Tommy And The Commies – Here Come

Entangling the addictive hooks of Buzzcocks, the pop contagion of The Undertones, and the punk irreverence of The Cortinas with the early mod punk instincts of The Jam sounds like one rather tasty aural recipe; a mix which the imagination does not have to merely ponder as it is at the heart of the irresistible sound of Canadian outfit Tommy And The Commies. Their debut release, Here Come, soon proves there is much more of an individual character and flavouring to the band’s sonic holler though, a sound which you just feel would have been as potent back in the late seventies as it will undoubtedly be now.

From Sudbury, Ontario, Tommy And The Commies is the united exploits of Jeff Houle (Strange Attractor), his brother Mitch, and frontman Tommy Commy. Together they create “hooliganistic mod-punk” as nostalgic as it is rigorously fresh and in raucous evidence within the Slovenly Records released Here Come. The album immediately erupts with opener Devices, vocals and guitar colluding in instant temptations as rhythms boisterously roll. Very quickly we found ourselves agreeing with the Howard Devoto spicing to Tommy’s vocals as suggested by the album’s press release, but as within the music individuality soon wins through. The track continues to romp and stomp with punk/power pop infectiousness inciting body and vocal chords from start to finish, success only matched and escalated across the remaining slices of viral boisterousness and tenacity.

The following Straight Jacket shares its own virulent catchiness; from its first breath getting under the skin with excited riffs and melodic enterprise. Slightly more restrained in urgency than its predecessor, the track is still an unbridled bundle of energy and creative uproar bounding along without inhibition before Permanent Fixture springs its Dickies scented revelry. Again riffs and hooks collude in its excitable endeavour as rhythms robustly stir and bite within a full fusion of the familiar and new.

Something akin to 999 meets The Vapors,  Hurtin’ Boys provides another major highlight in nothing but across the album; its jagged stroll swift and a constant incitement on body and spirit before new single Suckin’ In Your 20’s entangles raw seventies power pop with modern day indie dissonance to similarly manipulate hips and throat.

A definite hint of The Ramones teases within the wiry antics of Throwaway Love, the guitar laying a mesh of hooks and melodic niggling which just brought lust to the appetite as rhythms simultaneously worked away on a body just as much badgered and inspired by the infectious clamour of So Happy where a Pixies like hue adds to inescapable temptation.

The release closes up with Reggie Rocks, another irrepressible slice of mod infused pop punk which is all mischief and noisy attitude wrapped in instinctive enterprise and contagion; a track which throughout epitomises the fun and energy of the band let alone their creative animation.

For us the best releases leave you feeling alive and inspired; Here Come does that and more.

Here Come is out now via Slovenly Records; available @ https://slovenly.bandcamp.com/releases

 https://www.facebook.com/TOMMYSCOMMIES/

Pete RingMaster 06/10/2018

Copyright RingMaster: MyFreeCopyright

Pussycat and the Dirty Johnsons – Dirty Rock ‘n’ Roll

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As the band work and finish material to grace a new album, British rockers Pussycat and the Dirty Johnsons have linked up with Dirty Water Records for the long awaited digital release of second album Dirty Rock ‘n’ Roll and quite simply if you missed it first time around and have an instinctive appetite for insatiable bordering salacious punk infested rock ‘n’ roll, than it is a must.

Formerly in a band just called The Johnsons, the Basingstoke hailing trio is fronted by the wild feline wiles of vocalist Puss Johnson with founding guitarist Dirty Jake (Feckle, Lube) and drummer Filfy Antz (The Krewmen) alongside uncaging their own raw and incendiary antics. It is an explosive combination which saw their 2010 debut album Exercise Your Demons earn many plaudits as too over the years a blistering live show seeing the band share stages with the likes of The Jon Spencer Blues Explosion, Thee Oh Sees, The Fuzztones, Mad Sin, The Damned, 999, The Polecats, The Creepshow, The Rezillos, Bow Wow Wow, The Meteors, The Vibrators, Resurex, DragSTER, Trioxin Cherry, and Atomic Suplex.  Three years later, Dirty Rock ‘n’ Roll was the cause of even greater eager attention and acclaim upon Pussycat and the Dirty Johnsons; a spotlight sure to be regenerated by its digital uncaging ahead of as mentioned a new album.

Featuring eleven tracks spun from attitude loaded threads of everything from punk, garage rock, glam, psychobilly, garage punk and any other form of rock ‘n’ roll you wish to offer, Dirty Rock ‘n’ Roll is an explosive riot for senses and body alike. Produced by Alex McGowan and featuring guest double-bassist Phil Bloomberg of The Polecats on a couple of tracks, the album instantly prowls the listener as opener Burying The Bodies settles in to place, once set continuing to stalk but with an infectious swagger led by the biting beats of Antz. Straight away there is an obvious devilment in the band’s sound and the lusty roar shared by Pussycat, her presence and delivery a snarling seducing. With big hooks and winding grooves, the slab of predacious rock ‘n’ roll is an irresistible start to a release proving to be unrelenting in its fiery creative and aggressive incitement.

Hell Bent is swift agreement, its whining grooves courting flying rhythms and Pussycat’s plaintive cries, all united in another tenacious track which eyes you up with distrust yet reveals the most compelling enterprise amidst mouth-watering unpredictability before Livin’ With Mum And Dad sees the band move from raw rock ‘n’ roll into a more seventies flavoured encounter as much glam rock and power pop as it is old school punk. For personal tastes, it lacks the bite and spark of those around it but with its Pistols-esque hook and caustic catchiness there is no escaping being sucked in.

front-cover_RingMasterReviewPsychobilly flavours the magnificent stomp of Get Outta My Face next, Bloomberg bringing his masterful slaps to the Batmobile meets Imelda May scented stroll with Pussycat like a punk Wanda Jackson. Fiery guitar and senses badgering beats bolster the seriously rousing proposal as the song shows another aspect to the album and the Pussycat and the Dirty Johnsons sound.

The scuzzy blues punk of She Don’t attacks and excites next, its corrosive character and sound as virulently infectious as anything upon the album while Mirtazapine uses similar strains of flavouring for its own individual trespass. With a touch of post punks Bone Orchard to its untamed garage punk challenge, the track is a superb mix of rapacious restraint and unbridled furor taking ears and imagination into the darkest shadows of the fiercest volcano.

There is no let-up of the enjoyably exhausting confrontations as Why Do You Hate Me? sears the senses with its punk rock lava around a rhythmic tempest while Dirty Li’l Dog, with the magnetic craft of the Polecat returning, leaps around with uninhibited rhythmic rioting as blues guitars embrace numerous other spices around the carnival barker leadership of Pussycat.

The final trio of songs just epitomise the variety and devilish imagination in the band’s songs; Sort Yourself Out a fuzzy blend of growling punk and toxic blues within The Pirates like rock ‘n roll and Souvenir simply one glorious invasion of garage punk with a scent of The Cramps, Animal Alpha, and In Evil Hour in its unique best track earning triumph.

Closed out by the adrenaline fuelled and feeding Hideous, a final belligerent detonation of rabble-rousing incitement, the outstanding Dirty Rock ‘n’ Roll is its title and so much more. It might not be a new release but it deserves this new exposure and Pussycat and the Dirty Johnsons the fresh attention ahead of what can only be anticipated as another uncompromising uproar.

Dirty Rock ‘n’ Roll is available digitally through Dirty Water Records @ http://www.dirtywaterrecords.co.uk/shop/#!/Pussycat-and-the-Dirty-Johnsons-Dirty-Rock-n-Roll/p/75045471/category=2793895 with physical options @ http://thedirtyjohnsons.com/shop/4564430166

http://thedirtyjohnsons.com   https://www.facebook.com/thedirtyjohnsons/   https://twitter.com/Dirty_Johnsons

Pete RingMaster 14/12/2016

Copyright RingMaster: MyFreeCopyright

The DeRellas – Freakshow

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Kicking off their own album Rockaway Records in rousing style, UK punk ‘n’ rollers The DeRellas release new mini-album Freakshow. It is an insatiable six track roar of the band’s familiar glam infested sleaze punk rock ‘n’ roll but equally their most instinctive punk rock centred trespass upon the senses. The result an incitement which just fires up the instincts to be bad whilst treating ears to their most irresistible proposal yet.

Freakshow is also the first offering from the London hailing quartet without vocalist Robbie, one of the band’s founders along with bassist Timmy DeRella. Stepping forward to fill the spot as if he has always been there is Stevie D, the band’s line-up completed by lead guitarist Luca DeRella and also new drummer Bish, once of Flesh for Lulu. It is a foursome which goes straight for the jugular with the Pat Collier produced Freakshow; from its first breath tearing up its surroundings like Johnny Thunders meets The Boys infested with the raw power pop of The Quakes.

Rip It Up descends on the senses first, from its first rap of drums and spicy grooves winding around ears with a salacious attitude backed by tangy grooves and predacious rhythms. Stevie’s vocals are just as cantankerous as the sounds around him, carrying a great irritable edge potently backed by Timmy and Luca as a strong catchiness invades song and ears. Carrying a touch of The Damned to its darker riffs and rhythmic imposing, the song without ripping up trees is a strong and enjoyable start to Freakshow which blossoms into a greater beast hereon in.

Strung Out Sin City grumbles and rumbles upon an already keen appetite straight away next. A nagging potency lines its riffs whilst rhythmically the track is enjoyably heavier and darker than its predecessor, it all combining with a lively imagination which sees the song quickly eclipsing the opener. It too has a chorus which demands involvement whilst Stevie’s rhythmic guitar prowess is a great echo of the sonic enterprise cast by Luca. There is plenty about The DeRellas sound which is familiar but as here rarely to the detriment of creating its own character and persuasive individuality.

cover_RingMasterReviewHinted at in the last song, a great 999 flavouring invades next up Soho Hotel, an essence which accentuates the virulence of the song and its fiercely catchy demeanour led by the swinging bass groove of Timmy and Stevie’s rousing delivery. Bish’s beats equally make a lively impact throughout as sonic flames escape the strings of Luca. The song is another step up in power and adventure within Freakshow more than matched by the album’s outstanding title track. Taking best track honours, it is a bad boy encounter; defiant in heart and aggressive in bearing stirring up all the punk rock/rock ‘n’ roll instincts within itself and the listener.

Dress Up, Mess Up is another pushing thoughts towards 999 comparisons without losing its own DeRellas identity; the song a boisterous stomp of hungry riffs and bitchy rhythms as vocals and melodic toxicity inflame an eagerness to get involved. Again you could say surprises are low yet everything about the song and indeed Freakshow is fresh and all persuasive.

The release closes with a captivating version of the Adam and The Ants track Plastic Surgery, The DeRellas giving it a rawer Sex Pistols/The Adicts edge which just hits the spot dead centre.

Freakshow is The DeRellas at their most punk yet and no coincidence that the album outshines their previous and thoroughly enjoyable reputation marking encounters. It is also a great start to their new label which we would suggest in providing more of the same will be hitting, like the band, far loftier heights.

Freakshow is out now through Rockaway Records digitally and on CD and 10” green vinyl @ http://thederellas.bigcartel.com/

Up Coming Live Dates:

Friday 11 November – Birmingham, Hare & Hounds (with The Black Bombers and The Primevals)

Thursday 17 November – Bristol, Thunderbolt (with The Setbacks)

Saturday 19 November – Reading, Rising Sun Arts Centre (with Rage DC and The Go Go Cult)

Sunday 27 November – London, The 100 Club (with The Crunch)

Sunday 11 December – Edinburgh, Bannermans (with Buzzbomb + more TBC)

http://derellas.com/   https://www.facebook.com/TheDeRellas/   https://twitter.com/thederellas

Pete RingMaster 03/11/2016

Copyright RingMaster: MyFreeCopyright

The Kingcrows – Funland

 

Kingcrows_RingMaster Review

For all the exceptional punk releases and bands igniting the rock scene over recent years, there is no still no substitute yet for the special tingle which only lifts its head with a ‘77 found roar. As we all know, it is a never diminishing inspirational period for punk rock and the never ending torrent of bands spawning their own identity with its antagonistic hues. Some breed a sound which is as close a cousin as you could wish for, amongst them The Kingcrows who are simply a rousing bridge between the late seventies and modern punk ‘n’ roll. Their previous releases have already made that declaration but new album Funland sets it in stone, the UK quartet involving the listener in something energetically aggressive, attitude driven, and most of all undiluted sleaze wrapped fun.

Hailing from Leeds, the quartet of vocalist Phil E Stine, guitarist Lee J., bassist Rocco, and drummer Ratbag have been a bruising and thrilling live presence across the north of England moving outwards. Emerging in 2005, The Kingcrows has torn up stages with their filthy rock ‘n’ roll ever since, playing alongside the likes of Spear Of Destiny, UK Subs, The Rezillos, TV Smith, Anti Nowhere League, Tokyo Dragons, Vice Squad, The Lurkers, 999, The Vibrators, Red Alert, The Outcasts, Peter & The Test Tube Babies and many more legendary and emerging bands over the years. They have also released a clutch of attention grabbing EPs, which made an even bigger impression when collected together and released in the shape of Corvus Maximus through STP Records in 2013. The album awoke a broader focus and awareness of the band’s unfussy and virulent sound, which Funland should now push into new spotlights and recognition.

The album erupts with Here We Go, the first riot initially blooming from a fairground organ and its warm invitation. Soon rhythms rumble with attitude and riffs stir up the air as the opener’s eager rock ‘n’ roll seizes ears and attention. The song is quickly into its virulent and persistent stride, cruising with jabbing beats spearing grouchy guitar and bass tenacity. The track is like a mix of Spunk Volcano and The Eruptions and The Adicts, similarity and nostalgia colluding with fresh attitude and revelry.

cover_RingMaster Review     A potent start to the album is further ignited by the following She’s My Rock ‘N’ Roll and its thrilling tempting. An alluring rhythmic enticing sparks a rockabilly bred grooving flirted with by spicy harmonica, they in turn kick-starting a heavy anthemic canter of contagious rhythms and incendiary sonic enterprise led by the ever magnetic tones of Stine. The track is glorious, punk rock at its tenacious and riotous best, and again as old school as it is imposingly new. The album’s first major pinnacle is backed, if not quite matched, by On The Road Again, a swiftly engaging and infectious stomp which has ears, feet, and appetite locked in within a handful of chords and resourceful seconds. There are no big surprises within song and arguably Funland in general, yet they only provide a nonstop and fully satisfying stomp to get eagerly involved in.

A southern whisper lines the lure and rampage of Rock ‘N’ Roll Rebel Songs, the track aflame with sultry guitar endeavour, inviting group vocals, and the breath and atmosphere of ’77. Lyrically it also sparks memories of times past, it all colluding in one easy going and gripping persuasion, though outshone by Forgotten Son straight after. Its opening riff comes with dark intent and imagination igniting attitude, its bait continuing to enthral as the song grows and breeds new sonic colour and lyrical drama around it. There is a touch of Angelic Upstarts to the encounter though that is but one flavour within the emotive shadows and provocative narrative on offer.

The album’s title track kicks up a storm of attitude and insatiable rock ‘n’ roll next, the track forcibly prowling with essences of bands like Suburban Studs and Crisis in its armoury before making way for the irresistible presence of Kick ‘Em Down. The album is truly at its loftiest height at this point, the tasty provocateur, and its predecessor, unleashing welcomingly bullying and virulently infectious rock ‘n’ roll with the second also unveiling another tonic of harmonica belligerence, before the brilliant Apocalypso steals the whole show. Opening on a delicious throaty bass riff with tendrils of guitar adding their spice before the drums create a brooding and catchy confrontation, the track evolves into one seriously magnetic shuffle. The beats of Ratbag continue to incite song and ears with their anthemic swings, whilst around them voice, riffs, and contagion ebb and flow like virulent waves soaked in inescapable temptation.

Never Gonna Fall continues the album’s elevated and invigorating energy and enjoyment with ease, its thumping presence and gait luring many strains of rock into one bulging incitement whilst Sick Of Love Songs creates its own individual fusion of old school punk and new rock ‘n’ roll. The bass of Rocco breeds a bestial snarl to its tone whilst Lee J. once again leaves sonic vapours from his searing and ever to the point exploits. Led by the beckoning delivery of Stine, the track is another hitting the sweet spot whilst proving to be another proposition you only wish its two or so minutes was stretches longer.

Funland ends with Beer and Whiskey, arguably the weakest song on the album. In context though, with it holding ears and pleasure firmly in its rip-roaring escapade, it simply reinforces the might of the tracks which over shadow it. It is indeed a fine end to an excellent slab of rock ‘n’ roll, Funland rigorously feeding appetites for seventies punk and today’s punk ‘n’ roll from start to finish.

2015 has already been blessed with some mighty punk offerings which The Kingcrows now rival if not surpass with their new proposal, but few of those others will become as big a favourite as Funland is destined to be we suggest.

Funland will be released through STP Records at Rebellion on August 6th and then available @ http://www.stprecords.co.uk/page4.htm

http://www.kingcrows.com/     https://www.facebook.com/kingcrows

RingMaster 31/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Ste McCabe – Brains of Britain

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Punk rock for body, imagination, and the passions to relish and parade their wanton sides, the vivacious sound of singer-songwriter Ste McCabe has been a constant source of acerbic lyrical prowess and salacious musical enterprise since his emergence. His virulently contagious and biting political pop songs have provoked and thrilled across three absorbing and acclaimed albums, and his unrelenting hunger to gig, but with his new full- length Brains of Britain, McCabe has brewed up a new pinnacle in his creatively mischievous and lyrically striking assault on thoughts and emotions. It is a glorious stomp of punk, art-pop, and electronic devilry, an incitement which never gives the senses and imagination time to lay dormant.

With the vocal magnetism and melodic flair of Pete Shelley, the inventive agitation and social snarl of Mark E Smith, and the infection spewing invention of Pete Wylie, McCabe brews up a presence and sound which is individual yet carries a familiarity to gloriously feast upon. There is an inescapable charm and raw honesty to his confrontations, an almost anthemic call which finds even greater irresistibility and strength within the Maneki-Neko Music released Brains of Britain.

It is fair to say as that as soon as the big bulging electro pulse of opener Fool hits ears a lustful twinge shot through thoughts and emotions, its resonating call pungent bait reminding of Blancmange. It is a forceful and vibrant lure which is lifted further by the distinctive tones of McCabe, his expressive toning as always an easy liking to the Buzzcocks frontman. The initial electro beats soon break into a thumping stride beneath the vocals whilst synths spread a melodic breath and glaze over the brewing abrasion of punk guitars, it all creating an irresistible blaze of electro punk loaded with lyrical causticity.

The thrilling start is continued by Cockroach, a darkly shadowed, post punk spiced slab of provocative expression which features Billy Bragg who superbly alternates his equally distinctive presence and lyrical antagonism with that of McCabe. It is a song which crawls over senses and psyche, bass a lingering toxicity upon which light but scarring riffs and the outstanding vocal mix flourish. There is no avoiding the fallout of the exceptional song, its heavy radiance and gripping drama a lingering spark in thoughts and passions from the very first infestation.

Mantos ’99 moves in next with dark electro flirtation aligned to slight but potent scythes of guitar. It is another song with a minimally dressed landscape and intensive attraction, though it just misses the heights of its predecessors, even a2655639157_2with the increasing confrontation of its manner and energy. Again a post punk tempting ingrains the electronic wind of the song for a fulfilling helping of sonic bewitching around vocal devilry but it is soon left in the shadows of The Family Values Song. Imagine Swell Maps in league with Buzzcocks for a far too brief and exhausting but most of all scintillating blast, and you get sense of this riotous treat.

The pair of Chinless Wonders and Don’t We Have Nice Hair spark ears and imagination on new thrilling escapades next, the first a flight across an exotic climate of synth melodies and an evocative narrative painted by vocal variation, both aspects around a spine of heavy pulsation. Glistening before and creeping over the senses it is a magnetic prowl and seduction setting up an already greedy appetite for the second of the two. The track is a punk growl coated in a post punk chill of melodic melancholia. Barely two minutes long but flying by within a blink of the eye, the track croons and infects like a delicious mix of Television Personalities and Magazine with an OMD emotional discharge.

The spiky I’ll Do It sets up its contagion next, again a short burst of electro punk irreverence immediately irresistible to feet and emotions but no more so than the gripping PiL like sonic tempest of Go Polski Boy! Thrusting that caustic sonic radiance into a voracious electro and ravenous trance bred stomping, the track flexes and pulsates with creative gluttony and glorious insatiability. It sets another plateau for the album but itself is surpassed by the brilliant Them There Different People, the most potent art punk song you could wish to be seduced by. With a more than passing whisper of The Vibrators to it and the rawer agitation of 999, the track stomps and swaggers with an almost primal persuasion, leaving ears through to the heart enslaved.

The album finishes with the equally epidemic temptation of What Are You Worth, a track which has control of body and soul from its first predatory bass hook and electro niggling. Also expelling a moment of corrosive energy and sonic causticity, the song is a repetitive and merciless baiting which leaves the release on a high and fingers eager to press start and set in motion the whole thrilling adventure again.

Brains of Britain is easily one of our favourite albums of 2014 but also one of its best. Venomous and naughty, challenging and irrepressibly addictive, Ste McCabe has cast punk alchemy in its most creative and inspirational form. If there is one album you get before the year closes its eyes, it is easy to recommend that it is this one.

Brains of Britain is available from October 20th via Maneki-Neko Music @ http://www.amazon.co.uk/Brains-Britain-Ste-McCabe/dp/B00MU9374A or http://stemccabe.bandcamp.com/album/brains-of-britain

http://www.ste-mccabe.co.uk/

RingMaster 13/10/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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The Sticky Boys – Make Art

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An album which is as much punk as it is hard and heavy rock, Make Art is an unexpected pleasure which is simply what all great albums should be, out and out rock ‘n’ roll. The new slab of dirt encrusted sleaze kissed revelry from French trio The Sticky Boys, is certainly not making a major statement of originality but for riotous fun aligned to bruising voracious sounds it is hard to think of many better mischievously enjoyable heavy rock rampages this year.

Rampaging out of Paris in 2008, the trio of guitarist/vocalist Alex Kourelis, bassist/vocalist J.B Chesnot, and drummer Tom Bullot drew attention with their early demo Rock’n’Roll Nation two years later but more so with debut album This Is Rock’n’Roll in 2012. The album was an easy on the ear arguably unsurprising but thoroughly satisfying rock ‘n’ roll. Make Art can in many ways be described by the same line but with its stronger fresh adventure and that punk seeded ferocity to an undemanding presence, the Listenable Records released album is a new and attention grabbing offering from The Sticky Boys.

Opening track Mary Christmas swiftly ingrains flavoursome riffs upon ears before unleashing a feisty tide of thick guitar and bass enterprise punctuated by the jabbing beats of Bullot. If like us you have an aversion to seasonal songs never fear as the lyrics soon steer towards the salacious side of festivities whilst hooks and rhythms bring an intoxicating spirit. Like Turbonegro meets Skid Row, surprises are few and pleasure high as the track strolls proudly towards the following Bad Reputation. Here a Motorhead influence is open as grimy riffs entwine with predacious hooks and rhythmic confrontation. There is also a breath of Offspring to the track, the punk bait making its most vocal suasion yet around the subsequent melodic flames of Kourelis which scorch and treat ears simultaneously.

A great throaty bassline opens up the AC/DC spiced High Power Thunder and continues to spine the stroll of heavy metal draped in guitar cast melodic flame. It is a strong if unspectacular track, keeping attention and appetite keen 10501716_10152593575618919_2268711738949228514_nbefore making way for the similarly toned classic rock coloured Mrs Psycho and subsequently Uncle Rock, a quickly pleasing anthemic stomp primed with a classic hard rock swagger and belligerent rhythmic attitude. Again neither song sparks a fire in the belly but leaves the body drenched in sweat and emotions well satisfied.

There is no need to reveal the theme of Party Time, its title the perfect summing up of the addictive energetic mosh and rhythmic contagion. It the previous track was anthemic this is a brawling call to arms for the devil’s mischief and rock ‘n’ roll at its primal best , a triumph swiftly matched by The Ramones spiced The Future Is In Your Hands. Equally there is an essence of The Clash to the album’s best song, both flavours adding to the captivating hard rock cored encounter.

Love On The Line explores the same classic rock/punk scenery as found in Bad Reputation to similar success as Make Art continues on its most potent stretch to date, its sonic intrigue and craft a compelling texture to probably the most intensity soaked song on the album. That high level is reinforced by the excellent agitated confrontation of The Game Is Over. Persistent scythes of rabid riffs and uncompromising beats gnaw and flirt with the senses whilst the bass sculpts another dark temptation as Kourelis explores a seemingly Lemmy inspired delivery. It is a thrilling proposition which makes its own claim for best track accolades.

Make Art concludes with the more than decent pair of Juicy Lucy and its title track, each providing a strong and in the case of the closer a thrilling finale to the release. The first of the two is an all-out heavy rock charge and the last a punk infused rocker which opens with Boomtown Rats like keys and proceeds to twist and flirt through pop punk hooks, sonic causticity, and aggressive vocals, all within a melody strewn hard rock climate. It is a real grower and to be honest over time manages to make the strongest persuasion with its adventurous and imaginative invention; think 999 meets Mötley Crüe.

Not carrying major surprises but loaded outright creative revelry and undiluted fun, Make Art offers the kind of devilry it is hard to get enough of. Every rock ‘n’ roll party, riot, and rampage needs a heart to drive it and they do not come much more enthusiastic and enjoyable than this from The Sticky Boys.

Make Art is available now via Listenable Records @ https://itunes.apple.com/ee/album/make-art/id904560291

http://www.stickyboys.eu/

RingMaster 30/09/2014

Copyright RingMaster: MyFreeCopyright

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Swampstomper – Dirty Black Boots

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The beginnings of Swampstomper according to the bio came about as vocalist and guitarist Paul ‘Wildheart’ Brightmann submitted and had his song Subtract and Divide placed last October on the excellent compilation album ME4, a release made up of the best artists bursting out from the Medway area of the UK. Building on that with the intent of taking his songs live, he next recruited guitarist Jason Spencer and bassist Kevin Hutchins to be followed by drummer Drew Gilby. The next six weeks brought the same number of songs in tow and the band immediately grabbing attention as they unleashed their unique rock and punk fusion to a rapidly growing fan base, from which point they have not looked back. Dirty Black Boots is their latest song, a demo track which alone makes all the persuasion needed to keep the band on tight radar.

The Chatham quartet also bring a strong whisper of psychobilly and garage punk to their almost intimidating sound, its menacing breath and hunger inescapable within the uncomplicated yet defined individuality. Dirty Black Boots is the perfect introduction to their shadowed invention, a song seeded in old school UK punk but with The Cramps like rawness which leaves thoughts and emotions on full and eager alert.

Footsteps lead the ear into the song, their tone or appeal nothing out of the ordinary but a temptation too strong to resist. Their lure lands the ear in the arms of thumping beats and coarse riffs, their embrace familiar yet new and seeded in a flavour you could imagine from a band such as Vibrators or 999. It is with the delicious irresistible hooked bass stroll of Hutchins though that the song truly comes alight, the guitars raising their presence to join in league with its dark voice and also that of Brightmann’s dark, gruff compelling style, the elevated intent shaping the track into an even more addictive beast. Now into its stride, the song is a blaze of wanton temptation and irrepressible hooks, as well as offering a groove through the verses which winds the passions around its feisty spine.

A song impossible to resist the infection of and very easy to add your own personal vocal assistance to, Dirty Black Boots leaves only one option in its tow, well two, firstly to play it again…and again, and secondly to place Swampstomper in full line of vision from here on in. Great song from a band who you can only suspect will have the fullest and brightest horizon.

http://www.swampstomper.co.uk

https://www.facebook.com/SwampStomping

8.5/10

RingMaster 08/05/2013

 

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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