Flesh Tetris – Insert Coin EP

Pic Chris Clark

We have all come across and been excited by the prospects of Super Groups; adventures bred from the union of various members of renowned and occasionally legendary bands. Sometimes it leads to new pleasure sometimes disappointment. In the far busier landscape of the musical ‘underground’ such fusions of talent are as prevalent and very often much more thrilling as in the mouth-watering case of UK outfit, Flesh Tetris.

The London quintet makes their introduction to the world with debut EP Insert Coin in May; a collection of songs which with the ease of the summer sun has the spirit rising, body dancing, and juices flowing. To be honest our imagination and excitement had their running shoes on even before a note of their first release was heard; racing away just from the names behind this new proposal. Flesh Tetris sees the coming together of members from four of our indelibly favourite bands and, to us, new musicians just as easily grabbing ears and appetite. First there is long-time friend of The RR, guitarist/bassist Andy Duke of Top Buzzer, Cauldronated, The Duel and a clutch of other projects fame. Then there is the inimitable presence and vocal prowess of vocalist Eva Menon also from Cauldronated as well as the distinct creative mischief and character of vocalist Andy Heintz from The Men That Will Not Be Blamed For Nothing who has already released one of the year’s essential gems in the shape of the album Double Negative. Alongside the three is Karen Bell who quickly reveals herself as one mighty ear lure with keys, voice, and theremin on the EP and drummer Jez Miller, who lays down inescapable bait with his manipulative swings.

pic by Neil Anderson

It is a line-up which quickly turned an instinctive interest because of their other adventures into lusty attention and an eager appetite for their sound. Described as “Retro SciFi Eurotrash”, Flesh Tetris weave a kaleidoscope of styles and flavours in their music, embracing everything from punk and its electro form, to pop and rock, techno, industrial and much more. It makes for something fresh, virulently infectious and imaginatively gripping eager to throw the body and imagination around like a puppet through its animated antics.

Insert Coin opens up with Rabbits, keys initially hugging, inciting, and worming under the skin with lively rhythms for company before Heintz and Menon add their vocal character. The pair have two of the most distinctive voices and unique deliveries in music which alone just stir the passions but together…well it is as if they were born to be alongside each other at some point such their magnetic union. Swiftly the song had the body bouncing and vocal chords employed, its electro dance a viral infection to feet and hips as the cosmic enterprise of Bell and the hypnotic escapades of Duke and Miller romp. With more chance of there being parity across society than escaping the creative fingering of the song, Insert Coin is off to a flyer and only builds from there.

Next up Partners in Crime instantly looms up with intrigue and adventure, like an adult electro bred Scooby Doo adventure with defiant threat and noir kissed romance at its heart. The great grizzled tones of Heintz and the equally alluring European lilted suggestion of Menon take ears and thoughts on the run, sound providing scenic temptation before the seriously magnetic tones of Bell serenade from the midst of the caper. Few bands have one great vocalist, to have three feels greedy and just another reason to explore Flesh Tetris. The track is superb, managing to even eclipse its outstanding predecessor before The Hardest Part swings in with its dub nurtured electronics and rhythmic intimation. Duke has hips swerving with a gentle but keen hunger whilst the controlled skittishness of Miller’s beats is an additional glorious itch to movement. Within this magnetic landscape vocals prowl and roar stirring up even greater greed and lust for a track which simmers before it boils compared to the more instant explosions of those before it but sizzles to the same heights all the same.

The EP closes up with Glass Bottom Boat, a seaside ode starting with a poetic casting regaling the romantic days of old Brighton. As waves lap a delicious hook springs its bait, a potent lure which you would surmise could only come from the imagination of Duke such its individuality. With Bell’s keys flirting alongside, the slice of smiling rock ‘n’ roll quickly has body and participation rocking; nostalgic pop nurtured harmonics adding to the song’s grin. Imagine a fusion of The Revillos, Chicks On Speed, and The Dreadnoughts and you get a whiff though nothing more of the great EP finale.

Flesh Tetris describe their music as “pop music for unpopular people” and if this is what ‘hate’ inspires we for one quite content to be among the disliked at the kind of thrilling party where you Insert Coin and salaciously enjoy.

The Insert Coin EP is released 26th May across most online stores.

https://www.facebook.com/fleshtetris/

Pete RingMaster 24/04/2018

Copyright RingMaster: MyFreeCopyright

Gogo Loco – The GoGo Loco Twist EP

First the bad news, The Mobbs are no more. The UK band released some of the real treats we have had the pleasure to cover on the site and will be sorely missed. As with all things though there is a silver lining, in this case a trashy garage rock ‘n’ roll one as from the ashes of one great band rises another in the shape of Gogo Loco. Learning of one outfit’s demise through an email from drummer Cheadle and the introduction of another in his new project alongside fellow Mobb, vocalist/guitarist Joe B. Humbled, quick sadness was replaced by eager intrigue across a handful of lines; interest soon emerging as fresh lustful attention once the swinging throes of The GoGo Loco Twist EP infested ears.

Now reinventing their names as Cheadle GoGo and Joe Loco, the Northampton hailing duo have similarly evolved their sound. Certainly within the four songs making up their debut release there is a healthy Mobbs garage punk scent to things but one immersed in a new r&b and blues infused trash encrusted garage rock ‘n’ roll devilry. Something akin to a fusion of The Stargazers, Ronnie Cook & The Gaylads, and The Trashmen with that inimitable Mobbs touch, Gogo Loco provide something as distinct and as unique as you would wish.

It all begins with the EP’s title track. The GoGo Loco Twist needs mere seconds to have the body writhing and feet greedily shifting, its initial tendril of guitar winding around ears and burrowing under the skin before the swinging rhythms of Cheadle and the guest piano antics of Jon Martin, who also produced the EP, get involved. Like King Salami and The Cumberland 3 engulfed in the spirit of Chubby Checker after being infested with garage punk mischief, the song romps and stomps from start to finish inspiring the same in the listener. A virus to any rock ‘n’ roll dance floor, it pleasures and exhausts with glee.

There is no time to take a breath as the following Rattle Your Mind leaps on ears and body next, its crusty blues lining and fevered rock ‘n’ roll inescapable incitement driven by the energy and passion of its creators. As all tracks within the release, it is a short, sharp, and magnetic trespass manipulating body and spirit with ease; next up Go Loco proving the pointy as it insists the listener lives up to its title. Clunky yet fluid riffs welcome in infectious rhythms and in turn just as persuasive vocals, a mix again needing less than a handful of seconds to have the body bouncing.  Actually the song never quite bursts into the kind of frenzy its title suggests though its boisterousness increases by the chord but with a control which manages to forcibly increase the virulence in song and victim alike.

The closing Evil Woman is salacious rock ‘n roll with pouting hooks and rhythmic writhing, like a meeting between MFC Chicken and Sonny Burgess as imagined by Gogo Loco and far too easy and tasty to consume to be good for you. Like all tracks within The GoGo Loco Twist, there is a sense of being devilishly naughty and just a little dirty as you thrown yourself into its wonderful DIY temptation of sound and intent, but at the same time the feeling of not caring fuelling the fun.

Long live The Mobbs is a cry we will always offer up but alongside we roar Viva Gogo Loco as the potential of another new lust for us, and we expect a great many others, rises up.

The GoGo Loco Twist EP is out now and available as a free download @ https://gogoloco.bandcamp.com/album/the-gogo-loco-twist

http://www.gogoloco.uk/   https://www.facebook.com/gogolocouk/

Pete RingMaster 24/04/2018

Copyright RingMaster: MyFreeCopyright

Pretty Pistol – Welcome to the Dead Club

How to describe the new EP from UK garage punks Pretty Pistol; well feral certainly fits, sonically clamorous and tenacious too but suiting it most is simply that Welcome to the Dead Club is rather damn good. Offering four virulent slices of punk fuelled noise, the release is another of the year’s special moments so far more than worth a few minutes of your time.

Formed five years after the initial chance meeting in 2010 at a Hole gig by vocalist Laura Le Rox and drummer Emma Waller, Pretty Pistol’s line-up is completed by guitarists Rich Cooper and Billy Larsen. Described as “Sitting somewhere between Gallows, Be Your Own Pet, Milk Teeth and The Kills”, a pretty suitable intimation, the South London quartet has made a potent mark on the capital’s live scene, sharing stages with the likes of Penetration, KidBrother, Drones, and Crazytown. Recorded with producer John Mitchell (Architects, Enter Shikari, You Me At Six), Welcome to the Dead Club is their inescapable jab at bigger attention, a raucous swipe not easy to see being ignored.

As opener Cry Wolf explodes on the senses, instantly there is no escaping the rapacious presence of band and song, and indeed the magnetic tones of Le Rox. Her attack is as urgent as the sounds around her with a hint of ‘desperation’ to its lilt though really it is just an earnest bred eagerness to stir things up, again just as the individual garage punk sound Pretty Pistol unleash. Riffs and rhythms collude in devious persuasion, getting under the skin as forcibly as the flying hooks and that glorious verbal trespass. There is a touch of Asylums to the track too which only adds to its virulently striking presence and to be honest if the goodness stopped right there we would still be urging attention the EPs way.

It is not an alone treat though as the following Drive Me To The Dogs quickly reveals. The gnarly stride of bass makes an immediate lure, post punk spun tendrils a swift second as the track infests ears. Its melodic and catchy chorus tempers the trespass a touch but only backing up its infectiousness before the cycle enticingly repeats. Waller’s beats land with purpose and anthemic prowess as the guitars entangle ears with sonic toxicity while Le Rox backed by one of the guys, is an insurgent siren you are not sure whether to embrace or fear.

Another appetising bassline lures Hurricane into view; its bait immediately followed by an ear worm of a hook and in turn a blast of voice and attitude. For no obvious reason but strongly we were reminded of Red Tape as the track continues to blossom in enterprise and temptation every twist and turn making a keener captivation in another rousing if too short a gem within the EP.

The release concludes with the equally compelling No Guts (This Is Glory), a web of swiping beats, belligerent bassline and devilish sonic enticement bound in the vocal carousing of Le Rox. Cannily fingering the imagination whilst heartily firing up the senses and spirit, the song completes a fiercely and irresistibly exhilarating proposition.

Living up to the band’s name, Welcome to the Dead Club is a threat lined, danger fuelled beauty and Pretty Pistol a band we expect to make a continuing if not major impact on the British punk, indeed rock scene.

Welcome to the Dead Club is out now through SaySomething Records @ https://www.prettypistol.co.uk/store/welcome-dead-club-cd

https://www.prettypistol.co.uk/    https://www.facebook.com/pg/prettypistoluk    https://www.twitter.com/prettypistoluk

Pete RingMaster 20/04/2018

Copyright RingMaster: MyFreeCopyright

Kid Klumsy – Spit Your Dummy Out

There is a new punkster in town with a fresh mischievously belligerent roar and it goes by the name of Kid Klumsy. Actually the band has been around for a few years just more in the background of recognition. Now though it is ready to grab a chunk of the limelight with debut EP Spit Your Dummy Out featuring six deviously tempting punk ‘n’ roll stomps which greedily have the body bouncing and attitude roaring.

From Coalville, Leics, Kid Klumsy as mentioned has been a stirring presence for a while with a couple of demos to their name. Spit Your Dummy Out is their first official release, coming through STP Records who can always be guaranteed to find the best punk rock around, as proven here with this storming introduction to a fresh incitement sure to draw a flood of new Kid Klumsy fans to those already in the know. The band is fronted by Weab, the frontman of inimitable punk rockers Dirt Box Disco, and upon the EP completed by guitarists Greg and Reidy, bassist Ali and Matt Wharton on drums. Almost automatically comparisons to Weab’s day job are sparked but swiftly Kid Klumsy reveals themselves a whole new proposition if one just as virulently infectious. The songs upon Spit Your Dummy Out also show an enjoyably varied character and just as potent whether snarling at the world, romping with rock ‘n’ roll devilment, or simply teasing with fun fuelled relish.

The EP opens with Grow up, an instantly boisterously energetic proposal with sinew strung tenacity. Of all the tracks it is the one which reminds most of Dirt Box Disco yet straight away bares its own steely breath and touch as hooks and rhythms almost battle for attention around Weab’s ever persuasive tones. Swiftly drawing eager involvement from body and voice, the track strings the listener up like a puppet, getting them dancing and roaring with zeal, our personal exhaustion proof.

The following 24 Hours has a predacious edge to its initial prowl and subsequent stroll. There is also a whiff of old school punk a la the likes of Suburban Subs and Slaughter And The Dogs to the rousing trespass which adds to its individuality rather than any familiarity before Bully Bullied The Bully creates a deliciously grumbling rumble in ears with its fiercely infectious confrontation. Embracing Sham 69 hues and twisting them with Kid Klumsy imagination into something as unique as it is ravenously catchy, the track is a glorious chant loaded temptation; just one of six similarly glorious incitations.

Sugar Junkies bounds in next with its anthemic charge and inescapable vocal manipulation. It too snares body and vocal chords in its contagion; a proposition to which belting out one’s own additives is unavoidable and very essential.

The growling tone and dynamic animosity of Pigs Ass is just as exhilarating; it’s no nonsense prowl and spiteful rhythms alone ensuring captivation but add vocal rapacity and a web of sonic enterprise and you have punk rock irresistibility.

The release concludes with the swinging escapade of Mr Bluey Man, a Rancid meets The Vox Dolomites treat which not for the first time on the EP has feet animated, hips weaving, and the throat crooning. It is a thickly magnetic end to a rabidly addictive encounter. Spit Your Dummy Out found the sweet spot of our passion for punk rock within seconds and continued to tease and fire it up from thereon in. 2018 will surely be the year Kid Klumsy becomes a household punk rock name and it is easy to imagine that rock ‘n’ roll will never be the same again.

Spit Your Dummy Out will be released May 27th through STP Records with pre-ordering available now @ http://www.stprecords.co.uk/

https://www.facebook.com/officialkidklumsy     https://kidklumsy.bandcamp.com/

Pete RingMaster 18/04/2018

Copyright RingMaster: MyFreeCopyright

VNDTA – Pale Glow

The moments of being truly bowled over by a release or ‘new’ band, introduction wise, seem to be far and few between right now but leave us on our backs with jaw wide open with exhilarated awe is just what British metallers VNDTA did with their debut EP, Pale Glow. With a sound which manages to caress and seduce whilst ripping out and feasting on the senses, the Hertfordshire quartet have just announced themselves as a real big deal.

Though formed in 2015, it was 2017 which saw the band really worry attention and acclaim as they shared stages with the likes of Aghast, Vanity, King Leviathan, and Confessions of a Traitor as well as a host of their own headlining shows. To be honest, Pale Glow is actually our introduction to the band and there could be no better a way to meet them and form a lustful union between music and ears.

Like a fusion of the raw aggression and spiteful trespasses of Iwrestledabearonce and Otep with the virulent catchiness of No Doubt and The Cardigans, the VNDTA (pronounced as vendetta) sound swiftly reveals itself within their latest encounter to be as unique to the band as you would wish. Tagged as alternative metal it embraces a host of other metal and punk flavours in its cauldron of intimation and intimidation. The recording of Pale Glow came within a turbulent time, vocalist Megan Targett admitting that “Recording the EP was probably the most difficult week of my life. We were broke, spent weeks living in my car; I ended an abusive relationship and lost a family member. But it didn’t stop me. We used the pain to fuel raw passion into the vocals and the music.” That passion is clear to hear as the EP’s tracks devour and arouse second by second.

From the moment the EP’s title track looms right up from its distant entrance attention was not only hooked but chained to what was to follow. Wiry tendrils of guitar wrap around ears immediately, senses slapping beats alongside and once the first track hits its voracious stride and the vocals of Targett unleash their incitement, the deal between lust and the devil’s music roaring from the speakers was done. Swiftly the singer impresses with a throat abrasing attack and venomous delivery but it is when she breaks into a glorious clean delivery that realisation at her talent is inescapable. Before then guitarists Callan Hughes and Jay Bacon gnaw at and chew on the senses, twisting and turning with grooves as their hooks pierce with imagination as the swinging rhythms of drummer Willem Mason-Geraghty infest body and spirit just as potently. The track is immense and no better way to succumb to the first abusive seduction of VNDTA.

Well we say that but the highlights just flood ears thereon in, the following Excuses a feral yet skilfully honed temptation as contagiously infectious as it is violently manipulative. Targett croons first this time, harmonically enticing as the band spin their creative web. There is of course a constant growl in the throat of singer and song, one subsequently erupting with carnal designs though still with melodic veining and atmospheric suggestion for inventive company. Involvement in voice and attitude is unavoidable as too with next up Swine, a tempest of contrasts and intensity amidst the drama of the imagination. Another as wickedly catchy as it is uncompromisingly gladiatorial, the song is another which just stirs body and spirit.

The visceral and physically twisted enterprise of Martyr is a sonic virus, getting under the skin and into the psyche within a few insidious breaths from where it burns and seduces with toxicity and beauty, again pretty much simultaneously as the sounds abound the senses with antipathy and infectiousness as Targett again simply exhilarates. The suggestive calm which bridges it and successor Rare Breed is magnetic yet soon in the past as the following creative escapade erupts. Again a tapestry of flavours and intrusion descends on ears and once more pleasure is swift and continuous. From voice to sound, melody to rhythm the song is a mercurial adventure rewarding at every twist and tempting at every turn imagination, unpredictability fuelling every moment.

Emotion and passion equally soak every breath and note, the final pair of Leeches and Virus blossoming with both. The first is carnivorous from the off, music and voice an intrusive animus but instantly as catchy as the lighter harmonics which intersperse the tempest of technical, extreme, and grooved endeavour with a fine line in progressive intuition. The track is yet one more immense moment within Pale Glow, a predator of the finest incitement pretty much matched by Virus. Straight away it gets under the skin though maybe no more than its other striking companions, but by the twist and turn it digs deeper and becomes more toxic and intoxicating but similarly graceful as it revolves its attack.

The excellent encounter completes the outstanding release, a nationwide introduction surely leading to bigger, broader, and richer things much as their sound blossoms across its length. Once in a while a band really excites, at the time and for things ahead. VNDTA has us drooling and we can only say go see why.

Pale Glow is out now, available @ http://vndtashop.bigcartel.com/

https://www.facebook.com/VNDTA/    https://twitter.com/VNDTA_OFFICIAL

Pete RingMaster 17/04/2018

Copyright RingMaster: MyFreeCopyright

Godstone – Monument Of One

First impressions are not always the most accurate barometer to people and indeed bands but they can give a strong intimation when you are on to a good thing; a suggestion the debut EP from UK metallers Godstone strongly makes. Offering five tracks fuelled by a sound which is not maybe overly unique, the band’s music lying somewhere amongst the likes of Alter Bridge, Shinedown, and Stone Sour, Monument Of One hits the spot with individual enterprise and a rousing breath.

From the south west of England, Godstone linked up with John Cornfield to record their first EP and from its first moments, Monument Of One makes for one magnetic proposition with its tapestries of ear entwining grooves, imagination stoking melodies, and spirit rousing muscle.

Over the Line starts things off, the song immediately setting the scene for the release with its rapacious air, imposing touch, and create weave; a delicious groove bursting with zeal from the initial coaxing upon a swinging gait. Guitarists John Kenward and Alex Goodrich quickly have attention keen as the punchy beats of Matt Davy hungrily collude with the dark grumble of Matthew Pascoe’s bass. Once the strong tones of vocalist James McDonald rise to add further lures, nicely backed by the melodic throat of Kenward, the song is in control of ears and body whilst providing a familiar yet certainly fresh slice of metal incitement.

The following Tear It All Apart offers its own striking invitation, again a guitar making the creative beckoning before the band unites in an infectious rumble as imposing as it is magnetic. With wiry grooves and a compelling conspiracy of hooks and twists, the song soon has ears firmly locked in feeding on its cosmopolitan melodies and aggressive dynamics. As suggested earlier, there is something familiar about this and other songs yet it has a character and style to its roar which sets the band apart from most.

A gentle almost melancholic caress brings next up The Way You Are into view, McDonald soon joining the inference of guitar and sombre twang of bass. The track’s eruption into a fiery trespass is fluid and resourceful though the song still retains a leash on its aggressiveness which only enhances its temptation. Potent first time around and even more compelling by the listen, much as the EP itself, the song adds another firm hand on ears and pleasure before Breathe crafts another rich moment within the release with its grunge/groove metal natured roar. Predacious yet seductive as its body and sound reveals a mercurial nature the song makes a strong play for best track.

Swiftly showing its candidacy too is final song Full Circle, it also a composed yet raucous holler of metal and heavy rock woven with grooved enterprise and melodic dexterity. It provides a strong and indeed fine end to a release announcing Godstone a band attention is bound to be good friends with. Uniqueness may still be in the brewing stage in the band’s sound but the potential is there and with encounters like Monument Of One the wait should be rather enjoyable.

Monument Of One is out now across all digital platforms and @ https://godstone.bandcamp.com/album/monument-of-one

https://www.facebook.com/godstoneofficial/    https://twitter.com/godstone_uk

Pete RingMaster 16/04/2018

Copyright RingMaster: MyFreeCopyright

Elephant Memoirs – No Pressure No Rush EP

Formed in 2013, British outfit Elephant Memoirs have honed an ear grabbing sound which has grown release by release. New EP, No Pressure No Rush continues that successful trend, offering up six of the band’s most potent and imaginative songs yet.

Hailing from Gateshead, the trio of vocalist/guitarist John Aspinall, bassist Carl Aspinall, and drummer Barry Drew create a thoughtful style of alternative rock which has seen them already compared to the likes of Manic Street Preachers, Biffy Clyro, Placebo, and Queens Of the Stone Age. As No Pressure No Rush suggests, it has not found its unique character yet but there is no denying that each song provides individual and imaginative adventure.

Recorded with Kyle Martin at The Garage Studios in South Shields, No Pressure No Rush opens with Homework. A vocal hush ignites an attention luring pulse of guitar which in turn sparks a composed stroll of swinging rhythms and alluring sonic causticity. The potent vocals of John nestle within the raw flames, the track continuing to almost lumber along. It is an intrigue provoking proposition which certainly had us firmly attentive and animated if not quite as excited as later in the release.

Pink is a vocal repetition of the EP’s title within a sonic trespass. Brief yet suggestive, it leads the imagination into the awaiting pop rock of A Little Metaphor. John is again a strong clean lure against the scuzzy exploits of his guitar, Carl and Barry creating thick rhythmic bait stirring song and appetite alike. As it swings along, it is easy to hear why those earlier mentioned comparisons arise; all adding to the infectious song’s strong appeal. There is muscle and depth to its catchy body though which easily engages the imagination, a richness of textures just as bold within its captivating successor Ether. With drama in every twist and enterprise in every turn, the song grabs best track honours, the fire in its body alone seriously compelling.

The release concludes with firstly Orange, a lead of sonic pulsation and melodic intimation luring ears into the infectious rock ‘n’ roll saunter of Complete Resonsibility. Though it lacks the spark of the preceding pair, the EP closer easily hooks keen attention with its tenacious and arousing character, sparking a bounce in the body to match its own.

It is a fine skilfully accomplished end to a release which is potential stocked and craft laden. Elephant Memoirs is still growing and brewing their sound whilst continuing to create highly pleasurable proposals such as No Pressure No Rush. It is a journey we for one are thoroughly enjoying.

The No Pressure No Rush EP is available now @ https://elephantmemoirs.bandcamp.com/album/no-pressure-no-rush

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

Pete RingMaster 11/04/2018

Copyright RingMaster: MyFreeCopyright