The Amputees – Kitty Magick

After the impressive presence and success of their previous EP, The Hitchhiker’s Guide To The Amputees, there was keen anticipation to hear where garage punks The Amputees took their new step in sound next.  News of the band’s first album sounded like that eagerness was to be fed. That want is still waiting as Kitty Magick is a collection of previously unreleased tracks primarily written and recorded in a period across 2011-2012 but all we can say is thank you to the New York City septet and its founder/songwriter/vocalist/guitarist Louis Ramos because the album is one thickly enjoyable and rousing slab of punk ‘n’ roll. It would have been criminal if its contents had never seen the light of day from a band which has simply been creating high grade punk rock from day one.

Presumably the tracks within Kitty Magick were created and recorded around the time of the band’s strongly praised debut EP Commence The Slaughter, a release which instantly made the band one of the most exciting and potent forces on the punk underground scene. Through The Scream EP and The Hitchhiker’s Guide To The Amputees, the band’s reputation and sound has only grown; Kitty Magick now adding its weight to the former while giving a new rounded aspect to the band’s musical landscape to date.

Recorded with John Meredith at Mollusk studio in New York, the album gets right down to business with opener Interrupting Synaptic Connection. From its initial groaning bassline, the song has ears hooked, even more so which its grizzly punk rock instincts ignite around the vocal growl of Ramos. Rhythms smack as riffs rapaciously crawl, all with a forceful tenacity matched in voice and raw energy as the track bullies and arouses the senses.

It is an outstanding start matched by the calmer but still sonically grumbling Bug. With either Nova Luz or Carrie Ramos taking lead vocals, no further info available, the song is a fiery blend of intensity and seduction. Rhythms make for an instinctive rumble whilst riffs and grooves lay an enjoyable dirty mist upon alluring harmonies and melodic enterprise; together making for a compelling incitement before the following snarl of The Electric Sonic Hate Machine takes over. A track about “the sadistic/ masochistic interactions bands wind up having with venue owners in a mutual stranglehold of gathering industry crumbs”, it growls in sound and anger; reality and defiance conflicting as melodic imagination emerges within a sonic dispute.

Across the boisterous stomp of Ted and the grungy saunter of Small Fry, band and album tighten their grip on attention and pleasure. The first is a mix of the familiar and fresh, a swinging punk confrontation fuelled by infectiousness and antagonistic attitude while the second has a slight whiff of R.E.M. to its low key and subdued but virulent enticement. The pair alone show the variety of sound and flavours making up The Amputees sound and songs, Cold Stars straight after adding to the mix with its pop punk bred alternative rock styled canter before the outstanding Kaleen steals the whole show with its filthy rock ‘n roll clad, pop punk worrying virulence. The track just hits the spot, it simultaneously dirty and clean cut and in equal measure dosing ears with grievance and salacious temptation.

The similarly jaundiced Quark follows, its web of punk and melodic rock increasingly persuasive though soon outshone by another major highlight in Bleachin’ Works, a predatory track virtually stalking the listener with its wiry grooves and argumentative rhythms. Like a mix of Nirvana and Dead Kennedys, the track is quite superb, one of the most thrilling and memorable moments among so many within Kitty Magick.

The album is completed by the acoustic embrace of Man In The Machine, a sixties scented female led pop serenade and quite the bewitching seduction to end the excellent encounter. If not knowing that the songs were recorded way back in the band’s history, you would assume they were brand new encounters such the potent and inventive songwriting The Amputees have had and unveiled since their first steps. Thank goodness that they decided to share them with us, better late than never.

Kitty Magick is out May 23rd through Money Fire Records @ https://theamputees.bandcamp.com/

The Amputees are…

Louis Ramos: lead vocal, rhythm guitar, lead guitar

Gary Young: lead guitar, rhythm guitar/

Nova Luz: lead guitar, rhythm guitar, lead vocal/

Kaleen Marie Reading: drums, rhythm guitar/

Geena Spigarelli: bass, backing vocal.

Carrie Ramos: lead vocal, backing vocal, tambourine.

Soledad Alvarado: bass.

https://www.facebook.com/theamputees/

Pete RingMaster 03/05/2017

Copyright RingMaster: MyFreeCopyright

The Devil In Faust – Come Apart

Grabbing ears straightaway is not the easiest thing to achieve as numerous music fans can testify but to truly and swiftly catch the imagination is a rare success but something Brit goth rockers The Devil In Faust have done with their debut EP, Come Apart. It is not necessarily the most unique encounter though its web of enterprise and temptation is certainly individual to the Shrewsbury hailing trio, but it has open freshness to its creative drama and virulent adventure which just clicked with our ears and appetites.

Formed late 2014 by old school friends in vocalist/guitarist Al Pritchard and drummer Ben Codd, The Devil In Faust soon made a strong impression on their local live scene whilst their debut video single, Dark Places, found potent online success. Subsequent sharing of stages with the likes of Dani Filth’s Devilment and Sinnergod only furthered their growing reputation as too following singles, all a spark to the band receiving an invitation to record in Aarhus, Denmark with Tue Madsen (Moonspell, Meshuggah, Sick of it All) where they demoed twelve tracks then whittled down to the four making up band’s first EP. With a stable line-up now in place with the addition of bassist Jess Lomas, the trio are ready to impose on bigger spotlights with Come Apart leading the way.

The EP opens with the outstanding Cross Your Heart, a slice of virulent temptation working away at ears and imagination from its first breath. Swiftly, there is a familiarity to the band’s sound yet as suggested earlier, it is woven into a boldness of invention belonging to The Devil In Faust. Like a blend of Flesh For Lulu and Clan of Xymox with a touch of Southern Death Cult and 1919, the track strolls in with a seductive shimmer around rhythmic incitement. Pritchard’s potent voice is soon in the midst of the compelling bait, directing the virulence with his distinctive tones as his guitar spins a web of chords and hooks. Quickly infectious and increasingly virulent, the track has attention in its creative palms in no time, physical participation enticed soon after.

The excellent start is backed by the equally alluring presence of Soulmate. Dark melancholic strings and gothic keys caress the imagination initially; from within their theatre a tenacious dance of energy and infection simmers and boils sparking a rousing rock ‘n’ roll stroll part Psychedelic Furs, part The Lords of the New Church, and just a little Alice In Chains but again boisterously The Devil In Faust in nature and devilment. Its fluid flow through lively and mellower moments comes drenched in catchy contagion, the calmer passages emulated and expanded in next up In My Eyes, an acoustic led slice of captivating balladry cast in a hug of emotive shadows which soon has the body rocking and passions entangled in its inventive landscape. There is a whiff of The Only Ones to the song and not for the first time a thought arises that if The Devil In Faust had arisen three or so decades back their success would be guaranteed.

Those dark shadows cloak next up Seed, its instinctive growl lining another increasingly contagious escapade coloured with sultry psychedelic rock hues. Adding essences not too far removed from a fusion of The Doors and The Birthday Party, the song simply and swiftly beguiles ears with again familiarity and new enterprise entangling for a thoroughly gripping adventure.

If The Devil In Faust never realises the potential rich within Come Apart, more of the same will go down a treat next time around but growth there will be and that is something we are eagerly anticipating; something hard to imagine we will be alone in.

Come Apart is out now on all major platforms.

http://www.thedevilinfaust.com/   https://www.facebook.com/TheDevilInFaustOnline   https://twitter.com/@Thedevilinfaust

Pete RingMaster 03/05/2017

Copyright RingMaster: MyFreeCopyright

All Ears Avow – Edge Of This

As voices and words gain momentum in offering attention and praise to All Ears Avow, the UK rockers add fuel to the rising fire with their new EP Edge Of This. Six tracks of melody wrapped, riff driven alternative rock, the release is a fresh and appetising slice of rock ‘n’ roll sure to reinforce if not give new impetus to their growing reputation.

Since emerging in 2013, the Swindon quartet has released a pair of increasingly well-received EPs, in the shape of Home (2013) and Reach (2016), and nurtured an eager following and praise for a live presence taking in shows with the likes of Decade, The Computers, Empire, Verses, Jonah Matranga (Far), and Milk Teeth among many, as well as successful slots at festivals such as Wychwood and Gloucester Guildhall’s Underground Festival amidst their own successful UK tours. Edge Of This points to the band being ready to attract even keener and bigger spotlights whilst carrying the potential of even bolder and unique exploits ahead.

The band has drawn comparisons to the likes of Muse, Don Broco, and Biffy Clyro with their sound, references easy to understand as EP opener Caged instantly demands and commands attention; Lower Than Atlantis coming to mind too. As a blurred background assembles, a wiry hook taunts; its intriguing bait soon joined by the potent tones of vocalist/guitarist Claire Sutton. In no time it all comes to a focus driven by the fiercely punchy beats of Sean Ivens. That initial hook still makes a rich lure, even as just as tasty riffs and chords between Sutton and fellow guitarist Jake Willcock collude. By this time Sutton’s voice is seizing a fair share of attention, her tones swiftly impressive alongside that lingering and still deliciously grouchy hook. The track is superb, a mighty way to kick things off and for personal tastes never equalled across the remainder of the highly enjoyable release.

The song is pure hungry rock ‘n’ roll setting a lofty bar which next up Gone certainly has a keen go at rivalling. With its angular but warm melody, the song is a much mellower proposal carrying steel in its presence and attitude rather than the kind of snarl fuelling its predecessor. The dark basslines of Joe Bishop add a great contrast to the lighter but thickly emotive aspects whilst Iven’s swings again have an imposing weight even if showing more restraint than before. With Sutton again pure enticement as melodic flames are ignited by the guitars, the track has ears and imagination hooked before new single Hurricane saunters in with a confident smile to its character and an infectious swagger to its swinging grooving. With unbridled catchiness shaping its rousing chorus and indeed instrumental asides, the song hits the spot dead centre.

Earlier single Just For Me comes next, showing with its muscular body and dark shadows why it alone sparked strong anticipation for the EP. Almost nagging ears with its array of hooks and temptation, the song provides a meaty piece of emotion soaked pop ‘n’ roll with a good spicing of electronic goodness while the following EP title track delves even deeper into the band’s pop natured creativity. The song still has a heavy essence and stubbornness to its physical skeleton but within a melody woven balladry with its own catchy captivation.

Completed by the similarly emotional power ballad of The Middle, a song like the last needing a touch more time to spark the same level of pleasure as those before but undoubtedly getting there with ease, Edge Of This is a potent next step in the ascent of All Ears Avow. As suggested, it does feel like a step in the way to something bigger and finer from the foursome whilst offering a relentlessly enjoyable outing easily outshining a great many similar genre based releases heard this year so far; suggesting there are big times ahead for All Ears Avow.

Edge Of This is out now and available through http://www.allearsavow.bigcartel.com/ and https://allearsavow.bandcamp.com/

http://www.allearsavow.com/    https://www.facebook.com/allearsavowband    https://twitter.com/AEAOfficial

Pete RingMaster 03/05/2017

Copyright RingMaster: MyFreeCopyright

Those Who Knew – New Perspective

Formed at the start of 2015, UK outfit Those Who Knew make their national introduction with the release of debut EP New Perspective. Carrying four tracks of infectious, pop scented alternative rock, the release is a quickly enjoyable encounter which makes up for its familiar character of sound and lack of major originality by catching the imagination with its open heart and potential. There is very little to be negative about the release over, as good as nothing apart from slipping into the crowd of similar sounding bands but for a starting block New Perspective makes a captivating opening statement.

Nottingham hailing Those Who Knew quickly made an impact on their local live scene after emerging, spreading out as their shows and reputation took in the Midlands and Yorkshire.  Now they are looking at a broader landscape with New Perspective leading the way and quickly making a potent first impression with its opening track and current single Losing Touch. From its first breath, the song offers an instantly infectious proposal as the guitars of Danny Peet and Jordan Toal create a catchy collusion of hooks and riffs. Vocalist Danny Graves is quickly involved with his strong tones while the swinging rhythms of Joe Miller’s bass and Emily Hall’s lively beats drive things very nicely. With hungry energy and imaginative twists in its design, the song makes a richly pleasing start to the release, something fresh and familiar, reminding a little of Lower than Atlantis, and increasingly potent.

The following Shadow In The Sea is just as tenacious in its nature and presence if with a slightly more restrained attack around its boisterous chorus. Peet’s melodies and hooks again make for a stylish lure whilst Toal’s riffs and enterprise create a pleasing web for ears to get entangled in while vocally Graves impresses. It is an accomplished and infectious proposal matched in success by next up Seventeen, it too a tapestry of creative bait and melodic enticement which maybe openly recognisable but is certainly very appetising. As rhythms keenly stroll and eagerly jab, the guitars encase the enjoyable vocal prowess at large with their own persuasive adventure, weaving familiar textures into something fresh and vibrant.

Closing track, Nothing Left To Lose, has a bit of muscle to its body, the track a sturdier and more robust character of sound compared to its predecessors but certainly not lacking their infectious endeavour. In fact in many ways, the song is the most virulent of the four with its rousing chorus and swinging gait.

It is a fine end to very pleasing first listen to Those Who Knew; a release which will certainly draw a whole new host of fans to the band whilst providing the launch pad to the realising of the potential it keenly carries.

Those Who Knew is available now on iTunes and other stores.

https://www.facebook.com/thosewhoknewUK   https://twitter.com/ThoseWhoKnew_

Pete RingMaster 03/05/2017

Copyright RingMaster: MyFreeCopyright

The Guilt – Self Titled

Here to give your senses an abrasively bracing blasting and the body an irresistible work out is the debut self-titled album from Swedish duo The Guilt, a band which just might be the most exciting thing to happen to punk rock in recent times. Musically the pair of vocalist Emma and guitarist/beat caster Tobias create something angry and seductive from styles bred from electro punk to heavy rock and any flavour of rock ‘n’ roll your ears desire, or as they call it, laserpunk. Bottom line though is that The Guilt creates instinctive punk rock to rouse the spirit and assault the world in one of the year’s biggest treats so far.

The Guilt emerged in Helsingborg 2012, Emma and Tobias making a fresh musical start after the death of an old friend. Initially the pair used an iPod for synths and beats rather than replace the drummer before turning to a Roland synthesizer resulting in the fine mix assaulting the listener from within their first album. 2015 saw the release of their maiden EP on Heptown Records, who now release the album, with another outing for it last year through Suicide Records. It was a nudge on attention now being followed by a mighty slap courtesy of, as already suggested, one of the essential moments of 2017.

An electronic squiggle draws ears to the waiting clutches of opener Cunty Mess, the song swiftly taking advantage of intrigue with its scuzzy riffs and wandering groove. Once the voice of Emma saunters in, defiance reeking from every breath and syllable, the song just comes alive. Tobias conjures a web of hooks and unpredictability as a gnarly bass grabs its piece of an already lusty appetite for the track’s punk ‘n’ roll. Bouncing with catchy enterprise across its body but especially a pop infested chorus, the song seduces within its first spirit inciting roar.

The following Hate Hate Hate is swifter to unveil its antagonistic attitude, guitar and synth colluding in devious coaxing before Tobias unleashes a deliciously nagging groove as Emma stands hollering, irritation fuelling her presence and attack. She almost prowls song and listener, building her zeal loaded rage for the rapacious chorus; the sounds around her just as dynamic and predacious. Yet there is virulence to the repetitive groove and tenacious beats which has limbs and body as involved as energy and thoughts, dancing and rioting united in one song, though pretty much all the tracks within the album spark matching reactions.

I Don’t Care follows with its dose of crabby rock ‘n’ roll, the track simply punk rock to its core. Like L7 meets Midnight Mob, the song strolls along with a militant air; its middle finger raised under the defiance stoking shout of Emma and driven by the equally ferocious sounds of Tobias. The track is superb, maybe even eclipsing its predecessors before I Just Know It has feet and hips bouncing to its electro pop punk antics. With a touch of The Objex to it when it snarls and a whiff of The Knife in its calmer electronic shuffle, the song epitomises the band’s ability at fusing danceable pop and threat loaded punk rock if showing more restraint of its aggression than those tracks before it.

Having your senses crawled over; imagination fingered does not come much more potent or enjoyable than the start of Bad Things. It infests ears with its dark deeds and growling textures, the Roland popping away with its electronic spots to highlight rather than temper the irritated heart of the track; a union only blossoming to bigger exploits as the song boils over in another anthemic chorus surrounded by enjoyably corrosive flames.

The stunning Anomlays is next; the band’s latest single an incendiary eruption of punk and pop sounding like Animal Alpha leading Morningwood into a pit of hellacious body corrupting toxicity. One of the highest pinnacles in nothing but across the album, its success is closely matched by It’s Not Me It’s You. A little like Blood Red Shoes given a hefty dose of animosity but again emerging as something unmistakably unique to The Guilt, the song swings and grooves while spreading venomous fun and ravishing attitude; electro pop and punk has never sounded so delicious together.

That is another key thing about the album; for all the references we suggest or others different people may offer, The Guilt has a sound which stands alongside no-one. Its voice, imagination, and character is one of the most original around right now yet feels like a friend from its first hungry touch. Next up When The Honey Comes is proof, the track swaggering through ears with another grimace to its tone but is as quickly springing infectious flavours and hip provoking exploits as guitar and bass niggle away with their great persistence.

The release is brought to a fiery close with firstly the cantankerous stomp of Give It and lastly the psychotic hop of Ovaries. Both tracks leave exhaustion and instinctive pleasure in their wake, the first with its primal punk ‘n’ roll and its successor with its electro punk revelry though even with its kinetic web of sound and contagious consuming of the body there is something inescapably predatory to the album’s thrilling conclusion.

The Guilt is beginning to catch and excite new ears and passions in droves, their album shows exactly why. It assaults, infests, demands, and rewards in equal measure; most of all it gives music and its fans the kind of fun time and rebellious streak it has arguably been missing lately. We say let their album be your next port of call and as for us, they just might be your new favourite, probably obsessive passion.

The Guilt album is out May 5th through Heptown Records.

http://www.theguilt.se/    https://www.facebook.com/theguiltsweden/    https://theguiltswe.bandcamp.com/

Pete RingMaster 05/05/2017

Copyright RingMaster: MyFreeCopyright