Snakerattlers – This Is Rattlerock

If ever there was a sound epitomising the dirty trespasses of the graveyard and the unbridled fetish escapades of cultish deviancy, it is that of British duo Snakerattlers. Like the occupants of those domains, the band’s sound is a lo-fi sonic trespass stripped to its bare bones but wearing the raw traits of a wealth of styles and flavours, all dirt sodden, feverish, and forcibly compelling. It is self-penned as rattle rock and is uncaged in full force within the pair’s ear gripping, spirit rousing debut album This Is Rattlerock.

The band is the creation of husband and wife Dan and Naomi Gott, previously of garage punk band The Franceens. Their new project, Snakerattlers unknowingly had its seeds sown when Naomi wanted to learn how to play drums. Going along with her to practices with his guitar, a sound and creative spark instantly caught their attention and thoughts that there was “the potential to be a lot more than just a rehearsal room jam band” in their exploration. What emerged is a fusion of garage rock, death punk, and psychobilly embedded into a rockabilly heart; a bold bare arsed roar of sound which now rips, rattles, and rolls the senses within the band’s sensational first album, a proposition recorded on reel-to-reel tape by Adam Richards of Leeds rockabilly outfit, X Ray Cat Trio.

Imagine the creative instincts of Link Wray, Hasil Adkins, The Cramps, Dick Venom, and The Creeping Ivies entwined and twisted and you get a flavour of the Snakerattlers infestation of ears and imagination. As mentioned, it is a raw and often scarring trespass which challenges and inspires whilst simultaneously thrilling and lustfully exciting from the opening seconds of first track, I Won’t Hold Back. The opener hits attention with a great guitar jangle initially, Dan’s vintage spice an instinctive lure soon joined by the punchy swings of Naomi as a Cramps meets Johnny Burnette like intrusion trespasses the senses and a swiftly established appetite. With the guitarist’s vocals an equally potent lure, the brief song prowls the listener, jabbing its lingering toxicity into the passions like a slow but determined tattooist.

The great start is continued by Let You Go where a thick almost throaty jangle is the tease into a more rampant and feverish stomp of swinging beats and tenacious riffs. Old school rockabilly infested by current day garage punk devilry and a plague of hooks which refuse to relinquish their hold of the imagination, the track is a roaring addiction within one listen, an eternal nagging thereon in but equalled by the more controlled but just as scuzzy exploits of Rattlerock Rumble. As a jungle of rhythms ensnare feet, guitar exploits use hips like a puppeteer in the predominantly instrumental incantation before Oh My Love lurches into view with a dark swagger and clamorous nature though both are wrapped in a restraint which only adds fuel to the song’s magnetic fire. Like Johnny Carroll meets The Novas, the track is pure bewitchment with an occasional venomous bite.

Let The Devil In Your Soul is another encounter which stalks the senses, its keen but controlled stroll belying a predatory nature taking swipes through the poised but examining beats of Naomi and the angular clamour of Dan’s guitar. With his vocals a soothing but equally volatile enticement, it is again impossible not to be hooked on the song’s seduction or indeed in turn on the more tempestuous instrumental rumble of Death Valley Driver which follows. It is an unrelenting road trip which has the body in motion and thoughts conjuring, both aspects again busily employed by the cinematic suggestiveness of The Love In Me. Like a sweaty kitchen sink drama, the song is a bare and honest hug of sound and emotion, its lines fuzzy and touch raw and oh so tempting. Even so, the great song is still eclipsed by the breath-taking stomp of Sweet Sixteen; a scuzz ball of rock ‘n’ roll woven from the decades of the genre and delivered with a fried electricity and concussive energy which leaves the senses reeling and blissful.

The zombie crawl of Bones infests the psyche next; its lumbering tenacious surge into the imagination littered with rhythmic bites and viscerally sonic waves as Dan’s vocals alone coax and prey. Once more submission to sound and album is swift and full leaving the final track to cap an already done deal between band and certainly these listeners. Ripper Rattle Rock simply lives up to its name like a fractious yet salacious fusion of The Cramps, Hasil Adkins, and Into The Whale. The track is rock ‘n’ roll in its unfussy prime but equipped with all the primal lures and seductions you could wish for as the album comes to one glorious unsterilized raunchy conclusion.

With The Franceens coming to an end earlier this year, the York pair have the time and energy to solely concentrate on Snakerattlers and they are going to need all of both if This Is Rattlerock catches the fire of attention that it simply deserves.

This Is Rattlerock is out now through Moon Skull Records @ https://moonskull.bandcamp.com/releases

http://www.snakerattlers.com/about.html    https://www.facebook.com/snakerattlers/

Pete RingMaster 28/06/2017

Copyright RingMaster: MyFreeCopyright

Doll Skin – Manic Pixie Dream Girl

As they grab a breath after successfully being part of the 2017 Vans Warped Tour, Arizona pop punk rockers Doll Skin continue to grab attention with their recently released sophomore album, Manic Pixie Dream Girl. The successor to their acclaimed 2016 debut, In Your Face (Again), the new album uncages more of the Phoenix hailing quartet’s aggressive punk fuelled infection and hard rock tenacity to continue the ear grabbing potency of its predecessor.

Meeting at the Phoenix School of Rock in 2013, Doll Skin have only flourished from the attention of Megadeth bassist David Ellefson who subsequently produced In Your Face (Again), and its acclaim garnering success which escalated the initial well received release of the outfits first EP, In Your Face on Ellefson’s own imprint Emp Label Group. Last year not only saw Doll Skin’s first album greedily received but the band hit the road and shows alongside the likes of Otep, Lacey Sturm, Fire From The Gods, Hellyeah, Dead Kennedys, Escape The Fate, September Mourning, Through Fire, and numerous more. It was a busy time continuing through this year and sure to intensify with the release of Manic Pixie Dream Girl.

Produced and Mixed by Evan Rodaniche from Cage9, the album opens up with Shut Up (You Miss Me) and instantly has ears bound in a hip stealing hook; that potent lure continuing through Nicole Rich’s bass as things calm and the alluring tones of vocalist Sydney Dolezal jump in. Soon the busy and energetic heart of the track rises again, jabbing beats and catchy vocal delivery lining its swinging infection loaded melodic punk gait. There are no major surprises within the song but everything about it has body and spirit involved before Daughter up the ante with its hard rock inspired declaration. Defiant in soul and adventurous in character, the song flows from calm reflection to anthemic ferocity with sublime ease; the guitar of Alex Snowden suggestive and inventive as Meghan Herring’s rhythms pure rock ‘n’ roll behind more irresistible vocal boisterousness, singular and across the band.

Its impressive incitement is matched by that of Road Killa, a track which straight away is prowling the senses with a predatory edge. With Dolezal equally as imposing yet richly endearing in tone and presence, things only escalate in quality and rapacity as spiky hooks and wiry melodies collude with emotionally aroused vocals and the rhythmic tenacity of Herring and Rich. A rock/punk trespass, the track hits the sweet spot before Boy Band exposes its instinctive rock ‘n roll heart with relish and energy. Familiarity and fresh traits unite within the contagion of the track, its recognisable presence bolstered by its ear gripping resourcefulness as the album continues to richly tempt.

The sultry hues of Rubi entice and please next, its rhythmic grumble adding extra intrigue to a warm often fiery nature while Sunflower has an equally agitated underbelly to its more irritable and lively stomp. Though neither track quite matches up to those before them, each confirms that Doll Skin know how to sculpt the most flavoursome of hooks and twists in their songs as well as brew some seriously infectious strains within their music.

Both songs have a hint of Australian band Valentiine to them as too the beguiling Sweet Pea which follows though its melodic shimmer and elegant smoulder quickly shows originality all of its own as it lays a best track hand on attention. It is a treat of an encounter swiftly rivalled by the punk moulded stroll of Baby’s Breath but a song embracing an array of flavours within its harmonic temptation and volatile undercurrent. Again imagination and body are taken on an eventful and highly enjoyable ride but then turned on even more by the outstanding roar of Persephone. Carrying an eighties pop punk feel reminding of bands like The Photos and a modern rock ‘n’ roll ferocity akin to the likes of Courtesans, the song stalks and seduces with equal invention and boldness.

From one major highlight to another as the pure punk grouchiness of Puncha Nazi consumes ears and attention; the track a spirit stirring, rebel rousing surge of sound and intensity which actually misses out on delivering the donkey punch killer blow it hints at but still makes for another pinnacle within Manic Pixie Dream Girl before the emotionally haunted and melodically bewitching Uninvited brings things to a magnetic close. Adding just one more new turn to the imagination of the album’s body and Doll Skin songwriting as it boils to an inferno of a climax, the song provides a momentous finale to another seriously compelling outing with the band.

Over the first couple of listens, it was hard to say that Manic Pixie Dream Girl majorly built upon that first triumphant album but it was a deception as from there the release only blossoms with time to reveal a new depth to the Doll Skin sound and pretty much match the former’s impressive presence and by giving that time another 2017 highlight is the reward.

Manic Pixie Dream Girl is out now via EMP Label Group through most online stores.

http://www.facebook.com/dollskinband    http://www.dollskinband.com

Pete RingMaster 28/06/2017

Copyright RingMaster: MyFreeCopyright

Black Jack UK – Stand Up

It has been a journey for Jack Hawksworth AKA Black Jack UK since being born in 1990, personally and musically which has now led to a new single which has the potential to firmly thrust the British hip hop/rap artist into new spotlights.

One of four children raised by a single mother on a rough council estate in Manchester, Jack found himself going down the wrong path and heading to prison as a teenager. Already though, he had found a passion for hip hop and especially New York gangster rappers Mobb Deep which helped nurture his own newly found talent and love for writing music during his final bout of incarceration. Upon release he concentrated on this new turn in his life, and started going to the studio to record his creations with subsequent videos of the recordings soon building an eager following and media attention.

Now Stand Up is poised to stoke further awareness of Black Jack UK; the song an introduction of himself to his home city and beyond but equally, after recent tragic events, an unexpected and potent call to fellow Mancunians and souls. Featuring God Father pt 3 of Infamous Mobb which is aligned to Mobb Deep and produced by Dr.G, the song quickly offers a raw and dramatic atmosphere as keys and rhythms almost prowl the imagination around, initially God Father pt 3’s introduction and Jack’s subsequent opening of heart and vocal prowess. It is a self-announcement of a new wind in the Manchester hip hop/grime/rap landscape, but equally a source of hope and emotional arousal for those growing up in similar circumstances and a possible escape with a chorus which as suggested suits recent city and national tragedies.

The track continues to pulsate and resonate, its music minimal yet magnetic around the equally potent vocal and lyrical presence of Jack. Loaded with potential and providing a thick pleasing of ears, Stand Up is the welcome to a fresh talent we might be hearing a lot more of ahead.

Check out the video for Stand Up @ https://ringmasterreviewintroduces.wordpress.com/video-selector/

https://www.facebook.com/blackjackukofficial/    https://twitter.com/BlackJackUK_

Pete RingMaster 28/06/2017

Copyright RingMaster: MyFreeCopyright

 

Wanza featuring Jhay Endless – Who We Are

Who We Are is the new single from Wanza with Jhay Endless alongside; a pair who are part of Left Wing Movement, a charitable democratic music group which is based in London and founded by Justin Benjamin in 2013. The song is the next in a line of ear pleasing, attention grabbing encounters from within the project, a track with plenty for pop, rap, and R ‘n’ B fans to get a kick from.

Wanza is serial rapper vocalist John Mwanza and Jhay Endless a talented grime rapper born Jonathon Scott; a creative pair which wraps and lyrically colours the captivating hooks of Garrett Raff within their new song. It is a misty blend in some ways to the heart of the song’s creation as you sense there may be more involved but swiftly clear that Who We Are is a magnet for ears.

The melodic prowess of Wanza soon simmers and harmonically roars around keys and lively beats before things settle as Jhay’s effect lined tones add to the blossoming drama. Melodies and harmonies smoulder as grimier textures strike and jab across the landscape of the track but it is the union of the pair’s distinctive and different vocal presence which grabs ears most potently, their enterprise matched by the increasing tension and mellow sighs of the sounds.

All combined, it is a rich enticement which even for ears that do not usually find a ready home in its style and genres provides a perpetual lure which cannot be dismissed but only recommended.

Who We Are is released August 8th.

https://www.instagram.com/endless1980/    https://www.instagram.com/1wanza/

Pete RingMaster 28/06/2017

Copyright RingMaster: MyFreeCopyright