Engine Summer – Back-Street Boys

Suckers for idiosyncratic hooks, irregular rhythms, and drone back grooves which nag their way into the psyche, it was inevitable that the new EP from Chicago hailing trio, Engine Summer, would have us dangling from its aberrant antics and warped imagination like a dysfunctional puppet and lusting after every second time and time again. Back-Street Boys is manna to the anomalous freak in us all; a collection of tracks seeded in the deviancy, irreverence, and contagion of the finest post punk, psych rock, and indie eccentricity known to man but a gathering breeding the kind of uniqueness which keeps us lustfully lost in the grip of music.

Consisting of Jeremy, Benny, and Ry, Engine Summer formed in late 2016 and quickly made a potent mark on the Chicago live before venturing further afield with two tours of the East Coast. Sharing stages with the likes of for Ra Ra Riot, Bodega, Acquaintances, and Baked along the way and a pair of EPs as well as their debut album has only cemented their reputation for creating apologetically catchy but maverick songs which linger long after their arrival. Back-Street Boys is the successor to their acclaimed Indiana EP, one “piggybacking off” their 2019 Dion Lunadon of A Place to Bury Strangers mastered predecessor to breach a whole new plateau of Engine Summer pleasure.

Their new offering is bookended by the band’s previously released singles, Carol’s Dead and Night School, an entrance and departure which is worth the effort of digging into Back-Street Boys alone. The first of the two more taunts than invites attention with its initial resonating throb of bass and lure dangling guitar but with the same impossible to ignore intrigue at its core. As tenacious beats increasingly swung their manipulative bait and the band’s twitchy vocals united in a just as lively and devilish static dance on the ears, the track enslaved as it stomped around with irresistible dynamics and attitude. Teasing with essences reminding of bands such as Gang Of Four, Artery, and The Fall across its more forceful individuality, the song is glorious and one of the best tracks of the past decade.

Night School similarly proved why its great success as a single, its stroll less boisterous but just as persuasive as nagging chords and persistent rhythms aligned to orchestrate instinctive movement and further hunger for their atypical exploits, Each are feasts for any with a post punk and krautrock nurtured appetite and fair to say that in between, the two tracks the enticement proved just as addictive and galvanic.

Suds follows the EP’s first track, quickly laying out its own web of spiky hooks around motion chivvying rhythms. Like a hybrid birth in a contorted fusion of The Fire Engines, Swell Maps, and We Are The Physics, it like its predecessor had us wrapped around its sonic finger before Under the Sea leapt in with an indie pop dance within a psych punk cage of compulsion to equal have us drooling.

Groovin’ on 63rd marries the renegade of eighties post punk with a similarly aged new wave devilment before embroiling it in the band’s freak bred imagination, a garage punk breath only adding to its funky disposition while Likes saunters along with a meandering Melvins-esque smile to effortlessly worm under the same skin its predecessor had already breached.

Completing the line-up is Spice Boys, a psych pop serenade as sublimely infectiously in its harmonic charm as it is in its darkly contrasting rhythmic canter. Adding yet another shade of imagination and flavouring to the release, the track seduced as it coerced; its intoxication epitomizing the fascination and distinctive enterprise which makes Engine Summer one seriously hypnotic band and the Back-Street Boys EP their finest moment yet.

Back-Street Boys is available now @ https://enginesummer.bandcamp.com/album/back-street-boys

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Pete RingMaster 27/01/2020

Copyright RingMasterReview: MyFreeCopyright

LongFallBoots – For The Journey

The clue was there in the EP released soon after their debut album of 2015, a more than strong hint now thickly fuelling the new album from UK outfit LongFallBoots. Quite simply as it has evolved, their sound is becoming dirtier and more primal yet equally it is becoming more compellingly devious and eagerly imaginative, a mix which makes For The Journey one easy to recommend invasion of the senses. It is a release which will not be for everyone but hold an appetite for voracious grooves, dense scuzz soaked riffs, and a heaviness which devours the senses whilst a band spins a web of invigorating enterprise and it is a must investigation.

The Warwickshire band was formed by guitarist Alex Calvert-Caithness (KOSS, Cincinnati Bow Tie) and drummer Ben Holdstock (Paralus, Cincinnati Bow Tie) the night their other members of the band they were in  failed to turn up for rehearsal one night. Two and a half hours later and LongFallBoots emerged with the It Was Duke EP written. A series of further EPs followed, all written in a single night and recorded over a brief weekend. It was debut album Wait For The Echo of 2015 which awoke a great many more to their voracious multi-flavoured sound, the You’ll Know It When It Happens EP a year later cementing their reputation for ear grabbing enterprise and senses devouring sound whilst igniting that fresh feral but inventive breath which makes For The Journey so boldly stand out.

With stoner, space, and heavy rock essences as ripe within their noise borne groove woven sound, it is enjoyable not to easily tag the results but imagine a fusion of Melvins, The Great Sabatini, Mastodon, KEN mode, and Converge and you get a suggestive whiff of For The Journey. Diving into album opener Start offers the character if not the diversity of the album, the song coaxing ears with a melodic invitation before invading ears with a horde of guitar and bass riffs upon the biting beats of Holdstock. His throat scarring roars only add to the impact with the track truly gripping ears through virulent grooves and a combined vocal prowess across the band.

Bullet Cake follows, it too needing mere seconds to entice attention as stoner nurtured lures beckon ears as an increasingly heavier breath soaks every subsequent note and roar. All the while melodic and harmonic enticement work their temptation, the bass and vocal potency of Amy Smith a contrast of dark and light around the sonic weaving of Calvert-Caithness and fellow guitarist Jonathan Martin. The track is a magnet pretty much like all within the already gripping release, next up No Rest confirming the point. Once more a gentle captivating beginning leads to a primal surge of sound and subsequent senses ravishing endeavour, a great sludge rock consumption revolving its persuasion with intricate melodic teasing.

That ability to intrigue and seduce from the very first second of a song is a potent trait in the band’s writing and imagination, the outstanding Good (In Theory) stepping forward next to epitomise that quality, the punk soaked scourge of sound which follows its opening persuasion as captivating in its voracity and discontent while Part of the Plan for one minute and a half relishes the temptation of its Melvins meets Pixies spiced irritability before in turn Devolver shakes things up again with its fusion of sludge thick enmity and gentle melodic reflection.

That diversity within For The Journey continues to flourish as the grunge meets melodic rock of Take It Back demands attention, the volatility in its heart and breath as compelling as its calmer infectiousness while both Nihilust and POWAH welcomingly trespass ears with their respective melodic/garage rock and infernally barbarous proposals. The thrilling latter nags as it drones, seduces as it entices, ears never knowing whether to succumb or escape as the song twists through its kaleidoscope of imagination.

As Megabear teases and taunts with the vocals of Smith pure temptation and To A Man wraps its web of wiry deceit and tenacious enterprise around again fearing but addictive ears, the album just breaches another level of tempting, one cemented by the dense and delicious rock ’n’ roll of The Old Tongue and the drama soaked journey of Sailing Stones.

Concluded by the epic adventure of Palindrome, a track which ensures its length is easily embraced through surprises, enterprise and imagination, For The Journey left us exhausted and hungry for more. LongFallBoots is band which in a way came to be by accident or after the glory of their new album maybe it was simply music fate.

For The Journey is available now @ https://longfallboots.bandcamp.com/album/for-the-journey-2

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Pete RingMaster 26/01/2020

Copyright RingMasterReview: MyFreeCopyright

The Krueggers – Hysterical Cold Side and Dark Memories

If you are going to unapologetically wear your influences on your musical sleeve you are going to need plenty more to tempt to step out from the crowd. Brazilian outfit The Krueggers have and do just that, it all in compelling evidence within new album Hysterical Cold Side and Dark Memories. It offers a collection of tracks which proudly blossom from the seeds of their easy to hear inspirations but swiftly stamp down their own identity and uniqueness with relish.

Emerging back in 2011, The Krueggers drew on firm influences which surrounded its founders, vocalist/rhythms guitarist Randy Fiora and bassist Rikke Galla, as they grew up for their fusion of grunge and nu metal. The likes of Nirvana, Sepultura, Alice in Chains, Korn, Soundgarden, Marilyn Manson, and Stone Temple Pilots are all listed amongst their inspirations, a diverse mix which you can firmly feel within their broadly flavoured new release. Though the band released On Your Hands back in 2013, the impressive Hysterical Cold Side and Dark Memories, following their signing with Eclipse Records, is their first official full-length and a seriously striking introduction to the Guarulhos hailing band it is.

It is no lie to say, that the album had us eagerly attentive in quick time through opener Lying Machine. The track just gripped from its first breath, sirens drawing its intrigue to ears as Galla’s bass raised its throbbing growl. The guitars of Randy Fiora and lead Rafael Fiora quickly offer their bait before dirty riffs accentuated the threat and tempting, Anthony Juno’s swinging beats only increasing the manipulation as the band reveals its Korn-esque instincts with the bass continuing to share a delicious throbbing groove as the track almost taunted ears with its prowling seduction.

It is an outstanding start to the album and remained our favourite moment though fair to say the likes of the following Freak Out certainly hit the spot. A gravelly hard rock spicing brings the track forward; a touch of Gruntruck meets Seether adding to its initial lure and the subsequent infectious stroll it offers for ears and vocal chords to jump upon.  With its dirty breath and spiralling guitar enterprise, the song easily got under the skin, that earthy tone of the bass again a magnetic essence before Dark Parade engages the imagination in its heavy, steely trespass. Like a fusion of early Mudvayne and Skinyard, it crawls across the senses as rhythms take their bite before uncaging a truly virulent chorus which just accentuates another irresistible moment within the release.

A definite Nirvana seeding shapes the enthralling body of next up Someday, the song maybe not unique but highly captivating as its reveals its breeding and invention while Overreaction uncages a garage punk/ grunge bred irritability which infests word and metal nurtured enterprise. Both had ears and appetite gripped but still found themselves eclipsed by the magnificent Bullshit, it too grouchy and uncompromising but around a waspish groove which nagged as it seared the senses to offer abuse and flirtation in equal measure; another major highlight of Hysterical Cold Side and Dark Memories stamped down.

In some ways the latter part of the album did not quite ignite the passions as what came before had yet as the Stone Temple Pilots tinted heavy metal coated and increasingly addictive I Set Myself and Wrong with its grunge croon upon an intimation soaked melodic web as well as the album’s heavily weighted and skilfully fiery title track proved, all left a lingering impact and lure to go again and again.

Bring Me Shine completes Hysterical Cold Side and Dark Memories, its acoustically set and melodically woven body a tapestry of adventure and temptation within an emotionally and physically volatile body. It is a fine end to an album which immediately impressed and has only made a greater impact by the listen; a triumph which surely will wake up the world outside of Brazil to The Krueggers.

Hysterical Cold Side and Dark Memories is out now via Eclipse Records.

http://krueggers.com   https://www.facebook.com/the.krueggers   https://twitter.com/thekrueggers

Pete RingMaster 27/01/2020

Copyright RingMasterReview: MyFreeCopyright