Baby Godzilla – Knockout Machine EP

baby-godzilla

Thrashing the senses from pillar to post, UK noise activists Baby Godzilla build upon and thrust further forward their already rampant reputation with new release the Knockout Machine EP. Five tracks of raucous and lethal post hardcore /noise rock with voracious punk causticity recorded for the band’s legendary Black Heart Residency shows which they played in Camden, London this past summer, the EP has just been released for the first time and for free via the band’s Bandcamp profile. It is a mighty confrontation which is like being locked in a sonic spin dryer for thirteen odd minutes of pure imaginative ferocious, the release providing exactly what its title suggests.

The Nottingham quartet of Paul Shelley, Jonny Hall, Matt Reynolds, and Tom Marsh has garnered a massive reputation for their explosive live show, their stage presence being described as “death-defyingly brilliant”. Previous releases NPAG and Oche of 2010 and 2012 respectively have done them no harm either but it is easy to say that the Knockout Machine takes a deeper potent grip. With a sound bringing thoughts of Every Time I Die, Cancer Bats, and The Dillinger Escape Plan into play at times; the release one suspects provides a very powerful indication of what the band feels and sounds like live whilst treating the listener to an intrusive experience which juggles with senses, imagination, and ultimately the passions.

Opener A Good Idea Realised launches itself off of a lone abrasive stroke of guitar and an instantly biting sonic wind into a a1205978287_2maelstrom of manipulative rhythms and ravenous riffing. With caustically squalling vocals equally scarring the air as the riotous sounds, the track pounces on and dances with the senses like an aural raptor, searing flesh and igniting the passions simultaneously. With a virulently rhythmic core and addictive toxicity to its carnivorous sonic hunger, the song and band ferociously ravages with the mischief of the devil and the enterprise of a bedlam bred imagination.

The first brief tirade upon the ear is followed by an even swifter assault from the torrential scourge that is Trogloraptor. The track may be shorter than the patience of a bear awoken from hibernation and just as powerfully irritable, but with a deluge of barbarous addictive hooks and a just as infectious riffing under another tsunami of vocal spite it is an incredibly compelling and consuming treat which is soon matched by the weightier Whorepaedo. Finding a throatier predation to its sound, especially the bass, and a more intensive rabidity to its hunger and energy, the track twists and flexes a sonic invention and rhythmic muscle which is soaked in creative intrigue and devoid of all predictability, something applying to the whole release.

The senses stamping presence of A Great Idea Bastardised bruises and preys on the senses next; rhythms again a thunderous tsunami of intent and provocation goaded by acidic guitar sculpting and vocal scathing. Employing a dance of discord bred and disjointedly boned revelry which secures the strongest submission to its fury and invention, the track is a blistering rampage of primal fingering amidst a destructive sonic tapestry and sheer exhaustive pleasure.

The EP closes with In The Name Of Science And Progress, a scurrilous and feverish sonic pestilence spawned from the cutest annihilatory genius posing as a band. Lashing and slashing the ears like a single minded executioner within an avalanche of aural malevolence and acidic ingenuity, the concluding torment forges a storm of unbridled rabidly delivered animosity with an alternative lumbering oppressiveness to enslave and evoke the senses yet again. It is a masterful punishment to end a similarly vicious and triumphant release.

Giving extreme music and sonic animosity a new exultant breath, Baby Godzilla is poised to sculpt the future of noise and psyche rock, the beast to take extreme realms to unexplored depths and viciousness with the Knockout Machine EP holding all the potential and proof to support that anticipation. It is easily one of the best releases this year and a turbulent aural transgression to welcome and devour with greed.

Get Knockout Machine as a buy now name your price release @ http://www.babygodzilla.bandcamp.com

https://www.facebook.com/Baby.Godzilla.Bastard

10/10

RingMaster 18/12/2013

Copyright RingMaster: MyFreeCopyright

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Black Checker – Fast

Black Checker

As 2013 comes to a festive close the unexpected treats just keep coming this time in the sizeable excellence of the Fast EP from Washington, DC rockers Black Checker. Made up of six rivetingly addictive and thoroughly contagious slices of hungry punk pop with a power pop excitability, the release stomps with a presence which is hard not to be captivated by and breed a keen appetite for. There is something also familiar to the band’s sound which only endears itself to the imagination, an essence which is recognisable and undeniably fruitful in furthering the EP’s appeal. Black Checker may be new to most outside of their home state but Fast suggests it is only brief situation on the band’s richly potential rise to full recognition.

The trio of vocalist/bassist Jim Cordes, guitarist/vocals Tony Porreco, and drummer/vocals Names Thompson immediately spark attention into life as opening track Bagel Girl mischievously bounces into view with great jagged ska kissed riffs and a broody bassline. There is a warmth and swagger to the track which rapidly draws out a strong hunger, the rhythmic tempting and slightly gravelled vocals of Cordes just as appealing. Thoughts of Joe Jackson and Super Happy Fun Club are sparked at times as the track continues to stroll with confidence and skilful temptation drawing in emotions, additional fiery guitar invention and an intensifying feisty energy only adding to the irresistible lure.

The following Can’t Let Go takes the impressive start up another level or two, the track a rousing feast of rock pop with Black Checker - Fast - coverstriking sinews and anthemic melodic fire. The drums of Thompson provide a hypnotically addictive frame for the charged riot of riffs and sonic endeavour to playfully incite the imagination within whilst again bass and vocals grip the ears with relish and thrilling temptation. It is a scintillating track which almost alone cements the presence and strength of the band and its sound as a new rapture in the passions. Black Checker has been tagged with comparisons to the likes of The Replacements, Cloud Nothings, Hüsker Dü, and Ted Leo & The Pharmacists, references which are easy to understand but certainly this song amongst a few suggests an even closer link to another band, unfortunately that reference evades realisation as this is written which is extremely frustrating, like trying to pick up a needle wearing boxing gloves, so close but so far.

    Never Doesn’t Mean Someday bursts in next with another riot of pop punk to greedily devour. The bass produces a great funk gait to its dancing on the ear riff whilst the guitars flirt with enthusiastic and accomplished devilry, grooves and hooks stoking the passions with addictive taunting and creative mischief. Though the song does not quite find the same heights as its predecessors it still takes the listener to an insatiable voracious rock ‘n’ roll party as hosted by Rocket From The Crypt. Its successor Blick Badger also keeps the quality and variety coming on strong, the opening range of riffs provided within a cavernous air to set up thoughts for the emerging blues kissed adventure. With a whisper of Graham Parker to its suasion the song provides another absorbing and firmly enticing recruitment of thoughts and emotions.

The jangling scythes of guitar which sculpts next up Man Enough soon has feet joining up with the bruising and thrilling urgency of its proposition. Vocals and rhythms are no weak link in the submission of the passions either whilst the melodic fire scorching every note and the rapacious energy driving the track forcibly through the ear  make virulent contagion which refuses to take no for an answer from a now lustful hunger for more.

The closing track A New Way opens with a reggae seeded gait and lilt from bass and guitars whilst the riffs and their neat hooks are close cousins to those crafted by early XTC. It is a magnetic start which then slips from its initial pedestal as the song sweeps into an emotive and restrained embrace, though the return of the opening enticements does spark things up when they interject across the track. It is an undeniably strong and superbly crafted song but against what came before pales in success and presence. Nevertheless the final song still only reinforces the impressive presence of the band and their mouth-watering sound.

Fast is a storming slab of rock pop/ power punk which excites from start to finish declaring Black Checker as one of the finest and promising first encounters for us this year. Expect to hear the name a lot more ahead.

http://blackcheckerband.com

https://www.facebook.com/blackcheckerband

9/10

RingMaster 18/12/2013

Copyright RingMaster: MyFreeCopyright

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Naked Lunch – Glow

NKDLUNCH_GLOW

UK electric rock provocateurs Naked Lunch continue their impressive return with another delicious temptation of electronic enterprise and electro punk seduction through new single Glow. Since reforming in 2012, the band renowned as one of the most influential and provocative founders of UK’s electronic rock scene even in their relatively short presence originally, has already stirred up keen nostalgia and ravenous new adventure with their previous singles Alone and Slipping Again, Again earlier this year but Glow takes things up another step as the band’s most potent moment yet.

Consisting of band founder vocalist Tony Mayo with original members Mick Clark and Cliff Chapman alongside Paul Davies who was in one of the band’s earlier line-ups, and newest members Mark Irvine and Jet Noir, Naked Lunch have easily fitted in with the deeper wealth of electronic bred sounds and genres flirting with the ears today. Having been one of the original starting sparks to the scene way back in 1979, it is not unfair to wonder if the London sextet would struggle to rise above the constant flood of bands and numerous deviations spawned from that original eighties seed of electronic imagination. Their first pair of singles certainly dispelled any doubts whilst Glow shows and suggests there is real potential for the band again to inspire thoughts and sounds of those to come after their shadow.

The single opens with a dazzle of electronic spotlights sparkling within a brewing melodic ambience, an opening caress soon joined by pulsating beats and the grizzled tones of Mayo. It is an absorbing collusion of melodic beauty and the sinister menace of vocal expression, an instant recruitment of the imagination which is licked further into life by the seductive backing support of Jet Noir and the expanding exploratory keys and guitar. The song is a web of enticements and enterprise, never veering from its course but colouring the landscape with magnetic and smouldering creative radiance. The scything strokes of guitar and resourceful synth invention entwine to also enslave the senses from start to finish and with loud whispers of Yello and more so Landscape to the unique voice of the song, it is pure addiction making contagion.

The single also comes with two remixes, the first a riveting interpretation from Farmacia bringing a darkly flowing sinister breath to the track and the second an expansive techno version provided by Technomancer. Though neither matches the original, both and the first of the two especially, crafts a new pleasing facet to the songwriting and composition of the song.

Glow is Naked Lunch on a pinnacle, debatably their loftiest since day one many decades ago and another reason why it is easy to assume the band will be again leading new bands and artists into musical temptations to embrace and help fuel their own invention.

http://nakedlunch.org.uk/

9/10

RingMaster

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Pink Mexico – Pnik Mxeico

Pink Mexico

More magnetic than Charlize Theron skinny dipping and as radiantly shimmering as the waters lapping around the lady’s body, Pnik Mxeico the debut album from Pink Mexico is simply an enthralling sonic glaze upon the senses. A vibrant brew of garage rock and indie pop with healthy essences of grunge, punk, and shoegaze kissed alternative rock, the release is a seductive hug which refreshes the senses and awakens the passions. It falls short of being a classic debut but hits the target dead centre with a thrilling and imagination igniting presence which tantalises and caresses with passion and adventure.

Pink Mexico is the solo project of former Anything But Animals drummer/vocalist Robert Preston, though recently and post album the band has grown in number with the addition of John Chambers. Attempting to “individually capture the sound he had been eager to achieve since pre-puberty”, Preston entered a Brooklyn ‘booze-drenched party basement studio’ with producer/musician Jon Granoff who engineered and mixed the subsequent recordings to emerge as Pnik Mxeico. Self-released by the Los Angeles hailing Preston earlier this year the album now gets its re-appearance through Fleeting Youth Records to charm all those who missed its first sonic caress of the world.

The album opens with Seabird and a sweet haranguing of riffs under soaring falsetto led vocals from Preston. Like a delicious mix of My Bloody Valentine, Jesus and Mary Chain, and Jane’s Addiction with loud whispers of Jan and Dean plus the Strokes, the song immediately taunts the passions to come out and play, which they do with eagerness as the song romps on with a scuzz lilted breath and riveting imagination. There is a familiarity to the song which subsequently pervades the whole release; a feeling of a previously met friend adorned with new melodic and sonic endeavour. The track is garage punk at its most contagious and diverse, a cloak of persuasion the following A Head Full of Slime is as happy with and as inventive in using. With a smaller stride than the opener but just as keen in its appetite to please, the song roams the senses with a mischievous air and vocal attraction which is irresistible.

Both Daisyface and Shrub Fuse continue the impressive start, the first parading a Nirvana like groove from the guitar aside effect clad, harmony kissed vocals and an anthemic rhythmic coaxing whilst the second adds extra garage punk causticity and a rhythmic battering to its sultry stomp of punk pop and shoegaze unity. With teasing keys adding extra devilry and temptation, the song romps with an elegant rabidity recruiting just as hungry reception from ears and heart. By this point on the album though all tracks have individual characters and presences there is a similarly bred and cast essence to their suasion which asks for that extra focus at times which songs and album undoubtedly reward richly for the effort with a full infectiousness to bask in.

The likes of Paperclip Toothpick with its smouldering heat and emotion, and the grunge spawned senses grazing Mold continue the album’s addiction sculpting lure, both almost insidious in their tempting suggesting the devil’s hand or promised souls are involved whilst Hussy Woofer parades a sixties pop flavouring which is often hinted at in previous tracks but has a full flame going here to again excite and inspire the imagination. Thoughts of a union of 13th Floor Elevators and the Everly Brothers comes to mind as the song dances rigorously within the ears as well as at times Black Rebel Motorcycle Club but for all the references sparked, Pink Mexico has a sound which stands uniquely to the band.

The closing acoustic and vocal kiss on the ear Not Alone brings the outstanding release to a potent close, its melodic caressing mesmeric and provocative. Pnik Mxeico is a luscious express of vocal and musical beauty with a raw breath and caustic edge which simply seduces the passions. Simply a must investigate release to end the year.

http://www.pinkmexico.bandcamp.com

https://www.facebook.com/flamingpinkmexico/

9/10

RingMaster 18/12/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com