Three Way Plane: Fire EP

by Ntalakas Gkantemoglou

photo Ntalakas Gkantemoglou

Hailing from the cities of Athens and Thessaloniki in Greece, Three Way Plane is a band which leaves the listener slightly mystified and arguably a little confused such their diversely composed sound, but all afire with passion for the deliciously eclectic and rampant sounds the band creates. The Fire is the new EP form the band, a quartet of songs which excites and incites the heart into a full musical rebellion and wantonness.

Three Way Plane formed in the last weeks of 2003 and from their first show in the following February have shared stages with the likes of Savage Republic, Senser, and Gallon Drunk to name a few. In 2006 the band self-released their debut EP Bright Days to good responses with the song My Best Friend being featured on the second Spinalonga Records compilation, In The Junkyard Vol 2. The same label released the first album from the band in 2010, Give us something new to shout, intensifying the attention surrounding the band and their dramatic sounds. Consisting of vocalist/guitarist Stratos, bassist John, and Dio and Geo both on drums, the band have now unleashed a deviously addictive slab of an EP in Fire which is poised to thrust the band into a further elevation of awareness and acclaim.

Old School Chum opens with shards of brass flames from guest musicians Kostas (trombone) and Nikos (trumpet), theirs a coverprovocative blaze of entrapment which captures the imagination just as the thumping drum beats resonate through ear and bone. Within a breath of the time of the rhythms making their stance, fiery guitar riffs rampage and strong inviting vocals add their lures. From an initial funk/latin beckoning the track brews up into a storm of punk infused noise rock with numerous teases from varied sources to further whet the appetite. Richly infectious with the perfect depth of abrasion and melodic seduction as well as the continuing to tempt brass hooks the song makes the strongest persuasion with craft and devilment.

The following Freeze Me at first lays down a welcome of enticing guitar strokes which are instantly joined by exalting predatory bass growls which instinctively has one licking their lips in satisfaction. With a blend of Wire/Artery post punk to its mischievous swagger of attitude and noise bewitchment the track leads the listener by the ear into a maelstrom of energetic and vaguely rabid enterprise as well as an even deeper ardour.

The EP is in full flow now in sound with an intensive addictive grip on the senses and heart, if innovative and adventurous prepared to experiment noise raise the temperature Three Way Plane is aural manna which finds another tasty recipe to offer with Fall In Love. Featuring the voice of Stefania, who opens the song with her fine vocal caresses alongside a lone guitar, the track then shifts into a dusty atmosphere of bruising rhythms and stoner grooved riffs whilst the two vocalists duel words. From its gentle opening the storm of sound is the most aggressive and riled encounter on the EP though it, as is constantly he want of the imagination of the band, transfers its ideas into varied expanses of asides and inventive sounds throughout its thrilling course.

The closing Queen Misery completes the very impressive release with another forceful and inventive feast of flavoursome energetic imagination and passion igniting sounds. Like the other trio of songs, the track offers so many hooks and barbs which entrench deep and linger long after the song departs that it is almost impossible to remember whole songs but their intrusive and intoxicating elements take a deep and constantly pervading hold on thoughts and heart.

The Fire EP is one of those releases which does everything right at the right time and for the right reasons, the rewards all reaped by the listener. As a free download from: http://threewayplane.bandcamp.com/album/fire-ep this is a must have release.

https://www.facebook.com/pages/three-way-plane/145989883224?fref=ts

9/10

RingMaster 12/03/2013

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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U.K. Subs: XXIV

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    Over the past few years fans, websites, reviewers, and punk itself has eagerly and rightly so declared that the genre in the UK is in vibrant, strong, and good hands with the likes of The Duel, Dirt Box Disco, and Crashed Out to name just three, releasing outstanding albums and delivering riotous live performances, but too often the bands which started it all escape mention. Many of the original bands have continued to be a major presence or have returned to re-carve their name but equally many are just reliving old glories without forging new sounds and explorations for themselves. UK Subs is a band which has never rested on its laurels always creating new and dynamic sounds to varying success. With new album XXIV though, the band quite simply grips the reins of British punk tighter with a release which is quite sensational and easily an equal and fresh inspiration for all emerging young bucks.

Now well into their fifth decade, the band has never sounded better or hit harder. Arguably the early triumphant days when band and the Charlie Harper/ Nicky Garratt penned classic releases left punk rock fans delirious in their anthemic belligerent might be a plateau too far now but XXIV certainly challenges and inspires a rethink of those thoughts with its bumper brawl of impressive tracks and hungry energy. Continuing the mission to release one album for every letter of the alphabet, UK Subs have followed up the acclaimed Work In Progress with an album equally powerful and even more inventive. Released like its predecessor on Captain Oi!, XXIV is a bumper package of songs and quality, the album containing fourteen prime cuts of feisty rock n roll accompanied by another twelve stirring acoustic tracks. It is an outstanding release from a band which others can still learn from and be inspired by.

The album hits hard and impressively right from the start with the exhausting storm that is Implosion 77. The track is a fire of punk4408024 metal with thick sinewy riffs and effected vocal scowls laying waste on the damaged caused by the thumping rhythms of Jamie Oliver. The track is prime Subs sculpted with an enterprise which keeps the band ahead of the rest, the step into a heated atmosphere of evocative sonic caresses and melodic elegance veined by grasping whispers and an addict forming hook which would have the Dead Kennedys grinning, and not forgetting the delicious strings graced ending, pure instinctive pleasure.

The following blues provocation Coalition Government Blues is again instant joy, the harmonica flames from Harper a beacon for the emotions alongside the direct lyrical address and musical stomp. As Speed next rampages through the ear the album already is loud in its diverse musical intent, the track a hardcore courting metallic bruise of rock n roll which uses abrasion and infection as a dual irresistible invitation for the heart to join its mission.

Enlisting the already persuaded passions to an even more intense ardour and involvement both Rabid and Monkeys snarl and ravage with devious skill and anthemic flair, the first of the two a tempest of dirty rock n roll which encompasses various shades of punk rock to thrill and gets the blood racing faster around not only the ear but the whole body. It is a masterful confrontation with the guitar of Jet rifling the senses with boisterous devilment. The second of the pair brings more restraint to its gait though it ensures its force and antagonism is in full flow and impossible to hide from.

Through the likes of Black Power Salute with its metal forged riffs and compelling bass lines from Alvin Gibbs, the excellent Las Vegas Wedding which replicates the addictive lure of a Flogging Molly with its own unique melodic wantonness and contagious hooks, and the darker tones of the irresistible Stare at the Sun, the album leaves emotions boiling over in rapture and maybe surprise. UK Subs has never truly disappointed but arguably have never been this adventurous and eager to incorporate so many extra spices and sounds to their formidable invention, and it is an impressively rewarding result for all.

XXIV never drops a beat or level right through to its finish but does save its further highest pinnacles for its closing straight through the Bo Diddley does punk romp of Wreckin Ball and the closing victory Momento Mori, a ball-busting fury of merciless beats, uncompromising basslines, and corrupting riffs driven by incendiary vocal harmonies. It makes the perfect end to a magnificent album, though it does not end there as the acoustic tracks step forward to offer their impressive presences. The songs show the immense and rounded songwriting and craft of the band with more clarity than the riots before and it is another pleasing if unexpected treat on the album. Again each track is worthy of mention but for briefness personal stand-out songs come in the compelling shapes of Angel Of Eighth Avenue, a cover of an Ian Hunter penned song, Confessions Of A Dangerous Mind, the sizzling Souls From Hell, and The Outsider.

There is not much more you can say about UK Subs, their place in musical history is set in stone and continuing to build whilst as XXIV shows there is more than just life and bite left in the old dog.

http://uksubstimeandmatter.net/

http://www.uksubs.co.uk

9/10

RingMaster 12/03/2013

Copyright RingMaster: MyFreeCopyright

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Jacob’s Mouse: The Dot EP / No Fish Shop Parking

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    Jacob’s Mouse was a band in the early nineties which stretched creative limits and ventured into unexplored sonic shadows but also escaped the deserved success and recognition less worthy ear friendly bands received. The trio brewed an instinctive and intrusive blend of indie rock, post punk, and various incisions of inciting noise and aural storms, a sound which explored the listener as much as its own corners and boundaries. Now for the first time two of their releases have a digital release, their debut EP The Dot and first album No Fish Shop Parking, and a long overdue treat for noise fans they truly are.

From Bury St Edmunds, the 1988 formed Jacob’s Mouse consisted of identical twin brothers Hugo and Jebb Boothby on guitar and bass respectively, and vocalist/ drummer Sam Marsh. Taking reported influences from the likes of Fugazi, Minor Threat, Big Black, Pixies, and Hüsker Dü, the band released by the vinyl-only The Dot EP through Liverish Records in 1990. The release grabbed critical acclaim and led the way to support slots with the likes of Nirvana, Suede, Th’ Faith Healers, and Manic Street Preachers, as well as enthused support from John Peel and Kurt Cobain. The following year saw the release of No Fish Shop Parking on Blithering Idiot, an imprint label of the band and continued the strong responses and acclamation surrounding the trio. As the nineties bred and flocked to the Brit-pop phenomenon, Jacob’s Mouse was found itself left out of the focus of an indie scene which was drooling over Oasis, Blur, and similar flavoured presences with a seeming tunnel vision. The threesome reacted in their own way by becoming even more experimental and creatively wilful, their following albums I’m Scared in 1993 and Rubber Room of 1995, released via Wiiija Records (home to Cornershop, Therapy? and BiS), testing and pushing their invention and craft to continually unappreciated responses. The year of their third and last album also saw the band call it a day to leave behind a legacy of unique and inspiring releases and songs which now finally have the chance to cast their magnetic sonic incitement once again.

Both releases come through Sturm Und Drang Recordings and make just as impressive an impact as they did first time around. TheJacobs Mouse Dot EP sleeve Dot EP musically is easy to describe though what you consequently imagine barely glances the reality of the sounds created. Like a searing fire of World Domination Enterprises, The Fire Engines, and Hüsker Dü, the five track release teases and taunts whilst creating its own eclectic character and originality. Opening track Signs initially plays with the ear with an inviting sonic groove before vocal squalls assault with abrasive passion. Unveiling up a web of mischievous delicious hooks and addictive discord driven melodies, the song is the strongest persuasion possible ably coaxed deeper into ardour by the wantonness of the basslines.

The following garage punk caustic brawl of Enterprise leads into the mesmeric Hey Dip Sugar with its dub infused charms and exhausting sonic adventure. Both tracks leave passions ablaze whilst Ho-Hum ignites the senses with insidious repetition lyrically and sonically for a full capture of the imagination and a grazing of their sensibilities. Closing on Microflesh with its blistered atmospheric radiance and gloriously acidic melodies, The Dot was and is an irresistible and deeply compelling introduction to the band and it is no surprise that the releases garnered such plaudits.

Jacobs Mouse - No Fish Shop Parking - front cover      No Fish Shop Parking shows the evolution in the ideas and sound of the band at the time. It still has the essences which made the EP so refreshing but expands to explore and extend the innovative design of the imagination reaped. Opening track Tumbleswan envelopes the ear in a sonic blaze veined with evocative spoken vocals, provocative bass taunts, and more defined melodies than found on the EP. There is a Gang Of Four breath to the track which opens up the attraction further whilst immediately standing as a step forward from their debut release. The following tracks Twist, She Is Dead, and A Place to Go to, entrap the passions further with their distinct stances, the first another Gang Of Four like provocation whilst the other pair search through garage rock seeds to breed their own senses confronting glories.

From the dub blossomed Carfish, a track which has a touch of Ruts about it, the best track not only on the album but arguably one of the best from the band ever sends one into orbit. Caphony is simply sensational, a psychobilly rhythm and simmering tease loaded into a hungry and devilish groove and energy. Though the song predates Th’ Legendary Shack Shakers they are a fair reference with slithers of Screaming Blue Messiahs adding extra spice. Justice and The Vase complete the exceedingly magnificent album with further unique enterprise, the whole release an inspiring sculpted maelstrom of invention and noise.

As more and more noise rock bands emerge you can hear the sounds and inspirations of Jacob’s Mouse within much of their creativity, whether they realise it or not and with this twin release maybe the band will now get the full recognition and awareness it so surely deserves.

www.facebook.com/jacobsmouse

The Dot 9/10 No Fish Shop Parking 9/10

RingMaster 12/03/2013

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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