Goodbye Mr MacKenzie – Good Deeds and Dirty Rags

Brandenburg photo by Martin Becker

Maybe like for many others, Goodbye Mr MacKenzie is a band which we did not pay enough attention to back when they were a potent part of a Scottish indie/rock scene lauded for the presence of bands such as The Jesus and Mary Chain, The Fire Engines, Simple Minds, The Waterboys, The Cocteau Twins and many others. The fair share of acclaim they earned was impossible to miss and a few familiar tracks, and more than we knew we knew it turns out, left a rich vein of pleasure in our personal musical journey. Funnily enough it was not the recent reforming of one of Scotland’s most iconic rock bands which has most strongly drawn us to the upcoming re-reissuing of their seminal album Good Deeds and Dirty Rags but the fact that one of our current favourite bands, The Filthy Tongues, consists of three of Goodbye Mr MacKenzie’s founders; that and the welcome urging of Shauna McLarnon of Canadian duo Ummagma.

Due for release this coming November and inspired by the massive success of their recent 30-year anniversary tour, Good Deeds & Dirty Rags has been re-mastered and comes with 3 additional tracks from those early years not previously included on the original edition. The band’s line-up at the time consisted of vocalist Martin Metcalfe, bassist Fin Wilson, and drummer Derek Kelly, the trio who have inflamed ears and the passions with their two albums as the aforementioned Filthy Tongues. Alongside them was guitarist John Duncan, previously of The Exploited, the future Garbage vocalist Shirley Manson, and Rona Scobie both providing keys and backing vocals. For the rest of the band’s potent history we will let you go search but there will be no finer way to set it off then through Good Deeds and Dirty Rags.

The album opens up with Open Your Arms, a track which swiftly hooks ears with its sweeping breath and magnetic jangle. Metcalfe’s vocals resonate with the expression and character which we are more familiar with within his current creative adventure as melodies, harmonies, and sharp hooks are woven into a slice of indie contagion. There is a Big Country like grandeur to the song at times and a gnarly edge to the bass which just hit a personal appetite, again something since keenly devoured with Wilson’s presence in The Filthy Tongues.

Wake It Up follows bringing a rousing roar to its composed stroll, every aspect fuelling an unapologetic catchiness which easily swept up eager attention. In some ways there is a larger than life hue to the song which reminds of The Associates but whether familiar with or new to the band through the album there is no denying Goodbye Mr Mackenzie had a distinct individuality.

The electronic hug of the especially enthralling His Masters Voice is just a big warm smile upon the ears but another track with a certain rock ‘n’ roll edge to it which erupts with vociferous voice throughout while Goodwill City is a drama soaked slice of anthemic temptation. It is a song set in climatic layers, each small but tenacious crescendo a rich incitement on spirit and involvement with its creative intrigue and emprise. One of their less familiar tracks before this release the song soon proved a firm favourite even as the riveting Candlestick Park swung its own shadow wrapped, melancholically spun seduction upon ears and imagination. The truth is the song easily matches anything on the release, its mesmeric and indeed haunting presence a siren of craft and sound.

The song, Goodbye Mr Mackenzie, is another which simply infests ears and appetite with its melodic audacity and fertile imagination. The earthy threads of guitar perfectly collude with the celestial breeze of keys and sighs of harmonies as marching rhythms firmly leave their galvanic imprint on the senses; another highlight re-introduced to ears before the band’s most famous track, The Rattler shares its masterful indie pop contagion.

Through the infectious creative animation of Dust and the glorious sonic theatre of You Generous Thing grinning pleasure only rises up, both tracks pure adventure for ears and imagination on

Goodbye Mr MacKenzie 2019 – photo by Karen Lamond

both sides of the speakers; both traits a persistent thrill across the release and echoed again within the equally superb Good Deeds. Straight away rhythmically it had us enslaved; Kelly’s agility and lures reminding of King Trigger before the rest of the band bring their own eager inventive exploits to the fascination of sound.

Good Deeds and Dirty Rags is completed by three demo tracks of Open Your Arms, Diamonds, and You Generous Thing; all from 1987 and each their own portion of thick temptation.

Though listening to the album inspires annoyance at not having embraced it well before now, it is a real treat to discover and you know what? It is not out of place or time within the current indie rock scene at all.

Good Deeds and Dirty Rags is released 2nd November via Neon Tetra Records.

https://www.facebook.com/GoodbyeMrMackenzie   https://twitter.com/gbmrmackenzie   http://www.goodbyemrmackenzie.com/

Pete RingMaster 27/09/2019

Copyright RingMaster: MyFreeCopyright

Exploding Head Syndrome – Aristocratical Tendencies

If the recent release of the new Cockroach Clan album was not enough proof there is now the new EP from Exploding Head Syndrome to prove that the Norwegian punk scene is in fine fettle. Aristocratical Tendencies unleashes five slices of punk/hardcore incitement which raucously roar with voracious contagiousness.

Aristocratical Tendencies follows the Oslo based band’s acclaimed 2016 album World Crashes Down and comes just after the quintet have returned from a mini-tour covering Norway, Sweden, Austria, Slovenia, Czech Republic and Hungary and included playing Europe’s Number One punk festival Punk Rock Holiday in Slovenia, sharing stage with NOFX, Pennywise, Frank Turner, Propagandhi, Descendents, Anti-Lam Front and many more. With their live reputation already highly praised and established through their own headlining shows and gigs alongside bands such as Satyricon, Sham69, Honningbarna, The Good Bad and The Zugly and Blood Command, Exploding Head Syndrome only reinforce and push on a similar stature gained through their records with their latest offering.

Shades is first up on the EP, a stroke of guitar igniting a hungry lurch of rhythms and vocal incitement before it all comes together in a virulently voracious trespass of sound. Vocalist Eirik Ekholdt bellows from within the punk eruption, the guitars of Morten Rørvig and Jonas Andreassen casting ferocious yet greedily infectious encouragement around him as all the while rhythms bite and trespass. It is a glorious assault, ripe hooks sprung with keen devilment and sonic threads spun with imposing drama but a song unafraid to go for the jugular.

The following Hardcore Jesus makes a more considered approach, melodic wiring enticing attention as around them a brewing tempest of sound grows. In quick time, the track breaks into a rapacious stroll, the swinging beats of drummer Lars Kirkerud steering its feisty gait as Håvard Jacobsen’s bassline broods. Again it is a feral invitation impossible to ignore and soon resist with its contagion loaded chorus, a hardcore meets hard rock landscape doing nothing to diminish its insistently catchy punk instincts.

I Got Feelings provides two minutes of equally rousing punk confrontation where open irritability colludes with anthemic prowess in a climate of discontent, the result another infectious incursion upon welcoming senses before You Have Your Dreams (I Have My Nightmares) sinks its similarly belligerent and fractious claws into ears and appetite. Once more there is bassline to devour and a creative squall of guitar to swing with, vocals and rhythms only adding to the manipulation as it all heads towards a robust holler.

The EP is closed up by All Change Is Bad, the track springing from the sonic departure of its predecessor with heftily swung beats and an entanglement of wiry guitar enterprise. That alone proves enough to infest body and attitude but with the raw incitement of vocals and the swinging groove of the bass, things only become more insatiable and gripping.

It is a great end to a superb release from a band we only find ourselves becoming more addicted to by the listen.

Aristocratical Tendencies is out now via Big Day Records; available @ https://ehspunx.bandcamp.com/

Upcoming Live Dates:

18.10.19 Oslo Bloodbath X, Oslo

09.11.19 Checkpoint Charlie, Stavanger w/Kåte Klør

15.11.19 Verkstedet Bar, Oslo w/The Nika Riots

http://www.explodingheadsyndrome.net/   https://www.facebook.com/explodingheadsyndrome

https://www.instagram.com/exploding_head_syndrome/

Pete RingMaster 20/09/2019

Copyright RingMaster: MyFreeCopyright

Luis Mojica – How A Stranger Is Made

photo by Kelly Merchant

For us music is a grand adventure and the best encounters are those which take us away from the real world whether it is for four minutes of a single track or an hour or so of a larger aural emprise. The new album from Luis Mojica is one such invitation to escape reality, a truly unique proposal which has turned irresistibility into an art form.

Already renowned as part of eclectic avant cello-based collective Rasputina, Mojica has forged his own alluring presence as a solo artist, one which is simply striking within new full-length How A Stranger Is Made, the successor to his acclaim 2016 debut, Wholesome. Mojica is like a troubadour, carrying a piano on his back and a storybook in his voice and imagination with How A Stranger Is Made a quest across a strange land plucking tales and characters from its unique landscape, drawing from their experiences to confess or certainly hint at his own emotional intimacy. The release as a whole is enthralling and each song a piano centred tapestry of the lives of individuals amidst idiosyncratic stories but easy to feel moments which are equally sharing an aspect of the creator himself.

Though it is fair to say that every song within How A Stranger Is Made fascinated and seduced pretty much effortlessly, its opening pair stood atop the mountain of favourites. Insane is first up and immediately hooked ears with the thick beats which announce its entrance and drama. Straightaway there is a contagion in the keys of Mojica, each note dancing and flirting with attention yet equally sharing a just as gripping emotive pungency. Like a siren, the sax of Caelan Manning shines on the shadows of song and word, its smoky lures just as darkly shaded to similarly enslave with the rich notes escaping the piano. The track is superb, easily one of our favourites songs of 2019 and swiftly matched in potency and pleasure by its successor.

Shaman Food strolls in with a swarthy swagger, spirits enticing with vocal tempting before Mojica and his word wrapped keys bounce through the imagination. The rhythm s of Evan Glen Adams infest feet and hips as the man himself entangles thoughts and spirit with his own; another realm of crepuscular shadows brought alive with craft, adventure and a vocal prowess which itself is a cast of a thousand souls.

From its first breath, there is an open intimacy to next up Invoked, the painting of its protagonist revealing more than just a singular entity. The silvery radiance of Mojica’s piano and tones are courted by the darker hues of Jason Sarubbi’s bass, their contrasting textures united in magnetism as rich and inescapable as Mojica’s rousing vocal palette; that mix as thickly enticing within the folkish hued, volatility breathing Moon Men. The cello of Sister Ursuline is a particular seduction, the tones of Mojica another and with his keys ever conjuring, the imagination was ensnared once again.

Across the quirkily stroked, aberrantly woven Cowboys and De La Saint with its melody pouncing, spring in the step sharing shamanic beauty ears and appetite were again enslaved, the latter of the pair a delicious track far richer and diverse than our words can intimate while Witch Love after them offers another shadow draped seduction impossible to hold at bay as once more craft and imagination rise up with startling enterprise.

If not quite to the depth of those before, City Friends only transfixed though there are certain moments of inflamed rapture which absolutely got under the skin, a trait The Ranger similarly offered with its controlled but animated gait and swing. With the violin of Rebecca Moore and Manning’s sax adding their bewitching aural paint the song’s canvas, temptation was inescapable.

Queen Song again unites shamanic and liturgical essences in its own rich musical textile, every note and syllable picturesque for the imagination and leaving a lingering impression as it makes way for the album’s final offering, a cover of Leonard Cohen’s Stranger Song. Though it did not ignite the passions as any before it, the voice and piano of Mojica absorbed time and attention.

It is a mesmeric and haunting conclusion to an album which even after numerous plays just thrills and impresses more and more; Luis Mojica a minstrel unafraid to share worldly and personal souls.

How A Stranger Is Made is set for release on October 4th with pre-ordering available @ https://luismojica.bandcamp.com/album/how-a-stranger-is-made

https://www.luismojica.com/    https://www.facebook.com/luismojicamusic   https://twitter.com/luismojicamusic

Pete RingMaster 24/09/2019

Copyright RingMaster: MyFreeCopyright

InAir – Dreamful

There are many aspects to the sound and songs of British trio InAir but the ones which impress most is the almost nagging quality which effortlessly entices swift returns and then the increasing temptation which rewards every listen. The evidence is most ripe within new EP Dreamful, a handful of tracks which immediately made a strong case for continued attention but truly blossomed in ears and appetite with that incessant curiosity.

Hailing from Reading, InAir introduced themselves with a praise gathering debut EP in 2017, A Different Light revealing the rich flavouring to their alternative/electro rock nurtured sound. Equally live the threesome of lead vocalist/bassist Joe Conneely, guitarist/vocalist Aaron Iley, and drummer/vocalist Connor Shortt has drawn potent acclaim, sharing stages with the likes of Arcane Roots, Defences, Chasing Cadence, Junior, Veridian, From Inside and Death Remains. It is easy to expect the band to again entice eager support for Dreamful such its contagious enterprise. Whether it is their breakthrough moment time will tell but it is hard to deny that point is on the cards at some moment in time.

Control kicks things off, its calm melodic invitation soon engulfed in a fiery eruption. As swiftly though it relaxes into a reserved but catchy stroll as Conneely’s tones proceed to share the song’s heart. All the while that volatile edge still simmers, boiling up with rhythms a tenacious enticement throughout as guitar sparked flames ignite the drama of the encounter. It is an absorbing mix of sound and imagination, fresh and familiar flavours woven into one powerful body.

The following Chemicals is similarly bred, electronic enterprise colluding with rock and metal inspired hues to create a dramatic proposition further enhanced by the emotive strength of vocals. Each though carries an infectious lining which increasingly got under the skin, the dynamics of rhythms adding to this tempting as intimacy fuels the narrative and melodic breath of the song. Eclipsing the opener, it too is maybe just a tad outshone by its successor, Talk To You. It is only slight if it is as together the outstanding pair provides the pinnacle of the EP, the latter an impassioned and lively slice of melancholy draped contagion with potent crescendos and searing eruptions.

The release is completed by firstly Regress, an equally combustible slab of electronic and melodic intensity as anthemic as it is thickly emotive, and finally Life Finds A Way. The closer like those before it simply grew in persuasion and stature by the listen, its unassuming yet enticing beginning breeding some of the EP’s most riveting and rousing flumes of sound and contagion to erupt.

Dreamful is a release which commands attention once given the opportunity, whether it demands it enough will determine if now or in the future InAir really make their mark on the UK rock scene but it is easy to feel they will.

The Dreamful EP is out now.

https://www.inairband.com/   https://www.facebook.com/inairband   https://twitter.com/InAirUK

Pete RingMaster 20/09/2019

Copyright RingMaster: MyFreeCopyright

Beauty In Chaos – Beauty Re-Envisioned

With their debut album, Finding Beauty in Chaos, an acclaimed release last year, Beauty In Chaos has returned to its contagious adventure for their second full-length, Beauty Re-Envisioned. Revisiting those earlier tracks though does not mean that the new release is simply an easy echo of songs which have already enticed keen attention, indeed what we found was a whole fresh exploration based around a mix of dramatic remixes, bold new visions and alternative versions of those original encounters.

Beauty in Chaos is a LA-based collective led/curated by guitarist Michael Ciravolo (Human Drama/ Michael Aston’s Gene Loves Jezebel) featuring a host of renowned luminaries and unsurprisingly Beauty Re-Envisioned is littered with them. For the album Ciravolo admitted “I basically handed the keys to the car over to an amazingly talented cast of producers, engineers, re-mixers, DJs and artists… giving them near total autonomy to throw the puzzle of ‘Finding Beauty in Chaos’ on the floor and reassemble it as they hear it.” What has emerged is a proposition in its own right aside of that first offering, one bringing new bold characters and potency to songs which over past months had already become good friends.

 Beauty Re-Envisioned opens with a snarling MGT Remix of the Beauty In Chaos take on the T-Rex classic, 20th Century Boy. With Al Jourgensen’s rapacious tones enticingly scowling across its infectious electronic bounce and harmonica scorched canter, the track reveals itself  as virulent as it is feral and proving an immediate impossible to refuse invitation into the album which swiftly further rewards with the glorious embrace of Man of Faith. The Preacher Man Mix again has the ever potent tones of the Mission’s Wayne Hussey, one of our all-time favourite vocalists, and The Cure bassist Simon Gallup at its heart, the track a quickly addictive slice of shadow wrapped melodic rock as seductive as it is voraciously rousing.

Canadian duo Ummagma add their creative touch to Look Up next, the band’s instinctive atmospheric craft and radiance soaking the inescapably absorbing song around the temptation of vocalist Tish Ciravolo while the Collide Mix of Un-Natural Disaster springs even stronger alternative /industrial metal ferocity and intensity into the dUg Pinnick, Zakk Wylde and Ice-T embracing track. Both songs had us fully and greedily hooked as too the acoustic version of Storm with Ashton Nyte at its vocal helm. Written by The Awakening frontman and Michael Ciravolo, the song finds a new earthier intimacy and emotive depth without losing a sense of the catchy virulence in the original’s veins.

The alluring beauty of I Will Follow You featuring Evi Vine and the mutually fascinating draw of the Robin Zander (Cheap Trick) and Michael Anthony (Van Halen) contained Drifting Away in their respective Cotton Socks and High Water mixes only entangled pleasure and imagination, each making a less striking impact initially but only more hungrily consumed by the listen while the Kitty Lectro Mix of Man of Faith offered up a more eighties post punk/electro pop energy and enterprise to the already devoured encounter with similar force of appetite involved.

The enjoyment of Mr Hussey’s voice did not stop there as immediately his tones infused power and emotion to The Long Goodbye (Au Revoir), the track not exactly stripped back to its core but certainly exposing its melancholic heart with greater clarity as emotive piano, evocative strings, and sonic intimation wrapped intense vocals.

I Will Follow You returns with its IVaD Mix as in turn does Storm via the Vampyre Mix, again offerings which left pleasure full before another slice of 20th Century Boy sees Rolan Bolan and Wayne Hussey united in a great southern kissed, glam nurtured funk ‘n’ roll arousing which just had us bouncing.

Beauty Re-Envisioned is completed by the crepuscular Eclipse Mix of I Will Follow You and the compelling Fall & Sway Mix of the Ashton Nyte featuring Finding Beauty in Chaos, another two tracks which had little difficulty entrapping ears and enjoyment.

We will admit we are not naturally drawn to remixes and especially releases based on such collections but such the quality of the songwriting behind the tracks here and the rich imagination in their evolutions Beauty In Chaos have again simply enslaved.

Beauty Re-Envisioned is available now @ https://beautyinchaos.bandcamp.com/album/beauty-re-envisioned

https://www.beautyinchaosmusic.com/   https://www.facebook.com/beautyinchaosmusic/   https://twitter.com/MichaelCiravolo

Pete RingMaster 20/09/2019

Copyright RingMaster: MyFreeCopyright

Cellista – Transfigurations

photo by Temira Decay (Yellow Bubbles Photography)

This September sees American cellist, performance artist and the artistic director of the interdisciplinary performing arts group Juxtapositions, Cellista begin a series of live dates in support of her recently released album-book, Transfigurations. They are moments in time sure to fascinate and provoke as classical music, theatre, improvisation and visual art entwine with tapestries and intimations of sound and genres and align with the compelling body of Transfigurations.

The release itself is a politically-charged invitation to thought and imagination with a layer of closer intimacy. From its first breath Transfigurations evoked attention and contemplation as Rupture I opens things up with an aural echo of defiance and oppression. It is a potent introduction to the heart of the album leading to the pure captivation that is Confessions. Featuring the magnetic tones of Rykarda Parasol across the equally transfixing cello led musing of Cellista, the track slowly but firmly strolled through ears, plucked strings a brooding radiance and melodies a captivating sigh alongside verbal intimacy.

Rupture II brings the current US ‘frontman’ with a typical declaration before Look Homeward, Angel steps forward to entice and reward. Cello caresses swiftly and easily seduce and inflame the senses even before the lyrical and vocal rhyming of hip hop artist DEM ONE (a.k.a. Demone Carter) evoke further eager attention. As the track continues to absorb and infest, soprano vocalist Melissa Wimbish accentuates its inherent beauty, it all arm in arm with the simply irresistible lures of Cellista’s strings.

The provocative series of Ruptures continue to separate and mark upon each track, the darkly shadowed and increasingly intense third welcoming the contrasting but no less powerful and consuming piece of narrative that is You Can’t Go Home Again. An electronic shimmer surrounds and accentuates the absorbing storytelling, the track increasingly darker and imposing by the minute and indeed enthralling.

A dystopian air clouds Repetitions, its breath intense and composition unpredictable ensuring fascination embraced every note and creative trespass while the three part movement of When the War Began left a similar maybe even more dramatic imprint on the senses and imagination with its rousing cacophony of tenebrific incitement cast with a craft and invention often as delicate as it is imposing; keys and cello led intimation a wonderfully forceful evocation.

Tzeva Adom brings the album to a close; the sirens of its early-warning radar system the prelude to a radiant and defiant beauty as strings and keys again weave a pungent tapestry of emotion and sound. It is a haunting and arresting conclusion to an album which bewitched from start to finish whilst provoking increasingly darker and tempestuous shadows and emotions.

Words can certainly hint but with Transfigurations only experiencing is the true way to understand its magnificence.

Transfigurations is available now @ https://cellista.bandcamp.com/album/transfigurations-2

Upcoming Live Dates (tickets at the door or reserve online via Facebook):

Sept 20 Seattle, WA – Wayward Music Series (with The Zero Collective, noisepoetnobody)

Sept 22 Portland, OR – a steep & thorny way to heaven (with Operafication, The Zero Collective)

Sept 24 Los Angeles, CA – Coaxial (Noise Soirée) (with The Zero Collective, Crank Sturgeon, Anna Homler)

Sept 27 Denver, CO – Mercury Cafe (with Sean Renner)

Oct. 06 Sacramento, CA – NorCal Noise (Part of Norcal Noisefest)

Oct. 18 Los Angeles, CA – Art Share (with Sean Renner)

Oct. 25 Oakland, CA – Temescal Arts Center (with Mia Pixley)

https://www.facebook.com/cellista.music   https://twitter.com/xcellistax   http://www.cellista.net

Pete RingMaster 20/09/2019

Copyright RingMaster: MyFreeCopyright

Cockroach Clan – Songs About Blunt Knives and Deep Love

Veterans of the Norwegian punk rock scene, Cockroach Clan has a rich reputation and eagerly loyal fan base but have still been pretty much a secret outside of their home borders. We are only just getting our introduction to them right now and all thanks to a certain producer, Norwegian record label Fysisk Format, and their new riotously irresistible album, Songs About Blunt Knives and Deep Love.

Formed in 1994, Cockroach Clan released debut album Roach that first year with its successor Just Say Blow! unleashed three years later with the Going Underground EP nestled in between. Equally the years have seen the band share stages with the likes of The Toy Dolls, Discharge, UK Subs, The Exploited, Cock Sparrer, Anti-Nowhere League, Vice Squad, and GBH, Cockroach Clan only drawing thick acclaim for their rousing live presence. As for their releases, all three have gained minor classic status within the Norwegian punk scene but given the chance and luck, it is very easy to see the quintet finally embraced far further afield thanks to the glorious irreverent stomp of Songs About Blunt Knives and Deep Love.

Apparently the album came about through an idea cast by producer Hugo Alvarstein (The Good the Bad and the Zugly, Raga Rockers) who told the band, “Pick some gems from your 1990s recordings and rehearse them properly. Then visit my studio and I’ll make that scrap iron shine.” That is exactly what they did, throwing in a handful of new tracks and a cover song for good measure and from the effort has emerged one of the year’s major treats.

The release opens with a cover of the Mountain Goat track, Going to Georgia. Its melodic southern drawl is soon walked through by the punk scowling of Billy Cockroach, a union which lures attention with increasing potency as the slow swing of the track infests ears. It is a great start to the album but to be honest just a healthy appetiser to the more thoroughly addictive morsels to come.

You have a Bun is next, the track almost teasing ears with its initial strum of guitars before settling into an infectious stroll already accosted by Billy’s galvanic tones. The guitars of Akke Knoff Glomstad and Simen Jeistad erupt with a grin on their strings, their craft openly sharing classic rock/metal prowess to their punk instincts. With a slither of Oi goodness to its punk ‘n’ roll, the track makes way for the rousing antics of Fantasyland. Early melodic hookery leads to contagious rioting, mischief coating every note and gravelly shod syllable as the boisterous rhythms of bassist Morten Mormone and drummer Cato Holmen pounce, the song so lively even inanimate objects share its bounce.

The immediate folkish vocal welcome of Three wishes has devilry in its deception, knowing the swift outbreak of voracious punk rock close on its heels. Nevertheless, that initial hue continues to breed a thickly alluring folk punk stomp, vocals an inescapable carousing and guitars again revelling in the skills of their holders.

If the air and exploits of the song are virulent and they are, an epidemic of temptation erupts within the following On an island and indeed its immediate successors. The track bounds in with rhythmic nostrils flared, riffs swinging their muscles as vocals roar. The keys of Hugo Alvarstein add to the incitement, the track a UK Subs-esque riot with a host of sneaky hooks and bold manipulations proving so impossible to resist.

From one of the album’s major romps to another in Crash ka-boom where punk ‘n’ roll irreverence is in full roar and hosting a galvanic vocals mix rich in its own web of hooks aligning to join those in sounds boisterously hugging their horseplay while Necktie party vigorously bobs up and down poking at its victims. Both tracks rigorously got under the skin as too the even deeper burrowing Facts on the wall where old school punk colludes with pandemic rock ‘n’ roll in a track daring you not to leap in with vocal participation and a limb swinging body.

Favourite album moment came with Gene’s got a bun too, a track originally called Barbies on Drugs on the Roach album. Its first breath brings exuberant beats, its second a groove spun hook, both irresistible and only accentuated by the tenacious sounds and rampant vocals that follow with each subsequent lungful of addiction spreading enterprise.

Dit it again with its fiery rock guitar and swinging gait gave body and pleasure another eager workout with its multi-flavoured punk romp, its successor, Believer, then springing another ridiculously persuasive and enslaving hook within its irritable prowl. Both songs just aroused the spot with the latter another which almost alone had us scurrying to acclaim the Cockroach Clan as our new punk favourite to anyone in close proximity.

Closed up by Cockroach Fandango and its anthemic croon, Songs About Blunt Knives and Deep Love is simply glorious, a release no raw edged rocker should ignore. Whether we are talking about veterans like the Cockroach Clan or fresher aged protagonists, surely punk has rarely seen more exciting days with encounters like this thick reason.

Songs About Blunt Knives and Deep Love is out now via Fysisk Format; available @ https://cockroachclan.bandcamp.com/album/songs-about-blunt-knives-and-deep-love

https://www.facebook.com/cockroachclan

Pete RingMaster 17/09/2019

Copyright RingMaster: MyFreeCopyright

Hooby and the Yabbit Interview

The RingMaster Review makes its first exploration of the root and blues styled sound of British rock and roll troubadours Hooby and the Yabbit with band founder Ian Hawkins

Hello and thanks for taking time out to talk with us.

Can you first introduce the band and give us some background to how it all started and what brought you all together?

So Hi I am Ian, song writer and band leader, Lee on the bass, and Matt on the drums –at least for this week. It got started in my head in about 1991 but don’t tell anyone. I can be a bit slow you know.

Have you been/are involved in other bands? If so has that had any impact on what you are doing now, in maybe inspiring a change of style or direction?

Well I have played in more bands than most folks have had breakfasts…yes I think definitely. I have worked with a fine variety of guitar players over the years and I think that’s why I changed from bass to guitar to front this project

What inspired the band name?

Two of my daughter’s cuddly toys are the short answer. I decided they should have an adventure.

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

I thought there wasn’t enough rock n roll in the world!

Since your early days, how would you say your sound has evolved?

This is our first release, but the songs are old now. The new stuff is different for sure, perhaps more sophisticated, and I’ve developed the acoustic part of our sound

Do you find the growth of the band, its sound etc. has been more of an organic movement of sound or deliberately wanting to try new things?

Organic I’d say.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating music?

OK – The Blues Brothers, you might laugh, but check out where those songs came from, it’s a doorway to an education. We also love a bit of rock, AC/DC, Zeppelin, or Neil Young. We’re not from just one background; I think you’d hear that if you listen to it

Is there a particular process to the band’s songwriting?

Nah not really, they just sort of happen.

Where do you draw the inspirations to the lyrical side of your songs from?

People, life, injustice, family, love, sex or just random emotional outbursts.

Give us some background to that first release you touched on earlier.

Mostly it’s me in the studio as the band didn’t exist then. Some friends of mine helped with harmonica and saxophone. It’s for late night listening I think, apart from the last song. Put this on next time you’re feeling a bit mental

How about its themes and stories behind songs?

Girls, booze and politics; Guitars and boogie…the songs are meant to be played live I think.

Are you an artist who goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

This release is the former. In future I hope more of the latter. It’s just more fun

Tell us about the live side to the band, presumably a major favourite aspect of the band?

Sporadic really…Looking forward to more of this. It’s a rock n roll show, and it’s fun. Bring your dancing shoes.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods?

Locally there is stuff to do but its limited. You have to get out of Dodge really…Simple as that.

How has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success, people illegally downloading etc. or is it more that bands struggling with it are lacking the knowledge and desire to keep it working to their advantage?

Well just the fact you’re asking me that is a thing, yes? I mean you never heard of me before and I never heard of you but here we are talking. That’s got to be a good thing in itself. People have streamed our music all over the world now and that’s in no small way thanks to interviews like this. Maybe in the future we might make recordings that only sell a couple of hundred around the world but that’s a much more positive thing than having something to say and getting no further than making a demo tape that only your friends heard, like it was when I started out.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

Everything you ever suspected is true. Just because you’re paranoid doesn’t mean they aren’t out to get you. And be nice to your mum. Peace.

Check out Ian and the band further @ https://www.facebook.com/hoobyandtheyabbit/  https://twitter.com/HoobyYab   https://hoobyandtheyabbit.com

Pete RingMaster 18/09/2019

Copyright RingMaster: MyFreeCopyright

Mortal Infinity – In Cold Blood

Unleashing thrash metal with a similarly keen instinct for death and groove metal, German metallers Mortal Infinity unveil their third album this month. In Cold Blood is a nine track trespass of old school meets new enterprise incitement, a release which left us basking in thick satisfaction.

Hailing from Zeilarn, Mortal Infinity emerged late 2009 and swiftly set about creating and releasing in the May of the following year their first EP, Eternal War. Since then they have unleashed a pair of albums in District Destruction of 2012 and three years later Final Death Denied. Both were well-received without really breaking the band out upon major attention, a possibility which In Cold Blood makes more likely given the luck all artists need.

Presenting a collection of songs which unapologetically embrace the influence of bands such as Exodus, Testament, and Slayer, In Cold Blood swiftly reveals its rich web of flavours within opener Fellowship Of Rats. Immediately riffs urgently descend on the senses, the guitars of Sebastian Unrath and Sebastian Brunner hungrily surging forth as the swings of drummer Adrian Müller bite. It is familiar territory but no less appetising for it. The raw and earnest tones of vocalist Marc Doblinger soon enter the affray too as all the while rapacious basslines escape the strings of Alex Glaser.

It is a great if unsurprising start to the release which is taken up a notch by the following Misanthropic Collapse. From its first breath seriously appetising grooves collude with hunger bearing riffs, rhythms again an imposing attack in the contagion of it all. Once more there is plenty to recognise but there is a freshness which as with its predecessor marks it out before the quickly impressing Repulsive Messiah steps up to prowl the listener within an apocalyptic collage. Within moments it becomes a nagging addiction of guitar as Doblinger stalks the landscape with his predatory words, death metal hues adding to the drama and temptation. Subsequent threads of melodic enterprise vine the confrontation bringing bolder imagination to the band’s sound.

Dream Crusher equally hooked quick and eager attention with its burly outpouring of carnal riffs and voracious rhythms, grooved wiring increasing its compelling presence. A Lamb Of God like spicing only accentuates its potency as too the momentary calm which deceptively hints at a twist but not the one which actually emerges to add to the pleasure.

From the stalking ferocity that is Long Forgotten Gods and the sinisterly Silent Assassin (Champion Of War) to Devastator, Devastated with its voracious and dextrous siege of sound the album only captured the appetite as the specific craft of individuals unitedly caught the imagination, the melodic dexterity veining tracks alone potent persuasion and only accentuated by the shades of death, groove, and heavy metal upon their thrash bred canvases.

The album’s title track equally hit the spot from its initial thrash borne chugging to the rhythmic agility of Müller and the grooved swing of its gait. Drama soaks its every move which only added to the classic breeding it springs from and the inventive dynamics it is shaped with.

Finally Ghost Ship Sailor sails forward to complete the release; the song drifting in on its own murky waters aflame with heavy metal spirals of guitar amidst a death metal sprung climate until eventually its thrash invasion breaks out, rampaging with hostile zeal. Arguably the most adventurous of the tracks and the most imaginative it provides yet another appealing aspect to In Cold Blood, one which took longer to take to but with rich rewards.

In Cold Blood is not without moments which did not quite grab as strongly as others, certain times when its twists and turns felt unnatural yet equally it all added to the intrigue and attraction of an album we only felt full enjoyment with. Whether the release is a breaking moment for Mortal Infinity time will tell but it certainly sees them moving in the right direction.

In Cold Blood is out September 6th; available@ https://mortalinfinityofficial.bandcamp.com/album/in-cold-blood

https://www.facebook.com/MortalInfinity/   https://twitter.com/mortalinfinity

Pete RingMaster 07/09/2019

Copyright RingMaster: MyFreeCopyright

Tezura – Voices

Formed less than a year ago, Tezura is a German band which recently made a rather potent introduction to themselves with the release of their debut EP. Their demo holds four tracks of thrash bred multi-flavoured metal, songs rich in potential and strong in ear grabbing enjoyment.

Hailing from Schongau, Tezura emerged in the winter of 2018 and soon set about working on their first release. Their sound draws on its thrash instincts throughout the quartet of tracks making up Voices but is just as open in its punk and metalcore, amongst other flavours, inspirations.

Behind The Glow sets things off, a lure of guitar central to its potent invitation before the song sets off on its thrash nurtured canter. The guitars of Phil Elste and Timo Kammerer only continue to entice as the latter’s gruff tones enter the creative affray. It is an attack though with melodic dexterity strapped to its rhythmic punch, riffs and grooves casting a subtle yet bold web to the aggressive but controlled nature of drummer Lukas Mayr’s strikes and the heavy dark bassline of Max Wopinsk. There is an imagination and craft to band and song though which ultimately holds attention keenest and caps the satisfaction naturally bred by the EP’s great start.

Its title track is next, riffs immediately gnawing on the senses as the track urgently bursts through ears with punk rapacity. Anthrax spiced fuel equips its driving thrash surge, the guitars again bringing melodic and sonic enterprise to bear on familiar hues with relish as rhythms trespass the senses. Progressive essences add to the song’s infectious character and persuasion before Apotheosis uncages its rawer but no less tempting punk infused metal holler. Untamed and irritable, the song challenges as it baits but equally only gets under the skin with that aggression as well as the harmonic endeavour of vocals and the melodic twine spun by the guitars.

Completed by the predatory exploits of Sun, the track sharing another aspect to the band’s sound with more progressive metal/metalcore essences at large within its creative drama, Voices easily lured eager anticipation for the next outing with Tezura. It is early days but the signs are already there that the band has the instincts and craft to make a real mark.

Voices is available now as a name your price download @ https://tezura.bandcamp.com/releases

https://www.facebook.com/tezuraofficial   https://twitter.com/tezuraofficial

Pete RingMaster 06/09/2019

Copyright RingMaster: MyFreeCopyright