Fuzzy Vox – No Landing Plan

Fuzzy Vox in Space

Wondering how to spend the weekend to its fullest enjoyment? How about filling your home with suitable alcohol, inviting a horde of friends over, and turning the speakers high as the new album from Fuzzy Vox provides a party to remember. I should warn that weak hips will be put under serious stress in this pursuit of fun because No Landing Plan is one of the most energetically feverish and tenaciously insatiable incitements to hit ears and bodies in quite a while. A collection of songs bred on garage rock and power pop, the French band’s second album is pure rock ‘n’ roll virulence with a character as varied and demanding as the medical bills received after it has seduced bodies to exhaustion.

Hailing from Joinville le Pont, Fuzzy Vox is the devilment of vocalist/guitarist Hugo Fabbri, bassist Greg Dessons, and drummer Nico Maïa. Emerging in 2011, the band quickly awoke national ears with the release of first EP, Technicolor in the October of 2012, breaching broader attention with debut album On Heat early 2014. The past couple of years have been especially lively and successful for the trio; tours all over Europe building on the success of their album with a recent adventure alongside Jim Jones Revue & Thee Vicars one particular highlight. Fuelled by the punk DIY ethic which again sees their latest encounter a self-released proposition, Fuzzy Vox is now ready to dive into major spotlights wherever they can be found, and with No Landing Plan as their key, betting against the band hitting new peaks of attention to match the plateau set by the album is pointless.

Recorded in Los Angeles last summer with Andy Brohard and Ryan Castle (Primal Scream, Black Angels), who also mixed the album, No Landing Plan gets straight to devilish work with opener Explosion Of Love. From the first slither of feedback a sense of mischief is a foot, and quickly playing with ears as jabbing beats join a web of temptation cast by guitar with the bass in swift seductive union. Hugo’s vocals alone show the energy and passion running eagerly through the song and sound, hooks and choppy riffs building on it with their own addictive dexterity.

It is a rousing start eclipsed by the following Distracted. The garage rock of its predecessor takes a more sixties scent in the second song, The Stones an easy clue which unites with a more Hives like tenacity as the track blossoms its anthemic adventure. Again feet and hips are as much a blur of involvement as ears and appetite are hungry recipients of the increasingly dynamic mesh of contagious sound and sonic bait.

With Told You Before taking little time to stir limbs into action with its punk rock/power pop shenanigans, the album has body and soul lock ‘n’ loaded in its high octane revelry. Wiry grooves and melodic flames only add to the imagination’s subservience and remember that mention of exhaustion? Already the signs are there barely three songs in.

That variety in sound is also pushing through by now too, the scintillating Grow Evil exploring a lively rock pop prowl with a touch of The Jam meets The Dirtbombs to its almost carnal temptation whilst I Got A Girl bounces around in a power pop stomp drawn from both the sixties and seventies take on the infectious flavour. Both tracks are superb but outshone by the jagged rock ‘n’ roll of Bo Diddley, a song living up to the sound its title suggests whilst creating a catchy incitement of viral proportions.

The Jam comes to mind again as Don’t Leave Me Behind steps up next with its melodic rock ‘n’ roll, equally though, so does an open Elvis Costello inspiration. It is a blend when woven into the band’s own invention simply sparks up further keen endeavour with and within the track, and indeed Charlie once it takes over with its R&B laced pop romp. As easy as it is to get entangled and absorbed by the carnival of sound, lyrically the songs within No Landing Plan are just as potent and impacting, Charlie especially striking. That diversity of sound is also in full swing within the song alone, a float through crystalline ambience following a thrilling surge of Oliver’s Army spiced devilment, leading to another anthemic whipping up of feet and emotions.

Easy Street frolics in ears next with a swinging festivity of sound and voice whilst teasing like something akin to a pop punk version of Supergrass whilst A Reason To Love leaves the listener in the throes of ardour for its surf rock coated, rockabilly bloomed slice of punk ‘n’ roll carrying flames of Living End/Tiger Army in its imagination. As an example applying across the whole album, for the references offered they are mere clues to the Fuzzy Vox uniqueness which fuels all tracks to gripping success.

So get those dancing shoes on and corks popped because Fussy Vox has one memorable weekend, indeed any moment in time you wish, ready and waiting courtesy of No Landing Plan.

No Landing Plan is available from February 26^th  from most online stores.

http://fuzzyvox.com/    https://www.facebook.com/fuzzyvox   http://www.twitter.com/fuzzyvox

Pete RingMaster 26/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Witching Waves – Crystal Café

Photo by David Garcia

Of the albums most anticipated by our particular ears was one from UK duo Witching Waves. They had us on line with their ltd edition cassette Concrete/Chain Of Command in 2014 and inescapably hooked with debut album Fear Of Falling Down later that same year but things have just got contagiously fiercer and even more sonically fascinating courtesy of their second full-length Crystal Café. It is a stunning roar of sonic and emotional dissonance fuelled by cutting hooks and feverish melodies, and that is not to forget the ever darkly mesmeric and often challenging lure of the vocals.

A mix of corrupted psych and surf rock fever with punk and post punk attitude, the Witching Waves’ sound mighty be better suggested by casting it as a union of the punk antagonism of The Raincoats and the garage punk ‘n’ roll devilry of The Creeping Ivies in collusion with the raw and virulent off-kilter pop of The Adult Net , Morningwood, and Delta 5. To be truthful, the London band has a sound which has always been its own individual but now forcibly so on Crystal Café. Intrigue for what the band will reveal next is always company to eager anticipation and indeed expectations, and it was no exception this time around, especially with the duo of founding members, vocalist/guitarist Mark Jaspar and vocalist Emma Wigham, having grown by one with the addition of bassist Ed Shellard since that previous impressive album.

Crystal Café opens up with Twister, a song shedding drama with its first surge of guitar. As it hits a heady stride with scything beats lining the brooding bassline of Shellard, the track has ears and imagination onside with ease, even more so as the siren like tones of Wigham collude with Jaspar’s sonic tendrils, all hot spice and raw flirtation. Not for the last time, a scent of The Cure certainly hits the rhythmic side of a song, adding appealing hues which engagingly merge with the fiery enterprise of guitar and voice.

The outstanding start continues in the concussively seductive Seeing Double, a roar of scuzzy guitar and alluring vocals with a sniff of almost Xmal Deutschland like post punk coldness. It is a grouchy encounter, epitomised by Jaspar’s aggressive vocal outbursts, but simultaneously also a raw melodic enticement which simply grips the imagination.

The following Pitiless uncages an anthemic rumble of rhythms as Wigham’s captivating vocals get entangled in the citric lines of just as compelling guitar spawned imagination. Juicy hooks are as frequent as searing sonic endeavour, being caught up in a bracing infectiousness which has the body jerking and senses wilting, though they do get respite from the alluring repetition sculpted instrumental Red Light Loop that follows. It is the first of a few imagination sparking interludes, a break before the raw trespass of contagion continues, in this case with Make It Up. There is a Wire like quality to the song which only adds to the pop catchy theatre that evolves to seriously excite and involve the listener. The track is as irresistible as a fondle in the shadows; offering a warm moment of pop slavery in the senses whilst they get intruded upon by the dissonance soaked soundscape of the album.

Anemone spreads a portentously melancholic instrumental breeze next, its starkly lit prowl a rising smog of discord as invasive as it is intimidatingly bewitching. The track sets up ears and imagination for The Threat, it a melodically cultured temper to the previous trespass with its boisterous surges of muscular beats and flowing vocal warmth over less kind but as riveting grooves. It too brews into a swarming sonic assault but without losing any of the pungent temptation it began coaxing ears with before the brazen temptress that is the excellent Red Light wraps its raw hunger and salacious beauty all over the listener.

The scathing sonic air and vocal angst of Receiver then takes over, its Jaspar voiced tempest bold exploration of the senses with underlying seduction added by the harmonies of Wigham, whilst after its pleasing encroachment and the evocative caress of instrumental Inoa, the album comes to a mighty close with new single Flowers. Wrapping around a glorious bassline echoing early Cure as crisp beats descend with resonating effect, strings of melodies and atmospheric suggestiveness come together, in turn swiftly joined by a dual smooch of vocals to captivate and entrance to which Wigham further adds her spellbinding lures. As seductive and inviting as it is, the track equally offers a host of descriptive shadows and sonic discordance that fester in thoughts and emotions to fine effect.

The track is an enthralling end to a simply superb release; another from Witching Waves and easily their finest moment yet. Hopefully this time around, the band gets the attention and surge of fresh appetites for their unique sound which previous releases warranted but Crystal Café demands and deserves.

Crystal Café is available on vinyl, cassette, and digital download from released February 26th via Soft Power in the UK and HHBTM Records in the USA.

https://www.facebook.com/witchingwaves   http://witchingwaves.tumblr.com/

Pete RingMaster 26/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Buffalo Theory MTL – Skeptic Knight

photo – Benoit Nantel

Creating a bruising and boozy riot of rapacious rock ‘n’ roll, Canadian quintet Buffalo Theory MTL are releasing their latest uproar of sound and attitude this month in the boisterously muscular shape of Skeptic Knight. The five-track EP is a roar of debaucherous intent amidst heavy cantankerous sound which, without any major surprises, simply gets you in the mood to feverishly brawl and party.

Hailing from Montreal MTL consists of guitarists Pat Gordon and Yannick Pilon of Vantablack Warship, bassist Gary Lyons, drummer Brian Craig, and vocalist veteran Anton Parr. Between them, they have been part of very well-known Quebec groups such as the Ghoulunatics, Les Ékorchés, and Arseniq 33 whilst Parr’s history includes playing in thrash bands in Brazil. Together they brew a thick and predatory breed of stoner metal infused with thrash fury; a sound which, since the band formed in 2009, has fuelled an early demo followed by debut album Heavy Ride in 2012 and two years later, the Murder Trilogy EP. Both have been well-received proposals backed by a live hunger which has seen the band share stages with the likes of The Atomic Bitchwax, The Naked High, Diamond Head, Skull Fist, Thor, Misery Index, BARF, Insurrection, Iron Giant, Tunguska Mammoth, and many more.

Mastered and mixed by Peter Edwards, Skeptic Knight is Buffalo Theory MTL in full adrenaline pumped, rock ‘n’ roll embracing, voraciousness which Lyons describes as “…our best material to date and it’s damn heavy as usual”, adding “ It has a different sounding production that we like a lot. We completed 5 songs for the release. There were lots of riffs just waiting to be completed and it was hard to choose which ones to release first as we are already prepared to unleash another EP by next year to follow it. We always prefer to gather a few good songs and go into the studio being ready to release something new more often, rather than waiting too long for a LP type of setup with 10+ songs.”

Of course proof of word and success is always in the eating of the pudding and there is no doubting that opener Conspiracy in Paranoland alone is one tasty incitement of new yet prime Buffalo Theory MTL rampaging for ears and appetite to devour. A track knocking around since the band’s early days, it comes built on ravenous riffs, scything rhythms, and a prowling growling bassline to get lustful over. The song initially appears as a proposal just to have a rousing time with but it is soon showing itself a predator. The guitars offer a predacious flirtation led by the boisterous raw tone and vocal delivery of Parr but tempered with spicy grooves and a great guitar and bass nagging which simply helps whip up lustful enjoyment.

The following Punishment is an equally invasive character but centred round an even more bruising thrash seeded ferociousness, a fury bound in acidic grooves and vocal hostility with Pilon potently backing the roar of Parr. With a Pantera/Down like causticity and virulence to grooves and vocals alone, the song romps and stomps with the passions before Get On It swings its sinew sculpted hips as rebellious attitude colludes with bad-blooded rhythms entangled in psyche trespassing grooves. In contrast though, vocals and hooks breed their own more merciful strong anthemic persuasion, adding to devilry to get eagerly involved in whilst being battered around the senses.

The EP’s title track comes next, instantly showing the heaviest presence and thickest web of invasive textures heard yet on the release. It makes a slow, almost lumbering, bestial entrance, relaxes then breaks into a groove infested canter which has body and imagination on board within a mere handful of seconds. That instinctive enticing is helped by the spiciness coating grooves and the arousing impact of the riff driven rabidity which consumes the senses. It is a sonic war machine in hungry motion, the kind of inescapable protagonist which refuses anything less than full involvement in its roar, much like Psychic Enclosure. Like Rage Against The Machine meets Black Sabbath meets Sleep, the closing track riles up and rages against the senses whilst uncaging an imposing contagion of flesh searing grooves and corrosive riffery stalking by merciless rhythms.

It is a fine end to a thunderous encounter leaving ears and pleasure full. Skeptic Knight is heavy duty rock ‘n’ roll to be intimidated by and greedily feast upon. Uniqueness is maybe rare but enjoyment is unrestrained; a proposal few can turn down.

The Skeptic Knight EP is available via Stand Records from February 26^th @ https://buffalotheorymtl.bandcamp.com/album/skeptic-knight

https://www.facebook.com/pages/BUFFALO-THEORY-MTL/243777113598

Pete RingMaster 26/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Black Coast – Crows Of The North

Good things are openly being spoken about Black Coast and their metal/hardcore ferocity, praise that is easy to expect continuing as their debut EP, Crows Of The North, hits ears. The five track fury is a potent introduction, a powerful announcement of their arrival on the British metal scene with its melodic prowess within a commanding tempest of aggression and sonic animosity.

Formed in 2015, Black Coast is a band which is still looking for the uniqueness within their sound and it is fair to say that Crows Of The North provides few major surprises, yet it equally offers strong and open potential which certainly draws attention to itself. For a first release, the EP is a noticeably accomplished and carefully honed affair revealing that the Stoke-on-Trent quintet already has a good handle in equipping raging tempests with contagious hooks and suggestive melodies. They are qualities which have lured interest from the likes of Rock Sound and Alex Baker for his Fresh Blood show on Kerrang!, and will soon help the band in stand out within a crowded metalcore/hardcore fuelled scene.

Crows Of The North gets off to a bang with new single and best track on the EP, Violence Reigns. From its first breath, sinew sprung grooves are entwining ears with their enticement backed by heavy beats and the groaning lure of bass. Almost as swiftly, the vocal squalls of Charlie Hewitt unite with the adventurous sonic enterprise cast by guitarists Scott Pinnington and Joe Mayer, his entrance seemingly the spark to a great shift into unpredictable and an evolving landscape of sound and imagination. From vocals to hooks, rhythms to intensity, the track becomes a tapestry of maybe familiar but attention exciting flavours, persistently twisting and turning to incite an early keen appetite.

The great start is nicely, or should that be grudgingly, backed by the irritable predation and antagonism of Mercenary, a track which blossoms into something between The Ghost of a Thousand and While She Sleeps. Swinging grooves quickly ignite ears whilst the intrusive strikes of drummer Matt Clarke seem to punctuate the turbulent emotion of Hewitt’s caustic vocal enterprise. Courted by a more ‘reserved’ trespass uncaged by Jack Beardsall’s bass and an infestation of swirling grooves and acidic hooks, the song leaves satisfaction ripe. Its pleasing success is then matched by the similarly intensive sonic and emotive inferno of Plagues where again grooves easily infiltrate the imagination whilst the broader melodic climate which comes and goes shows more of the invention and adventure lying within the songwriting and desire to merge sounds and contrasts. It does lack the same incendiary spark as the first pair of tracks though, being fully pleasing without drawing that extra excitement even if it has definite moments where riffs and anthemic rabidity, especially in its finale, hits the spot rather nicely.

Habit is the same, a track which does little wrong but misses the ingredient, even with its excellently crafted animus of emotion and sound, that helps turn a good song into a great proposal. Again though, it has to be said that it reveals creative incidents which only suggest that Black Coast is moving in the right and potent direction to be a notable antagonist in British metal ahead.

The EP’s title track closes Crows Of The North off; its attitude driven concentration of belligerent intensity and sonic tenacity highly captivating especially when bound to searing yet inviting grooves and barbarous rhythmic confrontation. Ultimately breaking into a bruising punk ‘n’ roll stroll clad in metallic ferocity, the track provides a thoroughly satisfying end to a fine first look at Black Coast.

Originality is maybe scarce within Crows Of The North but imagination and the sparks of future individuality make for a promise which time will see realised or not. Finding out should be an enjoyable adventure with Black Coast though just as the EP is now.

The self-released Crows Of The North EP is available from February 26^th through iTunes and other stores.

https://www.facebook.com/blackcoastuk   https://twitter.com/blackcoastuk

Pete RingMaster 26/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Seprona – Trap Door

Emerging in 2014, British indie pop/rock band Seprona is proving to be one of the new breed of bands lighting up the Liverpool music scene. Certainly they are one of the eagerly talked about and recommended propositions thanks to songs like new single Trap Door. A lively melodic romancing of ears with a catchiness to take care of the physical side of persuasion, the track is a broader invitation focusing on national ears to back up the fine live reputation already earned.

Initially locking themselves away in an abandoned pub on the outskirts of Liverpool city centre where they practised and honed their sound in conjunction with a prolific writing of songs, Seprona soon made their first step and subsequently mark on the local live scene. Since then they have ignited numerous venues like Sound City last May where they played with the likes of The Flaming Lips, The Vaccines, and Belle & Sebastian and at festivals such as FestEVOL alongside Serpent Power and Dave McCabe & the Ramifications. Musically inspirations from the likes of Arctic Monkeys, The Black Keys, Interpol, and Radiohead into a sound, go into their sound, spices which, going by the new single alone, nurtures an individualism which is also instantly ear friendly.

Now in a development deal with Rooftop Records, a label owned by Parr Street Recording Studio’s Chris Taylor, which gives Seprona access to recording time as well as valuable mentoring, the band is ready to whip up more attention with Trap Door. A crystalline melody erupts around a pulse of beats first to entice ears, a coaxing soon enhanced as a brief cinematic sample emerges alongside the throbbing groan of Tom Larkin’s bass. Within another breath, the potent tones of Daniel Badger lay invitingly upon the melodic veining spreading across the song, his and fellow guitarist Sammy Issa’s poetic enterprise a gentle but potent suggestiveness for the imagination and emotions to embrace.

As boisterously mellow as it is, the song also has an infectiousness which is impossible to ignore. It is perpetual bait which is only highlighted further by the great framing rhythms of drummer Joe Grove, and with everything combined, plays its part in a weave of sound which, even as brief as the song is at under three minutes, leaves a lingering imprint.

Enthralled by the tantalising touch of Trap Door it is fair to say that we, as many more, are very much looking forward to hearing more from Seprona, something you cannot say about every embrace of sound you meet.

Trap Door is out now via Rooftop Records from iTunes and other online stores.

https://www.facebook.com/seprona/   https://twitter.com/SepronaMusic

Pete RingMaster 26/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/