Thirteen Shots – Black Smiles

Thirteen Shots - Promo Picture_Reputation Radio/RingMaster Review

With every release since they emerged in 2011 and unleashed the instantly captivating track Danzig, UK rockers Thirteen Shots has evolved their sound, each encounter seeing the Birmingham quartet infuse richer and broader flavours and styles into their core tempest of horror bred rock ‘n’ roll. Each step has also come with an increasing amount of acclaim but fair to say that Thirteen Shots have easily outdone themselves with new album Black Smiles. It is a dramatically eclectic mix of songs and genres honed into one increasingly captivating and addictive proposition, and what it might lack a touch in consistency it more than makes up in riotous contagion.

Since whipping up attention with the horror punk sculpted Danzig, Thirteen Shots has been on a creative and attention grabbing roll. Shows with the likes of Demented are Go, The Peacocks, Rezurex, Howling Wolfmen, and Graveyard Johnnys helped establish the band as one of the UK’s most exciting horror/garage punk newcomers and now a band whose shows and releases are constantly highly anticipated. Previous albums Vaudeville and Tales That Start With A Whisper certainly pushed the band’s sound and presence forward but it was last year’s White Noise which made the biggest step in bold adventure and diversity. Hindsight though shows its potent success and contents were just an early hint for bigger and more ambitious things now ripening within Black Smiles.

Recorded with Paul Hughes, Black Smiles is based on the old school movie experience of double features with each song playing part in a cinematic experience. It all starts with Cobradeer, which acts like a promotional trailer to the other tracks which are like serial episodes within the main feature of the album. The opener is an immediate rush of fiercely slapping rhythms and ferocious riffs, the song blasting ears into keen attention before relaxing into a more tempered stroll as the distinct vocals of Johnny Rose open up the narrative. The chorus kicks the adrenaline switch again with the song swinging between both attacks as it provides an increasingly spicy musical/lyrical introduction to the album.

Thirteen Shots - Black Smiles- Cover_Reputation Radio/RingMaster Review   It is a strong and enjoyable beginning quickly surpassed by the following Run and Hide. From the great initial throaty bassline cast by George Chick and the quickly joining equally predatory beats of drummer Tom Fenn, the track has imagination and appetite hooked. The surf shimmer of guitar and controlled tones of Rose only increase the potency as drama and sinister seduction blossom their tempting too. Subsequently a more hard rock enterprise is spun by guitarist Lewis Machip as the encounter’s chorus roars, contrasts swapping moments in the lengthening landscape of the excellent song. With its weave also knitted with garage and melodic rock as well as punk and blues tenacity, it is a swift unveiling of the variety and diversity destined to continue through sound and album.

Next Cupid´s Dead romps through fresh scenery too, its punk/garage rock devilry seemingly bred from a mix of The Clash and Blitzkid. At not much more than a brain munch past a minute in length, the track is a punk stomp to breed an addiction for and quickly matched in its individual way by the dirty rock ‘n’ roll revelry of Warewolf Party. A spicy groove is the first infection with the song’s raw air and fiery sound the second, it all united in a riveting and easy persuasion lorded over by the honest tones of Rose before it then makes way for the anthemic rampage of Garage Crew. Chick once again is the kindling to a feisty blaze with his opening dark bass prowl, every note a resonating treat leading ears into the brawling surge of riffs and rabid rhythms fuelling the song. That bass becomes even more bestial in tone as the song lurches from one explosive assault to another premeditated predatory stroll and back; punk, horror, and subsequently blues rock entwining in its anthemic contagion.

Night of Sin doses itself up with a big shot of blues guitar and rock ‘n’ roll next, Machips’s enterprise tangy liquor in the heavy intimidating embrace of the rhythms. The ever unpolished punk delivery of Rose ensures an alluring earthy feel is always present o the album, even here where strings reveal their most accomplished and intoxicating beauty. It is a constantly rewarding mix again in evidence, after the tantalising refreshment of the melodic and acoustic croon that is Interlude, in the psychotic Skitzo. A delta blues tang coats the guitar’s endeavour bringing the incoming stomp into view, the flavouring a persistent tempting as the song erupts and blazes with persistent blues punk tenacity.

A enticing swagger comes with Black Eyed Girl next, the song like a moonlit seductress swinging its melodic hips as the more restrained and continually impressive voice of Rose introduces the moment’s protagonist. It is a gripping danger and intrigue which retains its potency as the song expels another bluesy flame of raw energy and sound. The entwining continues until the song can contain itself no more and reveals itself as a dirty raucous rocker for a bellow of a persuasion.

The swinging hips of Punk Betty flirts in a similar vein to its predecessor, its saunter a punk infused hard rock bait but with the same catchy resourcefulness. It does not admittedly have the same spark as previous songs, that inescapable lure but with one delicious bassline and the anthemic mischief of the vocals, it only keeps appetite and satisfaction eager before passing attention over to the album’s title track. It too is missing something to set, as earlier tracks, personal tastes ablaze, a particular uniqueness to spark their lust but once more its dark hearted rock ‘n roll and lyrical enterprise, not forgetting predation bass and sonic veining, is nothing less than rousing.

Lost Soul is soon a full seduction though. Its surf and horror rock romance is a sultry incitement of ears and imagination, undiluted persuasion caressed by a garage rock smoulder and flirted with by a ska seeded tempting. To be honest there is an even richer tapestry of flavours in easily the best song on the album, plenty to be discovered as the track alone sparks real excitement and anticipation for the continual and increasing potential and growth of Thirteen Shots.

There is a final raw explosion of punk and garage hostility in the shape of Friday 13, a bracing and unpolished finale to another thoroughly enjoyable and riveting adventure with Thirteen Shots. As always with a record from the band there is a dramatic potential of even bigger and major things ahead, the foursome getting closer to their pinnacle each time but equally raising that bar with every offering too. They have a classic within them for sure and it will have its day but right now we all have the opportunity to go on a rigorously enjoyable romp in great exploits like Black Smiles.

Black Smiles is released on June 29th and can be pre-ordered via https://thirteenshots.bandcamp.com/ and https://itunes.apple.com/gb/album/black-smiles/id994668019 in various options.

Http://www.thirteenshots.co.uk/     https://www.facebook.com/thirteenshotsband

RingMaster 10/06/2015

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

Fight Amp – Constantly Off

Pic Freddie Ross

Pic Freddie Ross

Whether they call themselves Fight Amp or Fight Amputation, Philadelphia’s keg of noise rock ferocity have returned with a blistering roar of an album in the shape of Constantly Off. Imposing and at times bordering on carnivorous, the release is the band’s first new recordings in over three years and their heaviest most virulently cantankerous offering yet.

Once more the trio pour grunge tenacity, sludge oppressiveness, and punk predation into their creative vat for the album, twisting and honing it into a tempest of irresistible and rousing noise rock. Equally though Fight Amp has cultivated their most infectious and seductive melodic tempting too. It has resulted in songs which rhythmically stalk, sonically abrase, and melodically romance the senses whilst creating an infestation which as suggested earlier sees the band at a new plateau of invention and sound. Think early Melvins and Torche meets KEN mode with rigorous incitement from the likes of Nirvana, Black Flag, and Dope Body, then think of that being something original again, and you have the addictive might of the Steve Poponi (American Heritage, Ladder Devils) recorded Constantly Off.

Ex Everything sets things in contagious motion, the opener stepping forward in a breeze of portentously predacious sound with the guitar of Mike McGinnis creating sonic smog. A whisper of a relaxation follows before rugged bass and guitar riffs collude with punchy beats in casting a more intensive examination of ears. The vocals of McGinnis and bassist Jon DeHart, whilst being just as imposing, offer a more harmonic temper to the heavy weight of the song, simultaneously sculpting prowling grooves through their individual string craft as hostile as they are magnetic. It is a beast of an encounter, a flirtatious predator which shares its traits with the following Survival Is Strange.

CO_COVER_WEB_Reputation Radio/RingMaster Review The second song is a much more lively and volatile proposal from its first breath. The guitar spins a web of scathing riffs and enticing grooves around vocals which again come with an infectious swing and raw attitude. The contagious essence of the song is emulated just as resourcefully, amidst the resonating lures of bass, in the swinging sticks of drummer Dan Smith too. The encounter is noise addiction for ears and appetite matched quickly after by Leveling In A Dream. Its initial bluesy coaxing is liquor to the senses, a minute plus of suggestive toxicity which eventually spawns a rhythmic and vocal stroll of forthright attitude. Subsequently a reserved but antagonistic wind of sound with rhythmic punches fill ears, the closing minute of the track a bracing bellow which still never catches fire but smoulders perfectly for potent success.

Smith with his rhythmic and rapacious enterprise sets You Don’t Wanna Live Forever rolling next, his jabs increasing in pace and virulence until guitar and bass cannot hold back any longer and jump in with dirty riffs and boozy grooves, which are matched in turn by the raw and catchy variety of the vocals. Agitation and discord add to the captivating revelry, the song a perpetual eruption of off kilter tenacity and bouncing energy, not forgetting ingenuity.

Contrasting the leaping persuasion of its predecessor, I Perceive Reptoids employs another threatening prowl in its proposal. It comes with a post punk shadowing, a solemn toning which continues to cloud the corrosive expulsions of vocal and sonic ire aligned to another riveting and intrusive rhythmic enticement. Once more the song is an incitement bred from colluding contrasts and opposing textures, and again ears and imagination are twisted into subservience.

Final track Happy Joyful Life brings a last tempest to devour greedily. The bass of DeHart is almost bestial in its voice and addictively savage basslines, the beats of Smith rapier like, whilst McGinnis’ guitar breeds a maelstrom of senses tearing hooks and toxic grooves. Together it is a tempestuous and ridiculously infectious affair driven by scowling vocals and just outstanding.

The track makes an absorbing end to an incendiary release on ears and emotions, Constantly Off brewing its own terrain of noise rock which explores all the essences making up its DNA with such imagination that it ensures its appeal will go far beyond one or two specific genres. Quite simply Fight Amp creates irresistible noisy rock ‘n’ roll and in their new offering one of the real treats of 2015.

Constantly Off is available now via Brutal Panda Records digitally and on vinyl @ http://www.brutalpandarecords.com/products/fight-amp-constantly-off-12 or https://fightamp.bandcamp.com/

https://www.facebook.com/FightAmp   http://www.fightamp.com/

RingMaster 10/06/2015

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

 

Nightslug – Loathe

Promo_Reputation Radio/RingMaster Review

If there is any glimmer of hope for humanity and the world as its falls further into decay, it is an escape you will not find in the sound and new album of German band Nightslug. The seven track encounter is a crushing swamp of sound and ill-will, a soundtrack for and after the apocalypse which thickly and ravenously consumes any hint of light. It is ugly, increasingly voracious, and viciously suffocating but also irrepressibly compelling.

Formed late 2011 in Düsseldorf, Nightslug was bred in and emerged from the country’s hardcore-punk scene. As their demo 12” that first year and debut album Dismal Fucker in 2012 revealed, the band’s sound immersed that hardcore and punk breeding into a tsunami of sludge seeded hostility and nihilistic expression. Both releases startled and spawned potent attention for themselves and the band, but now their brand new album Loathe takes everything to a new grotesque plateau with, easy to suspect, a similar growth in awareness and success soon following.

Nightslug Loathe cover _Reputation Radio/RingMaster Review     From the initial sonic violation of Vile Pigs, band and release is a hellacious resonance in ears and spiteful provocation for the imagination and emotions. The opener swiftly welcomes a savage bassline and telling vocal samples as its climate becomes a piercing and even more inhospitable prospect. Dirty doom spawned riffs add to the trespass almost as instantly as the insidious tones of the vocals, everything united in a corrosive smog of noise and intent. As with many destructive proposals, there is an underlying tempting and swagger leading to contagion, the song’s coming through that increasingly infernal bass bait matched in rancor by riffs and a riveting repetitious essence permeating all aspects.

The song’s departing sonic abuse transforms into the sonically violent start of the album’s title track. It is also the spark to a rage of intensively striding riffs and scything rhythms as a filthy rock ‘n’ roll swing cores the tempest of physical and emotional abuse. The storm though is soon turned into an inferno of noise and indeed loathing through the maelstrom of guitar and the ravenously merciless vocals before it too seeps into its successor, The Thrill Is Gone: Repulsion. There is nothing but hatred and bad blood running through the lumbering vitriol posing as a song, predatory riffs and rhythms alongside contaminated grooves and effect despoiled vocals colluding to get under the skin and devour the listener from within. As much as it is sludge, hardcore, and sheer aural cancer, that deep rooted infection is working away with noise rock and industrial tempting too and never has antipathy and the end of personal days been so seductive.

The excellent Under a Bane is a short unbridled savaging churning up body and feelings with every rancorous note and barbarously spewed syllable whilst Disease straight after, as its name suggests, is a lingering and inescapable sonic and emotional malady slowly working away at the senses with its insatiable distemper. Ears and thoughts simply get lost in its immersive depths and suffocating claws, its sludge crawl clad in an esuriently scarring sound for a gradual and cumulative persuasion.

Animalistic is the best way to describe the brilliant alchemy of Pure, its tribal beats undiluted temptation crawled over by wretchedly bred vocals and a seesaw of sonic enticing. As the gorgeous assault enslaves you can almost feel reality and the surrounding world crumbling into dust, before closing song Tainted Throne drags the listener into its own realm of carnal tones and hideous sonic landscapes lorded over by the most depraved sounds and creative imaginations.

The final song epitomises the nasty and beauteous decay of Loathe, an album it has to be said that simply enthrals and thrills from start to finish. It is obviously not going to ignite a greedy appetite and excitement in everyone but as life and humanity putrefies in our hands, Nightslug present one delicious soundtrack.

Loathe is out now via Lost Pilgrims Records (FR), Dry Cough Records (UK), and Broken Limbs Recordings (USA) and digitally @ http://nightslug.bandcamp.com/

https://www.facebook.com/nightslug   http://lostpilgrimsrecords.limitedrun.com/products/551006-nightslug-loathe

RingMaster 10/06/2015

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