Never slow in taking a one way trip to the embrace of spirit rousing noise, we invite your company as we head to five of the most senses enlivening tracks to surge forth these past days.
Igniting the senses and devouring inhibitions has never been a rare pleasure with UK punks THE KINGCROWS so maybe no surprise that we found ourselves stomping the ground and hollering to the skies with their new single, Young Guns of Nowhere Town.
Released October 7th, the song epitomises the energy and anthemic prowess of a band which continues to indelibly enrich the British punk ‘n’ roll scene; their previous pair of albums, Funland and Brute Force & Ignorance alone major acclaim drawing incitements. Young Guns of Nowhere Town suggests bigger and bolder exploits still to come with the Leeds hailing quartet, the track sparked by and a homage to the bands, sounds and ‘the gangs’ which inspired their creative journey.
It is a track also embracing the flavouring of that time, seventies punk and raucous rock embroiled in its swiftly contagious uproar. From the anthemic holler of vocalist Phil E Stine and the bait dangling riffs and hooks of guitarist Lee J to the rhythmic incitement and harassment of bassist Rocco and drummer Ratbag, Young Guns of Nowhere Town roars with defiance and galvanic manipulation, a hue and cry echoing each and every generation past and to come.
Young Guns of Nowhere Town is prime slice of punk rock with a ferocity fuelled rock ‘n’ roll appetite, typical KINGCROWS with typical pleasure alongside them.
Unleashing its own trespass of rousing noise is Petrolhead, the new single from UK outfit WHO KILLED NANCY JOHNSON? Since forming in 2015, the Reading band has persistently lured, imposed upon and stirred up our eager attention but maybe with no greater incitement than with their recently uncaged track.
The foursome of vocalist Stefan Ball, guitarist Pete Moulton, bassist Sarah Moulton and drummer Mark Wren is another proposal persistently causing keen attention and praise with their 2020 debut album, I SEE SIX, a major moment in their rise. As we suggested, Petrolhead brings a fresh breath to the band’s post punk/punk rock bred sound, a track ripping into and hollering at the global crisis embracing world and at both sides of reaction to it.
It is a toxic and intoxicating slab of invasive sound, its angular riffs hypnotically intrusive and rhythms bruising as Ball caustically roars, yet a tempest as virulently contagious as it is bitterly antagonistic and WHO KILLED NANCY JOHNSON? at their most compelling yet, especially with its name your own price coast on the band’s Bandcamp page.
Heading back to the city of Leeds for a band which just as forcibly had us hooked with their creative trespass, noise rock trio DENSE are releasing their new single, Fossilised, on October 21st. It too is a track which consumed our senses and orchestrated instinctive reactions to its imposing but seriously magnetic incitement, another raging at the ills of the world and particularly its mismanaging.
Consisting of Charlie Fossick (guitars and vocals), Dylan Metcalf (bass) and Sam Heffer (drums), DENSE cast a sound within Fossilised, our introduction to the trio, which marries ravening noise rock with post punk dilemma though a hindsight listen to previous tracks like Erase, which came out this past February and last year’s Reckoning, reveal it’s a template to tracks which are as individual as they are united in DENSE tension and insurgence.
Fossilised immediately baits the senses in voice and sound, every passing second bringing greater threat and tempting. That is the core essence of the band’s creativity, imposing menace and infernal tempting entangling in sonic clamour and imagination stoking unpredictability. With no reserve, the track had us gripped with an organically untamed fury which has led to another new hunger for our own appetites.
Slipping Through My Hands is a new single borne of collaboration between two notable New Zealand artists in Auckland hailing BLACK VELVET BUTTERFLY and Hamilton based DATEMONTHYEAR. It is a lighter affair than the tracks we have just presented but another nurtured in post punk shadows if shining a more goth and indie rock hue upon them.
BLACK VELVET BUTTERFLY is the project of James Castady-Kristament which from starting in 2019 has released two well received albums fused in the union of goth rock with flavours such as Doom Metal, Dark Wave and Industrial. Slipping Through My Hands sees Castady-Kristament bringing his lyrical and vocal dexterity to the instrumental prowess of DATEMONTHYEAR, a cinematic indie rock band which equally has drawn keen plaudits across a host of albums and singles, the band’s Trevor Faville the vehicle to which we came to the song’s seductive hold.
Slipping Through My Hands immediately reveals its varied canvas of sound, industrial and electronic lures soon joined by indie and rock invention with Castady-Kristament’s alluring tones as quickly in the midst of the captivating encounter. Throughout melodies weave a warm and suggestive web as keys and rhythms add their own respective winds and manipulative incitement to the synth pop catchy song.
As we say, the track is from a lighter realm than its earlier companions in this piece but just as thickly memorable and addictive.
It must have been almost two years since ears and bodies here were romping with the devilish sounds of UK’s FLESH TETRIS but unspent energy soon unleashed after the band sent over their forthcoming new single, Eat My Slimy Garnish, which comes out October 14th.
The track is a fire hot slice of the band’s mix of electro rock, punk and euro pop, a song also escalating the disco nurtured shenanigans within their sound. As previous singles and the variety woven tracks within FLESH TETRIS’ acclaimed debut album Wrong Kind of Adults and the following High Score EP, the creatively ravenous Eat My Slimy Garnish revealed and succeeded in its intent to burrow deep and lustily manipulate. Within seconds we found ourselves broadly smiling to the joyous sounds and a lyrical tale cast by the ever dynamic vocal union of Eva Menon (Cauldronated) and Andy Heintz (The Men That Will Not Be Blamed For Nothing) but one digging deeper within the salad bowl dilemma and the imagination to cast deeper more poignant ripples within the intimation offered.
The keenly direct rhythms of drummer Jez Miller (The Men That Will Not Be Blamed For Nothing) were puppeteer like with the keys/vocals of Karen Bell as ever a joyfully alluring temptation, their aligning enterprise echoed and escalated by the bass and guitar revelry of Andy Duke (Top Buzzer/The Duel/Cauldronated), his riffs and hooks alone a maze of addictions. Altogether, the quintet cast one of their finest infestations of sound and energy yet and one of the year’s inspiriting peaks to join the quartet of similarly striking must hear tracks that we insist you go explore.
Pete RingMaster 06/10/2022
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