I Am Duckeye – Songs From The Gunt

IAD_RingMasterReview

From the moment I am Duckeye had us Punching Dicks in 2013, the Australian quartet has been a devilish itch in unseen places leading to regular treatment of their riff loaded, highly mischievous rock ‘n’ roll. Across two albums and numerous singles, the band has whipped up a storm of bruising and invigorating sounds and eager bad habits. Now though, is the realisation that it was all merely the warm up act for the main show, Songs From The Gunt. The Melbourne quartet’s new album is simply in another league to its impressive and fiercely enjoyable predecessors. It is still a great menace of sex, dirty sex, and salacious revelry, but I Am Duckeye has truly come of age with their diverse and hungry sound in what will be one of the major highlights of the year.

Making their debut in 2008, I Am Duckeye first whipped up eager attention beyond their local borders with the Punching Dicks EP five years later. Already their home city had succumbed to the “comedy punk rock” which slips from the foursome of vocalist/guitarist brothers Sam and Matt Haycroft, bassist Jules, and drummer Sean as easily as the previous night’s curry, the morning after a drunken rampage. 2013 also saw the band’s debut album, Husband unleashed to increasing acclaim and rapture, though that was eclipsed in turn by its successor Commando Too the following year. As Songs From The Gunt, each album has been a successful crowd funded venture and the bringing of heavier and more voracious intent and sound from the band, which their third album continues. This time though, it sees them dive into a thicker tapestry of styles and flavours, unlock a bolshier arsenal of riffs and rhythms, and involve ears in moments of sheer licentious brilliance.

The anthemic intensity of Sex Fight gets the party flying, the song an immediate wall of spicy grooves and rapacious riffs driven by the roar of vocals alongside senses scything rhythms. It is instant evidence of the step up in heavyweight confrontation and antagonism fuelling the band’s sound but also of the diversity. The virulent grooves tempt with a funk bred devilment whilst the twists of infectious incitement is as punk as you could wish. Additional steps into melodic caresses and atmospheric deceits just reveal the new depth of a creative imagination which you feel has always been within the band but is now being shared with bold adventurousness amidst their instincts to rock and raise a meaty grin or two.

cover_RingMasterReviewThe outstanding start is more than backed by both Hectic and Hot Nuts. The first immediately swamps ears in a noise rock spiral of nagging; vocals bronco riding the tempest before things dive into another romping punk ‘n’ roll canter. Like a mix of The Fat Dukes Of Fuck and Melvins, the track relentlessly ignites ears and appetite, raising the depth of bait again when slipping into a tar thick sludgy prowl with the ever involving lure of the Haycroft led vocals. The song is glorious, repeating its cycle to greater effect across its body before allowing its successor to parade its punk rock seed loaded wares. Keenly weaving in strains of hard rock too, the guitars relishing the chance to flirt with sonic enterprise, the bundle of sweaty energy hits the spot dead centre.

The Binternet swings in with flirtatious hips next, its surrounding sonic shimmer wearing a post punk meets psyche rock sheen around the great agitation of Sean’s percussive skills. Lyrically cutting, even though delivered with usual mischief, the song tantalises and fascinates whilst again employing a clutch of varying spices to its muscular rock ‘n’ roll; a design emulated again in the enthralling rumble of Wide On. As much garage punk as it is heavy rock, as much punk as it is alternative metal, the track canters through ears like an attitude inflamed stallion on the persistent and contagious gallops of Sean’s rhythms; they in turn aligned to the predatory and anthemic lure of Jules’ fingers.

The grungy rock ‘n’ roll of Papsmear the Clown increasingly pleases as it leads to the psychotic majesty of Ben outta Ten. Here early surf rock hooks are quickly twisted and distorted into a fiery blaze which in turn sparks a ferocious assault of heavy rock which is kind of like Mastodon meets Triggerman. Mid-way though, the song suddenly loses its already loose sanity and evaporates into a sonic dissonance lined breeze with haunting touches to confuse and thrill thoughts further. As good as it is though, the track is soon forgotten as The Quickening emerges from its distant fog. A hilarious and mesmeric embracing of the Highlander films; the track drifts through ears and into the imagination with a folkish/progressive ambience around a military toned rhythmic skeleton draped in a Celtic lacing. As grooves emerge with intoxicating spicing, the track becomes more imposing and volatile, gripping attention tighter as it unpredictably twists into a swing loaded shuffle, which in turn breaks into an insatiable punk romp and so on…

Fart of the Year break the momentary calm that lays between songs with carnivorous riffs and a general rapacity to its grouchy rock ‘n’ roll whilst Uncle Reg growls and prowls from the great grizzly lead of Jules’ bass. Sam and Matt of course only build on that bait with their own debasing string spawned enterprise, casting an unrelenting nagging of the senses and the by now seriously greedy appetite for the release. The track is another major high in the lofty heights breached by each and every song so far, a trend only continuing as Clean Snap swings and swerves with seriously spicy grooves around a crunching parade of rhythmic and riff spawned dexterity. As throughout Songs From The Gunt, for all the impressive and new invention and imagination in songs, they are all at the heart pure instincts gripping rock ‘n’ roll very few can say no to.

The rousing show tune quality of Pish Paste is surely deserving of gracing a theatre somewhere, though hard to see it being on Broadway. It easily whips up a storm in pleasure and physical involvement leaving exhaustion in its wake to meet closing track Pledgends, a full-on heavy rock thank you and a ”passing of the blame” to all those helping the album come to light.

Songs From The Gunt is simply superb; as suggested I Am Duckeye hitting a new plateau in songwriting and sound without losing the reason we all flocked to them initially; raucous fun, irrepressible mischief, and brazen naughtiness.

Songs From The Gunt is released March 4th digitally and on CD and 12” green or clear vinyl @ https://iamduckeye.bandcamp.com/album/songs-from-the-gunt

Upcoming tour gigs

gigs_RingMasterReview

 

http://www.iamduckeye.com/   https://www.facebook.com/iamduckeyeofficial/   https://twitter.com/iamduckeye

Pete RingMaster 01/03/2016

Copyright RingMaster: MyFreeCopyright

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

Spunk Volcano & The Eruptions – Shit Generation

SV_RingMasterReview

As news that the next always highly anticipated Dirt Box Disco album is scheduled for a 2017 release, thoughts eagerly reflect on the fact that we now have a whole year to bask in and romp with the new and just as eagerly awaited Spunk Volcano & The Eruptions full-length. The side but equally essential and compelling project of DBD guitarist/co-songwriter Spunk Volcano, the band has already become one of Britain’s punk favourites through their previous EP and album, but with Shit Generation they have hit a whole new plateau with a sound revealing bigger and broader rock ‘n’ roll shoulders to cast energy inciting punk rock incitements from.

Bursting into view in 2014 with a self-titled EP, Spunk Volcano & The Eruptions quickly showed a more old school punk rock tone and ferocity to the band’s music compared to the anthemic punk ‘n’ roll of his ‘day job’. It was a boisterous and bruising flavouring which later that year helped drive debut album Injection into a waiting horde of greedy hearts and appetites within the UK punk scene. It also began revealing the variation to the band’s sound which did not have quite the room to show its prowess in the EP. Within Shit Generation it is in full flow, relishing the broad landscape of the songwriting. It is still prime punk rock, but bred with an array of anthemic twists and turns loaded with the spice of many flavours.

Alongside lead vocalist Spunk, The Eruptions consists of DBD colleagues in bassist/vocalist Deadbeatz Chris and drummer/vocalist Maff Fazzo, lead guitarist/vocalist Ste Lingard (Flat Back Four), and guitarist/vocalist Tom G Force Batterbee. Together they have created a tour-de-force of rock ‘n’ roll with Shit Generation, it getting off to a rousing and compelling start with Massive Mistake Masterclass. Fair to say, the opener had these ears from its first second, a grouchy bassline and equally gnarly riff instant seduction as jabbing beats move in alongside Spunk’s vocal introduction. In short time, the track is a blaze of aggression and incitement, a Stooges like flame colluding with the predatory nature of the song and its subsequently emerging melodic shimmer of a flirtation.

SHIT GENERATION - COVER_RingMasterReviewARTIt is a storming entrance into the album which is matched by its title track straight after. Mixing strains of garage and hard rock into its seventies punk toned defiance, the song as the first, has feet and voice involved in no time, a quality all tracks present with unwavering success as shown by the outstanding XR3. This is a track all certain car owners are obliged to blast out whilst on the road. It is a web of gripping grooves and emotions arousing vocals and simply another best friend in waiting within the release. Within the first four words of its chorus, vocal participation is a given, a quality which is repeated throughout Shit Generation as shown by DNA Failure and after that Send The Boys Round. The first of the two stomps in on another virulent chorus built on band chants; that same infectiousness infesting verse and the tenacious song’s cantankerous punk ‘n’ roll confrontation whilst the second uncages even thicker aggressive sinews to sculpt a heavy rock spawned challenge.

TV God reveals a glorious nagging on the senses with its predacious riffs and rhythms, the bass alone irresistible animosity. The song relaxes its intimidation a touch as Spunk brings in the narrative, raising it again to greater toxicity for yet another enslaving roar soaked chorus within the album. Immediately installing it as a favourite amongst favourites, it still gets eclipsed in ears and emotions by X Factor and its declaration of something we have all voiced with zeal over the past decade alone. As the diversity in sound has expanded between releases, so has the potency and design of the hooks gripping attention. The band has never been lightweight in that department, but as this song shows, Spunk and co have honed their invention into something as intrusive and lingering as a virus.

Through the feisty pop punk infused romancing of Tattoo and the snarling Motorhead-esque rampancy of Fist Fights, band and album has limbs flinging and throats bursting whilst Satisfaction Guaranteed brings a crabby yet fiercely catchy punk ‘n’ roll badgering into play before Shut Up Or Fuck Off takes control. From its first breath, the track is a brawly proposition; sonically fractious and quickly backed up by quarrelsome tones from the vocals. Of course allegiance is a given by the time the contagiously pugnacious chorus arrives and imagination seized by the wiry classic rock lined sonic enterprise which spreads throughout.

For all the might of each and every song, favourite honours eventfully go to I’m Not Sure. A canvas of infection loaded hooks, sultry grooves, and again surly riffs; the song is manna for the ears. Deadbeatz’s bassline is an irritable enticement which aligns perfectly with the harmonic tone of the vocals and Maff’s ever incisive anthemic beats. Add seduction lined melodies and another flush of pop punk suggested catchiness and you have a near on perfect piece of punk rock.

The album is brought to a mighty close by firstly the equally resourceful and creatively eventful Let’s Go With Your Idea. Baiting the passions with Lemmy like spicing to an UK Subs-esque adventure, the track leaves enjoyment full to bursting and energies exhausted though no time is allowed to regroup as its successor Together Forever As Ghosts, swoops instantly on the senses with another Class-A bass lure aligned to barbarously swung beats. As the song broadens its invitation and character, keen involvement is unsurprisingly inescapable and it is hard to think of many better ways to finish up what is, from start to finish, an embracing of rock ‘n’ roll across the ages with punk passion at its core.

Shit Generation is the album that guarantees a thrilling time and proof that punk/rock ‘n’ roll is best served hard, heavy, and with adventure in its heart. We predict that 2016 will be the year of Spunk Volcano & The Eruptions.

Shit Generation is released March 17th through STP Records @ http://www.stprecords.co.uk/page4.htm

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Spunk Volcano & The Eruptions embarks on the RELEASE THE BEASTS – ALBUM LAUNCH TOUR in March alongside Born To Destruct and Skurvi.

Dates are…

Sat Mar 12th – Abertillery – Dolls House

Fri Mar 18th – Cambridge – Corner House

Sat Mar 19th – Brighton – Prince Albert

Fri Mar 25th – Rotherham – Bridge Inn

Sat Mar 26th – Gateshead – The Black Bull

Sun Apr 2nd – Nottingham – The Maze

Fri Apr 8th – Birmingham – Flapper

Sat Apr 9th – Lancaster – The Yorkshire House

Pete RingMaster 01/03/2016

Copyright RingMaster: MyFreeCopyright

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

Born To Destruct – Devasteight With Destruction

BTD_RingMasterReview

There are many forces of nature, especially within punk rock and a few which really relish turning the world upside down whilst offering rich rewards for those in the way of their tempest. Destruction rock ‘n’ rollers Born To Destruct are one, a UK band which unleashes their own individual form of punk and uncompromising heavy rock in a confrontational fury of anthemic hell-raising which rouses the spirit as it bruises the senses.

Hailing from Cambridge, Born To Destruct stomped into the punk scene in 2007; formed by one of the forces of seventies punk, vocalist/guitarist Woodstock PunkRock who was returning after a decade away from performing and playing. Originally female fronted, the band soon made a potent mark live and with their contagious punk rock sound across many well-received releases. With vocalist Kat Destruct leaving to study at university, 2010 saw Woodstock take over lead vocals and a new version of Born to Destruct emerge. Further successful releases followed to back their ever potent live presence which brings us up to the now and the band’s storming new album Devasteight With Destruction. Released on the persistently impressing STP Records, the album is fifteen tracks of gloriously invasive rock ‘n’ roll to get shirty alongside, to rampage with, and to get inescapably addicted to.

Devasteight With Destruction opens with its title track, immediately laying down a grouchy lure of riffs which just as swiftly blossom into an addictive coaxing where grooves and rhythms collude to tempt and invade ears within the tow of a deliciously carnal toned bass line. Once in full cantankerous flow, the track shows itself a web of heavy and hard rock infused with punk seeded predation. It is a gripping start with the bass of Stu Spider Fingers continuing to seduce an already awoken and keen appetite as the brawly vocals of Woodstock prowl and growl.

art_RingMasterReviewThe excellent start and flavouring carries on into the raucous and cranky charge of Eufuckinphoric, where initially choppy riffs funnel into ears this time around as Woodstock adds bearish vocal weight and coaxing. The riffs and hooks of Paul Moose and guitarist Daiv Tap bite and serrate the senses with sonic hostility all the while too whilst the rhythms of drummer Jack Destruct swing with contempt. It is a unity which should send you running but instead simply whips up an impossible to resist call to arms.

All The Gear But No Idea has a slightly mellower air next, well more melodic anyway with its Generation X like spicing to grooves and an accompanying infectiousness. Around them the song barracks and presses all the right buttons in antagonistic pleasure before Lets Get Rowdy obviously does what it says on its tin. There is a touch of Crashed Out meets 4 Past Midnight to the song as well as another dose of unstoppable virulence to its seventies spiced punk ‘n’ roll uproar.

Across the hard meets punk rock blaze of Do You Wanna Know, with its great line in nagging hooks, and the thumping incitement of Release The Beasts, the album turns the screw on ears and the passions. It is always hard to say no to instinct raising, vociferous rock ‘n’ roll and both songs have it in thick abundance, the second with an extra pleasing slither of classic rock to it also. Smile comes similarly equipped, though truthfully that applies to all songs within the album. It is arguably more formula in presence than the encounters around it yet shares only the strongest persuasion and the enticement of eager participation.

The surly roistering of Sixty Seconds is next to step up, the minute long clamour leaving ears almost punch drunk from its zealous revelry whilst We Bring The Noise, as expected, again lives up to its name in physical and impassioned kind. Actually the track probably does not devour ears as forcibly expected but no complaints as it leads another moment of chest thumping enjoyment before Get Your Head In The Game becomes the inspirational ringleader to further lusty involvement, especially through its addictive chorus and vocal bellow.

You can almost feel the roar of the crowd as What A Bastard unfurls its magnetic defiance and muscular intimidation next; from title alone easy to sense becoming a fan favourite. Of course its particular brand of ear pleasing obstreperous rock does it no harm in inciting keen emotions either, a success more than echoed by the outstanding We Love It quickly after. Swinging in on a caped crusader-esque groove, in no time the track is a snarling torrent of riffs and tenacious rhythms laying the groundwork for the equally testy and rousing vocals. In your face rock ‘n’ roll does not get much better than this, though it can get matched as shown by Today, a song emerging as a personal favourite. There is a great contagious scent of The Vibrators to track, additional magnetism to its hook lined slab of near perfect punk rock. Some songs just hit the sweet spot, Today does dead centre.

The album concludes with the rollicking stomp of I’m Too Rock N Roll and finally the raw and irresistible anthem that is Destruct For You. Both tracks epitomise the tenacity and rampageous potency of Born To Destruct’s heady rock ‘n’ roll and equally the unstoppable addictiveness of the band’s album.

Though some tracks of course rise to loftier heights than others, from its first moment Devasteight With Destruction is one robustly imposing and exhilarating brawl very easy to get greedy for. Admittedly we have not come across the band’s previous offerings yet but if Devasteight With Destruction is not one of their finest moments yet, hard to believe it will not be, we have missed some other major treats.

Devasteight With Destruction is released March 17th via STP Records @ http://www.stprecords.co.uk/page4.htm

https://www.facebook.com/BORN-TO-DESTRUCT-246990948165

Born To Destruct embarks on the RELEASE THE BEASTS – ALBUM LAUNCH TOUR in March alongside Spunk Volcano & The Eruptions and Skurvi.

Dates are…

Sat Mar 12th – Abertillery – Dolls House

Fri Mar 18th – Cambridge – Corner House

Sat Mar 19th – Brighton – Prince Albert

Fri Mar 25th – Rotherham – Bridge Inn

Sat Mar 26th – Gateshead – The Black Bull

Sun Apr 2nd – Nottingham – The Maze

Fri Apr 8th – Birmingham – Flapper

Sat Apr 9th – Lancaster – The Yorkshire House

Pete RingMaster 01/03/2016

Copyright RingMaster: MyFreeCopyright

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