Dedwardians – Love Sick/ Like An Animal

dedwardians

Crawling the senses and imagination with mausoleum bred romance and a sound as carnal as it is predatory, UK garage punk/psyche rockers Dedwardians unleash new AA-sided single Love Sick/ Like An Animal, an encounter unleashing the beast in the passions. The release is a raw and primal proposition, a caustically bracing protagonist providing modern rock ‘n’ roll with an older devious seduction.

The new encounter follows last years acclaimed single damnn attention grabbing release igniting a feverish following which Love Sick/ Like An Animal will only inflame further. The London based Dedwardians expand their songs from a fifties rock ‘n’ roll inspired core, drawing in the darkest essences and warped delights of psychobilly, garage punk, psyche rock and more. The best way to describe their sound is the ravenous punk of The Cramps colluding with the fuzzabilly devilment of Eighteen Nightmares at the Lux to engage in illicit unions with the psyche dementia of The Dropper’s Neck and the gothic rockabilly charm of The Orson Family. It is a concoction which as mentioned made a gripping infestation for the first shadow cloaked swoop of the band and rises to even greater infernal irreverence and beauty with the new single.

Love Sick opens with an instantly addictive and tangy groove, the fiery enticing from guitarist Gaff almost insidious in its lure and reminding of Damn Vandals in tone and inescapable temptation. Jabbing beats from Dan Bridle skirt the image001toxicity soon after, adding predacious swings as vocalist Paul Gautrey begins unveiling the dark toned narrative. The heavy throated lure of Ben Auston’s bass only adds to the demonically erotic seduction embracing ears and imagination, almost egging on the darker tempting of the song as it immerses the psyche. Virulently contagious and greedily insatiable, Love Sick is raw sonic alchemy with grooves and hooks as spicy and venomous as the instinctively enslaving rhythms and emotively ravenous vocals.

The accompanying Like An Animal is no different, an organically lo-fi persuasion with its own unique and epidemically driven infestation of sound and hungry passion. The track simmers with a sonic coaxing initially before again grooves lay the first tasty bait, it all subsequently joined by a persistent and intimidating shuffle of drums and harsh scythes of guitar. The track is a riveting tempest, hooks and splices of melodic acidity spearing the tempestuous prowl of the song whilst Gautrey like a barker from the darkest depths, leads and directs the incitement with his expressive tones, backed by the rest of the band in rockabilly style. The track as its companion is pure temptation, from the bulging basslines to the hoarse vocal and sonic squalls, as well as the scorching melodic expulsions of inventive manna, simply irresistible.

The track having reinforced those references in sound mentioned before, also holds a potent breath of The Eighties Matchbox B-Line Disaster, and in many ways is probably the closest comparison to Dedwardians. For all like us who still mourn the end of that great band, we have a new contender to fill that gaping gap in British music. Do not be deceived though, Dedwardians is and has a sound unique to themselves and with the release of the new single will surely turn the ripe buzz around them into a full blaze of attention and ardour, especially as you are not likely to have heard many singles matching its brilliance let alone surpassing it this year.

Love Sick/ Like An Animal is available on Nov 24th @ https://itunes.apple.com/gb/album/love-sick/id935793228?i=935793244&ign-mpt=uo%3D4

https://www.dedwardians.com/

RingMaster 22/11/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

Dope Body – Lifer

10353435_10152585010024791_9214962179343543231_o

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

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

Black Strobe – Godforsaken Roads

Photo Philippe levy.

An adventure which has the imagination bouncing around as enthusiastically as the body, Godforsaken Roads from French band Black Strobe, is an exhilarating stomp with more juicy flavours than a Pick ‘n’ Mix stand. The band’s new album is a tapestry of sound and enterprise which is as insatiable in its eclectic intent as it is contagious in its devilry. Seamlessly and inventively entwining fiery melodic rock and sultry blues spicery with a flirtatious electronic resourcefulness, and that brief description still only a thick hint of what is in store, the release simply lifts spirits and passions as one of the year’s most captivating and thrilling releases.

Black Strobe is the brainchild of Arnaud Rebotini, a Parisian musician and producer just as renowned for his instrumental electronic explorations released under his own name. Alongside this and a horde of remix work for the likes of Rammstein, Depeche Mode, The Rapture, Bloc Party, Nitzer Ebb, and Fischerspooner, Rebotini’s 1997 founded project has released a host of well- received singles and debut album Burn Your Own Church which saw its founder collaborating with Kill the DJ label head Ivan Smagghe. Live the band has equally earned potent acclaim, touring the likes of USA, South America, Japan, Australia, and Europe to great success and lighting up festivals such as Reading/Leeds, Sónar, Primavera, Pukkelpop, Dour, and Transmusicales. Now with guitarist Mathieu Zub, drummer Mathys Dubois, and bassist/keyboardist Benjamin Beaulieu alongside him, Rebotini and Black Strobe return with, we suggest, their finest moment yet, Godforsaken Roads.

Recent single Broken Phone Blues offers the first temptation and from its initial touch it is fair to say that Godforsaken Roads is in full control of excited attention and increasingly lustful emotions. An electro bubbling opens things up and is swiftly joined by the distinctive and dark toned voice of Rebotini. His voice has lured comparisons to Nick Cave and Johnny Cash and it is easy to see why as it sits somewhere between the two in expression and tone. Just as quickly a pulsating electro stroll adds its captivating invitation before guitars and bass align to jabbing beats to cast an irresistible canter over the senses. It is a virulently infectious electro rock romp which in some ways brings thoughts of The The and also Helldorado with its increasingly steamy ambience.

It is a tremendous start right away surpassed by the outstanding Monkey Glands. The track is an out and out rocker; again electro essences stirring up ears for a gripping entrance before vocals and riffs finding seeds in fifties rock ‘n’ 10646751_10152620336545266_4319895831447366858_nroll which in turn infuses even greater captivating colour into the devilish engagement. Wonderfully exhaustive in its dramatic vivacity and hungry energy, the track sets a new plateau for the album which the blues scented He Keeps On Calling Me matches with its smouldering sonic heat and melodic intrigue. Bass and guitars take centre stage alongside the relentlessly impressing voice of Rebotini, the song a forcibly seductive yet controlled spaghetti western spiced drama standing tall like a mix of Nick Cave and Fatima Mansions.

Both Blues Fight and For Those Who Came on Earth Thru The Devil Asshole keep ears and appetite hungry for the album. The first draws on a steamy funk hue to ripen its sultrily woven blues rock climate, with the guitars showing a growl and bass a throaty predation to temper the flirty swing and electro tantalising of the track. It all unites in another ridiculously catchy and addictive proposition with a touch of De Staat to it. Its successor idles in on a slow melodic and vocal croon embraced by an exotic electro teasing within a portentous and ever darkening keys bred atmosphere. It is a compelling encounter which feels like it is brewing up to a major fire, and at moments comes close, but almost taunting the listener instead just ebbs and flows with an intoxicating evocative charm and intensity which is just as gripping.

The two triumphs are emulated and over shadowed a little by the delicious cover of Johnny Cash’s Folsom Prison Blues. Held in a transfixing electronic embrace only, the song is given an exceptional make-over. Rebotini strokes its body with an individual vocal delivery but the same shadowed irresistibility as offered by Cash whilst keys simply create a seducing beauty which steals the passions whilst keeping the unique expression and presence the legendary song has always held. It is a stunning offering backed up right away by the heated temptation of Swamp Fever, a song mixing acoustic and blues rock with electro elegance around one of the most infectious and anthemic choruses on the album.

House Of Good Lovin’ revisits a fifties rock enterprise for its agitated rumble of addictive beats and blues soaked guitar endeavour; think Muddy Waters and Joe Cocker with definitely a twist of The Cramps and you get another riveting incitement on Godforsaken Roads. It though only warms up the passions for Dumped Boogie and From The Gutter. Both tracks provide a masterful feet enslaving temptation, the first riding a steamy wave of electronic contagion and the second bringing a less urgent but just as enticing electro pop waltz reminiscent of Heaven 17 to transfix body and emotions.

Levels slip slightly with Going Back Home, a dance floor spawned encounter which still shines with beacon like strength within the album but to be honest is less appetising for personal tastes, but raised again somewhat with Boogie in Zero Gravity, one of two songs exclusive to the digital copy of the album. With a touch of The Correspondents about it, the song is a tempered yet persuasive dance which though not at the heights of the more rock infused tracks leaves satisfaction full.

The album is completed by Promised Moon, a song seemingly bred under the influence of The Beatles’ Get Back and on the digital version by The Girl From The Bayou; the pair further inescapable temptations without casting the same potency of suasion as earlier encounters upon Godforsaken Roads. They still add a fine end to an exceptional release though which simultaneously nostalgic and innovative as it weaves an epidemic of ingenious sound and body gripping enterprise.

Godforsaken Roads is released on CD and vinyl 6th October via Blackstrobe Records/K7 Records and digitally @ https://itunes.apple.com/gb/album/id903413308

http://blackstroberecords.com/

https://www.facebook.com/BlackStrobe.Official

RingMaster 06/10/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

Kobadelta – Remain Distracted EP

kobelta

Having been enthralled by their rousing EP, The Hidden Door earlier this year, there was keen anticipation waiting for the release of its successor Remain Distracted. Both EPs come from the creative minds and resourceful imagination of UK band Kobadelta, and each provides a fascinating climate of sound and excitement to greedily immerse within. Remain Distracted takes the strengths and potency of its predecessor into new emotive and adventurous sonic flights, pushing the potential and emerging presence of the band into riveting and sultry landscapes. In some ways it is a slow burner compared to the last release but through a quartet of fiery and seductive songs, sets down the most potent and heady pinnacle from the band yet.

The release of Remain Distracted comes in a potent year for the Newcastle quintet which has seen them chosen to play Newcastle’s Evolution Emerging festival, as well as Stockton Weekender (with Happy Mondays and Public Enemy headlining) and Split Festival (with Maximo Park, The Cribs and Dizzee Rascal). Added to that there has also been a live session for BBC Introducing as well as numerous successful shows with bands like Allusondrugs. The new release adds another strong moment in the band’s year and one more irresistible enticement to develop a rich hunger over.

As soon as the sultry stroke of guitar from Alex Malliris opens up first track Siam, there is a potent temptation at work, its smouldering yet ripe lure a swift caress and announcement of the dark psychedelic invention the band is already acclaimed for. Another breath sees the hypnotic throaty basslines of Jon Marley join the evolving enticement of the guitar and the enterprising rhythmic framing of Chris Malliris. It is a glorious flame brought further to life by the mellow yet nicely raw tones of vocalist Dom Noble, all this against the already tantalising weave of melodic expression cast by the keys of Jordan Robson. It is a stunning track, elements of The Doors colluding with other whispers of bands like early The Horrors, 13th Floor Elevators, and Thee Exciters in an original fire of sound equipped with infectiously imposing hooks and grooves.

Repetition steps up next and instantly finds a heavier growl to its riffs, though that weight is not quite transferred to the crisp beats and elegant bassline. That restraint on some aspects and the mix of dark and light within the song works kobadelta epa treat all the same; its steady but feisty canter evolving through a sultry slow flight of immersive keys before breaking back with increasing tenacity in energy and attack. The Birthday Party like song is an intriguing shadow blessed proposition, not as dramatically gripping as its predecessor but growing into another absorbing and incendiary involvement of the imagination and emotions.

Its successor is less slow in gripping the passions, They Can’t Hurt Me floating in on another delicious almost sinister bassline. Its dark tone inspires a haunting essence to the minimalistic melody of the guitar and vocal croon of Noble, the merger offering a noir wrapped sultriness in presence and sound. There is a definite Cramps essence to the song as well as that of Jim Morrison and co, as well as hints of Damn Vandals and The Dropper’s Neck, but with an ingenious addiction sparking bait from bass and guitar aligned to similarly anthemic beats, the track is a slice of brilliance distinct to Kobadelta and their greatest song yet since forming.

The EP is closed by The Heretic, a sizzling sway of sonic causticity and melodic temptation driven by a swaggering rhythmic and riff crafted enterprise. As in other songs there is a prime hook which is inescapable for ears and passions, its coaxing leading the senses into the scorching haze of guitar and atmospheric heat of the keys. With the delivery of Noble again parading the song’s narrative with an unfussy but magnetically expressive texture, the song is a mesmeric consumption of the senses and a fine end to another impressive release from Kobadelta.

The band just gets better and better as evidenced by Remain Distracted ensuring whatever comes next from Kobadelta will be met with greedy anticipation.

The Remain Distracted EP is available from September 26th @ http://kobadelta.bandcamp.com/

https://www.facebook.com/Kobadelta/

RingMaster 26/09/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

 

The Black Waterside – Self Titled EP

10431485_620541601398113_6020783093786604949_n

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

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

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

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

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

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

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

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

https://www.facebook.com/theblackwaterside

9/10

RingMaster 02/09/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

Dick Venom & the Terrortones – The MonsterPussy Sessions

DV

Still fresh from infesting our psyche with 7” single Invasion Of The Spiderqueen, Britain’s warped rock deviants Dick Venom & The Terrortones return with the just as salaciously compelling The MonsterPussy Sessions. The new EP provides five tracks of juicy sex encrusted rock ‘n’ roll soaked in the inimitable flavouring distilled and increasingly spiced by the Nottingham quartet. It comes with a new breath of individuality too, a stronger uniqueness which twists the inspirations from the likes of The Cramps and The Stooges into a richer vein of their own distinctive carnal devilry; quite simply it is the band’s finest slice of dementia yet.

Since forming in 2010, the band has been drenching audiences in live sweat and juices across the UK, recruiting eager bodies to their mischievous stomp of psychobilly, garage rock, and old school rock ‘n’ roll. Sharing stages with the likes of The Meteors, Bad For Lazarus, Demented Are Go, The Radiacs, Vince Ray & The Boneshakers, and Vince Ripper (ex-Alien Sex Fiend) has left a lingering mark just as their own one of a kind shows and releases. The RockinRollin VampireMan EP was the first to play havoc with morals and bland music followed more recently by Invasion Of The Spiderqueen. Now with a line-up of Wrex St.Clair and Dusty Vegas alongside the frontman, the band unveils an even more potent case of rascality and mischief upon the imagination for equally increased rewards.

     Valley of the AlleyAlligator Girls sets things in motion with a blues kissed flame of guitar coaxing and swiftly joining enticing rhythms, each a sultry lure on their own whilst together a captivating bait ready for the magnetic vocal Dick Venom & the Terrortones – The MonsterPussy Sessions prowling of Dick Venom. There is an immediate swagger to the song that recruits an instant appetite for its striding temptation and sex tinged horror kissed lyrical narrative. There is the heated and commanding stroll which is to be expected from the band but also a thrilling fire of a solo and a rhythmic shakedown into the song pointing to a new breath to the songwriting and aural tempting of the band. It is a masterful feet recruiting and passion igniting start to the release which is straight away backed up by next up BellySlam City.

The second song boldly walks in with its own individual striding and ear provoking incitement. Beats pounce with an eager reserve whilst the guitar offers an almost stabbing enticement amidst the rolling bassline. It is a simple but potently persuasive romp with the warped colouring of the band oozing from every limb igniting twist and creative shrug of its old school shoulders. Like Gene Vincent meets Lux Interior with The Pirates serenading both with trash rock revelry, the track seems to bask in the lustful hunger shown for its raw charms before making way for the dark seductive spicery of Crypt Tonight. Bass and rhythms throw out a net of rock ‘n’ roll shadows with virulent hooks whilst Venom canters over its canvas with his pouncing syllables and lustful expression. Again a garage rock blues bred toxin plays pleasingly with senses and thoughts as the release shows more of the richer maturity and diablerie coursing through songs.

The delicious garage/surf rock tempting of Dead DeadBeat Delinquent teases and thrills ears next, its prime hook an irresistible breeding of addiction to which fire cast riffs and dangerously hypnotic rhythms prey. It is a glorious roar of punk ‘n’ roll driven deeper into the passions by Venom’s bracing roguishness. The best song to come out of the band, certainly recorded, the track leaves psyche pumped and energy aflame ready for the closing No Good To Get Up To. The track seemingly is driven by its predecessor too, it’s thumping beats and high kneed entrance an agitated enticement of contagion and hot creative juices which spill into washes of sizzling soul infused squalls. The impressive burn of a track brings one exceptional release to a mighty and mouth-watering close.

Though there can never be another to rival The Cramps, it has not only been us who have thought Dick Venom & the Terrortones had the potential to be the British equivalent in potency and influence of subsequent sounds and artists. There is a long way to go before the band reaches those heights but The MonsterPussy Sessions shows that the possibility could definitely be a reality if further great impressive steps are continued.

The MonsterPussy Sessions is available now digitally and as a ltd edition cassette on Jailhouse Morgue Records @ http://terrortones.bandcamp.com/

http://dickvenom.com/

9/10

RingMaster 04/07/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

Teribal Anamal – New Creature

tA

Having found a greedy appetite for US post punks Teribal Anamal through their debut EP Anamala of last year, there was a hungry anticipation for its successor New Creature when it dropped through the post. It was a hunger swiftly satisfied and more as hopes and expectations were treated to an impressive slice of imaginative incitement. Between releases, the Brooklyn-based trio has grown and expanded their minimalistic post-punk/new wave sound, bred a new maturity to the songwriting which has in turn honed their previously diverse invention into a more focused but no less flavoursome enterprise. The eight track EP, or should that be album, is an unrelenting siren of post punk provocation with repetitious beauty, one to take the previous tantalising properties of its predecessor into stronger irresistible temptations.

Consisting of Stephanie (guitar/vocals), Ryan (bass/vocals), and Chalky (drums), the band has become a potent and feverishly followed proposition around NYC. Formed around two years ago, Teribal Anamal employ inspirations from the likes of Siouxsie and The Banshees, The Cure, The Pixies, Joy Division, New Order, The Wipers, The Kills, Nirvana, Sonic Youth, The Cramps and more into their constantly evolving sound. Between the two releases the threesome seem to have concentrated on a more singular post punk side to their ingenuity, though that does not mean the array of sonic colours and new wave coaxing has been left to the side. Instead New Creature drives a steadfast intent through its chilled unfussy course with riveting washes of melodic coaxing and mesmeric enticements. It is a striking and persistent suasion which leaves passions aflame and anticipation of the band ahead even more fevered.

The release plays like one massive breath of sound and endeavour, each track emerging from each other or atmospheric howls to flow seamlessly across the senses as if recorded in one potent stroke. It starts with the delicious teribal Anamal coverShuttlecock, a shimmering sonic landing the spawning for the expected intensively throaty bass tones of Ryan and the rasping sonic squalls of Stephanie. It alone is powerful bait but with the thumping and twisting rhythms of Chalky as well as Ryan’s mellow vocal expression, the song is swiftly an entrancing fascination which permeates ears and thoughts. There is a feel of The Three Johns to the track as well as the rhythmic slavery of Gang Of Four, but with a melodic hue to the entwining grooves of sonic vining, the track is distinctly owned by the band. The effects on the vocals and at times the resonance of sound only add to the thick potent lure which irresistibly binds the passions.

The Rub takes no time in unleashing its own thrilling toxins next, the bass conjuring its own chaining enticement before the grazing scrub of guitar play its cards as again smooth vocals and gripping rhythms dance with the senses. The fuzzy pressure and charm of the song continues to build across a hypnotic repetition at its heart whilst scorched melodies and a wonderful drone quality bring thoughts of Spizz Energi and fellow Brooklyn punks The Black Black to mind. As the first, submission to its call is instant as is the response to next up Sensory, a psyche searching exploration with its own web of ridiculously compelling hooks and attention seizing rhythms within a wind of sonic and vocal captivation. As with every song, there is simplicity to the encounter which sends rapturous tingles down the spine yet a net of almost cold invention which consumes and cages willing senses.

Both Uranium Son and Vulturious keep attention magnetised, though the first reminds that many songs hold similar bait in their core suasion thus at times requiring even closer inspection. This song lures emotions in with haunting siren-esque harmonies which swarm about the insatiable drive of the flaming main temptation. It is as addictive as it is meditatively disorientating, a claim easy to place upon its successor too. A surf rock breeze hinted at in the last permeates with stronger intent across the song, wrapping senses in greater virulence as discord majesty teases ears before Owls next idles in on a rhythmic lure. It is soon doused in discordance and sonic colour too, its croon casting an emotive post punk chill within reined in punk tenacity. Impossible to resist twisting hips and voices to, the track is another unavoidable cage of anthemic and instinctive exhortation.

New Creature is brought to a pungent close with through firstly Megavolts, the track cascading sonic bolts down on the senses as it settles into a sinew strapped stride of roaming sonic binding and rhythmic compulsion. The caustic air which glances over all songs is at its most abrasing and magnetic here igniting ears ready for the majestic distortion drenched glory of Gay Vikings In Love. Almost militant in its gait and anarchic in its stringent adventure of sound, the track is an immense end to a masterful release. New Creature is another major step forward for Teribal Anamal yet you still feel there is plenty left inside for them to unveil and discover. With great offerings like this we can bask in their creative journey while patiently waiting for the realisation of all their promise.

New Creature is out now and available as a buy now name your price release @ http://teribalanamal.bandcamp.com/releases

www.facebook.com/teribalanamal

9/10

RingMaster 04/07/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com