The Vox Dolomites: Down For Three / Joan & Frank

vox d

    2013 is primed to be a big year for UK punksters The Vox Dolomites as one of the best and musically resourceful bands in British underground rock n roll release their debut album and a film of the Japanese tour they undertook in the closing weeks of last year. Before both of those forthcoming treats though the band has today put up two teasing tracks as a free download on their Bandcamp profile, two more songs ensuring their album will be an irresistible temptation upon its appearance.

The Stockport quartet of guitarists/vocalists Ant Walsh and Will Farley, bassist/vocals Chris O’Donnell, and drummer Simon Dunnington, have placed the songs Down For Three and Joan & Frank as their newest enticements to their accomplished and thrilling sounds. The members are forever mentioned as ex-members of One Man Stand, The Leif Ericsson and Spiteful Way, and we are no different, but now truly they stand as an immense entity as The Vox Dolomites, one with a character, distinction, and presence which overrides all history. Their sound is an uncompromising riot of directness and energy with songs either driven by a punk attitude or a ska swagger, occasionally though whisper it in their presence, both at the same time. Previous releases in their debut demo EP and the Japanese Tour EP left fans and media keen with their acclaim and ardour whilst live performances around the UK and 2447279504-1as mentioned in places like Japan, has earned the band the recognition of being one of the most thrilling and hardworking live bands around.

Down For Three immediately grips the ears and thoughts and leads them with eager hands on an energetic stomp. A deep alluring bassline from O’Donnell strolls through the centre of the song whilst the guitars of Walsh and Farley tease, stroke, and reward with precise anthemic riffs and passion igniting craft. Though not exactly a pop punk song, bands from that field could learn so much from The Vox Dolomites, their hooks and melodic infection a pure form of pop latched on to a vibrant and compulsive flame of honest rock n roll. With the added lingering kiss of the keys and great raw vocal harmonies, the song leaves a full and by its end impatient lust for the new album, oh how this band torments.

Second song Joan & Frank is a reworking of a track from the Japanese Tour EP. On the former release the song was an impacting ska joy with a mischief and melodic boast as irresistible as its inventive intent. Here the track has been given a punk make-over and emerges as a completely different presence which equals its earlier guise so that it is impossible to have a preference.  The stark and disturbing tale has a different stance in many ways due to the new approach but neither loses or gains power or greater relevance compared to the earlier song down to the quality of both. If the new version loses out to the first it is only in it is over so quickly, but that is what repetition is for, press and go again and again…

As mentioned with album and film coming, both we will cover here upon their releases, The Vox Dolomites should find a deserved expanse of recognition and even greater success, though the band only cares about giving the best passionate sounds and they have done that with each release to date, something you cannot see ever changing.

Grab your download of the new songs @ http://thevoxdolomites.bandcamp.com/

https://www.facebook.com/thevoxdolomites

RingMaster 01/03/2013

Copyright RingMaster: MyFreeCopyright

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Cattle: Self Titled EP

AT18 - Cattle - EP front cover. Eunuch version. Black and white scan.

When approaching the site for a review of their new self-titled EP, UK noise distressers Cattle described their sound as ‘noise rock in the vein of Big Business, Jesus Lizard and Godheadsilo’. That just about sums up their outstanding release though they forgot it also has a very healthy vein of Morkobot about it too. The four track behemoth of noise and sonic intrusion is simply a masterful brawl upon the ear and one of the first real treats of the year so far.

From Leeds, the trio of Tom, Ant, and Chris manipulate air, thoughts, and synapses by unleashing the primal passions of voice, bass, and drums into a tempest of corrosive splendour. The band formed in the summer of 2012 with all members previously featuring in local bands over the years. It is band for which the term DIY was invented, the members in every aspect of their musical presence and upon the release produced each and every turn of its muscular confrontation from  mixing and recording to packaging and its release.

First track Rockets opens with a lone resonating bass thought, its presence emotively languid and to be honest not necessarily the most obvious of invitations. It is just a melancholic breath though, an aural sigh before the instrument picks up its head and starts to capture the imagination and attention with skilled and devious expertise. With magnetic unpredictable beats and air hassling vocal squalls the track evolves into a grooved conspirator which in no time has caged and fired up a lustful ardour for its virulent sound. Vocals soon score and graze the senses with their scowling spite whilst the drums pick the ear with lethal, concise, and uncompromising accuracy. By the time the track is reaching its compelling climax there is a maelstrom of irresistible invention and caustic passion at play which entices like a devilry conjured by a hybrid mix of again Morkobot and Rip, Rig & Panic.

The following Whoa Bessie initially teases with melodic bass incitement soon accompanied by resonating forthright beats and then gradually expands into a sludge lent swagger and corruptive intensity. Into its magnetic stride the track greedily ravishes the atmosphere, its raw distorted voice a sonic abrasion at its most delicious and the vocals themselves an undisguised fury with a wonderful lack of definition and restraint. The bass perverts the clarity of its notes into a twisted and riled grind with a touch upon the senses as vexatious as a sand blaster giving extra venom to the glorious scourge upon person and thoughts, and though it does not reach the contagion of the first it is a persuasive and thrilling irritant.

Sun Fangs and Wide Eyes is a sonic seduction from its very first breath, the cleaner yet still roughly glazed vocals given a clear run at the ear as the bass and beats pick their punches and spots around them. A storm soon consumes the ambience of the song though to envelope the listener in another infectious quarrel of noise and fuzz coated energy. Like all the tracks it brings dissidence to its encounter which impacts and excites whilst continually scarring and exploiting  already smarting wounds each delivers with insidious craft to leave one breathless and hungry.

Final track Pyramid Shaped Hole has improv looseness to its tempestuous stomp of snarling riffs, tempting rhythms, and jazzy wantonness. Like throughout the release, the sound is a thick and imaginative wash with the carnally driven side of the bass especially irresistible and intimidatingly entrancing, but on the closer everything finds extra mischief and riveting imagination to ignite the same in the listener.

Cattle is a band you know will only get better and better which on the evidence of their outstanding EP is a truly exciting thought. Noise has never come in a finer blistering sonic frenzy and is waiting for attention as a name your price download @ http://cattle.bandcamp.com/

www.facebook.com/CATTLEBAND

9/10

RingMaster 01/03/2013

Copyright RingMaster: MyFreeCopyright

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Barnyard Stompers: The Way-Gone, Wild and Rockin’ Sounds of …

Barnyard stompers

    We have always had a tendency here, more a mission to be honest, to stay away from barn dances but that resistance could be seriously challenged if such events offered up the same riveting heart igniting sounds which make the Barnyard Stompers album, The Way-Gone, Wild and Rockin’ Sounds of … such a magnificent dance of devilment and fun. The release is a storm of diverse and insatiably mischievous songs which leave no rockabilly, cowpunk, and country blues stone unturned and equally ensure there is no passion or form of musical seduction untouched.

Barnyard Stompers consists of Casey Miller (guitar, vocals, kazoo) and Megan Go-Go Wise (percussion and backing vocals), two musicians who over the years have brought invigorating sounds in such bands as The Hillbilly Hellcats, The Bop Kings, Vibes on Velvet, The Kozmik Kowboyz, and Buckwild. In their new venture of around a year old, the pair fuses a mix of outlaw country, Texas stomp, blues, and rockabilly into their own distinct romp of irresistibility, self-tagged as backwoods twang. Since forming the band has played in excess of one hundred shows and performed before audiences within over fourteen states as well as releasing this riotous treat, so obviously they are a duo that is unrelenting in their work ethic and desire to thrill their fans, something the album does with dirty ease.

The album instantly brawls with the senses and heart through the opening intro Let’s Go Stompers, a short call to arms for Record Coverpassions and feet through a raw and unbridled energy. From its raucous challenge the following Devil On My Shoulder lays a smouldering bluesy arm around the shoulders and serenades the ear with guitar mystique before steeping into an invigorating rockabilly stomp of firm beats, eager guitar, and inviting vocals veined with sonic flames which shimmer in the heat of the song. Across its stroll the song darkens its shadows with vocal effects and a sinister glaze to its compelling charge. It is a mighty full start to the album as it holds court over the passions steps forward as one of the major highlights, of which there are many, upon the release,.

Bad Tattoo offers up a character drenched narrative wrapped in a Waylon Jennings/The Reverend Horton Heat like glaze to further the set in satisfaction but is soon overwhelmed by the delicious blues croon of Love Long Gone, a song which plays like the love child of Elvis track That’s All Right and Say Mama from Gene Vincent. It has a familiarity about it which only endears and is brought with a craft and passion which leaves the listener mutually involved. Across the album many artists and flavours are provoked thought wise as with next up If You Want Me, a Buddy Holly/Carl Perkins spiced gem, though none settle into a recognisable stance due to the invention and devilry of the band and the songwriting.

Consisting of seventeen prime slices of varied temptation the album is a bumper crop of pleasure from start to finish which arguably in a release of this size is unexpected but wholly welcomed. Other notable moments of extended satisfaction comes in the more eclectic songs such as the version of traditional Irish song, Whiskey In The Jar, made most notable from the Thin Lizzy take on it. As with a later song on the album, Danny Boy Stomp, the Denver pair delivers the tracks with a caustic allure which is best described as Dropkick Murphys meets The Pogues, and a gravelly treat it is.

Songs such as the high octane dusty road cruiser Got Me A Trailer and the excellent garage rockabilly horror Nazi Zombies spark further riots of lustful passion for their unpolished instinctive rock n roll, whilst ’59 Black Cadillac is simply the highway to tarmac ardour with its smoking riffs and rumble strip rhythms. Other personal favourite moments where the album finds additional areas of pleasure to molest come with what can only be called mariachi ska in the song Rudeboy On The Highway, where the kazoo of Miller is impish upon the quite sizzling vaunt, and the Mexican punk fiesta El Carretero, not forgetting also the equally punk coated Question.

Every second and note of The Way-Gone, Wild and Rockin’ Sounds of … is the instigator to a hunger for much more from release and band, something which will be answered when the band release their follow-up album later this year. It is a stomp with no demands but to have fun, something which is as mentioned before is criminally easy.

www.barnyardstompers.com

8/10

RingMaster 01/03/2013

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Electric Shit: Downtown Blues

Cover Front

    The combination of blues and punk can often make for a dirty slab of pleasure which thrills and energises the appetite whatever the hunger the time. The new single from Mexican trio Electric Shit is certainly evidence to that, a two song attack of raw insatiable rock n roll which whets the taste buds. The release is unrefined and raucous with the kind of honest sound which goes a long way and on this occasion certainly leaves a depth of satisfaction and enjoyment which cannot be dismissed as just another record from just another band.

From Ecatepec, the band consists of Marco aka Thee Preacher (guitar and vocals), José Reza aka Leadbelly (bass), and Eduardo H (drums) and was formed around a year ago.  There is not much else we can share about the band except to express further the promise and pleasure their single provides a declaration for.

The title track is immediately a fiery encounter speared by sonic flames and a pulsating throaty bass groove. Its initial blaze soon settles as the excellent bass groan and crisp beats drive directly through the ear for a stronger compelling enticement whilst the swagger of the expressive accent soaked vocals brings an extra persuasion to the infectiousness of the song. The continual groove is repetitive and in league with mesmeric shadows to bring a firmly gripping captivation from first note to last which allows the skilful craft and acidic spirals of fire from the guitar of Marco to sizzle as it offers its own full temptation. Admittedly the song does not ignite any undiscovered avenues but with a stoner breath to is riled core and a roughen blues surface it catches the imagination with every scuzzy surface it brings.

As strong and appealing as the first song is, second song All My Troubles leaves it in its garage punk wake. Starting with a bass hook to open vats of nostalgia and soon finding an accomplice in the great Richard Hell like vocals in that deed, the song is punk rock at its best aided by another rich pulse of blues rock n roll. The groove and swagger of the song leaves a grin on the face and emotions whilst the drums and bass enlist feet and thoughts to their uncomplicated contagion. Once more the guitar of Marco leaves sparks with his great sonic fire which seamlessly expels from within his constantly enthralling riffs and adding to the instinctive feel of the song.

With debut album Dirty & Heavy due later in the year, Electric Shit has raised an excitement and anticipation for its release with heart and accomplishment. Downtown Blues and especially All My Trouble are the strongest persuasion for an investigation in to the forthcoming release and to keep a steady eye on this impressive band.

Find out how to get your free download of Downtown Blues @ http://www.facebook.com/electricshit

8/10

RingMaster 01/03/2013

Copyright RingMaster: MyFreeCopyright

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Pigeon Lake : I: Mindrape EP

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    The I: Mindrape EP from Norwegian band Pigeon Lake is one of those releases which you instantly take a shine to, its initial persuasion rich and strong enough to declare a lasting friendship with, its impressive sounds a given temptation. This immediacy also generally means a brooding greater passion the more time spent in the company of the instigator and this release is certainly no exception.

The quartet from Oslo brew up a textured sound which continually evolves through hard rock and metal, mixing the two and further open flavouring for an equally bruising and alluring encounter with strong magnetism and open passion. Made up of seven tracks, the EP is a thoughtful and superbly crafted with a mutual involvement of aggression and seduction in its intent. The line-up of Christopher Schackt, Magnus Engemoen, Andreas Prestby, and Anders Børresen, are not arguably forging new horizons on their debut but for an introduction it is undoubtedly compelling and deeply promising whilst leaving a level of satisfaction some bands can only dream of.

The Intro to the release is a heavy thrust of doom soaked resonance with a snarl and hunger to it which is transferred through its 18313_493180107372016_1317142159_nsavage rhythms and rabid riffs, not to mention the exhausting ravenous voice the band employs. It is a tremendous start which deceives in many ways as despite some brief melodic veining the instrumental holds a primal intensity to the fore. The following Unnamed though immediately caresses the ear with strong melodic guitar invitation whilst a mellow ambience stirs its head before launching into a sturdy gait of energy and sound. Into its stride the track steps into a mesmeric charm of soft vocals, a whispered sonic blistering, and continually thumping rhythms, and soon is a delicious ride of diversity, its stance at any moment fuelled from stoner, melodic rock, grunge, and nu metal. It is an exceptional piece of creativity with a welcome familiarity but all new freshness which leaves one enthralled.

D-Day is a feast of impossibly infectious grooves and finely sculpted melodic enterprise which again is like an old friend taking you on a boisterous and invigorating ride. It is revelry of rock n roll where limbs and voice take their own decision to join in the fun whilst the band still keeps you slightly guarded with predatory riffs and prowling intimidation from the ever broody bass. With an air of Life Of Agony meets Soundgarden to it, the song offers variety and expanse to sound and heart with each song on the release to date individual in presence and character.

This continuing twist of invention and imagination continues through the blues rock I’m Pulsive and Hunter. The first is an emotive encounter with teasing flaming grooves and expressive melodic spirals of guitar within muscular walls and energy. Once more the bass has a gnarly side which is irresistible and offers compelling shadows to the brighter sounds surrounding it. The second is a cover song though apologies for not being able to tell you whose. It is a strong and satisfying song but like its companion fails to match the earlier heights and the song itself the weakest on the EP which shows the strength of the songwriting of the band.

The release is completed by the hard rock antagonism of Wifebeater and the outstanding Sacred (feat. Einar Grønbekk).  Whilst the first slaps the senses with striking sinews and great melodic fury it is the other which leaves one of the lasting impressions from the EP. Opening with a smouldering rub of guitar and gentle coaxing vocals the song tenderly engages thoughts and emotions whilst adding an edge of chilled shadows from the bass. As it evolves its heart and length, the song is a splendour of progressive rock with psychedelic blues heat and intensive groove metal aggression scoring its edges. It is a song impossible to truly express its stature here, something only the ear can appreciate, but the song is an exploration which reveals the band has much more to investigate and offer ahead.

I: Mindrape EP is an enthralling and rewarding release which declares Pigeon Lake as a band with a strong future and even greater vision. If melodic invention in either rock or metal tempts than this band is ripe for your investigation.

https://www.facebook.com/PigeonLakeMusic

8/10

RingMaster 01/03/2013

Copyright RingMaster: MyFreeCopyright

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

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