The Dukes of Bordello – Deaf or Gory

Just three years short of unleashing their acclaimed debut album, Lowdown ‘N’ Dirty, UK rockers The Dukes of Bordello uncage a new EP to again get us all riled up with four slices of  voracious rock ‘n’ roll. The band breeds a sound, which lives up to the title of their long player, through a fusion of rockabilly, punk, hard rock, and psychobilly and once more across the four tracks of Deaf or Gory, the trio left ears and appetite greedy for more.

The Deaf or Gory EP sees guitarist/vocalist Andy Barrott, drummer Craz Taylor, and Chip Waite on doghouse bass share the band’s first recordings since that greedily received first album, a brand new track joined by a couple of striking covers and one live roar.

It opens up with Think I’m Turning Psycho and immediately winds an enticing groove around ears before leaping into its virulent stomp. The resonating slaps upon Waite’s bass instantly got under the skin, the bone clipping beats of Taylor adding to the virulent temptation which is only accentuated by the punkish riffs and psychobilly nurtured grooves of Barrott. Like a mix of Grumpynators and Nekromantix with Barrott’s tones leading the tempestuousness increasingly encroaching on its composure, the track is superb; prime schizo Dukes of Bordello.

It is followed by a cover of Strychnine by legendary garage rockers The Sonics. From its first breath, The Dukes of Bordello bring the dirtier side of the feral track to the surface; its natural growl elevated as the threesome fill its veins with punkabilly voracity. Barely kissing the two minute mark, the track simply stole attention as effortlessly as its predecessor before making way for another inimitable Dukes of Bordello makeover this time on Australian garage punk/hard rockers Coloured Balls’ song, Won’t You Make Up Your Mind. The original itself is a dirty slab of rock ‘n’ roll, almost a portent of punk rock to come a few short years later, yet the British outfit manage to lure even more feral aspects to its breath and character ensuring thick attention and keen appetite is readily given.

A rousing live cut of fan favourite All in the Name Of Rock ́N ́Roll completes the release, the track taken from Lowdown ‘N’ Dirty showing exactly why the band’s live reputation is as potent as the praise earned by their recordings.  It is a fine end to another irresistible outing with The Dukes of Bordello, a band surely on the precipice of thick attention.

The Deaf or Gory EP is released April 3rd via Undead Artists Records digitally on CD: available @ https://undeadartists.bandcamp.com/album/deaf-or-gory  and https://thedukesofbordello.bigcartel.com/  with a Limited Edition Red 7” Vinyl release in May via Sick Taste Records.

http://www.thedukesofbordello.com/    https://www.facebook.com/TheDukesBordello/

Pete RingMaster 04/04/2020

Copyright RingMasterReview: MyFreeCopyright

MFC Chicken – Fast Food & Broken Hearts

The promo sheet accompanying the new album from MFC Chicken ends with “this album just might be their best yet!” Well we can eagerly declare that the suggestion is right on the money, Fast Food & Broken Hearts a devilish lure of temptation and manipulation basking in the band’s inimitable fusion of rock ‘n’ roll, rhythm and blues, surf, garage rock not forgetting multi-flavoured mischief.

The beginnings of MFC Chicken are well documented in the array of reviews we have offered their previous quartet of albums so we will go straight to the new endeavour from the London based rockers. Recorded with the legendary Mike Mariconda in Barcelona, Fast Food & Broken Hearts leaps upon ears and bodies with that familiar inimitable mischievousness of the UK outfit, uniqueness just as potent in their devil greased sound. Unsurprisingly its fourteen dish menu consists of poultry based temptations but as its titles suggests with episodes of twisted romance and more besides proving just as irresistible.

Band founder Spencer Evoy again leads the album’s shenanigans with his distinct vocals and just as rascal sax, the rhythmic devilry of bassist Zig Criscuolo and drummer Ravi Low-Beer courting persistent manipulation track by track and the guitars of Al Zioli and Dan Criscuoloa a relentless flirtation. Fair to say you know what to expect from these MFC Chicken guys but again what is familiar is still uniquely fresh and richly tastier to what has come before from them and anything else on offer.

Always, Always, Always opens up the revelry, rhythms immediately sparking movement and attention before the flames of sax and lure of guitar provide an animated shuffle around the keen incitement of Evoy. In no time vocal chords were united in his, the contagion of the song instantly viral with the body soon swerving with the swinging hips of the track.

The superb start is swiftly matched by the rawer air and antagonism of KFC Called The Cops On Me, the band blasting out defiance and attitude whilst springing another round of rock ‘n’ roll virulence lit up by voice and the incendiary spark of sax; that mix of rich tempting quickly shaping the following Who Gave What To Who? and its hook equipped antics. Evoy’s great vocals again just stoked participation and attention alone though the creative misbehaviour around him was just as much an instigator to the bounce which infested bodies at the same time.

It is truly hard not to react to a MFC Chicken song, whether with a grin, movement or holler, and maybe no more hungrily than through Fast Food & Broken Hearts and the likes of Shell of a Man with its sax led hookery and the similarly salacious creative flirtation of I’m Lost. Both songs were under the skin in seconds using the body like a puppet as Evoy’s longing words and saxophonist agility raised further captivation though both were slightly eclipsed by the bad habit forming antics of I Couldn’t Say No, that grin at its broadest possible.

Fresh Chicken, Straight From The Trash sparked a grimace amidst contemplation at its suggestion whilst energetically jumping with the inescapable rhythmic incitement offered while the glorious instrumental Spy Wail had us evading suggested searchlights as its melodic intrigue and sax feed drama toyed with the imagination. Set on a rhythmic canter which furthered the drama, the track was soon matched in delicious diablerie by the just as sinister and riveting Spontaneous Combust; its feral breath and irritable trespass soaked in raw catchiness and another moment within the album which just had us at its mercy.

Hunger was induced by Breakfast Taters, an appetite for its food and creative carry-on greedier by the listen, and only pronounced by the need to replenish the energy spent dancing to its tune though Fuck You, Me allowed no moment as it sparked attitude and attention in equal measure with its untamed infection.

The harmonic enriched Free Range Man quickly proved an addiction for swinging hips, its old school rock ‘n’ roll and surf kissed sway mandatory before Tipi Tapa had feet quick-stepping with all the zeal of bare skin on hot coals. Again there was an infection under the skin at play within both songs and only the want to succumb to that rascality; a desire just as unbridled with album closer Waste Of Space. Its bag of melodic wired hooks and grooves across another inexorable rhythmic exploitation pure addiction only accentuated by Evoy’s prowess in voice and sax.

And that is Fast Food & Broken Hearts which we can again confirm is the finest outing with MFC Chicken to date and a release which in a time of fast food home deliveries only is the tastiest order you could make.

Fast Food & Broken Hearts is out now via Dirty Water Records and FOLC Records; available @ https://mfcchicken.bandcamp.com/album/fast-food-and-broken-hearts

https://www.facebook.com/MFCChicken/   https://www.dirtywaterrecords.co.uk/mfcchicken

Pete RingMaster 03/04/2020

Copyright RingMasterReview: MyFreeCopyright

Freak Injection – Daddy Is The Devil

It is fair to say that the aberrant carnival of French electro rockers Freak Injection has been ready to burst from the shadows since the release of their debut EP back in 2017, but surely there will be no containing their glorious deviancy once their first album, Daddy Is The Devil is unleashed this April. If that earlier release had us rampantly animated here, their new offering is the source of unbridled lust as it takes all the originality lying within that previous encounter which also embraced the familiar and boils it up to true uniqueness and raucous seduction.

Everything about the Freak Injection electro/industrial bred sound, as the band itself, is about sex, divergence and anomalous imagination but a festival of the bizarre which cannot hide the craft and invention behind its God baiting, Devil teasing orgy. The Freak Is Fashion EP gave potent hints of the rich sounds and devilish corruption shaping Daddy Is The Devil if only hinting at its authoritative distinction which is now devours ears from the album’s first breath.

The invitation of Intro is a minute plus of dark intimation, an electronic parade hinting at the bizarre circus to come, its curtains fully open with next up Freaky Doll. Rhythms instantly pounce, quickly setting the tenacious canter which steers the growing temptation as the guitar of Fernand ‘MAC-F’ Million persistently strikes. With Hector Hell GZ’s beats a contagious incitement alongside the similarly magnetic dark throb of Kevin Corre’s bass, the song swiftly had the body bouncing even before the compelling tones of vocalist Charlie RED brought their siren presence to the devilment. With keys only adding greater bait for eager attention, the track is a calling card for the loss of inhibitions and gaining of bad habits.

The band’s new single, Glitters In Hell, is next and immediately springs an electro pop caress around ears and the golden lures of RED’s voice. There is an underlying darkness and punk aggression to the track which raises its head across the song but cannot defuse the pure radiance of melodies and vocal harmonics or one beauty soaked chorus. A track which just grew and wormed deeper under the skin by the listen it is more than matched by the virulent escapade that is Crosses. A rebellious slice of electro pop ‘n’ roll, there was no resisting its manipulation and lures on body and vocal chords; hooks and grooves as devious as the rhythmic compulsion set by Corre and GZ.

So many images spring in the imagination listening to Evil Raccoon Party! though the zealous animation of feet and hips to its outlandish stomp primarily powered the eager reactions. RED is Queen of the creative Bacchanalia, her vocals a twisted roar on ears and spirit instigating the devilry of song and listener alike while within Sex Me she is a succubus of a temptress spilling sexual predation with every syllable as each musical note revels in punkish eroticism. Like a snake it winds around the listener, squeezing willing submission to its voracious appetite with every twist and hook.

Both Snakeskin and the album’s title track sparked thick captivation, the first another pop infused electro rock incitement brewing bigger and bolder carousing within its calmer instincts relative to its predecessor whilst its successor treats the dance-floor as its own fervent freak show.  As rousing and scheming as both are the pair are still overshadowed by the tenebrific soundscape of Monster Town where every dark corner is shone upon by bubbling electronics and provoked by scurrilous rhythms, it all further lit up by the bold character and rich dynamics of RED’s voice.

The seductive intent of Nothing Without You proved unstoppable straight after, its fiery breath and tempestuous heart only adding to the heat of the moment with Sex Voodoo & Rock’N’Roll grabbing the enslavement given by the scruff of its neck and thrusting it into an electro punk cauldron of melodic glamour across the more carnal instincts of rhythms and Million’s ever motivating and enterprising guitar.

The album closes out with Muse Maléfique which provides something akin to a fusion of purgatory and paradise; every breath and touch provoking the imagination and it all delicious temptation. As the first moments of Daddy Is The Devil teased of things to discover within its walls the final minutes kind of summed up what came before whilst opening the veils on its own dominion.

Daddy Is The Devil is an escape from the world and restrictions which sought to chain the freak in us all inside, Freak Injection providing a key with already one of the year’s most exhilarating moments.

Daddy Is The Devil is released April 24th; pre-ordering available now @ https://freakinjection.bandcamp.com/album/daddy-is-the-devil

https://www.facebook.com/Freakinjectionmusic/    https://twitter.com/Freak_Injection

Pete RingMaster 04/04/2020

Copyright RingMasterReview: MyFreeCopyright

The Outfit – Viking

Two years ago, US rockers The Outfit had us greedily devouring a debut album which merged familiarity with fresh individuality. It was a seriously rousing incitement which ensured an eager anticipation of what would follow would lie in wait and now erupt with the release of sophomore album, Viking. It had one striking release to follow and build upon so ripe intrigue surrounded us as we leap into its sounds. In some ways, the ten track encounter is more of the same but in many more traits another attention gripping roar that is bolder, eagerly boisterous, and far more unique.

The quartet of brothers Mark (drums) and Matt Nawara (guitar), Andy Mitchell (vocals/guitar) and Mike Gorman (bass) have relentlessly reinforced the success of their self-titled first album, their live presence and reputation alone pushing the band towards major attention with the past year seeing them sharing stages with the likes of SOiL, Accept, Flaw, and Saving Abel. Mixed by multi-platinum producer Ulrich Wild (Breaking Benjamin, Static-X, Deftones, Pantera, and White Zombie), Viking is another mighty jab at widespread recognition, a rampant release easy to see a fresh horde of new fans charged up by their inspiriting sounds.

Viking opens up with the band’s new single, Come Alive and immediately imposing and inviting rhythms are bound in guitar cast wiring. It is a fusion continuing to trespass and light up the air as the familiar infectious tones of Mitchell venture into a lyrical dimension bearing passed loved ones. With rich melodic lacing around the track’s muscle, the song is instantly recognisable as The Outfit with its seeds and strengths bedded in classic and hard rock across the decades.

That classic breeding is even more pronounced in the following Midnight Moses; a soulful and hearty incitement needing mere seconds to entice ears and involvement. The bass casts an earthy rumble throughout the song, beats and percussion dancing on its spine as the guitars again spring a web of melodic and sonic enterprise. As the first, the track is pure contagion effortlessly drawing voice and movement before Believe calms the air a touch with its emotive flame across another catchy landscape. As with all tracks in varying degrees, it feels like a familiar friend in part and fertile originality in plenty more ways, the striking Carnival in turn emphasizing that feeling with its voracious surge and esurient holler not forgetting a groove which entwines ears like a sonic succubus.

One of the album’s major highlights is followed by another in the melodic siren that is Bleed in the Dark, a slice of seduction carrying dark shadows as magnetic as the honest reflection of its words and harmonic lighting. A track which touched with certain intimacy, it is matched in craft and potency by the album’s title track; Viking almost sneaking up on the shores of the senses on a sonic wave before plundering ears and appetite with predacious riffs and equally hungry grooves. From menacing rhythms to vocal arousal, the track drove under the skin consuming all with a contagion again wholly unique to the band.

Sirens almost stalks the listener with its bluesy grooves and devious prowl, embroiling them in a web of steely grooves and compelling endeavour while Little Bit serenades ears with similar gusto and enterprise if less intensity. As within all tracks, the band’s hooks and melodies instinctively tempt as Mitchell’s creative thoughts and words tease the imagination, a combination just as potent within its successor, Wolves. The track is a beguiling moment within the mighty lure of Viking, an evocative and thought rendering proposal which wraps around ears like a lover to spark insecurities and emotions within a melodic kaleidoscope which just seduced as it cast our favourite moment within the album.

The album ends with Sitting Here Alone, another song which provoked intimate emotions whilst stirring the senses and body with its intrepid almost predatory character and dynamics.

It is a fine end to another glorious moment with The Outfit. The band’s music embraces a host of rock flavours and a few from outside the genre uniting them all in rock ‘n’ roll which simply brings the day alive.

Viking is out now through Pavement Entertainment across most stores.

http://theoutfit.rocks/    https://www.facebook.com/TheOutfitrock/    https://twitter.com/theoutfitrock

Pete RingMaster 03/04/2020

Copyright RingMasterReview: MyFreeCopyright