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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Mike Doughty – Yes And Also Yes

The time for presents and treats maybe over with the festive season a swiftly departing memory but Mike Doughty in the form of his brand new album has presented the heart with one of the biggest gifts possible. From start to finish Yes And Also Yes is a glowing joy, a release rippling with well crafted exciting songs to offer a feast for the senses. Consisting of fourteen vibrant, witty and mesmeric indie pop songs the album gives an engaging and diverse presentation of inspired quality song writing and its realisation.

Yes And Also Yes is Doughty’s fourth album and a natural continuation of the sound that blessed previous release Sad Man Happy Man of 2009. It has not taken a giant leap on from its predecessor sound wise but the songs within Yes And Also Yes have a rounder feel, a more defined sound, I guess the best word for it is maturity. The album is as ever from the former Soul Coughing frontman full of fun, the wealth of great songs carrying a mischief that can only endear the album further. The title of the release comes from the headline for his profile on an online dating site and just epitomises the wordplay and humour he instinctively graces his songs with.

For those new to the man, Doughty’s music is an imaginative meld of indie, pop, subtle rock, folk, Americana and plenty more. Each track has an individual life that gives a great variety to the album, but to be honest it is the extra little offbeat and unique unpredictable sounds and twists that he often employs as additives to spice songs up that make the man really stand out far ahead of the crowd. Unpredictable and sometimes darkly surprising these moments elevate songs far beyond the norm though no song could ever be called predictable. Slight discordance, heart twanging strings, and skilful slightly dark inserts are among the enterprising ideas unveiled throughout the album to wonderful effect; he even uses a capsule of the antidepressant duloxetine for percussion.

Opening track and single ‘Na Na Nothing’ immediately sets the upbeat tone that veins the album even within its more emotive subdued moments and has the juices of anticipation running long before its end for what is ahead. It is incessantly catchy and impossible to resist joining in on for its chorus, the song simply and eagerly leaping through the ear to play joyfully and warmly on the senses. The overall sound on the track and often elsewhere especially vocally in songs is like a heady exhilarating mix of Frank Black and Graham Parker with splashes of choice Elvis Costello essences.

‘Into The Un’ a song about goth kids on LSD in a train station, continues the wonderful start but then again every song does so that by the closing note of Yes And Also Yes one has the same feeling as going through the first. The high level is maintained impressively but a few songs really played the heart like an instrument to satisfy and impress thoroughly such as ‘Strike The Motion’ with its pulsating mesmeric keys behind the song’s front giving as does the following ‘Have At It’ a stirring sound that plays like the union of Costello and Rocket From The Crypt, and ‘Makelloser Mann’. Brief and sung in German, Doughty simply singing a bunch of random, peculiar phrases, the music has a lovely B52’s sounding riff and melodically teasing keyboard, more evidence of the variety and creativity within the album.

The great songs keep coming, ‘The Huffer and the Cutter’ brilliantly worded and full of dark additives, ‘Rational Man’ with its irresistible acidic strings over a metronomic eagerness, and ‘Weird Summer’ with its vastly varied landscape of sounds and flows bringing a Green Day riff, Doughty rapping, and more disturbed strings, all to play with the senses. The country lined ‘Holiday (What Do You Want?)’ featuring Rosanne Cash has to be mentioned too, and for one that has as much enthusiasm for Xmas songs as TV talent shows have for quality the song was rather pleasing.

Released on Doughty’s own label Snack Bar January 23^rd, the album is a must hear. We have not really touched on the great lyrics throughout but that can be an extra undiscovered treat on investigation the release for you.  The album coincides with the release of Doughty’s autobiography ‘Book of Drugs’. Dealing mainly with drugs, music, and the “weirdness, and messed-up-ness, of life in Soul Coughing” the book is another highly anticipated discovery.  Treat yourself to at least one; even better spoil yourself with both.

For more on both check out Mike Doughty’s official website @ http://www.mikedoughty.com

RingMaster 14/01/2012

 

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