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

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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Dramas and reflections: an interview with Ryan Howell of Farewell, My Love

Photography by Tarina Doolittle

Photography by Tarina Doolittle

A few short weeks ago US rock band Farewell, My Love unveiled their debut album Gold Tattoos, a release which proved that the drama and aesthetic look of the band is more than a look. Hailing from Arizona, the inventive quintet has found their first full-length being heartily embraced by fans and given strong attention by the media. Just as eager to get our 15 minutes of attention with the band we had the pleasure to keep vocalist Ryan Howell busy with our questions, finding out about the origins of the band and the recording of the album as well as the neck break recruitment of Ryan himself on the eve of the band’s first tour…

Hi Ryan, welcome to the site and thanks for taking time out to chat with us.

First up can you give us some background to the early days of you all and the impetus to the forming of the band?

The Farewell, My Love you see now was formed through very intense and careful searching, far and wide ha-ha.

Were your previous bands/projects seeded in a similar sound to that of Farewell, My Love?

I believe that all of us share a very similar vision for what we want this band to sound like. None of our prior bands sounded crazy similar to Farewell, My Love but you could definitely tell where it grew from.

How long from the first seeds of an idea to the full emergence of the band was it?

Not too long, we’ve been blessed enough to find an amazing group of musicians that all share a similar vision and drive to push through anything. We are happy to say that through all our struggles that we have really found a strong line-up that is ready to take over.

Farewell, My LoveYou came into the band later than the other members, replacing the first vocalist who I believe left on the ‘eve’ of a tour. Tell us how it came about that a guy in South Africa became a part of an Arizona band.

The band’s previous vocalist quit the band just three weeks before their first tour, so they spent the next week or so looking all over the internet for who they believed would be the right guy to join them and they found me. We shared a fair amount of mutual friends in the industry who suggested me to them & it just kind of all fell into place. They flew me out 2 weeks later and we left for our first tour together.

Was it an easy fit so close to going on tour and how difficult was it for him to leave his homeland and family?

Obviously leaving your home and family for an extended period of time is never something that is easy but if you have a dream that you would do anything to chase then it is a sacrifice well made.

The work leading up to the tour must have been rather intensive for you all with such a change so soon before?

Yeah, that it definitely was ha-ha. I had to learn an entire set worth of songs in a matter of weeks. I remember having to polish up on learning all of the lyrics on the plane ride over to the states and it being a very stressful, but exciting process.

Did you find that pressure and issue equally though gave your live performances an extra edge?

Yeah definitely. Pressure sometimes gives you that extra drive to make everything as perfect as you can possibly make it.

You have recently released your debut album Gold Tattoos; the response to it seems rather feverish so far. 1489259_562804653795550_1048955586_n

Yeah, it has been received very well by our fans for sure and has opened up the door to us gaining a lot more fans as well. Definitely been very flattering to have our album voted into the Alternative Press Readers Charts multiple months in a row after the album’s release along such acts as Black Veil Brides, Pierce The Veil, and Get Scared.

The album brought up thoughts for us of My Chemical Romance at their best at times; what are the inspirations which have had the biggest impact on your songwriting?

Honestly our band has a very diverse array of influences from Frank Sinatra to Aerosmith to My Chemical Romance. We find a lot of pleasure in combining as many sounds as we can to create our sound while still creating something cohesive.

Talking of that how does the songwriting come together within the band?

Röbby comes up with a lot of the skeletons of what the songs are and then from there we all collaborate to give the songs that signature Farewell, My Love sound.

The album suggests you maybe feel a greater affinity with nineties metal than the current state of the genre?

We appreciate bands that started around that time period, along with many others.

As well as offering thumping slices of passion soaked melodic metal, Gold Tattoos is quite a theatrical encounter too, though not an overblown one; has this aspect of your sound emerged organically or is it something you have crafted into your music as say the band’s look?

We definitely spent a lot of time creating what we feel to be the missing piece in the music scene nowadays while still maintaining a vintage vibe. We are always pushing ourselves to be better.

Lyrically the songs are quite emotive, tales looking at relationships and those off-shooting dramas; how personal is the lyrical side of the album to the band or individuals?

Each song is a personal journey that we’ve all gone through but told through the use of metaphors and storytelling. There are a lot of bands out there nowadays that are very straight forward with their lyrics, which although is cool, doesn’t really fit with the theatrical vision we have for this band.

The album was produced by Don Debiase (Modern Day Escape, Beneath the Sky, For All Those Sleeping), how did that link up come about and what was the biggest impact he had on the album or you as a band in the studio?

Our relationship with Don Debiase came about because of our label owner, Neil Sheehan. They had been friends for a long time and Neil suggested him to us when it came time to write and record our full length album. I feel like he contributed in the way of always pushing us to our limits ad creating a very positive vibe in the studio.

Did the songs during the recording process emerge exactly as you envisaged going into the studio or did they evolve a lot further?

The songs were pretty close to being finished when we entered the studio to record the album but obviously the more you mould with your art, the more it reveals its true potential.

Farewell, My Love 2I can image that a debut album is an exciting unknown which equally can be nerve shredding at times. How did you find the situation?

We were honestly very excited to put the album out because we felt that it really represented what the band sounds like. We knew when we were writing it that it wasn’t going to be for everyone but honestly, no style of music is and we’re perfectly okay with that.

For us the first half of the album was a furnace of excellence compared to a ‘mere’ fire of enjoyment for the second. Obviously personal tastes dictates how successfully songs work for people but what did you use as a gauge or influence when it came to the order you placed the songs on the album?

When it came to the arrangement of the tracks we sat down as a band, listened to all the tracks separately and just felt it out. We wanted it to flow as much as possible while still having an unexpected edge.

Tracks like Afraid Of The Dark and My Perfect Thing thrust the album to the heart of a hungry attention whilst others like Faceless Frames turn up the heat further, but Mirror, Mirror is the biggest prize of them all for us. Can you give some insight into the triumph?

We like to keep our songs as diverse as we possibly can.

Is there a particular track or moment on the album which gives you just that extra tinge of satisfaction inside?

Every single song on the record is something that we are very proud of.

We mentioned My Chemical Romance earlier as a potent comparison to your sound, a band which was the flavoursome pioneers in melodic metal at first for the media and then seemingly within an album the target of ridicule and disdain from the mainstream press. Do you keep that ‘image’ in the back of the mind as you feel the ‘love’ of the media right now?

We keep our influences very close to our hearts but we try to do our own thing and create music that we feel is one of a kind.

What is next for Farewell, My Love? Tours can be expected?

Lots and lots of touring & new music videos. Be sure to keep checking in with us on Facebook, Twitter and all our other social sites for the latest updates!

Thanks once again for chatting with us.

Is there a last thought or quote you would like to leave us all pondering?

Be prepared for the future and remember that we love every single person out there that supports us! We couldn’t do this without our Farewell Family ❤

http://www.facebook.com/farewellmyloveofficial

Read the review of Gold Tattoos @ https://ringmasterreviewintroduces.wordpress.com/2014/02/03/farewell-my-love-gold-tattoos/

Pete RingMaster

The RingMaster Review 23/04/2014

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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Jingo – Belong To You / When You Want Me

jingo pic

Keeping up with the single releasing of UK band Jingo is like trying to keep up with Usain Bolt on the track but much more fun. This past Monday the band set loose the first of a quartet of singles which will be released over four weeks. Being firm fans of the band and their so far rewarding and impressive songs we thought we should look at the new release as well as previous single When You Want Me which came out last month. It was a good move as Belong To You and its predecessordances over ears and imagination with uniquely diverse and feverishly flavoured designs, emulating the band’s previous releases with ease.

Since the release of their first trio of tracks just over a year ago, the songs also released within a short time of each other to awaken a wealth of eager appetites and passion, Jingo has gone from strength to strength and just when you think they may have reached their creative peak they come up with further ingenious twists in their sound and creativity. The quartet of Jack Buckett (guitars/vocals), his American wife Katie (vocals/keys/guitar), Joseph Reeves (drums), and Sahil Batra (keys/bass/guitar/vocals) continue to grow creatively and seduce with greater virulence. Certain tracks are bound to become favourites but there is not disguising the evolution and heights bred since the revealing of those first tracks. Each of their offerings has come with an eclectic mix of sound and adventure, one by one exploring new avenues and depths within the band’s songwriting and imagination as proven by tracks like Black Flowers and, Wake Up in the latter half of 2013. Just as potent and constantly vivacious live, Jingo has ensured this year is going to follow in vein and potency as shown by the two singles already unveiled and no doubt their swiftly following successors.

Released in March When You Want Me emerges from a sonic mist, an almost sinister ambience which has an air of portent about its lips. As aural drama and evocative keys add to the texture of the climate, soon followed by an intriguing vocal coaxing, the song envelops ears and sense like a seductive tempest. Rhythms equally grow in size and weight, framing the colourful brewing maelstrom with poise and incitement. The expected storm does not materialise though instead the song swerves into a magnetic funk dressed romp of fiery melodies, vociferous keys, and boisterous rhythms all under the spell of the excellent vocal union. With feet just as submissively under the spell of the melodic rock stomp as emotions, the psychedelic teasing providing further captivation, the song easily gains full control of body and heart.10154940_501119716661215_4734239148929790224_n

   Belong To You leans against ears with a riveting bass croon initially, its resonance and smooth voice mesmeric within a smattering of percussion. It is not long before the new single spreads into a hot melodic flame which in turn settles back into the opening breath around the easy to indulge in tones of Katie and even paced rhythmic snaps. As a tangle of guitar begins playing with the imagination, the song brings sixties pop spice to its provocative aural melodrama as well as a persistent sprinkling of unexpected pokes of sound sounds and inventive twists, all within the main course of the contagious engagement. Assisting the rich expression and bewitching venture there are also essences of eighties pop punk and psychedelic rock caressing the masterful mix. As now accustomed with Jingo it is a multi-flavoured and diversely textured song, maybe not as immediate in its potential and success as others of their creations but ultimately just as impressive and mouthwatering.

Personally Black Flowers has always held our fullest ardour but it is being constantly challenged by the band as certainly with this pair of singles and most likely will be again by the three upcoming encounters. We will soon find out and enjoy that is for sure.

Stream and Download all of the Jingo singles @ https://soundcloud.com/jingomusic

Belong To You 8.5

When You Want Me 8.5

https://www.facebook.com/jingomusic

RingMaster 23/04/2014

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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Horse Party – Cover Your Eyes

Horse Party by Kate Wood

Horse Party by Kate Wood

Their previous singles teased and seduced but now UK indie band Horse Party go straight for the heart with their debut album Cover Your Eyes. Its eight varied and shapely tracks provide a raw and flavoursome adventure which simply captures the imagination with no respite whilst simultaneously asserting the Bury St Edmunds trio as one of the brightest emergences in recent times.

The birth of the band goes back to a drunken night in a church where drummer/vocalist Shannon Hope and guitarist/vocalist Seymour Quigley badgered guitarist/ vocalist Ellie Langley through ‘abusive messages’ to join up with them. Fuelled by a mutual passion for the likes of Bjork, Fugazi, Cat Power and terrible films, Horse Party came in existence and soon pulled in strong acclaim with debut track Clarion Call, a free release which took the band to the attention of BBC Suffolk Introducing whilst sparking numerous support slot offers including one with Dingus Khan. A second single and a live EP called Scarlet & Blue followed to increase the weight of their emergence whilst last year saw the trio playing over fifty shows which including sharing stages with bands such as Tunng, Pinkunoizu, Shonen Knife, Heartless Bastards, Ghostpoet, The Nightingales, and Vuvuvultures, perform a live broadcast via BBC Introducing from the new John Peel Centre for Creative Arts, and release their third single through new label Integrity. It was certainly a fruitful and busy year for the band, one set to continue in this with already the album release and a tour currently being undertaken proving a striking success.

The album opens with Back To Mono, a track which instantly jabs at the ears with fuzz lined guitar strokes with a more than  Horse-Party-CD-case-web-versionBeatle-esque tempting to their dramatic coaxing. The jagged tease is soon aligned to an equally compelling melodic exploration and feisty rhythms whilst Ellie’s vocals cast a stirring lure over the lot. It is not an explosive track but one which is unrelenting in its repetitive incitement and insatiable in its want to charge up the imagination. The firm almost imposing beats continue to drive on the track, never relinquishing their potent bait even in the more open and blustery chorus. The song is merciless with its enticements, band vocals a glorious web to lay their narrative and the sonic designs veining the song irresistible colour, but it is that blinkered core of the song which steals the biggest rapture.

Clarion Call makes a less striking entrance but with its minimalistic guitar bait equally draws a keen tempting which flourishes further with the addition of the distinct vocal of Ellie and against lively beats. Before they bring their rich hues there is a feel of Young Marble Giants to the song which then develops into a broader deeper catch of sixties garage rock and chilled indie persuasion. The further it extends its body the stronger and fuller the track evolves, guitars again painting evocative textures which the vocals and chilled harmonies wrap themselves around. Already the album has attention and appetite seduced which Scarlet & Blue reinforces with its smouldering caress and sultry air. Though it is a simmering melody crafted temptation there is fire in the belly of the temptress, incendiary raw clashes of percussion and riff providing imposing crescendos within the graceful and mesmeric immersion of the senses. Live the track is masterful but now having heard in from a studio breeding, it shouts with the emotive beauty and innovative invention of Horse Party.

The following Inbetween with a skittish percussive invitation brings a Fleetwood Mac elegance and flight to its equally vivacious energy. It is a tremendous mix, soaring melodies and mellow vocals tempering but egging on a racy energy and brisk rhythmic provocation. It is another infectious and inciting pleasure easily matched and surpassed by What Do You Need. From a great first impression when released at the tail of last year, the single has grown in weight and potency over time for us and sitting within the album seems in its element as it boldly opens with drama and intensive seducing which outrivals even the first track. A restrained strum is punctuated with deliciously heavily weighted drum thumps, their dynamic pokes spearing the maze of melodic intrigue spiralling across the canvas of the song. Their forceful intent is tempered once the vocals unveil their expression within the weave of the song, though within that restraint they wait to pounce again, which they do with a slow but certain relish as the song stretches and explores its boiling textures and imaginative corners. The busy chorus brings thoughts of Alanis Morissette but only to flavour another original and frisky encounter from the band.

The next up Six returns to a sweltering climate, its thick heat and evocative atmosphere enveloping ears and thoughts with emotive tenderness whilst guitars and bass carve absorbing shadows. Passion flows as animatedly as the sonic sculpting which fires up the jazzy expulsions of the song whilst that sixties feel permeates yet again with a garage rock blaze to the sweltering air lying invitingly over the enthralling creative landscape.

     Let The Man Die catches expectations by surprise not only, as the songs, with its immensely tasty sounds and invention but also by Quigley taking the lead, his tones a potent variation to the album. The song is pure rock pop, the most accessible track for newcomers proving that the strings to their creative bow are as wide as they are diverse. The track is unafraid to add a little post punk beauty especially in its climax either, just to tease and reassure that intrigue is never too far away from the heart of the songwriting.

Closing with the acoustic To Know You Less, a very decent gentle caress to end the show, Cover Your Eyes is pure aural majesty. Singles alone have suggested that Horse Party is a very special proposition but together with their new companions they declare the band as one of the UK’s most exciting and original prospects. Remember it is still early days for the band too so horizons look very rosy for them and us.

Cover Your Eyes is available digitally now via Integrity Records with a gatefold CD version with 16-page booklet released on Monday 12th May 2014.

http://www.horsepartyparty.co.uk

9/10

RingMaster 23/04/2014

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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