The Hillbilly Moon Explosion – With Monsters And Gods

THME_RingMasterReview

With a band like The Hillbilly Moon Explosion and a heavy clutch of ear thrilling and imagination gripping releases, it is hard to pick what might be the best. It is easy though to suggest that their new encounter, With Monsters And Gods is going to be right there as an option for most. The fourteen track stroll through their most eclectic and fascinating slices of rock ‘n’ roll yet is pure captivation. It stomps, it seduces, and rouses the spirit as it takes the listener on a magnetic escapade of creative fun, mischief, and imagination.

Returning to the local Swiss studio where they made their early rockabilly albums, The Hillbilly Moon Explosion have found a fresh edge and snap to their sound in whatever aspect it tempts from upon With Monsters and Gods. Vocalist/upright bassist and album producer Oliver Baroni recently said that the band wanted the album “to reflect the somewhat harder edge you get from the months on the road,” to create “a louder, more rock ’n’ roll album.” Fair to say they found success and more in an album which just seems to become more riveting and dynamic with every listen.

It opens up with the mesmeric In Space, a celestial romance of the senses with a disco beat and charm reminding a little of Blondie’s Autoamerican period. As exotic hues tease, the song evolves and blossoms into a sultry seduction with a persistence of nagging rhythms and surf rock scented melodic trails of guitar around Emanuela Hutter’s siren-esque tones. It is a hypnotic affair setting up ears and appetite for the adventure to come with Temptation next in line to live up to its title. Guest sax flames courtesy of Pete Thomas are soon licking at the imagination after an initial tenacious caress of guitar, their entrance lighting a lively stroll with celestial harmonies around the mariachi theatre provided by the horns of Calexico. As it swings and bounces, a ska bred flirtation adds to the persuasion too, just another twist and turn in the creative blaze of the anthemically outstanding and inventively cinematic track.

Depression throws the listener into a beefier rockabilly bred canter next; its riffs carrying a grouchy edge as Baroni’s bass and vocals swing with infectious enterprise. The scything beats of Sylvain Petite are just as catchy too, finding themselves bound in the spicily addictive grooves of guitarist Duncan James as the song provides a straight forward yet individual prime Hillbilly Moon Explosion stomp before letting Down On Your Knees gets in on the act of stirring up ears and appetite. A seriously catchy blaze of rock ‘n’ roll as potent in its mellow saunter as it is in its fiery roar, the song weaves a thrilling proposal with additional strands of seventies glam pop in its virulent rockabilly.

art_RingMasterReviewThe noir lit Midnight Blues brings some great sixties garage rock keys from Baroni into play next, that a decade equally referenced by Hutter’s glorious vocals and the harmonies swimming through the seductive air of the track. A blues hue coats the guitar solo at the heart of the seductive smoulder too, a tempting which never relaxes until it steps aside for the rockabilly saunter of Desperation where Hutter is again as magnetic as the contagious hooks and swinging rhythms.

If With Monsters And Gods stopped there, acclaim would be easily offered but things just continue to entice and spellbind as its title track creates a smooch with the senses and imagination. Country seeded essences mix with surf and again sixties nurtured serenading as orchestral and emotive drama ebbs and flows across the track’s bewitching landscape. There is a blues spicing hanging around too though it is a far thicker and a more vocal ingredient in the feisty stroll of Love You Better which follows. The track listing within the album is superbly thought out; small essences in one song being developed in the next while it in turn brews other hues to be explored in the next. As the blues textures are a fiery roar around the tones and piano of Baroni here, the slight discordance to its revelry is subsequently bred further within next up Black Ghost.

The song is the first of two almost expected and hoped encounters featuring Marky “Sparky” Phillips from Demented Are Go. Hutter’s tones glow and resonate within the sonic shimmer of the song while in the background Phillips prowls and vocally prods before bringing his great gravelly presence fully into the awaited duet between the two. Once they are aligned, honky tonk keys and a cowpunk swagger join the unpredictable and thrilling party; numerous other spices and textures also before many are brought to greater irresistible life in the quite brilliant Heartbreak Boogie. Th’ Legendary Shack Shakers like in its blend of dark rock ‘n’ roll, jazz flirtation, and almost steampunk rebel rousing; the song is an electrified fence of creative devilry with further provocative sax tempting beside the mighty vocal union of Hutter and Baroni.

That Blondie essence returns in its successor, though unsurprising as it is a swiftly pleasing cover of the US band’s Call Me with a rockabilly slant The Hillbilly Moon Explosion style. It soon has the body bouncing as too the garage punk contagion of You Miss Something where again a host of flavours collude for a virulent hop fuelled with blues liquor and fifties punk ‘n’ roll merriment.

The second song with Phillips on board comes next; Jackson a great cover of the Johnny Cash and June Carter track. Converting some of the country character of the original to a ska/reggae carnival of sound with the smiling swing of keys and seductive flames of sax further temptation, the song just hits the spot as too the union of Phillips and Hutter.

Completed by the boisterous r&b toned Rose Outside, think Imelda May meets Ronnie Dawson as a hint of its galvanic sound, With Monsters And Gods is simply a riot of fun and bold incitement for the ears. As mentioned earlier, it is hard to pick the band’s best release to date, so many choice moments for fans to devour, but as we press play again, With Monsters And Gods has to be a strong contender, maybe the strongest.

With Monsters And Gods is released May 13th through Fredonia Entertainment in the UK via Amazon on CD and Vinyl and digitally through iTunes.

http://www.hillbillymoon.com/   https://www.facebook.com/hillbillymoonexplosion   https://twitter.com/TheRealHME

Pete RingMaster 09/05/2016

Copyright RingMaster: MyFreeCopyright

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Raw Fun – Won’t Be Told

Raw Fun_RingMaster Review

December is as good a time as any, maybe the best time with all the festive shenanigans, to get your teeth into something particularly tasty, and that is definitely what you get from Raw Fun. Their three track single Won’t Be Told gets its full release this month through Dirty Water Records/WTF, and fair to say it is a bracing and virulent slab of garage rock ‘n’ roll which strongly entices on the first bite, breeds intoxication with its second morsel, and tightens the grip on the taste buds with a third helping of contagion; it all living up to the band’s name.

Raw Fun Sleeve _RingMaster Review     Formed in the September of 2014, Raw Fun is a London based trio with a potent pedigree between them. Vocalist/guitarist/songwriter Patrice Picard also plays in garage revival band The Cannibals, a band which since the early eighties has uncaged ten albums and a stock load of keenly devoured singles whilst live thrilling audiences all over Europe and further afield when touring Japan twice. Bassist Joaquín Gonzalez has been the guitarist in Las Aspiradoras, fronted low-fi garage band Dedrines, and currently also plays in the reformed Johnny Throttle whilst drummer Manuel Santos has been part of Thee Tombitas and punk band Michael Jackson. Drawing on inspirations from the likes of The Stooges, Link Wray, Wilko Johnson, Johnny Thunders, and Stiv Bators, the threesome upon uniting quickly found and nurtured their own sound, playing their first gig three weeks after their first rehearsal. Just as swiftly Raw Deal also set about recording their first release, Won’t Be Told recorded on an eight-track tape machine with its mixing done by Jim Diamond, formerly of The Dirtbombs who had heard the band on Facebook and offered his help. With shows across the UK, France, and Spain, it has been a busy twelve months for Raw Deal, culminating in the spotlight grabbing release of Won’t Be Told.

The single’s title track comes first, Won’t Be Told releasing an immediately alluring clang with its guitars aligned to just as enticing melodic bait. Rhythms are soon jabbing with relish as the voice of Picard swaggers into view, each colluding with the bass of Gonzalez which prowls the song with its deliciously throaty but welcoming tempting. Those punk and garage rock spices are a swift hue to the song, not necessarily providing anything majorly unique but certainly stirring up a keen appetite for the unpolished and mischievous revelry holding attention.

The best track on the release comes next, Shades a bewitching incitement merging fifties and sixties rock ‘n’ roll with garage punk/psychobilly devilment. The track has a prime irresistible hook which works away right from the song’s first breath, a coaxing which only increases in success with its Bone Orchard meets The Cramps like incitement. Around it though, garage rock spicing colludes with a dirtier punk air as sultry surf rock flirtation seduces and enthrals ears and imagination. The song is superb, easily the pinnacle of the single though more than backed by the other two protagonists of pleasure.

Til the End of the Song is an instant eruption of punk ‘n’ roll devilry with pop infectiousness to its swing and attitude to its rough and ready character. As its predecessor, there are plenty of flavours enrolled in the fiery body of the song, many slim and often subtle hues adding up to one easily accessible but equally uncompromising slice of, well raw fun to be honest.

There is really no better time to treat yourselves than now and if it is to be with some rousing rock ‘n’ roll then Raw Fun gives a very satisfying option.

Won’t Be Told is available from December 14th via Dirty Water Records/WTF @ http://www.dirtywaterrecords.co.uk/shop/#!/Raw-Fun-Raw-Fun-EP-+-download/p/56898794/category=2749844 on 7” vinyl or download.

https://www.facebook.com/rawfunwontbetoldwhattodo   http://www.dirtywaterrecords.co.uk/rawfun/

Pete RingMaster 14/12/2015

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The Pacers – Losing Touch

Pacers_RingMaster Review

Merging sixties garage rock and psychedelic inspirations into their own inbred punk seeded invention, UK rockers The Pacers make a rather potent introduction to themselves with their debut single Losing Touch. It is a tantalising slice of suggestiveness which shimmers in melodic colour and sonic temptation like an aural kaleidoscope. Their name feels like it is a friend before a note is heard, something familiar now backed up and pushed deeper into the psyche through the captivating Losing Touch.

The Pacers Cover_RingMaster Review     The Pacers was formed in the late summer of 2013 by vocalist/guitarist Alexander Friedl and lead guitarist Harry Stam, the pair meeting initially under “mysterious circumstances”. Uniting their shared interest in all things sixties, the duo began writing songs, subsequently enlisting bassist Jay Creswell and soon after drummer Jamie Yuan to the band. The quartet soon set about getting their sound and claws into the London live scene, playing venues primarily in north and east London and building up a quickly fevered and loyal following. Now a national appetite is about to be stoked with the release of the band’s first single, an encounter sure to catch the imagination of fans of The Stooges and The Stones amongst many more.

Losing Touch opens on a glorious eastern seducing cast by Stam, darker hues soon aligning to its fiery spicing on the senses. It is a bewitching start which becomes more eventful and resourceful as the expressive vocals of Friedl add engagingly dour textures to the quickly mesmeric and fascinating adventure. The more solemn lures of bass and beats similarly bring subtle but contrasting colour to the sonic tendrils perpetually climbing over ears and imagination with psych elegance and mystique. There is no doubting that the song enthrals from start to finish or that it relentlessly coaxes the listener into eager involvement.

In contrast to its more reserved seducing, accompanying track I’m Down is working away on feet and energy from its first breath; scythes of fuzzy guitar quickly courting the rolling rhythms of Yuan and moodier bait of Creswell’s bass. The instantaneous infectiousness of the song swiftly colludes with the rawer tone and air also enticing within its contagion, again The Pacers skilfully merging distinct flavours and tenacious endeavour in an increasingly persuasive tempting.

As relevant to modern rock ‘n’ roll as its sixties seeds, Losing Touch is a vibrant and magnetic first look at The Pacers and with a swift perusal at other songs on their Soundcloud account, the first of many we suspect.

Losing Touch is released October 22nd with a release show @ The Hawley Arms, Camden, London the same night.

https://www.facebook.com/ThePacersBand https://twitter.com/thepacersband

Pete RingMaster 21/10/2015

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Les Grys-Grys – Left Unseen

Front cover_RingMaster Review

Time to dig out those Go-go and Cuban heeled Chelsea boots or your brightest Winkle Pickers, French rockers Les Grys-Grys offer the perfect opportunity to give them a feverish work out with new single Left Unseen. Consisting of two tracks which whip up a frenzy for feet and a nostalgic appetite to get greedy with, the band confirm themselves as one of the exciting new faces on the garage rock scene.

Hailing from Montpelier, Les Grys-Grys openly wear their sixties inspirations on their sleeves and in their invigorating sound. Starting out playing covers, they have absorbed all the choice essences of bands and sounds which have influenced them and infused them into their own invigorating proposal. The two songs making up Left Unseen, and equally last year’s debut single Hot Gully Wind / Neighbour Neighbour released on State Records, draw on r&b, beat, and any other hue of garage rock ‘n’ roll you can think of, honing all into parties for body and soul. The result is something boldly familiar yet refreshingly individual and current, a sonic adventure for dance-floors and venues surely luring cats of all ages and decades when Les Grys-Grys are played and in town.

The Grys Grys_RingMaster Review     Left Unseen explodes in ears with an almost concussive launch of meaty beats, a pungent lure soon wrapped in the sonic enterprise of the guitars and, across the band, a magnetic blend of vocals. Within seconds toes are tapping, hips swaying, and ears greedily locked into the revelry, especially once the rich expression of harmonica and melodic acidity masterfully spilling from guitar strings joins the tenacious frolic. For two and a half minutes, song and band has the listener transported to decades past but involved in a modern mischief with hints of bands like The Kingsmen, and The Count Five nudging thoughts.

Its companion Mighty Crazy is just as irresistible, it’s opening on a fifties rockabilly riff alone enough to spark a licking of lips before the whole stomp breaks into a bluesy garage rock shuffle. Again guitars and harp unite for a frenetic quickstep of sonic devilment whilst the rhythms offer a more grounded but no less infectious invitation to indulge in. Once more like an old friend come to party, it is an inescapable incitement whipping up an eager storm of fun.

The devilry of both tracks borders on intoxicating, so much so that even the infernal fadeouts which normally annoy have no impact on the pleasure.

We will be honest, there is no particular eager appetite for sixties rock music at The RR but with more bands and offerings like Les Grys-Grys and Left Unseen that has begun to change.

Left Unseen is available now via Dirty Water Records.

RingMaster 25/08/2015

Copyright RingMaster: MyFreeCopyright

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The Arrogants – Introducing…

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The first striking thing, apart from four stomping songs, about Introducing… the new EP from French garage rockers The Arrogants, is the passion and obvious relish the band has for their music and its seeds. The release is a potent and energetic encounter which in presence alone gets the listener swiftly involved and feeling the heart of the band. The fact that the songs are also raw and vibrant slices of feverish enterprise does the success of the EP no harm either.

Inspired by and blending rich essences of blues and rock ’n’ roll with a sixties strain of rhythm ’n’ blues and garage rock, The Arrogants began as a 14-year old duo, becoming a 15-year old trio before the addition of an organist took the Lille band to a quartet. Earning an eager following and reputation through their live performances , which has included supporting The Pretty Things and playing the Vintage Weekend in front of 15,000 people, The Arrogants are poised to give the wider world a potent nudge with their new EP. Produced by Yvan Serrano and mastered by Pete Maher (U2, The Killers, Rolling Stones, Jack White), the Dirty Water Records released Introducing… is ready and able to stir up ears and greedy appetites for the band’s fiery sound.

Opening track Mr. Devil instantly has ears and attention awake with a flavoursome stroke of guitar, its spicy voice gripping bait to which the equally as organ melodies of Martin Tournemire adds their own savoury tempting. There is an immediate sixties touch to the track through those keys and also the echo kissed vocals of guitarist Thomas Babczynski, his agreeably ear grazing delivery as honest and raw as the feisty sounds around him. Rhythmically there is a more modern temperament, the bass of Louis Szymanowski strolling with broad shoulders whilst the beats of Hugo El Hadeuf bring a crispy flirtation and confidence to the magnetic encounter.

The delicious sweep of keys opening up We’re Arrogant next is another inescapable lure, its melodic embrace the perfect coaxing for the rhythmic swagger and guitar teasing of the track to spring from. With group vocals similarly sleeveinviting, the track makes a seductive persuasion for ears and emotions before kicking up a gear with a garage punk seeded feistiness which soaks the whole of the song before relaxing back into its opening flirty stroll. As its predecessor, it is an immediate romp which needs little time to set senses and imagination ablaze, something its successor not quite as swift in but ultimately finds the same excited reactions over time. With a delicious blues kissed harmonica joining the just as sultry organ adventure as the bass discovers its own throbbing suasion, the song strides with resourceful and unfussy, bordering on dirty temptation. In many ways like a mix of The Barracudas and The Pretty Things with a spice of 13th Floor Elevators, the song grows and flourishes to greater success over time, revealing more of the depths and potential of the band.

The EP is closed by the garage punk infused It’s an Experience, clunky riffs and a great moaning bassline making the perfect temper and compliment to the organ’s flowery designs. Driven by punchy beats and the distinctive almost angrily delivered vocals of Babczynski, the song is an unpolished, slightly antagonistic treat bringing a fine release to a richly satisfying conclusion.

The Arrogants are looking to broaden their presence and appeal beyond the spotlight of their homeland and with Introducing… they have made a very forceful and exciting start.

Introducing… will be released on Dirty Water Records on 6th October digitally and on 7” vinyl @ http://www.dirtywaterrecords.co.uk/shop/#!/The-Arrogants-Mr-Devil-EP-+-download/p/38334168/category=2902026

https://www.facebook.com/TheArrogants

RingMaster 26/09/2014

Copyright RingMaster: MyFreeCopyright

 

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The Felines – Daddy Walk

Within the musical shadows of Denmark there is a gem of an all-girl garage punk band called The Felines lying in wait and with the release of their debut single Daddy Walk August 6th, ready to step out into a broader and fuller spotlight. Their four track release is a thrilling and irrepressible feast of garage rock/punk, an instinctive stomp across the senses showing where the real girl power in music is thriving.

The trio from Copenhagen of lead vocalist/bassist Asta Bjerre, guitarist/ vocalist Ditte Melgaard, and drummer/ vocalist Mei Long Bao, formed in 2010 to as their bio states, ‘cause a bit of a stir’ at the Musicology Studies department at the University of Copenhagen. Inspired by their mutual love of 60’s garage rock, 77s punk rock, surf and 80’s revival girl groups, the direction of their sound was never a debate. Creating a garage punk to trigger inner primal urges and soaked in insatiable musical wickedness their sound has seen them since uniting leave stages alongside the likes of David Peter and the Wilde Sect, Thee Gravemen, and Black Magic Six, dripping in affection.

October of last year saw the girls record the four songs which make up Daddy Walk at the Grave Cave Studio in Malmö. Using an old school 8 track tape recorder to grab the raw nostalgic sixties sound the tracks combine to make a release which plays with a vintage air and modern freshness. Released as a 7” EP via Spanish record label Hey Girl! Records and digitally through Dirty Water Records, the single is pure and simple uncluttered bliss.

The song Daddy Walk immediately engages the ear with pumping riffs and beats accompanied by sweltering harmonies and unbridled energy. Strolling with a mischievous swagger and bursts of fiery guitar play the track is a wholly infectious slice of simple and inspiring rock n roll. With an element of The 5.6.7.8’s and The Ghastly Ones about it the song leaves one grinning from ear to ear and ready to further unleash ones inner mojo.

The A side of the release is completed by instrumental The Sneak, a track with a graveyard ambience and shadowed heart. It plays like a beach party between a field of tombstones with the dark pulsating bass tones and mesmeric sinister sonic fingerings raising a sinister and invitational ambience.

The flip side consists of Boots and Black Joe, two more songs to ignite the fullest pleasure. The first erupts with rampant rhythms from towering drums and enthused riffs ready to tease and whip the senses into a frenzied state. With vanity over relationships treated to The Felines touch, all songs of the band touching everyday life and elements with a style as simple and honest as the sounds, it continues the sheer contagion for the heart brought by the release.

Final song Black Joe brings a blend of early days The Horrors and The Pleasure Seekers plus again more than a flavour of the previously mentioned Japanese band. It has a melodic kiss which sends tingle down the spine and surging electric bursts to ignite further passions. Vocally it was by this song that the similarity to Fay Fife of The Revillos dawned on the thoughts with the cheeky and fun loving side of both bands also more than evident.

Daddy Walk is a brilliant introduction to a wonderful band and with their unique take on all eras of garage rock and punk we will be hearing and seeing a lot more of The Felines, thankfully.

https://www.facebook.com/thefelines

RingMaster 29/07/2012

Copyright RingMaster: MyFreeCopyright

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