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

False Hearts – Remedy EP

Already no strangers to attention and acclaim, UK outfit False Hearts can expect to be faced by plenty more through their new release, the Remedy EP.  Offering four slices of the fiery melodic rock which has already brought the band potent credit and support, not forgetting chart placing and a movie credit through one of their singles, the Cambridgeshire bred band’s new encounter is a boisterously dramatic and enterprising enticement sure to capture a new wealth of imaginations.

Emerging in 2016 and consisting of vocalist/guitarist Emma Hodgson, lead guitarist Ali Westwood, drummer Adi Bowes, and bassist Phil Benton, False Hearts has grown into a powerful live proposition lighting up numerous festivals and venues whilst also sharing stages with the likes of Those Damn Crows and Mason Hill and appearing on the soundtrack of Strangers 2: Prey at Night. The successor to their extremely well-received EP, Dirty Little Soul, it is quickly clear that Remedy is the band’s most striking and accomplished offering yet and one which ears swiftly devoured.

The likes of Halestorm, Black Stone Cherry, Muse, and Shinedown are offered as suggestions behind the False Hearts sound but in no time the EP’s opener and title track soon shows they are mere hints to something more strongly individual to the foursome. Familiarity and fresh enterprise do entangle within their music but Remedy openly shares a bold character and presence inimitable to the band. The first track immediately entangles ears in its spicy grooves, relaxing its insistence to welcome the captivating voice of Hodgson as beats continue to jab. That in turn sparks greater heat and intensity in the swiftly compelling encounter, its chorus a fire of energy and contagion surrounded by melodic and dextrous enterprise.

Proving an inescapable temptation, the outstanding track makes way for successor Misery Loves Company, a song also instantly winding an enticing groove around ears with rhythms probing the senses alongside riffs. As it slips into a calmer passage there is still a muscular insistence to the infectious lure, melodic strands and subsequent sonic flames surrounding the magnetic tones of Hodgson as the track burns potently within ears. As within the first track, the second explodes in a chorus which just demands involvement, its physical and emotive eruption hard to resist.

Breathe Again is a mellower proposal, one bred in emotion and intensity but also with a tempestuousness which inflames its melodic reflection and drives its tension soaked eruptions. Maybe a slow burner in comparison to the first pair of tracks, it has only grown to persuade greater passion for its fiery and spirited presence.

The EP closes up with Enough Is Enough, a slab of rock ‘n’ roll with a classic rock air. It is fair to say that it did not quite spark the passions as its fertile companions yet only held a firm grip on attention and satisfaction as again False Hearts shared their fertile craft and imagination with ears.

In a time when we are all looking for a cure for the ills devouring the world, False Hearts have a Remedy in the shape of their new EP which certainly provides a fine and rousing distraction.

The Remedy EP is released April 3rd.

https://www.falsehearts.com/   https://www.facebook.com/falseheartsofficial   https://twitter.com/falseheartsband

Pete RingMaster 03/04/2020

Copyright RingMasterReview: MyFreeCopyright

Crimson Star – The Olde Dawg

It might be fair to say that UK outfit Crimson Star have not yet found the widespread recognition that their previous EP, Bay View, suggested they deserved but certainly acclaim, a greater reputation, and a fresh wave of fans did follow its unveiling two years back. Now the band has its successor ready to tease and tempt and again we can only say that their voracious rock ‘n’ roll carries all the attributes to provoke richer attention.

The time between releases has seen vocalist/guitarist Jay D Shaw and bassist Roj Ash joined by new addition in drummer Chris Hopton; the Birmingham based threesome uniting to create a trio of tracks which almost prey on ears within The Olde Dawg. The new EP bears the same rousing roar of its predecessor but swiftly reveals something hungrier and more dramatic in character and presence.

Recorded with Romesh Dodangoda (Lower Than Atlantis, Bring Me The Horizon, Funeral For A Friend), as its predecessor, the new release opens with Living A Lie. Emerging on a sonic dawn, punchy rhythms are soon rupturing the air to be quickly joined by bass and guitar bringing the ripe grooves and hooks the band has already earned potent praise for. Once into its eager but controlled stride, engaging melodic enterprise wraps the muscular dynamics of the track which are especially fertile around its eruption of a chorus, dynamics emulated in the similarly potent vocals of Shaw. Groove thick, the track is a striking and stirring start to the EP revealing alone the new strength and imagination in the band’s sound.

The outstanding Norma is next up and immediately accosts ears with its own gripping grooves and rapacious rhythms. The growl of Ash’s bass instantly had ears and appetite greedy to be swiftly matched in touch and temptation by the swinging grooves of guitar and the firm flying beats of Hopton. Again Shaw’s vocals provide a similarly magnetic proposition, at times almost teasing the listener as the song twisted and turned as it got under the skin; unpredictability lining every move and creative trespass offered.

The EP’s title track closes up the release, The Olde Dawg again an insistent bordering on predacious enticement which devours the air in riffs and rhythms whilst tempting ears with melodic and contagious enterprise. Moments of harmonic imagination only adds to the track’s lure, moment s of siren charm within waves of voracity which sweep the senses.

It is a great end to an EP which left us thick in pleasure and keen to suggest all go sail upon The Olde Dawg with Crimson Star, one of the UK’s brightest rock bands.

The Olde Dawg EP is released April 3rd.

 

https://www.facebook.com/crimsonstarrocks   https://twitter.com/crimsonstarrock

Pete RingMaster 03/04/2020

Copyright RingMasterReview: MyFreeCopyright

Medusa – In Bed with Medusa

 

Having found ourselves taken with sound and invention of UK trio Medusa with their 2011 released second album, Can’t Fucking Win, it quickly became apparent that there was nothing predictable about the band’s music but as confirmed by its successor Headcase’s Handbook three years later it has persistently proved a thickly compelling affair. Both albums were rich in the band’s punk fired rock sound and bold in their intrigue loaded magnetism, traits again just as fertile within the band’s new album, In Bed with Medusa.

The new release though is a whole new beast to be tempted by, one which still bears the inimitable breath and touch of the London based outfit but as its title suggests has an unwrapped intimacy which challenges as much as it fascinates. It is a far darker and rawer involvement with Medusa, one which startled from the off and has persistently caught us off guard with its almost feral emotions and untamed enterprise but fair to say with every listen has left us thickly hooked.

Emerging in 2006, Medusa is the creation of vocalist/guitarist/songwriter Julian Molinero, the band’s line-up on the new release completed by bassist Kotaro Suzuki and Towers of London drummer Snell, the latter recruited barely eight weeks before recording which took place with Steve Albini at his studio, Electrical Audio, in Chicago across the first four days of  December 2019. You can only imagine this intense recording time has added to the raw energy and heart of a release though equally such its resourceful drama and touch you can only feel it was always meant and going to be such a soul bearing proposition.

Oblivion opens up the album, a song which instantly unravels an instinctive infectiousness in voice and sound even before hitting its more aggressive and energetic punk ‘n’ roll stride. Molinero’s tones are as bare breathed and provocative as the melodic wiring escaping his guitar between punk bred chords, rhythms a potent anthemic incitement beneath it all.

*love not included seamlessly springs up from the closing straits of its predecessor, the track another with a persistent, indeed voracious catchiness to its punk ‘n’ roll incitement. Hooks and sonic wiring lured and gripped ears as boldly as rhythms and vocals, the track provoking and inviting keen involvement in its naked heart and touch before River Phoenix, inspired by a biography on the actor, lays a calm hand on ears before erupting in a tempestuous rock ‘n’ roll squall again embroiled in emotional turbulence.

There is an open richness to Medusa sound which is entangled in a host of rock flavours, alternative and hard rock textures among them involved within the melodically woven, deviously contagious reflection of The Girlfriend Experience while Lost in Dystopia shares more classic hues in its virulent canter; a grunge lining to both tracks as well as others within the album accentuating the wonderfully unvarnished feel of its presence and heart. Indeed Ride the Styx bears Nirvana-esque shading to its greedy nagging of the senses, the first of our favourite moment considerations within the album swiftly set.

The pair of No Such Thing and Inverse Paradise offer up quick challenges to that choice though, the first with something of an Everclear air around a classic metal wired holler another pinnacle of the release with the second eclipsing both through its almost XTC like setting bound in blues nurtured wiring as Molinero muses proving irresistible. The latter is also one of a pair of acoustic tracks which were recorded in a hotel room overlooking Bran Castle, known as Dracula’s Castle, in Transylvania.

Lenore provides a fiery enticement for ears, maybe one which lacks the sparks of its predecessors for us but still held eager attention before that final slice of acoustic enterprise in the shape of Distress Signal brought In Bed with Medusa to a fine close. Whether bred on intimate experiences of its creator or through observation, it is a potent engagement with ears and thoughts alike; one epitomising the stripped and exposed fertility of the album.

A release which grew in presence and enjoyment by the listen, In Bed with Medusa simply backs up its predecessors in suggesting Medusa is one of Britain’s brightest and unique propositions and with its own openly individual endeavour a band all should at least consider checking out.

In Bed with Medusa is out now and available @ https://medusaworld.bandcamp.com/

http://www.medusaworld.co.uk/   https://www.facebook.com/medusauk   https://twitter.com/medusaworld

Pete RingMaster 26/03/2020

Copyright RingMasterReview: MyFreeCopyright