dragSTER – Dead Punk

Photo by Uglypunk —

Photo by Uglypunk

 

Not sure about you but the quality of British punk rock right now is inspiring tingles not that far removed from those felt when its first generation of sounds and bands were in their heyday. This is all down to bands like Coventry quintet dragSTER and ridiculously exhilarating releases like Dead Punk. Rampaging with thirteen riots of hostile punk ‘n’ roll, the band’s third album is a tempest of feet inflaming, passions rousing ferocity with a strength of invention and virulence to match. There has been some extraordinary rock ‘n’ roll storms in recent times but few can be said to have come close to the fire and flare of Dead Punk.

Formed in 2006, the Coventry hailing dragSTER built, on a love of 50’s iconography, sci-fi and B movie horror, and ‘dirty, fast and energetic music’, their own punk turbulence which was soon stirring up a nest of attention with its voracious energy and aggressively forceful sounds as pungently evidenced on the Rat Scabies produced Trailer Trash EP. Extremely well and greedily received by fans and media alike, the band reinforced their emergence with first album Step Into The Deathray in 2007. It was swiftly devoured upon release whilst subsequent shows with the likes of The Damned, The Buzzcocks, Sham 69, Eighties Matchbox and Electric Frankenstein only enhanced and increased their reputation before second album Here Come The Meat Robots in 2010 had its impressive say. Released as Dead Punk on STP Records, the release marked out the band as one of the most exciting prospects in UK and European rock ‘n’ roll. Featuring ex and current members of bands like UK Subs, Texas Terri Bomb, Criminal Class, and Pigface, dragSTER has pushed on again in both songwriting and sound to now uncage one of the modern punk classics.

A slither of an intro leads ears into the opening fury of Gatecrasher Hostage as Dead Punk begins consuming ears. The song is an instant roar, expelling abrasing riffs and thumping rhythms around the fiery confrontational tones of vocalist Fi Dragster. Ears and appetite are immediately seduced by the onslaught, especially as potent hooks and spicy grooves add their bait to the straight forward but already juicy sound. The machine gun bursts of beats from drummer Ryan Murphy only inflame the intensity and addictiveness of the encounter, leading the listener into a predacious web of dark temptation from guitarists Diesel and Ben Kelly, the latter following up with a short toxic solo of magnetic enterprise. It is a delicious bellow of a song and entrance by the album, a triumph straight away surpassed by its title track.

Dead Punk is, as all tracks to be honest, an addiction forging anthem of belligerence and cantankerous endeavour bound in grooves and hooks to lose inhibitions over. With nostrils flared and dragdradramuscles giving ears a thorough going over, the track compounds its might with a chorus even the deaf and deceased would be drawn to engage in. There is no escaping the slavery of the song, a potency grabbed by Drink You Pretty next and twisted into a new furnace of tangy grooves and chorus placed vocal roars. The song growls and rages with a raw infectiousness and diversely flavoured enterprise, squalling like a mix of X-Ray Spex and Midnight Mob with a healthy dose of  Distillers added. Also repeating and increasing its prowess and bait is the bass of Tom AK, the throaty and at times grizzled tones conjured bringing a perpetual primal lure to this and surrounding tracks, bait again is impossible to resist.

Through the broader dirt clad hard rock spicing of Cattle Prod, band and album keep the variety and thick attraction of the album blazing before Evil Craze provides another massive thrill with its balls to the wall punk rock savagery quipped with another seriously habitual roar of a chorus. The protagonist bursts from the speakers with an almost physical and certainly visceral presence, Fi raging over it like a Queen of attitude and defiance whilst vocally and musically the band beside her unleashes their individual and creative furies to equal intensity and glory.

Such its magnificence, there is an instant fear or feeling that maybe the next track has a mountain to climb to impress but that is soon dismissed by the rampant fifties seeded rock ‘n’ roll of The Dead Are Out In Droves. Garage and old school punk meets horror punk with metal bred venom for company; the track casts its own unique anthem of quarrelsome and addict making sounds, passing on the same challenge to compete to Terminal Loser. Opening with a Generation X like lure of guitar courted by a demonic bass temptation, the song is soon rumbling and grumbled with every note and swiping beat. That antagonistic intent is matched by the fearsome and ever captivating Fi as she opens up the pop tainted heart of the song. A Spinnerette whisper adds to the rigorously seduction at work whilst the guitars scowl and tempt with a canvas of vicious and riveting endeavour which ensures that the track easily matches the potency of the previous storms.

The furiously caustic sounds of Just Wanna Fuck provides one minute of unbridled punk lust next before Liar Like That stamps its raucous authority on ears and emotions with a volatile union of vocals for the chorus the final key in the corrosive passions chaining encounter. Both leaves ears exhausted and spark a serious greed for more, a want and need fed copiously by firstly the Misfits stroked raging of Death By A Thousand Cuts and straight after by the stalking temperament of Indonesian Buzz Cut. The first of the two seizes ears with a raw wind of riffs and bass grievances splintered by the crippling swings of Murphy whilst the second, from a prowling gait of an entrance is soon a viper’s nest of incendiary rhythms, stabbing riffs, and vocal incitement. The pair also come with their own breed of contagion posing as choruses and a lack of thought of using their toxic hooks and inflammatory grooves sparingly.

The refreshing melodic and mellower tones of Fight Fire With Gasoline infuse more new spicery to the album, though that is not to suggest it lacks the same unforgiving attitude in sound and voice as any other proposition with Dead Punk. Thoughts of Penetration come to the fore as the fascinating encounter croons and blazes within its inventive presence before leaving final track Skull Ring to bring it all to a highly satisfying end. The closer is a dark protagonist openly sculpted from the gene pool of seventies punk, The Adverts a suggested spicing, and a bracing and ravenous bruising of unfriendly and irresistible rock ‘n’ roll impressively completing an outstanding provocateur of a release.

Dead Punk is not only one of the finest if not best punk release of recent times but stands on the front line of any emotionally and energetically charged slab of rock ‘n’ roll heard over the past twelve months or so.

Dead Punk is available via STP Records now on CD @ http://www.stprecords.co.uk/page4.htmn and digitally @

www.dragsteruk.com

RingMaster 16/01/2015

Copyright RingMaster: MyFreeCopyright

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

http://www.thereputationlabel.today

 

Silpha and The Corpseboners – Cirque De Nuit

Bandfoto

To be honest Silpha and The Corpseboners already had us half hooked from the band name, but soon completed the job with the body chilling sounds of new EP Cirque De Nuit. Consisting of six tracks with a horror punk breeding sure to have the dead look as concerned as the living, the release growls and snarls with punk hostility whilst stomping with blood raw rock ‘n’ roll. Equally it is unafraid, without warning, to slip into something deranged, unpredictable, and uniquely adventurous. It is not the perfect offering but certainly right up there as one of the most exciting and irresistible horror punk ravages of recent times.

Emerging from under, we suspect, dank and cold carnival canvases in the shadowlands of Germany in 2012, Silpha and The Corpseboners were soon parading their visceral and musical charms around their home cemeteries of Stein/ Nürnberg. It was a rising of the quartet swiftly backed by an early demo EP, De Morte, and pushed to wider attention by 2013 debut full-length Agony And Ecstasy. Exploring an infusion of everything from punk and gothic vaudeville to metal in the band’s distinct style of horror punk, the album was a potent step in luring new corrupted hearts; a success sure to be matched and to be fair already being exceeded by the release of Cirque De Nuit on UK indie label Dead Artists. A year in the making, the EP is an inescapable and addictively insidious charmer and the next step in the emergence of one compelling band.

The EP’s title track courts the imagination first, a lone guitar the spicy temptation which soon has ears and appetite awake. It is strong bait but nothing compared to the eruption of punk rock led by the Siouxsie Sioux like vocals of Silpha Obscura follows. An instantly dramatic and gripping bassline from Dr. Horion romps with the passions whilst the raw blazes of Manfred Von Körperteil only add a flavoursome caustic glaze to the predatory stride of the song. Driven by the punchy beats of Bastille Amnesie, it explodes yet again with greater tenacity and energy dropping only OnlineCover_CirqueDeNuit_Biganthemic bait along the way. All the time though a dark theatre is brewing in the heart of the encounter, a gothic cabaret which having shown a glimpse of its circus seduction within the rampages of aggression, is given centre stage halfway through the song. A harpsichord weaves its quaint marquee seeded revelry as the track twists in character and grasps the dark tones of we suspect Von Körperteil. Bringing visions of broken corpses and ravenous souls dancing in the warped caress of a graveyard bone band, a vision aided by a tuba tempting provided by guest Simon Theil, the song swings and dances itself to a standstill before filling up on sonic toxicity and converging on the world with metal and punk voracity.

Cirque De Nuit is the immediate pinnacle of the EP but seriously challenged by the likes of the following surf rock haunting of Gargoyles. It smooches with ears through a slow lurking bassline amidst evocative scythes of guitar as Silpha croons with the emerging narrative. It is a gentle seducing littered with great reggae spawned beats and percussion, but a proposition losing its restraint and soon searing and challenging the senses with a tempestuous assault of heavy metal coloured punk ferocity.

Both Stolen By The Night and Hurricane surge with a similarly cast merger of sounds but each provide individual personalities with antagonistic attitudes and in the case of the first, a chug fest of riffs. It does not quite live up to the heights of the first pair of songs but with imagination in its landscape and hunger to its intensity, as well as a great vocal only anthemic passage, it keeps enjoyment full. It successor strides with a rock ‘n roll gait and bluesy melodic toxicity which plays like a mix of Thirteen Shots and Troxin Cherry at times. A serenade of sax from Dr. Horion only adds to the increasingly alluring presence of the song before it slips away for the sinister drama of Mr Underworld. Breathing an exotic melodic climate as it prowls the ears, the song is a sultry temptress soon to show her bruising weight and ferocious metal soaked charms in a forceful brawl of sound. The harpsichord returns towards the finale of the song to intrigue and thrill, as well as change the song’s imaginative scenery once again.

The closing Rewind The Tape is another punk ‘n’ roll stomp growling and abrasing ears with uncompromising hostility tempered by a clutch of contagion soaked hooks and winy grooves. It is a tremendous end to a passions arousing and thoroughly enjoyable rampage from a band with the potential and imagination to push horror punk to new exciting levels.

Cirque De Nuit is available now via Undead Artists and @ http://corpseboners.bandcamp.com/album/cirque-de-nuit

https://www.facebook.com/Corpseboners

RingMaster 16/01/2015

Copyright RingMaster: MyFreeCopyright

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

http://www.thereputationlabel.today

 

Atlas Losing Grip – Currents

atlaslosinggrippromo 2

Ten years in and unleashing their third album this very week, Swedish melodic punks Atlas Losing Grip just get better and musically broader. Currents is a treat of a confrontation and muscular seduction, a release bulging with explosive songs bred in imaginative songwriting and bound in just as magnetically resourceful sounds. As striking and highly persuasive as it is from the first listen, it grows into an even more rigorously compelling adventure over time, revealing new nuances and depths from play to play. Atlas Losing Grip has had no lacking of acclaim coming their way with their reputation growing show by show, release by release, but Currents is a new plateau of enterprise and maturity from the band, a certain game changer in attention and stature.

Hailing from Lund, Atlas Losing Grip upon forming swiftly stirred up appetites in the city’s renowned punk scene which had also spawned the likes of Satanic Surfers and Astream. Debut album Shut The World Out was unveiled to strong responses in 2008, its success followed by the recruitment of Satanic Surfers vocalist Rodrigo Alfaro into the line-up. The next year was marked by the release of Watching The Horizon on mini-cd and 10” vinyl record, an immediate indication of a potent growth in the band’s craft and metal infused punk sound and now with a striking voice to match. With shows with bands such as Bad Religion and the undertaking of many tours under their belts, Atlas Losing Grip uncaged their second album State Of Unrest in 2011. It revealed yet another open evolution and growth, a striking leap forward which has been repeated again between Currents and its predecessor. Driven by an even deeper and creative blend of heavy metal and the band’s distinct style of melodic punk, the fourteen track new proposition is a tapestry of spellbinding and explosive sonic colours around just as gripping and dramatic structures.

Lapping waves bring opener Sinking Ship into view and an instantly inviting weave of melodic endeavour from guitarists Gustav Burn and Max Huddén. Their evocative enticement is a thoughtful and melancholic coaxing behind which a brewing tempest builds before opening its thick arms to welcome pungent beats from drummer Julian Guedj and thick bass sounds from Stefan Bratt. Sonically too the song has grown more tempestuous by this point, but still with some restraint as the walls of the song loom higher and more provocatively over the senses. It is soon a feistily striding march of metal bred tenacity and punk energy though, subsequently coloured by the outstanding tones of Alfaro. A cauldron of passion and craft with an intensity and melodic enterprise to match, the song stirs up ears and appetite with consummate ease whilst proving just an appetiser for bigger things to come.

The following charm and fire of The Curse keeps the vivacious start of the album constant, the at times Greg Graffin like tones of Alfaro roaring over a canvas of sound just as hungrily alg_currents_CD_digipak.inddsimmering and at times boiling. Though the song arguably lacks the final spark to match the first, it ignites the imagination with anthemic ease before Cynosure flexes sinews and sculpts an aggressive melodic theatre. The song is somewhere between a romance and a brawl on the senses and virulently captivating. It also shows the ability to seamless slip between unbridled charges driven expertly by Guedj and an increasingly impressive bass sound and enterprise from Bratt, and mellow reflective calm superbly caressed by Alfaro.

Through the similarly melodically and vocally voracious Shallow and the creatively snarling Nemesis, Atlas Losing Grip kicks up another stunning gear, the first of the pair an uncompromising and thoughtful blast of contagious heavy weight pop punk. Its successor equally twists and erupts with an infectiousness to bait body and passions but with a raw and more imposing texture to its inventiveness and blistering sounds. Both though fall into the shadow of the brilliant Closure, an acoustically sculpted ballad showing, as if we needed any more proof, the strength and quality of Alfaro’s voice. Backed as impressively by the band his delivery is embraced in just as evocative melodic scenery woven by the guitars. Adding emotive strokes of strings to seduce ears further, the track fascinates with its mesmeric impassioned presence.

Both the rock pop catchiness of Kings and Fools, which has a slight feel of Living End to it, and the punk storm of Cast Anchor rouse ears and emotions in their individual and similarly tenacious ways whilst Unknown Waters follows with a contemplation of vocal and melodic design which provokes feet and thoughts equally to greedily embrace its fiery elegance and rhythmic incitement. Anthemic vocals and another irresistible predacious bassline stands out before the song stands aside for the drama of The End where bass and drums again steal early attention before sharing attention it with, as expected, the voice of Alfaro and the dynamic energy of the guitars.

One pinnacle of Currents makes way for another in Downwind, as potent a punk and heavy metal anthem as you are likely to hear this year, which applies to the album as a whole too to be fair. The song stomps with heavy booted beats and wiry grooves whilst vigorously rippling with addictive emotion and infectiousness. It is an epidemic of a persuasion and alongside Closure firmly taking top honours. Its might shadows the next up Through the Distance a touch though it cannot diminish the thrilling maze of thrilling imagination and electro whispers nor the turbulent lure of industrious and feverish rock ‘n’ roll shaping the track.

Variety is not absent for long at any point on Currents, the sheer atmospheric and melodic drama of Cold Dirt sending ears and release down new avenues with its harmonic poetry and epic orchestral bred heart. Another big highlight it leaves Ithaka to bring the album to a close with its tribal seeded percussion and sultry melodic climate. Eleven minutes in length, the song never outstays the attention span, only revealing further depths and originality to band and release.

Currents is a gem, one shining brighter with every listen. There is a surprise that not as many songs return in thoughts to nag attention whilst away from the album but this has no impact, not even a whisper, on the weight and glory of the album. As suggested at the start Atlas Losing Grip just get better and better, and even the news that Alfaro has left the band just before the album’s release cannot deflate the band’s certain ascent into the strongest spotlights, especially with a song featuring his placement Niklas Olsson sounding like the vocal department is in safe and accomplished hands.

Currents is available worldwide from 16th January

http://www.atlaslosinggrip.com/

RingMaster 16/01/2015

Copyright RingMaster: MyFreeCopyright

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

http://www.thereputationlabel.today