmerise with ear grabbing basslines it is instantly enjoyable. Vocalist Jason Thorn’s emotive delivery is impressive giving the song a different vein of strength to power it easily through the ear. Alongside fellow guitarist Joe Davis, the duo spread the song to its limits with crashing punk energy and thoughtful engaging progressive play framed by formidable drums and direction from Radman. An impressive start continued by ‘New Disease’.

Toying with the senses the track is an intense yet playful beast that scoops one up in its forceful grasp to explode in the ear.  The mix of power and carefully crafted impassioned melodies is impressive and inspiring. Many try and leave one thinking it would be better if they had gone one way or the other but This Vicious Cabaret have melded a perfect fluidity that keeps the tracks in full rampant mode whilst exploring their obvious creativity of sound and melodies.

As the EP plays it gets better and better with ‘Entry Points And Exit Wounds’ lifting things even higher. Punk infused the song is immense and the more one listens the better it gets. Another insatiable grumbling bass attack from Mead ensures full attention whilst the blistering guitars eagerly dance all over the ear. As the track progresses it feels as if the pace  is going to veer out of control, the song teasing with suggestions of chaos but the band’s firm hand and skill keeps it perfectly reigned in.

Not to let the sequence go in decline final track ‘The Fall Of Icarus’ finishes things off by unleashing more red-blooded riffs and vigorous rhythms.  The sudden slow down and emotive climax to the song is the only time the EP did not quite work but that is more a personal thing as there is nothing particularly wrong with it, Thorn as throughout delivering great vocals and passion with the lyrics, but it just felt out of kilter with the robust song and usual seamless switches elsewhere in tone and pace.

The band openly list influences as the likes of Funeral for a Friend, Alexisonfire, Finch, and Coheed & Cambria and if you have a liking of those This Vicious Cabaret is definitely a must hear for you. As the final track played it dawned as to another they have a similar flavouring to, Rocket From The Crypt certainly in the energy they produce and the vocal department.

City Of Ghosts to be honest may not be the most ground breaking release but for a debut it is deeply impressive and the more you listen the more it connects. It is a must check out and as the band have it as a free download on their Bandcamp profile there really is no excuse not to, besides any band that lists Reuben under influences has to be special right?

Get ‘City Of Ghosts’ @ http://thisviciouscabaret.bandcamp.com/

http://www.facebook.com/thisviciouscabaret

RingMaster 26/01/2012

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