Imicus -The Libertine

Imicus Online Promo Shot

They may have left us all hanging after their impressive first chapter and debut album, but after a two year hiatus UK melodic metallers Imicus return with a new line-up and single soaked in the same invigorating qualities and invention as before. The Libertine is a striking comeback, two tracks reminding us of how the Luton hailing band gripped attention and emotions first time around whilst providing a new expanse and depth to their fascinating and provocative sound.

Before the original line-up disbanded in 2012, Imicus was stirring up keen praise and eager support straight away from their first single Visceral, which was released on Transcend Records in 2009. Eagerly swooped on by radio and its video by the likes of Kerrang! and Scuzz TV, the song’s success was surpassed by debut album Animal Factory the following year. Alongside this success, Imicus equally drew strong responses with their live performances which across the years has seen them share stages with the likes of AC/DC, Bullet For My Valentine, 30 Seconds to Mars, Rage against The Machine, The Stone Temple Pilots, and Aerosmith as well as make successful appearances at festivals like Download, Hellfire, Hammerfest, and The Bulldog Bash where they played with such bands as Breed 77, Sepultura, Opeth, Skindred, Saxon , Motorhead, Status Quo, The Damned, and many more.

Last year saw the end to the break which followed for the band, when co-founder and vocalist Miller decided to take the band out of storage with a new line-up and intent in sound and invention. The Libertine is the first offering from the PromoImageband’s second chapter, and recorded with Russ Russell the single is a gripping incitement swiftly revealing evolution in songwriting and imagination of the band.

The Libertine swiftly encloses ears in thick layers of rugged riffs and sonic enterprise punctuated by punchy beats. It is a captivating web given further strength by the vocals of Miller and the hazy atmosphere sculpted by the skilled melodic designs cast by guitarists Matt Turnbull and Al Hutton. Expulsions of muscular attitude and intensity equally add to the compelling encounter whilst Miller sets brawling roars alongside his flowing melodic delivery and the rhythms of bassist Bradley Beech and drummer Antony Cardinal bring a predatory breath through their attack. Technically as enthralling as it is creatively melodic, the song is a rich blend of explosive textures and bracing atmospheric tension, and a mighty return from the band.

Its companion track is Medusa, a song bred from the same melodic and inventively tenacious template as its predecessor whilst uncovering even stronger evocative potency to its depths against sinews seemingly finding seeds in the likes of Stone Sour and Killswitch Engage. There is a definite feel of Johnny Wore Black to the track’s emotive hues and insightful expression whilst elegant melodies and direct passion feverishly drive its imaginative persuasion.

Both tracks combine for an imposingly pleasing and impressive comeback for Imicus, and the breeding of real anticipation for the band’s new album scheduled for next year. The band may have been away but it did not stop its potency and potential growing, as well as expanding with the influx of new creative blood.

The Libertine is released worldwide on CD and digitally September 26th from all major digital outlets as well as @ http://imicus.bigcartel.com/

http://imicusband.com

RingMaster 21/09/2014

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New Jacobin Club – Soldiers of The Mark

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Photo credit: Kathryn Trembach

It has been four long years since the release of the attention gripping and highly enjoyable shock rock opera This Treason but at last Canadian gothic rockers New Jacobin Club return with its successor, the equally thrilling Soldiers of The Mark. A leaner and more creatively aggressive encounter which leans arguably more to the horror punk side of the band than the band’s previous releases, it still voraciously embraces the theatrical drama and gothic elegance which is the trademark of the band and what sets them apart from the crowd. Soldiers of The Mark is overall though rock ‘n’ roll at its best, the band employing a wide range of flavours and styles in the body and musical narrative of a concept album which is sure to leave fans and newcomers even hungrier for the band’s inventive contagion.

The brainchild of vocalist/guitarist Xerxes Praetorius Horde (aka The Horde), the Saskatoon band emerged in 1995 as a trio but had expanded in sound and size to a ten-legged tempest of unique incitement and expression by the time of their self-titled debut album in 2001. Fourth full-length, This Treason saw the band as a seven-piece unit pushing their sounds to new depths and heights whilst live, and often accompanied by the performance artists known as the Angry Teeth Freakshow, New Jacobin Club became renowned as not only one of Canada’s but metal’s most startling and exhilarating live acts. Across the years their reputation has continued to grow as the band shared stages with the likes of KMFDM, Voltaire, The Groovie Ghoulies, Nashville Pussy, and The Nekromantix amongst many. As mentioned it has been a fair gap between albums but Soldiers of The Mark shows the band has lost none of its potent visual and musical temptation but with a new line-up honed it into a more diverse and seductively predatory proposition.

Themed by the riveting premise that “a Turn-of-the-Century Gentleman’s Hellfire Club holds meetings and conducts depraved rituals to help bring about the end of the world as described in the Book of Revelations”, the album opens with The Mark. Instantly intrigue drapes over firm beats and a hazy glaze of guitar and keys which themselves hang over the imagination, coaxing thoughts to swiftly play with their tempting. It is a slow and strangely intimidating atmosphere initially but soon stirred up and twisted into a hungry charge of raw riffs and thumping rhythms led by the distinctive snarling vocal charm of The Horde. There is no escaping the tracks infectious primal bait or the emotive elegance of cello from The Luminous which strokes thoughts from within the striding persuasion of the song. Not for the last time on the album, a Misfits like breath flirts with ears but as a passing whisper immersed in the exotic imagination of the band, its hints pale against the bewitching theremin skills of Poison Candi and the dark emotive shadows cast by the cello. Driven by the stomping beats of drummer Rat King and further coloured by a punk tenacity bred by the guitar, the track is a compelling start to the album and immediate declaration that New Jacobin Club are back better than ever.

A classical stroke of guitar strings brings the following Parade of Innocents potently into ears and imagination, it’s slightly Latin hue evolving into a magnetic mesh of sinew sculpted beats and reflective melodies which are soon PromoImageabsorbed in the drama laid by the keys of Mistress Nagini and the throaty bass lures of The Ruin. It is an enthralling start which expands into a mix of Type O Negative and The Damned to give some idea of the delicious presence of the song. As with any NJC track though every moment is just an individual turn in its journey and narrative, a fresh twist coming here through the vocal temptation of Poison Candi which seizes the centre stage. Musically the song turns and swings with sonic ingenuity and invention from all sides yet that slimmer feel and texture to the song talked of earlier is evident showing that the band’s songwriting has again remarkably matured between releases.

Champagne Ivy brings fifties seeds to its gothic punk presence, its bass and cello croon casting shadows which are simultaneously lit by the swagger of the guitar and the band’s vocals. Again it is just one aspect as heavy metal riffing teases ears within a theremin swoon and darkly stringed seduction, producing a Volbeat meets Mötley Crüe incitement but different again. Its masterful enticement is soon left in the shade by Angel MMXIV and even more so A Grey Day to Die. The first of the pair is led vocally by Poison Candi and also parades heavy metal flames this time on a short but pungent gothic horror punk canvas. It is raw and unfussy, pure rock ‘n’ roll to greedily devour before the bigger meal of its successor. The second of the two roars and threatens in one breath and then unleashes some of the catchiest gothic pop enticing you could wish for. King Rat punishes the senses with his venomous swings whilst riffs growl with every note as the bass prowls the senses but it is only matched and enhanced by the virulent chorus and its anthemic contagion musically and vocally. Imagine Calabrese and March Violets in league with The Creepshow and you get an idea of the addictive majesty.

From one pinnacle to another as Into the Fire steps up next, a gentle provocative caress of chords and the melancholic beauty of the cello warming thoughts straight away. It is a transfixing entrance which only grows as romantic melodies and expressive shadows grip the song and ears. Like a bridge to This Treason, the song of all upon Soldiers of The Mark draws on the resourceful gothic rock invention of previous albums whilst exploring a fascinating rock pop and progressive ideation.

The fiery sonic mystery of Garthim makes for the next compelling endeavour. Bringing a texture rather than narrative, vocals talk from a distance, submerged in the gripping and haunting instrumentation which spills menace and apocalyptic beauty. It is a track for the imagination to run with for varied exploits, every swerve of its almost hostile causticity and its persistent melodic intrigue setting up the appetite for the outstanding romp of My Smile. Folkish in its infectious charm and rockabilly like in its tenacious enterprise, the track bounces around like an offspring of The Horrorpops but tempers its revelry with the mesmeric emotional drama of the strings and gothic keys alongside the sheer inescapable seduction of the theremin.

The album ends as strikingly as it starts with firstly the exceptional Seal of Metatron igniting the passions. With sonic washes lapping senses from time to time, the song is an aggressive yet controlled storm of heavy rock and gothic passion which takes every opportunity to wrong foot and surprise ears and thoughts with its innovative exploration. Its scintillating proposition is backed up by the irresistible rock ‘n’ pop of Return to Eden. With the cello melodically sighing around the pop vocal delivery of Poison Candi, the song instantly seduces before firing up feet and emotions with its unstoppable contagion. The track is gloriously mischievous in tone and vivacity, reminding easily of The Rezillos, yet has a psychobilly edge which only pushes its drama to richer success.

Soldiers of The Mark is New Jacobin Club at a whole new level. The band is still one of gothic rock’s finest protagonists but the band has now set down firm marks in rock ‘n’ roll a whole with rewarding recognition surely set to follow.

Soldiers of The Mark is available now digitally, on CD, and as on 12″ Vinyl with a hardcover companion book @ http://www.newjacobinclub.com/webstore

http://www.newjacobinclub.com

9/10

RingMaster 03/09/2014

Copyright RingMaster: MyFreeCopyright

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Studfaust – Where The Underdogs Bark

Studfaust Garage

It is hard not to be turned on by a heavy dose of dirt encrusted, liquor encroaching rock ‘n’ roll and it does not come in much finer form than that which spills voraciously from the might of Norwegian protagonists Studfaust. A third heavy rock, third filth coated metal, and the final segment pure punk rock, the sound conjured up by the Oslo/Bergen hailing trio is pure venom fuelled antagonism. Imagine The Exploited and The Damned in their early days in salacious cahoots with Twisted Sister and Black Sabbath in the distinctive bed made by Motorhead and you get an idea of the weighty thrills and hostile rampage which makes their new mini-album Where The Underdogs Bark one of the year’s treats.

Studfaust was unleashed in 2011 by vocalist/guitarist Tore Bratseth aka Stud Bronson (ex- Old Funeral, The Batallion, Bömbers) and Bård “Faust” Eithun (Emperor, Blood Tsunami, Mongo Ninja). That same year they recorded and released debut single Half Human, Half Dynamite /1980’s Ladies to strong responses, its vinyl release via Soulseller Records subsequently sold out whilst their gigs equally stirred up attention and fans. The line-up became three soon after with the recruitment of bassist Pete Evil (Blood Tsunami, Mongo Ninja, Hellride). Again uncaged through Soulseller, Where The Underdogs Bark riles up ears and passions from start to finish with an instinctive wickedness which easily suggests it could and should trigger the widest spotlight upon them, certainly its devilry deserves it.

Half Human, Half Dynamite is the first riot to accost ears and instantly sets the juices flowing with raw and abrasing riffs aligned to urgent rhythmic provocation. Vocally too the track simply sparks the purest punk rock instincts Studfaust cover 2400x2400whilst grooves and spicy hooks tease and play with the imagination through mischievous rapacity. It is a glorious stomp and easy to see why the eager reception when released as that first single.

The following title track is just as feverishly contagious and incendiary. Caustic riffery from guitar and bass is courted by a simple but ridiculously addictive groove from the off as Eithun swings his sticks with all the muscular contempt he can muster. Within two songs Studfaust shows they have no interest in anything other than adrenaline driven, dirt kicking rock ‘n’ roll with a metallic predation to its raw devilment, the second track the perfect example with its unfussy and bordering on hostile ferocity.

A southern rock twang flirts with ears and thoughts as the next up Hell Is Full embraces the senses. Its gait is a slower heavy metal stroll than that of its more abusive predecessors and similarly veined with a repetitive and relentlessly attentive grooving and enterprising sonic causticity. There is a fire in the belly of the song too which gives it a distinctive toxicity to the others, whiffs of AC/DC and Turbonegro enhancing the abrasive seduction before it all departs leaving the floor clear for the punk aggression of Street Judges Gavel to roar and spill its feverish sweat upon it. A sense of Discharge adds another hue to what is, like all tracks, a seemingly Lemmy and co inspired canvas of middle finger energy and honest senses abusing creativity.

The outstanding Erection Of The Egoist with its ravenous and carnivorous bass swagger and infection spewing grooving takes the album to another irresistible level. The vocal squalls driving it are as uncompromising as the viciousness of the rhythms whilst that imposing lure of Evil pungent bait is as trapping s ever, but the real submission grabbing edge of the track comes with the lethal hooks and spicy grooves out of Bronson’s guitar.

The release closes with firstly The Devil Of Mine and its punk fest of flesh flailing riffs and rhythms bound in funk infested basslines and lastly the irreverent temptation of 1980’s Ladies. The first of the two growls vocally and musically with a pissed off attitude and intensity whilst its successor is sheer glam punk ‘n’ roll, kind of like Sex Pistols meets Towers of London for an inescapable and infectiously addictive rampancy.

Where The Underdogs Bark is not trying to invent or even reinvent the wheel but for a bodily fluid soaked slab of real rock ‘n’ roll it is hard to think of anyone who has thrilled and impressed as much as Studfaust do on their album. A must for all punk and metal infused rock ‘n’ roll fans everywhere.

Where The Underdogs Bark is available via Soulseller Records now @ http://www.soulsellerrecords.com

https://www.facebook.com/Studfaust

9/10

RingMaster 15/08/2014

That Massive Bereavement – Sugar for the Masses

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The last time we heard from That Massive Bereavement it was with their raw and dirty Eat The Rich EP, a release which grated upon and pleasured ears in equal fashion. It was caustic and uncompromising but suggested a healthy future for the UK band which has been more than reinforced by its successor, the outstanding Sugar for the Masses. The new seven track release finds the band strapping on a maturity and creative mischief which was merely hinted at on the previous encounter. It is a brawling proposition which again fuses grunge, punk rock, garage rock and plenty of other filthy essences, but the band and release has become a whole new proposition now. The EP not only realises their early promise but has nurtured it into a thoroughly captivating and incendiary riot of thankfully still unpolished but feverishly riveting rock ‘n’ roll.

Hailing from the Medway, That Massive Bereavement draw on inspirations which include the likes of The Fall, Therapy?, The Replacements, Wire, The Pixies, Sonic Youth, Pavement, Swell Maps, and Joy Division. Plenty of those are often open spices in songs but only as colouring to their striking abrasive sound and enterprise. Eat The Rich was a release which you could see rubbing as many people up the wrong way as it recruited ardour clad fans such its uncompromising and in comparison to Sugar for the Masses, naïve presence. Sugar for the Masses though is an incitement you can only see recruiting eager attention and hunger for the band, the quartet of vocalist/guitarist Aidan Hehir, lead guitarist James Feist, bassist Peter Bevan, and Colin Antilife Jervis on drums breeding all the qualities of their debut into a broader contagious and skilfully delivered bait.

The release sets off after the passions with Colin Farmer (Will Have His Revenge On Lancashire), a grisly bass riff bringing the opener instant attention. Its lure is soon added to by a feisty rhythmic provocation and a sonic wash of a1016014884_2acidic enticement. The track already has senses and appetite in its fiery hands, its emerging rapacious stroll antagonistic rock ‘n’ roll with a flush of The Stooges, Rocket from the Crypt, and even a touch of Lemmy. Hooks litter the thrilling confrontation as well as jagged riffs and lust searching grooves, it all combining for an insatiable tempest of attitude with persistent spills of sonic secretions and punk irreverence.

The outstanding start is followed by the brief endeavour of Jellied Eels. A track which reminds straight away of the seventies and bands like Swell Maps and Television Personalities, it strides with a big grin on its chords and rhythms whilst the lyrical tempting is loose in its seriousness but just as magnetic as the roar of an explosive intensity and aggression which also spears the excellent slice of revelry.

The imposingly impressive start to the EP is kept up with Bullet, its body a stalking prowl of caustic submission and seemingly defeatist passion. It is only a suggestive shade to a track which is unrelentingly defiant in sound and confrontational in its aggressive provocation. Guitars spill venom and rhythms swing unchecked punches to explode in the ears, but it is the raw reflection of the vocals and a sonic enterprise which sears the senses that loads the song with a vibrancy its premise defies. It is a compelling slab of incitement which is weighty in sound and presence and a total contrast to the punk devilment of Rupert Murdoch’s Death Wank. The track strides with adrenaline fuelled ferocious riffs and stabbing rhythms led by the individually brawling tones of Aiden, but interrupts that charge with staccato sculpted breaks in its gait and sonically swirling guitar imagination. It is two minutes of garage punk addictiveness to lay further enthused emotions upon.

Nine Toed Woman again has a broad smile and lustful appetite given in return for its hook laden punk temptation and lyrical ‘insight’. Thoughts of early Damned and The Adicts spring to mind but again it is a song with a presence which carries familiar traits without definition ensuring it is a fresh and ridiculously infectious slavery for ears and passions. There is no doubting that That Massive Bereavement has also honed their ability to sculpt hooks and lures which instinctively find a home in the listener and probably on Sugar For The Masses in no more potent way than right here, though the following title track might differ. One minute of sheer hostile punk rock with another hook which lends to addictive behaviour whilst merely two lines lyrically help cast an irresistible anthemic bait, the track is punk/roll in raw and gripping form.

The release closes with the post punk brilliance of Desolate, a track unmistakeably bred from a Joy Division influence but bound in a rich melodic ribboning which seduces the imagination. It is merely one aspect of the almost seven minute treat though as within its repetitive minimalistic coaxing it explodes with the rawest grunge infused explosions of sound. Coldly and hauntingly seductive in one breath and bordering on corrosive in another, the track is a fascinating and enthralling proposition which makes powerful suggestions about the direction the band is heading.

High hopes for Sugar for the Masses were left looking lightweight by the end of its incitement of ears, the release nothing but evidence showing That Massive Bereavement has grown from a promising band into a dramatically impressive protagonist with still plenty of potential to be realised you feel.

Sugar For The Masses is available now @ http://thatmassive-bereavement.bandcamp.com/album/sugar-for-the-masses

https://www.facebook.com/MassiveBereavement

9/10

RingMaster 23/07/2014

Copyright RingMaster: MyFreeCopyright

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Smilex – La Petite Mort

Smilex

Part devious, part psychotic, and all compelling, La Petite Mort is an album which revels in uncompromising and distraught rock ‘n’ roll. It is an encounter which sits easily alongside recent gems from imaginative UK protagonists like Mojo Fury, The Dropper’s Neck, and Japanese Fighting Fish, from a band crafting and inciting for over a decade garnering a sizeable reputation. Oxford quartet Smilex now look ready to stand alongside the greats of the UK scene with their new album under their thrilling creative wing. It is a mouthwatering adventure, one which is wonderfully unpredictable and occasionally meandering in its success but most of all it is a masterful persuasion which makes the world great and urges the mind to explore its insanity.

La Petite Mort follows several well-received and acclaimed releases on, like the new album, Quickfix Recordings, as well as compilations, a collaboration with MC Lars, and a split release with the mighty Young Knives. Equally renowned for their live performances which has seen the band share stages with the likes of The Damned, The Datsuns, and The Eighties Matchbox B-Line Disaster, the latter you suspect an inspiration on the band going by the new album, Smilex has enslaved their locale and surrounding areas with their gripping sound. Now with the weightily flavoured La Petite Mort you can sense that the rest of the country and further afield are about to fall before them too.

Mixed by numerous contributors including Ace of Skunk Anansie with whom the band has worked before, the album from its first covermoment is immersing ears and imagination in an ever evolving and twisting array of styles and maniacal enterprise for a blisteringly potent and striking adventure. To be honest its start bred reservations before ardour, 9hz not making the dramatic impact certainly initially as expected though it wins its case ultimately. A single guitar teasing starts things off and is soon joined by the great earthy voice of the bass and keenly unpredictable rhythms. It is a gentle coaxing which invites attention, especially with the addition of the expressive delivery of Lee Christian. It is not a dramatic entrance to grip the imagination though it is fair to say that the bass skills of Jen Acton (replaced in the band since the album by Olivia Luce) seduce and floating restrained harmonies bewitch. Into its narrative with the guitar of Tom Sharp and his supporting vocals bringing extra spice, the song has an air of The Eagles to its emotive breath whilst simultaneously a brewing weight of shadows and intensity grows and intimidates as a fiery raw surface for the senses to be wrapped in emerges. It is an engagingly and impressively designed proposition but one which fails to find that spark to greatness.

That trigger is found and pulled with both Deadman’s Dirge and Wasted Youth, the pair instantly adding new character and anthemic urgency to the release. The first explodes with a punk tenacity and hunger as well as power pop meets noise rock vivacity. It is a delicious slice of psyche twisting ingenuity, the vocals ensuring the ride is testing and enthralling whilst the rhythmic skills of Pat Holmberg again thoroughly impress. As it caustically seduces there is a feel of The St Pierre Snake Invasion to the brawl as well as a sniff of Melvins to its intrusive imagination, a mix which ignites anticipation for its successor. The second of the two like the first, saunters in on a gentle breeze shaped by guitar and rhythms around the slight angst kissed vocals. Young Knives comes to mind swiftly, though to be fair as it flares and erupts, the song soon has something unique to offer. It is a raw and acidically sultry persuasion which though not quite matching its predecessor sets another appetite provoking flirtation in motion.

Revive The Revival similarly has a abrasing edge to its melodic dance and enticing body, but also a thrilling invention which means ears and emotions are treated to fondling melodies, noise bred rapaciousness, and a rhythmic examination which leaves senses exhausted and blissful. As deceitfully contagious as it is menacingly disarming, the track is a glorious tempest of primal rock ‘n roll to set the passions ablaze once again.

The following What Is It You Actually Do Again?! enters on a reflective emotive caress of guitar accompanied by bas and rhythms and vocals, a start the band seem to like almost too much as it does offer a little predictability. To counter that though the elegant starts are more often than not followed, as here by varied and incendiary sonic hues and enthralling drum manipulations as sparking spears of sound and invention also escape into and from the very decent start. The track itself twists and turns like a Eastern dancer, sinews and rippling melodic flesh enslaving the imagination.

The carnivalesque mystique of La Valse Macabre makes another entrancing canvas upon which the imagination in its painting joins up with guitars and vocals, a wealth of rhythmic and harmonious hints adding their distinctive colours along the way. Merging a folkish indie essence with raw rock and metallic hunger, the track is a dark landscape which seduces with persistently shifting voracity, in many ways preparing the way for the outstanding Evil. With robust intensive rhythmic work from the excellent Holmberg and carnivorous stabs and riffs from Sharp, the track is instantly riding the passions with its metal spawned rock ‘n’ roll. It is a predator of a song but one determined to have fun as it explores a blues rock and melodic metal scenery to keep things unpredictable and rigorously captivating. It is a beast of a suasion, almost toying with the listener as it seamless merges metal and stoner-esque predation for an exceptional creative ferocity.

The lofty heights continue with the haunting atmosphere and melodies of Manatee, a mermaid of a song which lures and seduces with siren like beauty but equally is cloaked in shadows and heavy emotions to endanger and threaten. It is a masterful aural portrait inspiring thoughts and feelings whilst providing an intensely smouldering landscape to bask within and escape into. From vocals to bass, guitars to drums, the track steals the listener away, examining and inciting with every note and syllable.

The release is completed by the terrific garage punk stomp of Please Do Not Feed The Drug Child, a brilliant bruise of punk infused rock which is virulently infectious, and One Woman Man. The final song provides stretches of nagging rhythms and niggling riffs around emotive vocals and reflective melodies with further inventive passages of reserve and rabidity. It is a track which takes longer to win over thoughts but given time emerges as a wonderful creative tango furthering the potential and weight of the songwriting and its realisation. The track makes a fine end to an outstanding album, one which even with moments which do not quite meet personal requirements more often than not has those same wants overfed and even greedier. Smilex is the future of British rock ‘n’ roll in tandem with a wealth of other psyche reshaping bands, are you ready?

La Petite Mort is available digitally and physically via Quickfix Recordings now @ www.smilex.co.uk

8.5/10

RingMaster 13/06/2014

Copyright RingMaster: MyFreeCopyright

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Limozine – Party On The Bus/Tequila Shots

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

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

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

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

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

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

http://www.facebook.com/limozineband

9/10

RingMaster 09/06/2014

Copyright RingMaster: MyFreeCopyright

 

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Dirt Box Disco – Bloonz

 Holly Monroe Photography

Holly Monroe Photography

With more individual anthems than the amount likely to be heard at the upcoming Commonwealth Games, UK punk rockers Dirt Box Disco are poised to unleash their new album Bloonz. By now with their third album you could be tempted to think that the Burton-on-Trent quintet might have matured and grown up into a big boys sound but thankfully the band has refused to be swayed by the sensible side, the result another immense and irrepressible riot of prime cut punk ‘n’ roll. Do not make the mistake of thinking the band has not pushed their sound and craft though, it is just their devilry and imagination which has refused to mature as confirmed by the voice of the track King Of The Castle on Bloonz. The album is their most richly flavoured and spicily inventive mischievous incitement yet, the kind of stomp infamy licks its lips over.

Formed in 2009, Dirt Box Disco has been unrelentingly climbing the ranks of punk rock since making their first startling mark with riotous live performances and the Are You Ready? EP of 2011. One of the most turbulently energetic and mercilessly fun bands on stage, their reputation and stock has risen insatiably especially over the past couple of years, aided no end by the release of their debut album Legends and its successor Peoplemadeofpaper. Both releases were deservedly soaked in acclaim and generated waves of new appetites and attention upon the band, a track from the second of the two finding itself the soundtrack to a recent big cosmetic advert. It is hard to imagine Bloonz not only emulating their success but firmly slapping the band onto the top table of European punk and rock ‘n’ roll.

As soon as the first breath of Standing In A Queue hits the ears you know you are in for another thrilling and exhausting ride with the Printband sound, the track frisking from the outset with the devilishly coaxing vocals of WEAB.I.AM as the urgent riffs of DANNY FINGERS and SPUNK VOLCANO lay down an irresistible instant tease. With the crisp beats of MAFF FAZZO aligned to throaty lures provided by bassist DEADBEATZ CHRIS and the whole band backing up on anthemic vocals, it is Dirt Box Disco back doing rock as only they can. That is only part of the tale though as sound wise the first signs of a flavoursome expanse is apparent, the song fusing in a virulent strain of pop punk with more than a whisper of early Green Day if given a make-over by the equally early years of The Damned to it. The track is an outstanding stomp which grips feet and nether regions in a salacious charge of energy and contagion.

The following We Are The Rejects lets rawer sinews have their moment whilst an infectious toxin permeates every note and syllable. The guitars open with a scuzz lit antagonism, slowly scowling before raising their rabidity and energy whilst creating a caustic lure with raw metallic spicery. Surging guitar squalls and adversarial rhythms drive the song forcibly across the senses and feverishly into the imagination, the expected full addictiveness of the chorus and its lighter croon unable to stop the track from being the heaviest imposing treat on the album and probably from the band ever.

Rewind And Eject takes its lead from its predecessor, again finding a more violent voice to its breath and scrub of opening guitar, an intimidation stood over by the ever rebel rousing tones of WEAB.I.AM. From its sterner start the song opens up with flowing melodies and inescapable vocal hooks, though the guitars still stalk with an acidic dispute to their sound and essence. Though not as dramatically gripping as the first two songs, it grows into another inescapable suasion before being pushed aside by the muscularly striding Bullshit. Gripped by caustic grooves which sear the senses within a cage of muscle bound rhythms and cantankerous riffs, the track forges another diverse presence, one which steps out as an accusing predator with lingering hooks and anthemic griping draping every twist of its fierce body. Providing further proof of the evolving invention of the band across the album, that intimidation is then strapped by an ingenious sonic binding, rich grooves winding tightly around the passions for Skids like tempting lining the ’77 bred core of the song.

We are only four songs in and already have experienced a quartet of individually sounding triumphs, the fifth soon stealing the show as King Of The Castle explodes in the ears. Lurching into a rumble of agitated rhythms, corralling vocals, and predatory basslines, band and song stomp and taunt with impossibly contagious exploitation of the already submissive passions. That Green Day spice is again at play but similarly you can suggest essences of Bad Religion and Turbonegro in varying degrees to the unrelenting addiction brewing rampage. With guitars blazing with craft and incendiary relish, rhythms rousing up pulse rates, and vocals charming up the defiance and immaturity in us all, the track is another glorious pinnacle of Bloonz.

Both 9 Lives and Welcome To Hell settle into easily accessible and eagerly inspiring slices of attention stealing rock ‘n’ roll. Neither set the fires burning in the belly as certainly the previous track, but both show that when Dirt Box Disco are simply roaming comfortably within their own creative walls they are still looking down on the invention and presence of most other modern punk bands. The two songs leave lips licked and greed happy, the second especially notable with its foraging of garage punk corners for a blues kissed sonic fire of appetising rioting, before the excellent pair of I Swapped My Brain and Supreme And Gobshite decide to take their hefty portion of the plaudits. The first of this two is fuelled by a mix of The Ramones and Radio Stars, an incorrigible brew obstructing any resistance of its head on riot whilst its successor latches onto a Buzzcocks bred synapse scything groove, riding it hard for a boisterous and combative bruising employing thumping rhythms and sedately savaging riffs. The most aggressive anthem on the release, the track burns and riles as it seduces, riling passions to stand up and roar their approval. It is another twist in the mouthwatering variety of the album, again a song where despite all the comparisons offered, it and all tracks are pure Dirt Box Disco.

   She Goes Out captivates the senses next with uncomplicated riffs and searing flames of melodic and vocal enterprise, all courted by sonic invention. As eager in its unbridled anthemic call as in the creative heat of its solo the song is a siren, its potent bait soon repeated in another guise by Golden Frame. Less forceful in its still merciless enticement, the song simmers and worms relentlessly under the skin. The grouchy growl of bass is the first potent trap swiftly followed by feisty riffs and tightly binding solos, all guided by the excellent legion of harmonious vocals. It all combines for aural slavery of the senses feeding an admittedly already biased appetite for the band until it breeds a new level of hunger.

The album is closed by one final brawl of sound and intent with the thrilling We’re Going Out Tonight. Punk n’ roll at its most commanding, hungry, and epidemically infectious, the track is a blistering finale and sums up the good bad things about the band. To be honest we were expecting good things from Bloonz simply on the evidence of the previous Dirt Box Disco albums but it leaves those thoughts seeming very reserved in their hopes. It is an album which just gets better and motivates greater bad habits the more you spend in its diablerie; the choice protagonist for all rockers everywhere.

Bloonz is released via STP Records on April 26th and available @ http://www.stprecords.co.uk & dirtboxdisco.bigcartel.com

http://www.dirtboxdisco.co.uk

10/10

RingMaster 23/04/2014

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