Dirt Box Disco – Only in it For the Money

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You always know what you are going to get with a Dirt Box Disco album yet they still push their sound and invention on each and every time to never sound stale or repetitive. With their new release though the UK punk ‘n’ rollers, who have been stomping and a hollering since 2009, have really pushed the creative boat out and come up with a collection of their most diverse and adventurous songs yet. Only in it For the Money is by far the pinnacle of their rampage so far and that is without losing any of the insatiably mischievous and dirty devilry which has equally gone to make Dirt Box Disco one of the most greedily devoured and roared about rock ‘n’ roll bands in Britain.

Whether it is because principal songwriter Spunk Volcano has pushed his boundaries with his solo project or it is just an organic progression, the new album is a web of diverse punk flavours retaining the key Dirt Box Disco sound. Previous album Bloonz impressed and thrilled but in hindsight it was not a big step on from its predecessor Peoplemadeofpaper. The question was had the band come to the end of its potential? Only in it For the Money is a swift kick in the nuts of such blasphemy and potentially the bridge between national capture and a global spotlight.

Band and album strike with voracious force in opener Guest list, a track which hits with the welcome DBD signature character but equally stirs up a new nest of creative hornets. Its initial touch is a stinging coaxing which in a breath turns into a turbulent stomp of anthemic vocals and compelling riffs. Sculpted on the confrontation every ticketed show must come up against, the track is pure virulence and if you are not leaping around and yelling within the first minute we suggest you call the paramedics as you might be on your death bed. Quite simply punk rock, indeed rock ‘n’ roll does not get any better.

The Art Of Conversation follows and presses ears with a broader rock sound before rigorously crooning vocally and antagonistically, at the same time breeding swiping rhythms and raw riffery. Contagion is always a given with the band’s songs and again here it is an irresistible persuasion amidst the coarser raging of sound. There is a great Buzzcocks bred hook within the tempest too, just a slither of tang but an intoxicating hue in the imposing slab of punk ‘n’ roll.

Only in it for the money - Cover   Like the music, lyrically the band get to the point, no bushes worked around to make an impact and if it takes a uncultured approach to get the impact needed so be it, and so it is with Fat Twats And Scumbags. From an Oliver like plea, the song is a prowling and bitter dagger drawn predation on the state of society and political agendas bred from old school punk and furious metallic provocation. The track is an animal and already three songs in revealing that earlier mentioned variety in the character and heart of the album.

Something In My Eye revels in a raucous pop punk canvas next. Riffs and beats are a tenacious abrasing to which the great vocal mix across the band led by WEAB.I.AM brings tasty infectiousness. It is the blaze of classic rock seeded guitar from Danny Fingers which steals the show, though only just from the rest of the essences making up one addictive encounter; a contagion just as potent in the similarly lighter brewed rocker I Dont Wanna Know Your Name. Galloping through ears with pure energy and melodic enterprise, the song is one of those sing-a-long moments impossible to resist physically and vocally, but then that applies to all their songs, certainly upon Only in it For the Money.

The following Crushed is a more expected DBD offering but again it has a fresh nature in its presence. The driving enticing bassline provided by Deadbeatz Chris takes hold from the first seconds, tightening its grip as the swinging thumps of Maff Fazzo cage and batter the senses. With the guitars of Spunk Volcano and Danny creating a flavoursome web of sonic endeavour, the track swiftly enlists the imagination and emotions though it is soon overshadowed by the outstanding Dirtbox Disco. A ferocious trespass of punk attitude and raging, this is a song we have been waiting for, the band name always lending itself to a song at some point and finally arriving as a predator fuelled by ravaging energy and compelling creative antics.

If You Want A Sexy Bird Join A Fuckin Band opens with a melancholic croon wrapped in Green Day like softness, its protagonist self-pitying over the lack of success with the ladies. The band is soon riling up against him though; it is quite simple if you want to score join a fuckin’ band. Surely not that easy but nevertheless the song continues to toy with a poppier punk sound battered with a hardcore old school punk fury, the result a thrilling union and collision with the senses.

There is a touch of Flogging Molly to parts of the excellent Please Dont Walk Away next, a thumping charge of a song with again a refreshing mix of rock hues in its surging fist pumping incitement, whilst Realy Fast Car is as much power pop as it is dirty rock ‘n’ roll. Think The Radio Stars meets Eddie and The Hot Rods then infested with the Dirt Box Disco DNA and you have one exhilarating onslaught.

We explore more seventies seeded power pop next with Cry Myself To Sleep, this time doused in the tantalising scent of The Damned. It is another offering where limbs and throat are submissive and eager to join in within barely a flood of seconds, but as suggested that applies everywhere as proven by the lively melodic croon of Day After Tomorrow. The bass seduces and vocals provoke a ready to play response immediately whilst the crisp beats and enticing riffs only add to an inescapable enticing simply oozing from the song.

We get pure DBD with Ladyboyz, lyrics as base and hilarious as you could wish and hooks as flirtatious and addictive as those at the centre of attention in the song, or so we are told. We have always wondered how personal, intimate to the band certainly the failed romance lined songs are, and even more so after this…a tale for another interview maybe? The track itself will linger and fester in the psyche once heard, especially its prime hook and that salacious chorus.

Only in it For the Money comes to an end through All Day Long, arguably the least adventurous and explosive track on the release yet another leaving ears doused in happiness and the album on a potent high. As suggested Dirt Box Disco have unleashed their finest moment yet, one which is a leap forward in every aspect from their previous impressive outings. They have set them self a new lofty marker for future releases to be compared to but this feels like a new dawning for the band, so easy to expect that they will simply take it in their creative stride.

Only in it For the Money is released April 19th 2015 on STP Records. For details check out http://www.stprecords.co.uk and https://dirtboxdisco.bigcartel.com

http://www.dirtboxdisco.co.uk   http://www.facebook.com/pages/DIRT-BOX-DISCO/129060477115572

Upcoming DBD live dates including album launch shows.

APR 17 – ASYLUM 2, BIRMINGHAM (Album Launch)

APR 18 – ZOMBIE HUT, CORBY (Album Launch)

APR 19 – Star & Garter, Manchester (Album Launch) – Tickets – http://www.stprecords.co.uk/page7.htm

APR 24 – Yorkshire House, Lancaster

APR 25 – Scotland Calling, ABC, Glasgow

MAY 03 – The Dog House, Nottingham

MAY 09 – The Boathouse, CAMBRIDGE

MAY 15 – Polish Social Club, Barnsley

MAY 16 – North West Calling, Ritz, Manchester May 23 – Nice N Sleazy, Morecambe

MAY 29 – Liquid Rooms, Edinburgh (with The Buzzcocks)

MAY 30 – Berwick on Tweed, Berwick FC.

JUN 07 – Boars Head, Kidderminster

JUN 13 – Riffs Bar, Swindon

JUN 20 – The Old Star, Uttoxeter

JUN 27 – Hillview Comunity Centre, Cheltenham

JUN 28 – Warehouse 23, Wakefield (with 999)

JUL 24 – Bladefest

JUL 25 – Private Party

AUG 6-9 – Rebellion, Blackpool

AUG 30 – 3 Chords Fest, Penzance, Cornwall

 

RingMaster 16/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Loaded 44 – Come On!

photo by Dave Brown

photo by Dave Brown

If there is a fiercer more contagious slab of rock ‘n’ roll around right now than Come On! it is sure to be a major triumph as the second album from UK punks Loaded 44 is one mighty stomp. From a strong but arguably unremarkable start it turns into a ridiculously addictive and riotous brawl. It does not take long for the transition to happen either, just a couple of songs, but when the release kicks up a gear bliss and exhaustion is its legacy.

Hailing from the North East, Loaded 44 began in 1996 stirring up the local scene before working on a broader attention and wave of eager appetites for their “ass-shakin’ punk rock”. The band’s live reputation is second to none whilst first album Wasted On You, released in 2011 on STP Records like its successor, established the band as one of the UK’s finest musically voracious punk bands. Now the quartet of vocalist Beki (Steve Ignorant, Chaos 8), guitarist Dave, bassist Steve and drummer Nelly (both Hi-Fi Spitfires and The Lurkers), have upped the ante and created a new tempest of attitude and aggressive infectiousness in Come On!, an album to rage at the world with and lose your inhibitions to.

As mentioned the album did not bowl as over initially though it had attention and appetite gripped and eager through the first pair of songs. Breakdown hits first and from a single riff erupts in a blaze of jabbing beats and aggressive chords. Once Beki unveils her distinctive tones, the track is a richly satisfying slice of rock ‘n’ roll for thoughts to swiftly align to. What it does not have is the spark to ignite anything more than calm but thorough enjoyment. Nevertheless it is a potent start straight away matched by the rhythmically agitated Something For Nothing. A throaty bassline instantly grips whilst the vocals of Beki have a great Poly Styrene edge to them as the rumbling beats of Nelly add richer anthemic bait. Again though, it strongly pleases without sparking big excitement, though that all changes from hereon in.

STP033     Paper Heart steps up next with a heavy tempest of beats and riffs on its first breath, a stormy presence soon veined by group harmonies and the combative tones of Beki. They in turn seem to inspire greater attitude and menace in the other parts of the song, the result a forceful romp with a volatile air veined by incendiary flames of rock guitar. Finishing on an inescapable anthemic roar the song makes way for Generation Idiot and yet another gear and plateau is found. Vocals lure from the first second, swiftly backed by addictive hooks and dirty riffs. The song is soon ablaze with pop punk devilry and energy, but this is no lightweight Green Day like tempting, but a fiery and predatory incitement of power punk.

The class ‘A’ addiction of Give It Up strides in next, a track with a chorus taking barely seconds to be seduced by, roared along with, and deeply wormed in the psyche. The repetitive spine of the song through bass and riffs, has all the hallmarks of an understandable influence of The Lurkers and works like a magnet as melodies and hooks flare up with virulent catchiness around it. The track screams single but then again most of the songs from the album have that declaration as proved by Over And Out next. A bigger bruising encounter than its predecessor, the track equally has that infectious temptation and enterprise to it. Vocally Beki reveals a touch of the Fay Fifes whilst the guitars and bass collude to create a straight forward yet perpetually spicy confrontation punctuated by the scything swings of Nelly’s sticks.

Aggression and intensity only gets harder and more imposing in Step Back In Time but so does the band’s ability to create catchy provocations. Hooks simply seduce as rhythms and riffs badger rigorously, whilst vocally the band and Beki singularly, whip up an anthemic storm from which escape is impossible, a success emulated in Only Ones within seconds. Like a dirtier punk version of The Rezillos, the track is a rampant persuasion of rock temptation. Both tracks have you thinking rock ‘n’ roll does not get much better than this but oh it does as shown by the outstanding Shake It Up. Opening with a classic rock spicing within its punk coaxing, and with a great whiff of The Duel to its early melodic and harmonic resonance, the song twists around to unleash a chorus which simply sends a tingle down the spine as body and emotions succumb to its epidemic lures. It is one of those moments you know music is primarily there to breed, an all-consuming treat which only grows stronger and hungrier as the band get even more adventurous within the brilliant encounter.

The album is brought to a thrilling close by It`s Not About You first of all, a raucous punk ‘n’ roll exploit with drama to its riffs and delicious bassline. Voices and beats cast a riveting and bracing proposal as ears and the passions are set ablaze once again, then left on a high at the song’s departure, subsequently and fed further intensive pleasure by the closing Love Myself To Death. A more standard rock punk bellow but giving the album one final exciting moment, the track just puts the final layer of icing on a modern punk classic.

You may come up against many albums which might rival Come On! as a bulging package of rock ‘n’ roll anthems but there will be few to surpass it, if any. Loaded 44 produce punk rock at its best and an example of why the genre and state of mind will never die.

Come On! is available now on CD via S.T.P. Records @ http://www.stprecords.co.uk/page4.htm and digitally @ https://itunes.apple.com/gb/album/come-on!/id982345664

http://loaded44.weebly.com/   https://www.facebook.com/loaded44

RingMaster 16/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Token Joker – Just Part of the System

Photo courtesy of Meg Hope Photography

If you are looking for a tasty slab of rock ‘n’ roll to take around with you in the heat of summer this year, then lock in your mp3 players, grab the Just Part of the System EP from UK rockers Token Joker, and unite the two. The four track encounter is a magnetic and invigorating slice of sonic enterprise to while away the day with whilst revealing exactly why the Devon quintet is beginning to create a stir in the UK rock scene.

Not much more than a year since the band emerged, Token Joker has been on a determined course and potent rise reaching a first pinnacle with the forthcoming release of their debut EP. Before its creation though, the Dawlish hailing band has grabbed plenty of attention for the melody rich, hook loaded songs of lead vocalist Leon Welsh and rhythm guitarist/vocalist Matt Coleman. Within weeks of stepping from the shadows, the band found itself courted by a London promotion company which led to their playing the O2 Academy Islington. This was followed by shows with bands such as of The Tricks, The Others, and The Beaches as well as appearances at The Great Escape Festival in Brighton, Teignmouth Carnival, and the Oxjam Exeter Takeover. It was a busy and successful 2014 for the band, global radio play another emerging success, and it has continued into this year. Recorded with producer Paul Reeve (Muse, Razorlight, Supergrass) this past March and mastered by Simon Heyworth (Mike Oldfield – Tubular Bells), the eagerly anticipated Just Part of the System is now set to awaken a new spotlight on the band, a focus sure to be reinforced by the excellent song Ride the Train which is taken from the EP and firing up radio shows and stations through Token Joker linking up with renowned UK radio plugging company Pluggin’ Baby.

11096726_932257790127827_9070900460185589201_nThe EP opens with 10,000 Angels, a short atmospheric instrumental which sparks the imagination if not the ears to the same degree. It does lure in an attentive intrigue though, the piece like a dawning of bigger things, which turn out to be arriving in the shape of Green. The first track evolves seamlessly into its successor; tendrils of spicy coaxing from the guitar emerging from the previous sonic haze as thumping rhythms also add their invitation. That flavoursome enterprise turns into fiery grooves and hearty riffs from Chris Dearing and Matt Coleman respectively soon after, whilst the rhythmic side of the song gains greater weight and voice through the muscular swings of drummer Rupert Waldron and throaty basslines of Michael Jackson. It is an aggressive yet respectful enticing enhanced by the expressive vocals of Leon Welsh. Cross its length the song continues to endear itself to ears and thoughts, never quite exploding as it hints at, but feeding an awakening appetite to sparkling hooks and feisty textures.

Things kick up another gear with Rookie, a great busy stomp of dirt clad rock ‘n’ roll with an almost volatile character to its persuasion and a combative energy to its gait and persuasion. Within this formidable tempting, blues lined melodies colour the dramatic landscape, adding even more alluring hues to the gripping roar of the increasingly impressive song.

The EP is completed by the outstanding Ride the Train, a track swiftly taking ears and emotions on a feisty and heady course of provocative grooves and fiery melodies. Alongside this, hooks almost leap at ears as rhythms jab and flirt simultaneously with the senses whilst the voice of Welsh again creates an attention grabbing roar with range and diversity. An incendiary stomp to light up any mood, it is no wonder that the song alone is raising keen awareness upon the band and now supported by the rest of the EP, sure to be a leading lure across the year.

The band has already found the support of Matt Bellamy of Muse on their side, with many more soon to join the fold once Just Part of the System is unleashed on the nation. The bluesy, heat enriched summer of rock starts here.

The Just Part of the System EP will be released on April 27th digitally via iTunes and on CD.

http://www.tokenjoker.com   https://www.facebook.com/TokenJoker1

RingMaster 16/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Desert – Never Regret

ALL-BAND

It was four years ago that Israeli dark epic metal band Desert sparked ears and imagination with debut album Star Of Delusive Hopes and now the Tel-Aviv sextet returns with its highly anticipated successor, the even more dramatic and enthralling, not forgetting enjoyable, Never Regret. It is an album which explores more potently the uniqueness within the invention which marked out their first full-length release and like its predecessor, it too has moments which excite more than others but unrelentingly the new proposition makes you sit up and revel in its imaginative adventure.

Formed in 2002 by guitarist Max Shafranski, Desert began luring attention, as its line-up grew and stabilised, with the demo The Way To Honor in 2004, though it was debut EP Prophecy Of The Madman which was the spark to stronger and broader acclaim. Another line-up change brought fresh blood and imagination into the band, this soon in evidence upon the 2011 released Star Of Delusive Hopes. There was not the originality to it which now spreads across Never Regret but it had all the essences to captivate, something which again has escalated on its successor.

The release opens with Chasing the Prey, a brief instrumental full of portentous shadows, rhythmic incitement, and enticing harmonies aligned to brewing danger. The track sets the atmosphere and scene perfectly, though it could have done with another minute such the enjoyment. Its departure heralds the gateway for the excellent Assassin’s Fate to stride through with an eager and aggressive cantor. The keys of Oleg Aryutkin instantly cast an almost cinematic colouring to the song, evocatively soaking the sinew sculpted beats of drummer Assaf Markowitz and the tantalising guitar enterprise of Sergei Nemichenitser and Max Shafranski. In no time it is a transfixing flight with its narrative and heart revealed by the distinctive tones of vocalist Alexei Raymar. He has a delivery which for some might take time to adjust to but his presence is almost that of a warrior in the context of the album, a raw yet accomplished protagonist as integral an element in the landscape as the sounds.

ALBUM-COVER      The wonderfully turbulent mix of heavy and epic metal makes way for Son of a Star, it too carrying a climatic air and body to its presence. The bass of Sergei Dmitrik provides a predatory lure against the initial swirling wash of keys whilst jagged riffs collude with lashing rhythms to bring greater intensity into the immersive embrace of the track; a warrior breath and technical enterprise merging to ignite and invigorate the lively crusade. With a great guitar solo from guest Alex Zvulun another potent tempting, the song passes on ears to the mellower though no less intimidating atmosphere of The Wolf’s Attack. Initial orchestral caresses soon evolve and strengthen into more aggressive, at times almost punkish endeavour. Bewitching melodies and billowing orchestration get magnetically involved too, the song creating a volatile canvas for the imagination to explore, with potent suggestiveness offered by another scorching guitar solo.

The album’s title track brings a familiarity with it next, though it is hard to say why. It just feels like something heard many times before but it does not dilute its success and appeal. In fact it only increases the richness of the adventure in song and album, allowing a more accessible union between it and the listener swiftly becoming a major moment within Never Regret.

Zvulun returns to add extra rich hues to The Road to You straight after, as also vocalist Infy who joins the evocative ballad. Her voice becomes a serenading light in the increasingly explosive drama and tempestuous theatre of the track, and though the song does not match the potency of its predecessors there is something seriously compelling to it just as there is to 1812, a track which might not quite excite as those before but is still a riveting and increasingly tempting provocation. Featuring Ralf Scheepers of Primal Fear on vocals, the song constantly twists and roars across its alluring proposal, musically and vocally.

Flying Dutchman instantly ignites ears and appetite with the violin skills of Merry Ann Genin, her melodic flames gypsy like in tone and a captivating temper to the savage presence and intent of bass and riffs. The song is outstanding, carrying a folkish swagger and lure in its midst before making way for the orchestral elegance of Final Journey which continues to seduce even when erupting into a more rugged, and in the case of the bass, carnivorous persuasion. Both tracks in their individual ways are unpredictable and enthralling with certain parts creative genius and always a highly satisfying enjoyment.

The dark predatory lures of Imperial Eagle, a song with melodic and orchestral flags waving magnetically within its imposing turmoil, gives another impressive and seriously exciting proposition before Invincible brings Never Regret to a mighty close. The track is sinew and grace in one formidable and appealing conflict, a battle cry and celebration simultaneously.

As much as Star Of Delusive Hopes impressed it is easily outshone by the majesty and masterful creation of Never Regret. It is a release still suggesting there is more to come before Desert find their full potential but with great offerings like this we can wait.

Never Regret is available now @ https://desertband.bandcamp.com/album/never-regret

http://www.desertband.com/     http://www.facebook.com/DesertOfficial

RingMaster 16/04/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net