The Memphis 77 – Get Alive!

Raw adrenaline soaked rock ‘n’ roll coated in a dirty feisty embrace is never a sound to ignore and the new release from Finnish rockers The Memphis 77 is certainly no exception. Consisting of four riotous blazes of energetic, bruising, guitar sculpted fire, the new EP Get Alive! is a richly satisfying encounter. Released digitally and as a 7” vinyl via Secret Entertainment, the record is a high intensity explosion of energy and raw infectious sounds and a release to put The Memphis 77 on the map of wide awareness.

Hailing from Lappeenranta, The Memphis 77 was started in 2009 by guitarists Jimmy Scissors and Rodney Pistoléro, the aim to create and play real rock n’ roll music, something which was absent in the previous  projects and was not rewarding artistically the energy and time given. Recruiting long-time friends in bassist Paul Graven and drummer J. Slider as well as vocalist Pete South, the band worked on their sound and songs with the last weeks of the year seeing the release of debut EP Born in a Body Bag. Following release the Licks to Please EP was recorded the next year with its release to strong responses and acclaim coming in April of 2011. The seven track release put the band on the radar of a great many but was followed by changes in the line-up with the departure of Pistoléro and Slider. South took over second guitar in addition to his vocal duties and after an intensive search the band found Sammy Lee to take over the sticks. The latter part of last year saw the band record Get Alive! and a video for the lead track, and as the impact of the EP is surely set to reach out to even more eager ears, the band has a schedule of touring and writing songs for their first album planned.

The mentioned lead song from the EP is Small Time Lovers, the first track on the impressive release. A crisp clump of beats sets up the instantaneous onslaught of gripping riff and an equally immediate contagious groove. The song is into its stride within seconds gripping the ear with fiery sonic inducement and anthemic temptation from the squalling tones of South and the incendiary beats of Lee. The song rampages with mere swifts breaths quickly taken within the direct attack for any kind of respite from its flaming energy and persuasive confrontation. It is a sweaty dirt clad gem of a song which recruits the primal energy and passion of the listener with relentless ease.

The following No, Buddy has a slight dip in its intensity without reducing its muscular force and effect, the hooked melodic persuasion an addict forming tease and the thumping rhythms a spiteful conspirator to further raise the ardour of the already enthralled heart. As across the release there is nothing strikingly new going on within the song, but for two minutes plus it is just honest, undiluted rock ‘n’ roll at its hungry best.

The other two brawls are just as impressive and greedily devoured by the senses and passions; both Get a Life (and Fucking Die) and Back to Where It Started punk ‘n’ roll encounters which ignite the appetite further for the band and their mighty sound. The bass of Graven is especially throaty and compelling within the first of the two whilst the vocals of South supported by the rest of the band, and the contagious groove and swagger of the song, leave only a heightened craving for their debut full-length effort. The final song slaps the senses with even more potent sinews and synapse carving guitar craft for a closing storm of pleasing and invigorating pleasure. Arguably the weakest song on the release it is still a formidable and fully persuasive pull into the heart of The Memphis 77 and their incendiary sound.

Get Alive! is an outstanding EP and for some of us the very welcome introduction to a band which will be lighting up our days with further glories one suspects.

http://www.thememphis77.com

http://fi-fi.facebook.com/pages/The-Memphis-77/84722386427

9/10

RingMaster 19/04/2013

Copyright RingMaster: MyFreeCopyright

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XIII – Helltongue

Since forming in the early 2000’s, Finnish metallers XIII have earned a potent reputation through their live appearances which has seen them sharing stages with the likes of Entombed and The Crown at festivals like Finland’s own Steelfest Festival. Their appearance in 2011 drew powerful responses and acclaim but until now the band has not had any physical releases to tempt the passions. They certainly have made up for it with the release of their debut album Helltongue, a release which suggests the Helsinki based quartet has been saving up and brewing their intensity and sculpted aggression for the event, as across the thirteen track album it is rife and carnivorous with tsunami intensity.

Formed by vocalist/guitarist Kristian Juuso and drummer Petteri Lammassaari, the band conjures up ferocity in their adrenaline driven sound which is breath-taking but it also comes with a wealth of grooves and melodically toned enterprise which ensures the release has more to offer than just unrelenting and unsurprising onslaughts upon the senses. Like a tempest of Pantera, Slayer, and Devildriver, to go for the obvious, the record and band do not complicate things by trying to create new dimensions or boundaries with their place in metal but simply they are intent on igniting the rawest most ear crushing pleasure possible, something which with Helltongue they have mastered triumphantly.

The album is a real treat of aggressive confrontation and incendiary passion rising joy, it may not be overtly original but easily right up there with the most enjoyable and inciting furies over past months. Once the intro has built up the atmosphere with deceptive lures as to what really is to come, its melodic tease more akin to a power or symphonic  metal encounter, Phantom Pain from a crisp cymbal wave accosts the ear with predatory riffs and equally violent rhythms, the bass especially bestial and deliciously intimidating. The vocals of Juuso growl and prowl the song with bear like qualities whilst the distant additional squalls add further caustic rub upon the already scarred flesh buckling under the intensity and weight of the guitars and drums. It is a carnally toned embrace which devours the senses before handing them over to a mutual corrosive conspirator in The Circle of Snakes. Again the guitars of Juuso and Jari Härkönen enslave the passions with unbridled and uncomplicated persistent provocation whilst Lammassaari and the bass of Simo Partanen crack and snarl with venomous urgency and force.  Like the first the song is short with a punch to ground a rhino, a feature of the album though some songs make a longer but no less intensive proposition, and within all onslaughts no atom, synapse, or thought is left unbreached.

    The Last Messiah brings more of the same though stands alone in individuality from the previous pair, it’s slightly slower ravaging seemingly more calculated in its destructive contagion whilst the bass leers from within the storm with noticeable enterprise and spiteful clarity. Another easy to be infected by with the catchy groove to sound and swing of the vocal delivery, it continues the immense if samey start in style. Next up Gemini steps forward to stretch things and break–up expectations, its longer groove cored presence veined by sizzling sonic enterprise and shifting textures. It is still an insatiable rage upon the body but the first to beguile and seduce with what now becomes a regular weapon, variation.

The stalking pace of Dark Utopia consumes the ear next it’s restrained but still eager charge sharing centre stage with scintillating melodic strikes and a cleaner twist to the vocals, the growl still in place but evolving throughout to offer absorbing diversity in that aspect too. The song is an intimidating charmer and at this point the brewing ardour for the release switches to a building rapture which after only a couple more encounters was raging as intensely as the album itself. The outstanding and glorious The Valley of Death with its sirenesque intro and heavy beckoning shadows is an irrepressible temptation whilst the likes of the bloodthirsty Iconoclast, the gently enthralling Post Scriptum with its startling and magnetic smouldering start complete with rich clean vocals before more bestial persuasion, and the creeping weight of Demon Avenue, all press creatively and heavily with virulent effect to spark greater hunger in return.

The final duo of tracks The Ghost and Deathgrip are just waiting carnage givers, both merciless savagery but both again offering more than just violent conflicts. On the surface both have a closely crafted presence but deviate into their own open stances for a lasting thrilling finale of argumentative intensity. Released via Inverse Records Helltongue is outstanding, hopefully XIII will not take another decade or so to bruise and rouse our passions.

https://www.facebook.com/pages/XIII/168959203244834

9/10

RingMaster 19/04/2013

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My Funeral – Thrash Destruction

The title of the new album from metallers My Funeral tells you all you need to know about the band and Thrash Destruction itself. A riotous and aggressive no holds barred rampage of ear worrying, senses battering ferocity, the second album from the Finnish quartet does and delivers exactly what it says on the tin. Released through Violent Journey Records, the album has no real desire to craft new boundaries or investigate never before discovered areas of metal, but for a raging uncomplicated and pleasing onslaught of hungry riffs and merciless rhythms it holds all the weaponry and goods to satisfy.

Consisting of vocalist and bassist Ilkka Sepponen, guitarists Joonas Kiviniemi and Aku Korhonen, and drummer Hannu Sivusuo, My Funeral use open influences of bands such as Slayer, Kreator, Exodus, and Death to inspire and flavour their own invention, the result a sound which whilst lacking an unique voice still unleashes enough to make the band one which provides enough feed to quench the appetite for prime thrash metal. The songs and lyrics of Sepponen are strong and punchy with their delivery potently accomplished and stylish, and though the album may not ignite burning fires in the passions, it and its songs  more than stoke up the hunger to return to the release on a regular desire.

There is no pissing around with scene setting intros or slights of aural hands with sonic flourishes as on a regular diet of releases it seems nowadays, My Funeral simply go straight for the jugular with Into the Fire, riffs and rhythms savaging the ear in an adrenaline charged rampage from its very first second. Immediately infectious with the drums driving things hard and fast through the ear whilst the riffs and sonic teasing of the guitars leave their welcome scars, the song is a potent start with a vein of invention and variety to its gait and attack which leaves one greedy for the rest of the release. The caustic scowls of vocalist Sepponen admittedly take a while to acclimatise too, something which does creep up on you a few songs in, but other than that minor niggle the track is a rousing introduction.

The following likes of Thrash Winter, the excellent persistently badgering Manhunting Season, and the bruising Alcoholic Madness bring further ear catching and well-crafted tempests of classic/thrash metal, the third of the trio especially punctuated with heavy metal honed flames of riveting guitar enterprise within the torrential downpour of raptorial riffs and bone splintering drum rallies, not forgetting the ‘drunken’ brawls of group shouts. As mentioned there is nothing going on to open new doors but why bother trying when the party is burning fiercely already.

     Satanic Black Magic with its incendiary contagion and blackened corners is a head above the parapet major highlight of the album and a song to loudly share the variation and imagination at work within the songs despite their largely formula gaits, whilst others such as Killing Spree with its insidious groove within senses annihilating intensity and barbarous riffing, and the flesh peeling acidity of the sonic insistence of Slay them All stand tall and intense within their own virulent confrontations.

As the title track offers a final gratifying scourge, the over-riding emotion is of enjoyment and breathlessness. Yes the band and album may not be providing new feasts to gorge upon but they still inspire an on-going invitation to share company.

http://www.myfuneral.fi/

7.5/10

RingMaster 19/04/2013

 

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The Tuesday Club – See You Next Tuesday

As Christmas approached fast and the tail of 2012 was making its last flurry of wags, UK punk n rollers The Tuesday Club unleashed their single Ain’t Got No Class, our introduction to the miscreants of mischievous and irresistible rock n roll. From the release alone they became engrained in our passions further cemented with a retrospective dive into their earlier 3P EP and tracks. This made the eagerness to hear their debut album See You Next Tuesday as urgent and insatiable as a dog diving upon a bitch in heat. It had a lot to live up to as anticipation had already decided the bar it had to contend with. The eight piece carnival of fun and rioting sounds easily took control of hopes and expectations, turning them into their personal playthings with a release which quite simply leaps ahead of the game whilst igniting sheer devilment within themselves and the listener.

The roll call for the 2011 formed mysterious knavish octet consists of Andreas Vanderbraindrain, The Minx, The Beautiful Wolf, Dave Worm, Fabulous Glaborous, J Rod, Jerry Berry, and Titti Bartelski, a collection of rockers who span the years with birth dates between 1957 & 1984, a fact which seems to be proudly mentioned in all promos and bios we come across, and why not, it certainly offers a wealth of musical pedigree and experience which ensures the tongue in cheek aspect of the band and songs is equipped with superbly crafted and contagious sounds. Hailing from Warmington-On-Sea, the seaside town famed for the setting of UK comedy Dads Army, the band has been tagged as ‘the Dads Army of spacerock’ , but there is nothing old or devoid of energy and youthful devilry with this terrific album.

See You Next Tuesday steps up to the ear with opener Dolly Dynamite and is soon seducing with a fiery brew of hard rock and blues punk, and one suggests the inspiration to the description placed upon the sound of the band, “If Roxy Music were doing the Rocky Horror Show, they’d sound like this”. As it romps with curvy blues whispers from the guitars and show tune like roundness to its breath you can just imagine Tim Curry with his full armour of fishnets and corsets parading the infectious work to the world. The vocals of Andreas Vanderbraindrain aided by the delicious devilry soaked tones of The Minx bring an individual rascality to proceedings, and cross the album they mix things up for a delivery as varied as the great sounds surrounding them.

As great as the song is, it has to be said it pales within the strength of the rest of the album but certainly makes a lead into the release which cannot be refused or left alone. Ain’t Got No Class steps up next to ignite the passions even further, the punk taunt of mischief is a conspirator for reckless engagement from voice and limbs to its cause with a lure of a rolling bassline, teasing honky-tonk lilted keys, and compelling flames of guitar enterprise irresistible. Rife with addictive hooks and syrupy melodic grooves, it is vocally and musically a wanton orgy which brings again those Rocky Horror thoughts as well as those of the likes of Alberto Y Los Trios Paranoias and The Tubes.

Two songs in and the familiarity of the release, certainly for existing fans is great but makes you think ok the passions are hungry but now impress me further, which the band does with ease through Money Means Nothing  and Nanananana. The first song slowly emerges with niggling guitars taunts and droning whispers, beats and bass a resonating post punk seduction with similarly gaited straight faced vocals transfixing attention. All the while the song builds up its suggestive intrigue to then break into a chorus of lighter but no less potent melodic energy. The intertwining of both elements continues throughout for a thrilling ride of light and shadow, both with a feisty ready to quarrel intent in tow. The second of the pair is a pop punk/rock n roller with again impossible to leave alone choruses and simple raw verses and vocals which reminds of TV Personalities.

The variety of the album is in full flow now with the excellent She Splayed My Teeth, a dirty rocker of enveloping keys and boisterous energy guided by the equally punk loaded delivery of the vocals, the slow swing version of New Regime, and the outstanding Replication and Montage, bringing their diverse and unique diablerie to the fore. The second of the trio is a favourite song with the version on the album a hilarious encounter which though certainly not a filler or interlude, makes a break in the riot with its live improv like cheek, though for persona tastes the punked styled version on the previous single is better. The latter of the trio is a Spizz Energi like joy with the finely crafted temptation of Dirk Wear Whites Sox era Adam & The Ants, and simply one irrepressible treat.

The gems keep coming with firstly All You Do Is Wow, another song offering a Spizz inspired repetitive bass persuasion locked to an indie punk depth which is like a cross between Eighties Matchbox B-Line Disaster and Engerica, whilst the keys bring a Stranglers flavoured heat and air to the thumping prime choice track. The next up New Glamour again is ripe early Adam Ant glory with its own distinctive stance, the song a predatory prowl around the ear with a blaze of addictive virulence at its core and is matched all the way by Wish My Slate Was Cleaner, its swagger a blatant bait to the again epidemic like infectiousness and inducement to partake of the song.

More gems crowd the ear through the likes of the brilliant slowly burning Vinyl As A Manifesto whose Bolanesque charm and stringed driven tempo accelerates with increasing greed and the smouldering Little Miss Attitude, but truthfully every track is a passion feeding pleasure. All really that is left to say is we love See You Next Tuesday and we are sure you will too.

http://thisisthetuesdayclub.co.uk/

https://www.facebook.com/thisisthetuesdayclub

9/10

RingMaster 19/04/2013

Copyright RingMaster: MyFreeCopyright

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Nat Jenkins – East & West

An exhilarating blend of sounds from the past five decades or so, East & West the riotous new single from Nat Jenkins is a scintillating brew of invigorating rock n roll. Sounding like a mix of rockabilly, punk, garage and folk rock, the track taken from his upcoming new EP riles, thrills, and excites the senses in the way only pure hearted rock n roll can.

Through previous singles and EP, Jenkins has garnered a potent following and wash of acclaim, coming to the strong notice of the likes of producer Chris Kimsey (Rolling Stones, Peter Frampton) and The Clash’s Mick Jones with whom Nat has collaborated on the track and one assumes upcoming EP. The Camouflage Recordings released single is the first of three recorded in his tiny studio flat in Paris, the song a compelling representation and result of his investigation of sounds going back to the early sixties. As the song leaps upon and enlists the passions in its dirty scuzz lined brawl of rock n roll, the description of its flavoursome presence can only be described as the result of a mutant union between the attitude soaks seeds of The Doors, The Clash, Jesus & Mary Chain, Eighties Matchbox B-Line Disaster, and Thee Exciters with essences of Birdland and Gene Vincent to the mix too. It is a sound which covers the ages yet is entrenched and bred from the caustic times around us now.

The song towers over the ear from the start with a throaty riff grazing and clawing at the ear before crisp beats and warm keys add their abrasive and inviting touches. The vocals of Jenkins wear a coat of scuzzy effect to sizzle upon the senses along with the blistering kiss of the surrounding sounds, the full union of all aspects a flame which dances before and ignites the emotions into a hungry and energised compliance. With a bassline littered with irresistible hooks, the guitars sculpting further contagious lures, and an incendiary chorus to recruit voice and heart, East & West is a delicious invitation to the new EP and instigator of immense pleasure in its own singular rampage.

The single easily shows why Jenkins has brought such impressed recognition upon his individual brand of rock n roll, and if like us is this is your introduction to his rowdy sounds then you could wish for a better welcome than East & West.

https://www.facebook.com/NatJenkinsMusic

9/10

RingMaster 19/04/2013

 

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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