Boomin – Now That’s What I Call…Boomin

Tagged as “Simply the greatest live party band on the planet!” UK pop rockers Boomin prove why they can be considered so with new album Now That’s What I Call…Boomin. The band’s renowned fun and mischief surges through its title alone but equally it is a name which sums up the release as a whole.  Containing sixteen tracks pulling from 35 artists, it is the ultimate collection of covers squeezed and moulded into medleys, mash ups and simply straight renditions all recreated and twisted in the unique Boomin way. With many songs we instinctively did not like in their original form there was no real expectation of being enthused about the release but in the hands of the little tinkers we simply felt nothing less than rich enjoyment at their and the album’s antics.

Consisting of guitarist/ vocalist Adam Langmead, bassist/vocalist Rory O’Grady, and drummer/vocalist Edd Langmead, Wigan hailing Boomin emerged in 2006. Since then the band has won numerous band competitions, shared stages with the likes of The Script, Scouting For Girls, McFly, Ultrabeat, Basshunter, and Ndubs among many more, and seen their debut album, Original Junkie reach reached No 22 in the iTunes Rock Chart and No.121 in the Album Charts. It was a potent introduction to the band’s pop infused rock and the instinctive fun which now floods Now That’s What I Call…Boomin.

Opener Thuglife sees a medley of tracks from Beyoncé, Christine Aguilera, Dr Dre, and Coolio in the grasp of Boomin, the track setting the tone, character, and revelry of things to come. Each portion flows into the next, the trio rather than re-inventing songs fingering them with their own devilry to stamp their own imprint on them.

Because of that inherent dislike of certain songs, some tracks certainly got under the skin more than others but all left a smile on the face especially tracks like Smells Like Billie Jean, a glorious mash up of the Nirvana and Michael Jackson classics. There is a vein of unpredictability to the song even with their extremely well-known sources which teases, as good as grins at the listener as song and band romps.

Other moments joining it on the front line of captivation include an impertinent take on Pulp’s Common PPL, a rousing stomp with Sum 42’s Fat Lip, and a bluesy hard rock lilted roar with Come Together from The Beatles. Alongside, the shameless fusion of Björk’s It’s Oh So Quiet and Sinatra’s New York, New York is pure incitement for vocal chords and energetic revelry from band and listener alike, but as suggested the whole album gives plenty for body, imagination, and energy to dive into, the irrepressible King Of The Swingers testament to that.

We will leave you to discover the rest of the album and your particular favourite moments to run riot with and you will more than once whether drunk or sober.

So Boomin the ultimate party band? Well Now That’s What I Call…Boomin offers little to deter such a statement, in fact nothing at all.

Now That’s What I Call…Boomin is available now @ https://boominmerch.bigcartel.com/

https://www.boominband.co.uk/   https://www.facebook.com/boominband/

Pete RingMaster 27/07/2018

Copyright RingMaster: MyFreeCopyright

The Chewers – Downhill Calendar

Defying the claws of pigeonholes and predictability with even greater relish and mischief, US duo The Chewers release their new album in the devilish shape of Downhill Calendar. Off kilter rock is pretty much what the band calls its sound and more than anything echoes the captivating web of styles and flavours making up their new release and rock n’ roll.

The Chewers is the creation of Travis Caffrey and Michael Sadler, both West Virginia bred who by chance eventually met up having individually relocated to Nashville. 2010 saw the release of debut album Every Drop Disorganized and the raw seeds of the sound and humour which has grown over subsequent releases and now boldly flourishes within fourth full-length Downhill Calendar.

I’m Getting Thinner starts things off and within its seven plus minutes of captivation entangles a host of flavours from art/avant rock to post and raw punk through to noise and experimental rock. Immediately bass and drums lay down a repetitive lure smothered in sonic lacing and rising acidic grooves. The rhythmic core of the song echoes the prowess of Gang of Four, its sonic side also hinting but expelling a more feral touch and intent. There is an instinctive nagging at the heart of the song, rhythms its main fuel, which epitomises all album tracks; each song almost harassing attention but rewarding with contagion loaded enterprise matched by the lyrical agility and magnetic delivery of the vocals.

Never a labour only an addictive pleasure even at its extensive length, the excellent opener hands ears and imagination over to the following Skin Stay Thin. Its first breath brings an inescapable swing which again is as primal and raw as it is compelling and manipulative. Hooks and grooves spring like leeches at the imagination, a mischievous edge to them all recalling the creative antics of former PiL/Killing Joke/Pigface member Martin Atkins in his Brian Brain guise. Becoming more caustic by the moment it in turn makes way for the electro /noise punk courting of Where Is the Fun?, those wonderfully infernal rhythms again worming under the skin and into hips within seconds. Vocals, words, and guitar swiftly entwine and saunter across that rhythmic incitement, the latter embracing blues grazing to its melodic vines and funk nurtured swings.

 Rat Belly crawls through ears next; squirts of brass radiating on its heavy infection loaded lumber. With the song’s step never accelerating, the guitar scorches its flesh as electronic resonance brings its own dark dissonance. Bordering on bedlam but just managing to restrain its mania, the track pretty much slips into the psyche trapping Frankie’s Downhill Calendar. Once more drums lead the incursion, their instinctive agility a puppeteer to physical involvement and a rock ‘n’ roll appetite as the creative toxicity of guitar and imagination sear song and senses alike. As vocals once more unearth their own regular magnetism eighties post punk hues please and intimate but only adding to the individual sound of The Chewers.

Without quite sparking the same ardour for its predecessors Yo Yellow Pig still got attention locked in with its mischief coated swing and blues nurtured causticity while the excellent Then There’s Me offers a corroded blues rock canter as seductively elegant as it is openly mordant.

Both tracks trapped attention with ease leaving I Let the Stooge Loose to bring things to a close with its untamed but masterfully mercurial rock ‘n’ roll. Not only to the closing track but The Chewers’ sound in general, there is a sense of bands like Pere Ubu, Powersolo, and The Residents to its character but as the song proves all essences in something unique to The Chewers.

So if you are looking for rock n’ roll in its most “off Kilter” adventure then Downhill Calendar is a must exploration, indeed one for all fans of the flavours The Chewers twist, corrupt, and use so enjoyably.

Downhill Calendar is available now @ https://thechewers.bandcamp.com/album/downhill-calendar

https://www.facebook.com/thechewers/

Pete RingMaster 24/07/2018

Copyright RingMaster: MyFreeCopyright

Hardball – Dirty

We are not sure if the North East is Britain’s capital of rock ‘n’ roll trespass but there has been a definite vein of rousing rock bands escaping its depths over the decades. The latest is Darlington quartet Hardball who have just uncaged their debut single/EP in the shape of Dirty. Offering three tracks as individual to each other as they are united in stirring up eager attention, the release is a bruising yet inescapably inviting slice of hard and punk rock embroiled in aggressive enterprise. It is also a potential stocked introduction from a band already sparking a real appetite to hear much more of.

Months maybe mere weeks old, Hardball consists of vocalist/guitarist Tim Smith, guitarist Phil Bailes, bassist Neil MacGillivray, and drummer Denz (Gareth Westgarth). There is little more we can tell you about the band though there is probably little more to share with the band so early in its emergence though you might recognise Denz’ uncompromising dextrous swings from bands such as Hung Like Jack, ill fated riot, and Supercharger.

Recorded live at White Wolf Studio, the band’s debut encounter swiftly had ears on board with opener Dirty. A lure of guitar dangles potent bait first, its classic rock feel a tease into the waiting rapacious embrace of the track. Riffs and rhythms instantly impose once unleashed but with incitement rather than threat while the harmonious tone of the vocals only adds to the rousing temptation already raised, as too the grooves which need seconds to get under the skin. Though surprises were few, everything about the track was fresh and distinctly individual ensuring that the first contact with Hardball was strong, highly enjoyable, and firmly memorable.

The invention within the song was soon escalating as Ballad Of John Fox stepped up next, the song a calm but bold saunter with shimmering melodies and intimation fuelled enterprise to its instrumental and a spirited raucousness to its vocal expulsions. It has an anthemic feel which grows by the minute and a great weave of guitar enterprise as bluesy as it is hard rock inspired.

Our favourite track though is Closed For Inventory, a real gem of a proposal from its initial groove draw to its punk ‘n’ roll roar and scheming rhythms. Carrying a predatory intent at times, especially when those delicious grooves steer the rack’s inescapable manipulation, the final track stole the passions with ease here even against the definite prowess and quality of its companions.

With a first release, any band can only hope for attention and an awakening of their presence as its main success and Hardball will surely achieve that and much more with Dirty. You want some honest, spirit sparking rock ‘n’ roll? Then look to the North East for some Hardball.

https://www.facebook.com/Hardballrock/

Pete RingMaster 28/07/2018

Copyright RingMaster: MyFreeCopyright

Draghkar – The Endless Howling Abyss

Already keeping 2018 busy with a pair of split releases with Desekryptor and Ossuarium respectively, US death metallers Draghkar are poised  to unleash their own four track infestation in the highly enjoyable shape of The Endless Howling Abyss.

Formed in 2016 by guitarist/vocalist BW (Grave Spirit/Gravesmasher), the band had gone through a few line-up changes before the first of those aforementioned splits was uncaged; bassist Daniel Kelley and drummer ES now completing the line-up. With a sound said to be inspired by Abhorrence and Amorphis and also increasingly embracing the likes of Molested, Mercyful Fate, and others as intimated within The Endless Howling Abyss, Draghkar has nurtured a potent mix of flavours and enterprise across their releases which certainly flourishes within the latest.

Traversing the Abyss rises from its bed with portentous strikes of sound, dramatic suggestion coating every surge of guitar and swing of rhythms until it settles into a controlled but portentous prowl. Every wave of riffs though brings a slight elevation in energy before it gathers for an intensive assault loaded with the throat gravel of BW. Grooves and melodic entangling escape the growing tempest, each with a lively swing that swiftly got under the skin. It is dark and ravenous, corruption at the creative heart but so very catchy and infectious too.

The excellent start continues with Swallowed by the Dark; a track not as mercurial in the attack of its animosity as in its predecessor but as rabidly venomous. It too shares grooves as viral as they are toxic, the guitar almost dancing on the rhythmic canter of the doom soaked bass splintered by senses splitting beats. It might be death metal bred but the track is prime rock ‘n’ roll, just in the most corrosive form of its incitement.

Next up Eternal Disintegration (Of The Body And Of The Mind) chains ears with one rich hook from its first breath, it a coaxing into a visceral canter but remaining to potently flavour the track’s subsequent emergence into a carnivorous predator. There is a bedlamic volatility in its depths which ignites even more invasive turbulence at times but never enough to extinguish the viral lure of its grooved invasion.

As if the release stored up all its malice and dissonance for its finale, Fading into Emptiness is an unsavoury consumption of the senses full of and leaving scars and fissures but again sweetening the malevolence with a great nagging of grooved temptation.

It is a fine end to a release which announces Draghkar as a definite to watch proposition within the death metal scene. Those previously mentioned splits made the suggestion, The Endless Howling Abyss insists on keeping them close.

The Endless Howling Abyss is released July 27th on CD through Craneo Negro Records (500 copies) and on cassette via Nameless Grave Records (75 copies). Both also available as well as digitally @ https://draghkar.bandcamp.com/album/the-endless-howling-abyss

 https://www.facebook.com/DraghkarBand/

 Pete RingMaster 24/07/2018

Copyright RingMaster: MyFreeCopyright

Black Space Riders – Amoretum Vol. 2

Though Black Space Riders teased us with the news that the successor to the outstanding Amoretum Vol. 1, released this past January, would also be uncaged this year maybe few expected it to swing into view within six months of its acclaimed sibling. But indeed it has and we for one could not be any more pleased because it is one stunning slab of what the German outfit does best and which is individual to anything else.

As Vol. 1 took the listener into the dark depths and thickly shadowed corners of the modern world with intimations of hope and resolution its successor “explores the tension between darkness (fear, hate, rejection) and light (empathy, love, acceptance).” Their title is a fusion of the words Amor and Arboretum, the band’s symbolic reference to the sanctuary of nature and love. The creative and musical link between the two is strong and open; no surprise with the tracks from both albums written at the same time in 2017 and recorded together, yet Vol. 2 has a devilment in its imagination and body which makes it an even more unpredictable and at times bewildering experience. The second book in the concept flourishes whether standing alone or as a continuation of the first. Its press release asks, “Is Vol. 2 the rebellious older sister of Vol. 1, or the young, untamed brother?” Often it seems like an alter-ego, a kind of Riddler to the first’s Edward Nygma or indeed both making up a sonic Magneto where light and dark entangle for varied shades of captivating character.

The quintet of JE (lead vocals, guitars, keys, electronics), SEB (lead vocals, keys, percussion, electronics), C.RIP (drums, percussion, digeridoo), SLI (guitars), and MEI (bass) have also conjured the most eclectic flavours within their sound across the fourteen tracks of Vol. 2; at times it blazes with punk like ferocity, in other moments trespasses with metal bred inclinations before seducing with pop rock irresistibility and psych rock magnetism with plenty more in store along the way.

Set over six chapters, it opens up with Before my eyes, percussion luring ears into the snarling jaws of the track. Punk, metal, and rock all collude in its grizzled climate, grooves aligning to crisp rhythms as vocals growl. In no time it had the body bouncing and vocal chords gurning, contagion soaking every second of its forcefully magnetic enterprise. The clang of post punk guitars only adds to the irresistibility before LoveLoveLoveLoveLoveLoveLoveLove Love (Break the pattern of fear) slips in on a dark saunter. Initially it shares a Bauhaus like breath before breaking into a garage punk meets alternative rock stroll though, as becomes the norm in songs, it begins evolving by the minute if not the second. If the opener was bliss to the ears, its successor was pure rock ‘n’ roll manna and it proved just the beginning of one exhilarating ride with Black Space Riders.

Next up is Walls away, a far calmer affair with a melodic temperament which captivated from its initial lure. It has a raw undercurrent though which accentuates its elegance breeding, that aforementioned unpredictability lurking at every corner while Slaínte (Salud, dinero, amor) has a Celtic lining to its infectious festivities; an Irish Gaelic inspiration which again had the body bouncing across its primarily instrumental canter sharing “good health”.

Assimilating love leaps in straight after, its punk ‘n’ roll grumble a collision with grungier textures and space rock dynamics as it harasses ears with rousing irritability before In our garden serenades the senses with its melancholic caress. Something akin to the dark rock of Dommin in an embrace with the neo folk of Death in June within an indie sunset, the song is as enthralling as it is sombrely radiant as too the following track, Leaves of life (Falling down). For us the song is part of the pinnacle of Amoretum Vol. 2, though such its lofty heights we continue to debate that point as thoughts change by the listen. It has an energy which infests body and spirit but equally a dark glow which draws attention and the imagination like a moth to flame, and there is a definite heat to the track as its intensity and contagion rises.

Its glory is then more than matched by Body move, a quite magnificent and addictive slice of creative manipulation which has the body swinging to its funkiness and vocal chords clinging to its virulent delivery. Pop, funk, trip hop, and infection do not come any better and wonderfully invasive than this; the imagination as firmly locked into its growing web of drama.

The dub lit and outstanding Take me to the stars had hips swaying without thought within moments next, the song another weave of individual flavours in a wholly unique yet strangely familiar bold croon while Ch Ch Ch Ch pt. I (The ugly corruptor) emerges from a sonic mist to cast psychedelic hues and intimation before Ch Ch Ch Ch pt. II (Living in my dream) draws ears through the former’s growing raw volatility into its own tempestuous heavy rock envelopment, those already in place psych flames and sighs cascading off its feral storm.

The album’s final and sixth chapter is made up of firstly the melodically wired but still gnarly Chain reaction which is followed by the devilish rock pop bred No way. The first of the two did not grab us as its companions but still leaves most tracks heard this year chasing its wake while the rousing second has a whiff of pop, psych rock, and death metal to its inimitably catchy almost fearsome clamour.

Finally The wait is never over concludes the release, the track another kaleidoscope of flavours with echoes of Ruts DC in its dub shimmers and Helldorado in its swarthy atmospherics. It is an initially low key close, a kind of epilogue but one which just transfixes from its irradiant start to its ravenously tempestuous middle on to its apocalyptic climax.

Well Black Space Riders has done it again, had us drooling at their ever startling endeavours. Quite simply Amoretum Vol. 2 is immense in every aspect. It is a treat from first to last wave of imagination and creative devilment but we suggest listening to both Volumes of Amoretum as one for a complete rush of inspiration and pleasure.

Amoretum Vol. 2 is released July 27th through Black Space Records / Cargo Records on double vinyl (w/ CD), digipack CD and digital formats; available @ https://blackspaceriders.bandcamp.com/album/amoretum-vol-2

 

http://www.blackspaceriders.com/    https://www.facebook.com/BlackSpaceRiders     https://twitter.com/BlackSpaceRider

Pete RingMaster 26/07/2018

Copyright RingMaster: MyFreeCopyright

Buñuel – The Easy Way Out

If the soundtrack to the fall of the world is The Easy Way Out, the new album from Buñuel, then our arms for one can easily embrace the demise of all. The eleven track tempest is simply glorious, a collusion of sonic and emotional dissonance within a voracious carnival of noise which devours as it seduces.

The Easy Way Out is the successor to the quartet’s acclaimed 2016 debut album A Resting Place For Strangers, a release pushing the walls of the former’s ferocity, imagination, and psyche twisting trespass far further. The US/Italy hailing foursome create an often suffocating, frequently corrosive, and perpetually rousing assault of invention from within its walls, taking ears and emotions on an visceral rollercoaster ride fronted by the vocal prowess of Eugene S Robinson, already renowned for his part of Oxbow. Like a barker to its twisted sideshow but decisively more ringleader than narrator, his lyrical inharmony breeds a vocal dissidence and tenacity which is pure magnetism. Equally the ravenous sounds cast by bassist Pierpaolo Capovilla and drummer Franz Valente (both One Dimensional Man, Il Teatro Degli Orrori) alongside guitarist Xabier Iriondo (Afterhours) inspire as they corrupt, arouse as they deviously manipulate.

Opener Boys To Men emerges from its dark depths on a ponderous yet hypnotic prowl, Robinson instantly crawling all over its muscular drone bred awakening with vocal aberration as delirious as it is lucid. Inescapably transfixing across its increasingly tempestuous, intense fibrous yawn, the track invades like something akin to Swans meets Pere Ubu, and simply had ears and imagination afire.

The Hammer / The Coffin follows and instantly takes its own tight grip on attention as the feral temptation of Capovilla’s bass aligns to the swinging rabidity of Valente’s beats. Vocals and guitar toxicity are soon infesting song and listener, their carnivorous discord raw contagion as the noise rock seeded invasion swiftly has body and thoughts bouncing with equally bedlamic eagerness before the track releases its puppet into the waiting subversive rock ‘n’ roll jaws of Dial Tone. Harmonic toxins vein the boisterously bruising stomp, lighting up its heavy tenebrous flood of sound to easily get under the skin whilst exhausting the senses though it in turn is just a warm up for the even more debilitating roar of A Sorrowfull Night. With strand like hooks recalling The Fall within its tsunami of voluminous sound, the track is a post/noise punk trap to which capture and addiction was a done deal within its first few breaths.

Next come the monotonous sludge thick advance of The Sanction where rhythmic and citric enterprise bewitch alongside the ever compelling presence and dexterity of Robinson while Happy Hour twists and turns straight after like a punk dervish, flinging visceral grooves and sonic splinters with relish. The first of the two epitomises so much of the album with its mercurial landscape, its unpredictable terrain of imagination evolving and wrong-footing with ease, the second a less pronounced but just as inspired echo within its carnal punk ‘n’ roll.

Next up is The Roll which is simply magnificent. From its opening dance of keys against the raw discordance of the bass, the song invites as it taunts. Female vocals alongside Robinson similarly grab ears as they light the hungry onslaught before Augur stalks and fingers the senses with its rock ‘n’ roll schism. Like a meeting between Big Black and The Filthy Tongues with Shellac looking in yet truly unique to Buñuel, it is raw magnetism from start to finish.

Shot is just wild noise punk at its best, fifty seconds of anarchy before Where You Lay intimidates, threatens, and physically harasses the senses and psyche. Vocally, Robinson is as imposing and invasive as the sounds uniting around him, the track like a disconnected tangle of sinews and tones coming together layer by layer never disguising the portentous corrosive outcome their unity will bring.

The album concludes with Hooker, a final but accepting fissure on the album’s theme within a sonic misting as toxic as it is deceptively calm; a last corroded breath in the stark, barren outcome of the album’s sonic apocalypse.

With the amount of releases we are blessed to be sent it is not too hard to find plenty to get excited over but to be truly blow away by it a rare occurrence but one The Easy Way Out achieved. It is a definite album of the year contender with already a grip on top spot but easy to suggest also one of the decade’s most essential moments.

The Easy Way Out is released July 27th via La Tempesta International and Goodfellas Records.

https://www.facebook.com/Bunuelband/

Pete RingMaster 24/07/2018

Copyright RingMaster: MyFreeCopyright

Buzzkillz – Major Fucking Complications

Having caught the Buzzkillz bug last year after being introduced to their debut album of the previous year, there was certain anticipation with an edge of excitement when Jybe from the Finnish band got in touch to say a new EP was winging its way over. Major Fucking Complications is a five track holler of the band’s increasingly individual punk ‘n’ roll/punkabilly; an encounter which eagerly builds on that first full-length and demands greater attention goes the way of the Helsinki quartet.

Formed in 2011 by vocalist/guitarist Ultima Foole and double bassist Jybe, its line-up subsequently completed with the addition of guitarist Antti and drummer Joiku four years later, Buzzkillz saw potent praise come their way through 2016 debut album Scum Of The Earth. It also introduced them to a new wave of fans outside of their homeland. Major Fucking Complications should incite even thicker attention as it expands on the potency of its predecessor in songwriting and sound. It some ways it does not offer anything majorly removed from the album but every track has a richer character and thicker enterprise to their stomps.

Major Fucking Complications also features across its length the guest vocals of Titch from legendary psychobilly band Klingonz alongside its creators, the release opening up with its title track. Slowly but deviously swinging in with open mischief in its intent, the song quickly bursts into a psychobilly nurtured stroll within a punk bred roar. Senses clipping rhythms easily had instincts on board, the lustful slaps of Jybe on bass string appetite exciting as Foole’s growling tones backed by Titch’s distinctive tones add to the infectious dissent. Addiction teasing hooks only add to the persuasion, guitars teasing and taunting as the track’s swing mastered eager hips and limbs; it all making for a fiercely rousing start.

The following Envy, Hunger and Greed though quickly makes a demands on top track honours; it too needing mere seconds to incite the listener with rock grooves , punchy rhythms, and a punk bred ferocity. Calm and virulently catchy in its lead up to a lustfully raucous chorus, there was no stopping the track getting deep beneath the skin from its first cycle. There was definite catchy times within that first album but now that contagiousness has been honed as inescapable bait and traps within song and EP with an imagination which bordering on bedlamic never rests.

Its glorious punk ‘n’ roll hue is then merged with more punkabilly natured tenacity within next up That Shit Is Gonna To Kill You. Jybe’s bass saunter is the first mighty lure, a firmly pulsating one eventually joined by the rest of the band’s swinging escapade. Centred by an ear seizing hook, the track becomes a dirty canter of attitude lined punk rock around a rockabilly seeded rhythmic stroll. The further into its infectious trespass darker hues and bolder imagination escape to add to its increasing temptation before Lie! twists and turns with belligerence and muscle.  With a touch of early Grumpynators to its dissent, the track is punk ‘n’ roll contagion. It may be less adventurous and more invasively irritable than its predecessors but it does not stop it being a fully contagious involvement.

Completed by the psychobilly fuelled Keep On Crawling, another moment which had our appetite for the flavours the band weaves into their sound drooling, Major Fucking Complications is a declaration that Buzzkillz is ready to roar in a whole new landscape of recognition. The surf kissed shimmer of guitars within that final track just epitomises the bolder invention and imagination in their sound and why we are already eagerly awaiting its next adventurous move.

Major Fucking Complications is released July 27th via Fast Decade Records on 12” vinyl.

 https://www.facebook.com/Buzzkillzband/   https://buzzkillzband.bandcamp.com/

Pete RingMaster 24/07/2018

Copyright RingMaster: MyFreeCopyright