Spunk Volcano and the Eruptions – Double Bastard

This month sees the release of the fourth album from UK rockers Spunk Volcano and the Eruptions and like with all its predecessors just the news of that had us drooling in anticipation of its sure to be boisterous antics. Like so many others, the rousing exploits of the band to date ensured such eagerness and we can confirm right here and now no one will be disappointed. We will not announce Double Bastard the band’s finest offering to date such the thrills and spills within the likes of Injection, Shit Generation, and Not Wired Up Right before it and that is ignoring their equally rousing EPs, but it is right up there and insistently increasing its right to be announced top dog by the listen.

Ever the prolific songwriter vocalist/guitarist Spunk Volcano, also like drummer Maff Fazzo of Dirt Box Disco revelry, has filled the belly of Double Bastard with twenty five slabs of the band’s inimitable multi-flavoured punk ‘n’ roll. Expectantly his songs swing hooks like a predatory angler whilst lustfully ensnaring ears and participation with lung rousing choruses and virulently anthemic hollers and as ever their hearts are inspired by the intimate, social or simply everyday items and other sources of fun. But predictability and echoes of past shenanigans never rear their heads across the double album only mischief, craft, and pleasure.

With so many tracks within its bulging walls let’s get the fillers out of the way first…..OK that’s done! Truly every moment with Double Bastard is an essential incitement of rock ‘n’ roll with Teenage Teenagers the first to exploit an admittedly already in waiting appetite. From its first breath the song is an infectiously eager clamour, vocals leading the manipulation as Fazzo’s beats and Joey Strange’s throaty bassline direct its catchy stroll. The guitars of Tom ‘G Force’ Batterbee and Stew Page weave their own melodic temptation into the familiar SV and the Eruptions mix but one wholly individual proposition.

Swiftly the deliciously rapacious lures of Marvellous Manifesto and the rhythmically animated and sonically devilish Fixtures and Fittings infested eager ears with their voracity in heart and tenacious catchiness. The instinctive rock ‘n roll of each track is just as bold and persuasive before Plasticine playfully prowls ears and imagination with the barely diminishing nostalgia and lure of its inspiration, a song as memorable as it is devilish in presence.

It feels mean to pick out certain songs over others as all simply pushed the album to further greatness but among the contagion loaded and diversely flavoured likes of Shit Excuse, Edging on the Side of Caution, TCP, and Spare Room, persistent peaks were set by the sinisterly sauntering, deviously compelling Super Dooper and the voracious trespass of Independent Fire. The metallic edging of the hardcore bred first is accentuated in the punk/thrash toned foray of the second yet both reveal so much more in their sound and flavouring than that suggests,.

Similarly Red Rings with its engulfing melancholy and the irritable uproar of Road Rage brought new heights to the release just as potently matched by the pandemic melodic rock temptation Old Wives Tales with Fazzo‘s skills alone inescapable bait, the track bringing CD 1 to a magnificent close.

In many ways CD 2 shares a more feral side to the band’s sound, their punk instincts gloriously festering in the raucous hearts of tracks just as infectious and variously flavoured as their album companions before them. Death or Glory and Sucking Up quickly instil that feeling, the first track just muscular in every riff and heavily landing beat, biting hooks and rowdy vocals adding to its punk ‘n’ roll rampancy before its successor bares its old school punk snarl and seventies pub rock disorder like a brawling mix of Eddie and The Hot Rods, The Damned, and Motorhead.

The nagging prowess of Here Come the Zombies proved pure manna to personal tastes, the track building on the just as irresistible punk brawl of Dirty Pictures before it, the latter the definitive epitome of the band’s sound from day one and its perpetual evolution ever since; like a whiff of every release is embraced in its own particular bedlam.

Inevitably some tracks burrowed under the skin further than others, the insatiable almost savage onslaught of Personality Black Hole as mercilessly addictive as Inbred with seventies punk irreverence flooding its hooks is carnally seductive and Scared of Needles is effortlessly manipulative on spirit, body, and vocal chords.

Even so the likes of the 99% with its varied weave of melodic rock, the antagonistically anthemic Sick of Saying the Same Things, and the pop punk tunnelling rock ‘n’ roll of Daft as Brushes ignited the passions with no trouble or resistance.

The album is brought to a close by firstly the hard rock/pop punk infested melodic bellow of Blinded and then You Think Your Rock n’ Roll But You’re Not, one final punk ‘n’ roll blitz on ears and inhibitions which both fell in seconds for its cacophonous contagiousness.

Double Bastard is prime yet wholly fresh Spunk Volcano and the Eruptions and just another stomp with the nefariously enterprising quintet we can only loudly recommend.

Double Bastard is released via Avenue Recordz on 21st June.

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Pete RingMaster 03/06/2019

Copyright RingMaster: MyFreeCopyright

Battalion Zośka – Self Titled

Like all instinctive punk fans seventies punk and eighties hardcore will always fuel the passions no matter what major moments which have and will continue to follow that defining moment in time. There is no doubting that it is the same for Philadelphia hailing Battalion Zośka; all the evidence raising and roaring aggressive irritation within the band’s self-titled debut album. But there is no mistaking that its 13 slices of sonic and defiant belligerence are far more than echoes of inspirations and other’s glories. The album is a fresh breath and striking protagonist embracing the seeds which fired up us all decades past.

Formed in 2018, Battalion Zośka features members of hardcore punk outfits Violent Society and Combat Crisis and their sound provides a politically charged trespass as aggressively catchy as it is emotionally dissonant. Rhythms unapologetically bite as riffs harass and curse alongside similarly tetchy vocals, the hooks and enterprise conjured just as fractious and irresistible within one magnificent, rousing debut.

The quintet of Pat, Jim, Johnny, Jonas, and Milo set down the tone and character of the album from its first breath, opener A Country Divided rhythmically teasing attention before being entwined in alluring wires of guitar. The song soon hits its stride, threat and disobedience lining every note and subsequent syllable as inbred catchiness equally shapes its rousing incitement. With a great whiff of Angelic Upstarts meets The Lurkers to it and featuring the first of two guest appearance from Black Flag/ Misfits guitarist Dez Cadena, the track lone tells you all you need to know about the band’s sound and album, both swiftly compelling assaults.

Arm Everyone follows bringing an even thicker dissent and trespass to the senses; its hardcore breeding hungry and ill-tempered in its uprising while the album’s title track thrusts forward with rampant muscle and uncompromising resistance as an Exploited meets UK Subs hued subversion arouses. It is fair to say that together the three tracks had ears and appetite enslaved but the third truly sealed the deal.

Next up, Heather was no light weight in that union either, its strands of melodic wiring a delicious itch in the rich infectious nagging of the track. The song brings another guest to the release in the ever potent craft of Neil Newton, the Angelic Upstarts guitarist also giving fiercer flaming to Moral Coward two encounters later, that song a dirtily cantankerous seventies ripe invasion. In between the equally outstanding Island of the Lost Souls stamped its commanding authority on ears, every rhythmic swing an enticing bitch slap and chord a caustic tempting as it builds towards a chorus which just had body and throat bounding forward.

The subsequent assails of Oi! By Numbers and Sold & Bought did nothing to lessen the album’s grip; the first, an undisguised attack within a familiar yet unique sonic pillory with its successor a virulent Crisis-esque transgression. Each simply pummelled the spot before being rapaciously matched by the esurient assault and arousing of 80’s Kid, the song sharing the second ear grabbing appearance of Cadena.

A pop punk essence helps blossom even greater temptation within Once Again, its untamed Vibrators meets Adicts breeding an anthemic tonic for the spirit while the equally galvanic rallying of No More and Scum of the Streets with its feral indeed predacious stalking and sonic hounding only accentuated the impressive and inspiring body and disagreement of the album.

Completed by the carousing punk ‘n’ roll of The Beer Song, the Battalion Zośka album is simply punk rock at its most honest, uncomplicated yet imaginatively bred best. Expect to hear a lot more of the band as once its full-length stirs up a punk uprising of attention and lusty support they will have little choice but to submit to demand.

The Battalion Zośka album is released this June via Violated Records; available at http://www.violatedrecords.com/ and https://battalionzoska.bandcamp.com/album/battalion-zo-ka

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Pete RingMaster 03/06/2019

Copyright RingMaster: MyFreeCopyright