Death & The Penguin – Anomie

Four years ago contemplating and feasting on their introduction via the Accidents Happen EP, we readily declared it “one of the most exciting entrances in a long time”, further intimating that “Death and the Penguin is the next big and important thing within British rock music.”  Even with the release of the Eine Kleine Granatenmusik EP two years later that emergence turning into national attention has seemingly stalled. You can sense though a busy band they are not ones to rush things or just release something unless it is exactly at its prime. That is why their highly anticipated debut album, Anomie has brought intrigue and fears. Extended time can diminish the potency of even the finest things but certainly not in the case of the imagination and sound of the UK outfit.

Described as “off-kilter alternative rock from London”, Death & The Penguin has a sound which teases but never accepts real tagging. At times it is avant-garde in its nature, in others experimental alternative/indie rock akin to a blend of Young Knives and Baddies. In other moments it blazes with an At The Drive In like dissonance yet as proven across the twelve compelling tracks of Anomie it is only unique to the quartet of Tobias Smith (vocals/guitar), Andy Acred (bass/vocals/keys/electronics), Chris Olsen (guitar/vocals/keys), and Phil Gadsden (drums).

The fascinating radiance of Hospital Song opens things up the song a wistful embrace of melancholy and haunting beauty shared by keys and voice within a more inharmonious breeze. It is a startling start to the release, bold and brave but undoubtedly magnetic as it leads to the waiting hands of The Calving Shuffle. Simply sensational, the track has ears and appetite on board immediately with its rhythmic shuffle, guitars weaving their suggestive threads in turn as the darker pulse of the bass groans while its political scything gives extra edge to vocals and its tone, as too more post punk hued sonic scrapes and the gang arousals.

A major highlight of the album, it is quickly rivalled by the angular twists of Kill Saatchi where warm melodies and enticing harmonies wrap its more untamed dynamics. Addressing the insidiousness of adverts and subservience to them, the track firmly nudges the imagination as it coaxes the body with its mercurial presence before Space 1998 has both rocking. One of two tracks taken from that first EP, and it has to be said both thoroughly welcomed and deserving of their place with the new offerings, the song is a spatial serenade with flirtation in its melodic web and tenacious energy in its spiral of craft and enterprise. Having a vocal hook-line which is just irresistible only adds to its majesty.

Colour In Me is next, its initial shimmer punctured by the rhythmic dexterity of Gadsden is coaxing of the richest order and soon backed by just as magnetic tendrils of guitar and Smith’s always gripping vocals. For all its virulent contagiousness volatility simmers in its depths, rising up with restraint from time to time to bring a great contrasting grittiness to the track while Misha Lives presents its magnetism through a slow but catchy stroll amidst electronic teasing and atmospheric drama. The song is a collage of flavours but all merged without clear definition into its post rock/electro/pop croon.

The folk gentleness of Driftwood (God Loves a Bird of Prey) has thoughts slipping away on its evocatively elegant breath, an acoustic flight brought back to earth by the ever addictive roar of Strange Times. The second from Accidents Happen, the song just grips from its first rapacious moment. With post hardcore hinting discord erupting across its melodic cacophony and those previously mentioned Young Knives essences colouring its character, the track continues to be manna to our ears.

Just as potent though is the truly manipulative Abyssinia. Rhythmically and harmonically it lured subservience to its suggestive heart and prowess within moments, tightening its persuasive hold by the second and each creative turn as at its core a wonderfully dark nagging bassline drives and stirs all of the adventure.

The final trio of tracks ensure the lofty heights of the album never the dip, the first of the trio, Leatherface, setting a peak of its own as sonic threat and rhythmic predation colludes with instinctive catchiness and lyrical trespass of emotive scars. Being suggested as a future single, the track is glorious epitomising the individual alchemy of the band’s songwriting, imagination, and adventurous sound.

Was It Kindness? takes on the challenge of following such a gem with its own untethered imagination where keys and voice tempt and taunt throughout as an inner crescendo bubbles up and eases, eventually bursting into a relatively calm pasture of enterprise and not the rousing romp expected; a deceit which works a treat leaving the evocative ballad of Bones to enjoyably conclude one thrilling release.

In some ways such the excellence of Accidents Happen, the quality and adventure within Anomie is not a surprise but everything about the album is bigger, bolder, and so much more irresistibly unpredictable…Another of the year’s truly essential explorations for us.

Anomie is out now and available @ https://datpmusic.bandcamp.com/

 

http://www.datpmusic.com/    https://www.facebook.com/datpmusic/    https://twitter.com/datpmusic

Pete RingMaster 15/08/2018

Copyright RingMaster: MyFreeCopyright

Incendiary beginnings: introducing Blast Bomb

This past December saw the release of the debut single from German rockers Blast Bomb, a band with friend of The RingMaster Review and owner of the great independent label Undead Artists, Johnny Rose as its vocalist. The whole of the band though has a pedigree which matches their passion and craft, all in potent evidence within Born To Lose. With thanks to the whole band we grabbed the chance to find out more about Blast Bomb and their first single…

 

Hello guys and big thanks for taking time to chat with us.

Kein Problem, Danke fur dein helfen!

Can you first introduce the band?

Johnny: Singer

Torben: Guitar

Klaus: Guitar

Kai: Bass

Tobi: Drums

When did the band come together and what are your individual musical histories before Blast Bomb?

Torben – The Band comes together in the beginning of 2017 (January). I make music together with Tobi since school. Must be since 1995 or something like that, a long time. Klaus always says we know each other so well if someone does a fart the other reacts from the music view. Our first real band was High Gain District. A few years ago I played together with Klaus at Skull Harvest, so there comes the connection.

Kai: Skull Harvest 1999 – 2005 / Spezialangriff 2010 – 2012 / This One Goes To Eleven 2006 – 2016

Johnny – Torben and Tobi played together in bands for many years! Torben and Klaus played together in bands for many years….. Kai, Torben and Klaus played in bands together for many years…. are you sensing a pattern????

We already know Johnny from his exploits with Thirteen Shots and his label Undead Artists, how did you Johnny meet the rest of the band and what sparked your addition to its line-up?

Torben – the band posted an advertisement on a local band platform that they are searching a singer. At the same time Johnny makes a post that he searches for a band. So he receives the handy recordings from the last practice and in the next weeks some rehearsals was arranged. The rest is history…

Johnny – The guys have all been friends and playing music together for many years, ok in different bands but that chemistry was very obvious for me from hearing the live demo’s, so I was delighted when I got the chance to audition…..

Was there a deliberate direction you wanted to take Blast Bomb or has that and your sound just organically come together?

Torben – The sound comes automatically together from the single members. So we formed our own sound, every member of the band has his influences. Tobi has a Jazz and Alternative background, Kai has a stoner source, Klaus comes from Metal, Torben is more Rock orientated and Johnny …

Johnny – My music taste is superb! Who doesn’t love Chris De Burgh???

Torben – But all members are very open to ALL kinds of music, they have the same opinion about music … If it is good, it is good!!!

How would you describe the band’s sound to newcomers?

Torben – The band sound is something between Punk Rock, Rock, Metal, Stoner and Alternative… The term Crossover is a bit dusted but could maybe fit in another context than in the 90’s.

Johnny – I think the sound is more Punk ‘N’ Roll, we are certainly a crossover but we have this raw energy that runs through every song…..that to me is Punk ‘N’ Roll. But we need you guys to help us?? Who are we? What are we? haha

Can you give a flavour of some of the inspirations which may have made an impact on the band but certainly on your personal tastes and approach to making music?

Johnny -Well for me The Beatles, Black Sabbath and Pink Floyd are my biggest influences! But the older Crossover punk bands are the reason I make the music I do…Misfits, Amen, Snot, Turbonegro. I am fascinated by concept bands too, something I would love day love to try, I like the attention to detail in the concepts.

Torben- Guns N Roses (Appetite For Destruction and Lies, when the Illusions came out I throw everything in the garbage), Pantera , Rage against the Machine, Suicidal Tendencies, Faith No More, Mr Bungle, Red Hot Chilli Peppers.

Klaus- My First contact with Rock was Led Zeppelin and Black Sabbath; I found the records from my stepfather. But later I found love for grunge Alice In Chains, Pearl Jam, Soundgarden… I am also a big fan of Elvis, Little Richard and Jerry Lee Lewis

Torben – Klaus ALSO LOVES Judas Priest and Iron Maiden…

Kai – Don’t forget Adriano Celentano Klaus

Klaus-oh and Jimi Hendrix….

Kai- For me its 80s Metal and Bay-Area Thrash to Stoner bands and the explosive Scandinavian Rock scene in the 90s; there’s too many to mention…

Tobi -NO MEANS NO, Primus, NO MEANS NO and of course NO MEANS NO

You have just released your debut single, Born To Lose; a three track feral punk ‘n’ roll attack showing creative irritability, ferocity, and attitude. It also reveals the variety of flavours in your sound. Is the single a full echo of your music or a teaser to an even broader tapestry?

Torben – It’s more a teaser, the band just in the forming process of their own style. The band creates a dozen songs since January; all have the same direction but are very different. The direction is forward …

Johnny – Absolutely, we are still finding our direction, The songs we are writing have so much power and purpose.  Born To Lose felt like the correct single to record as it was the first song I heard and realised I wanted to join this band; I actually wrote the lyrics on the train to my audition, not much has changed from my original lyric idea!

We all work together to encourage us to achieve our best.  Wait till you hear the full length

Can you give us a look into its themes?

Torben – Just wait for the Long Player… Till then we fix our sound…

Johnny – We keep working, Writing, Fine tuning, maybe we won’t rush the full length, better to focus on quality. We only want to put out the best, we are not kids anymore!

I assume you have a host of other songs in your arsenal. What was it about that trio which you felt made the best introduction to the band to the world?

Torben – We thought that it was a good idea to give a wide selection of our sound and don’t pick the most equal sounds.

Johnny – Yes we always knew that Maiden Hero and Born To Lose [would be on it] but we was unsure on the third option, we had another song in mind, But we played a show two days before we recorded and the feedback from friends and people at the gig made us re-think the third option…. that’s why we chose You’re Going Down… it was chosen kinda by fans.

The single is released through Italian label Archetype Records; how did that link up come about?

Torben – It just a friendship, so we help them and they help us. So it was a good opportunity for all of us.

Johnny – Yes these guys are trying to build something unique, we are trying the same, felt like a good agreement

On the live side of the band, you have already been successful supports to the likes of Honeymoon Disease, Conan, and Monolord, earning plaudits at the same time. When starting out did you suspect your sound would make a potent fit with bands and audiences of different genres?

Torben – No not really but we hope regarding our different sources and it seems that the idea works out well.

Johnny – To be honest I was incredibly nervous playing the show with Conan and Monolord. We are in NO WAY doomy but the crowd was more open than I expected, we got a really positive reception. We didn’t change our approach for the show so to see these doom fans getting down to some punk rock was quite amusing for me….

From the outside, The Hamburg music scene seems to be boiling up, how is it on the inside?

Torben – Curse and blessing at the same time. In Hamburg the scene is really big, so you can catch up a lot of influences. Furthermore you have the option to see a lot of bands, local and international, in the small and big clubs.

But regarding that it is hard to get a good gig and bring the people to the concerts. In Hamburg you can go to minimum 5 concerts every day. So it’s hard to get notified by the people but that makes us proud that we get that attention only after the first shows.

Johnny – Yes we just played our first headline show and the venue was pretty much sold out, it was certainly cosy. The Conan and Monolord show was just outside Hamburg, a Tuesday night and SOLD OUT… that to me was crazy.

I lose a lot of money a month in going to gigs, Some fantastic local bands too, in so many different styles.

What is next for Blast Bomb?

Torben – To rule the world 😉 …We are planning our first Italian tour, during the summer we want to play a few festivals and still searching for a good support slot. Furthermore we are looking to Johnny’s homeland to get a few shows there.

During the next year we want to do some more recordings, we think about a few small releases, nowadays we have no need to bring out a whole record… We bomb the world with a lot of, lot of small releases.

Johnny – haha Blast Bomb the world…..it will be explosive

Again many thanks for sharing your time; any last words you would like to add?

Torben – Better be aware the next bomb could be next to you …

Check out our review of Born To Lose @ https://ringmasterreviewintroduces.wordpress.com/2017/12/02/blast-bomb-born-to-lose/

https://www.facebook.com/pg/blastbombhamburg    https://blastbomb.bandcamp.com/releases

Pete RingMaster

The RingMaster Review 10/01/2017

Copyright RingMaster: MyFreeCopyright

The Emergency Please – Remember You

Having recently chatted to The Emergency Please founder and vocalist/guitarist Karan Master (ex A Gentleman’s Film) about his band and debut release, it was only right we also leapt into the Remember You EP from the UK outfit. Released a handful of days ago, the four track encounter is a spirited stroll of pop punk and funk infused alternative rock which needs little effort to have the body and imagination swinging.

Inspired by a varied host of artists headed by Jimi Hendrix, John Mayer, and The Smashing Pumpkins, Master has linked up with bassist Michael Hartley and drummer Sam Garnett to complete The Emergency Please line-up though Remember You was recorded with the aid of Sam West (drums) and Adam Porter (bass). Southampton based, the band has a sound which is maybe still in the brewing stages but as their first EP shows, it is already a flavoursome proposition with rich stock for future adventurous recipes.

Remember You opens with its title track, a magnetic affair bursting from an initial guitar jangle with energy and spirit in sound and vocals. Boisterous beats punctuate the melodic web cast by the guitar, the bass more moody but no less keen an ingredient in a song which second by second gets under the skin. A little folk pop, plenty indie rock with a pop punk lining, it captivates from start to finish, alluring ears and hips with equal dexterity.

The following I Can’t Stop is just as energetic and eager to tempt with funk infused hooks and a rhythmic shuffle which just swings along. Speeding up its lures at certain times, it is a great nag on the appetite with more controlled moments providing a tapestry of creative suggestion. Put all together it provides a shuffle which is as bold as it is accomplished, matching the heights of its predecessor to keep the release holding rich attention before Lost casts its calmer, melodically intimate caress on the senses. Melancholic but with heart felt light to its touch, the track provides its own captivation to complement its previous companions.

The EP closes with Clark Kent Syndrome, a song which begins with a mouth-watering temptation of guitar string picking and proceeds to seduce with rhythmic bait led by the pulsating yearning of the bass. With vocals as potent as ever, it continues to dance on the ear though it does not quite live up to its early promise for personal tastes. Nevertheless it is a thickly pleasing end to a release which grows and persuades with increasing prowess, its closing expulsions of vocal angst against the funk woven shuffle of the guitar epitomising its appeal.

Remember You is an introduction which makes you take notice; a strong first step from a band with plenty to discover in their imagination and on the evidence of the EP, plenty of tenacity and craft to bring it to our anticipating ears.

Remember You is available now @ https://theemergencyplease.bandcamp.com/album/remember-you

Read our interview with Karan Master @ https://ringmasterreviewintroduces.wordpress.com/2017/05/10/leaping-to-the-front-exploring-the-emergency-please-with-founder-karan-master/

https://www.facebook.com/theemergencyplease

Pete RingMaster 16/11/2017

Copyright RingMaster: MyFreeCopyright

Smidley – Self Titled

Photo Credit Hayden

Named after his sadly departed “beloved black lab mutt”, Smidley is the new solo project of Foxing vocalist Conor Murphy. It is an adventure which sees the singer move away from the more intense post rock/dark ambient pastures of the St Louis band to explore lighter climates of indie pop infused alternative/psych rock but lyrically continue his ability to immerse the listener in the heart of songs which on his debut self-titled album either wear an almost mischievous grin or share the richest shadows of emotions. The result is a release which personally captivates far more eagerly and memorably than his day job and leaves the imagination basking in the fusion of melancholy and joy.

Talking about the album, Murphy announced its making as “…the greatest time I’ve ever had making, recording or playing music in my life,” going on to say “I tried to eliminate any expectations for this record and focused entirely on having a good time with it.” Listening to the ten tracks making up the album, it is easy to hear that care free emotion and energy, each song seeming to have a smile on its creative face whether romping with ears or sharing their more intensely intimate moments.

Featuring a handful of Murphy’s friends with saxophonist Cameron Boucher from Sorority Noise, Tigers Jaw’s guitarist Ben Walsh, and drummer Eric Slick of Dr Dog and Lithuania fame amongst them, the Joe Reinhart produced and mixed album opens up with the feisty exploits of Hell. Within its first couple of breaths, it is energetically strolling through ears with bold beats and a great bulbous bassline courting a bubbling of steely riffs and hooks; Murphy’s distinct melodic tones casting their warm caresses across it all. The track’s canter seems to grow more tenacious as brass and melodies weave their sultry patterns across the swiftly engaging slice of inescapably infectious pop rock.

The excellent start is continued and escalated by successor No One Likes You; it’s almost teasing web of cheeky hooks and quaint melodies irresistible with their Buzzcocks meets Weezer like character and virulent catchiness. With more creatively shiny things to induce raw lust and a greedy appetite than found in a diamond mine, the song is pure captivation working its flirtation up to the end when Dead Retrievers tries to stake its claim on the imagination. Its success is not slow in coming either, its more stable strums and calm exterior highly persuasive as it leads ears into a more tempestuous yet still composed blaze of multi-flavoured enterprise, Murphy again steering things with his emotive expression and thought catching words.

It’s more surly body and increasingly fiery climate easily hits the spot before the melodic kiss of Nothing’ll warms up ears and enjoyment; voice and guitar a bare reflection subsequently joined by the warm sighs of sax and the heavier, more hearty saunter of bass and beats. The song is a prime example of the melancholy and hope as well as contentment shaping the release, the latter hues more prevalent within the swinging dynamics and virile indie pop of Pink Gallo. Its intoxicating aroma of psych pop and volatile shoegaze is instinctively compelling, increasing its lure as more volatile textures and flavours erupt across its wonderfully mercurial landscape.

The outstanding Fuck This brings a temptation bred in the infectious inspirations of something akin to The Jam inflamed with Murphy’s own personal devouring of numerous strains of rock ‘n’ roll while It Doesn’t Tear Me Up is an acoustic exhalation laying on ears and heart like a fresh morning dew bred from previous harsh impacts but sharing the dawn of new hopes and adventures. Both tracks simply beguile in their differing ways as too Power Word Kill with its contagion of rock pop; harmonies and melodies rivalling hooks and driving rhythms in seduction and manipulation.

The album closes with the twin acoustic led and emotional contemplations of Milkshake and Under The Table, two tracks which smouldered in their persuasion rather than commanded quick and forceful attention but reached the same height of temptation over time. The honesty to both tracks is as gripping as their sounds and invention, providing the release with a powerful and compelling end.

Also featuring the craft of guitarists Jon Heredia, Dominic Angelella, and Joe Reinhart alongside that of bassist Tyler Long, and percussionist Ricardo Lagomisino, the Smidley album is an instant joy which truly just gets bigger and better with every outing.

The Smidley album is out now through Triple Crown Records and available @ https://smidley.bandcamp.com/releases

https://www.facebook.com/smidleymurphy/

Pete RingMaster 03/06/2017

Copyright RingMaster: MyFreeCopyright

Shit The Cow – The one with the devil

STC_RingMasterReview

The one with the devil is the fifth EP from “scrapyard rockers” Shit The Cow but our introduction to the Swedish quartet and boy are we kicking ourselves for that. The six track incitement is a furore of creative theatre and raw energy treating ears and imagination to an often ferocious and always compelling mix of alternative and hard rock with as forceful punk, stoner, and garage rock infusions.  Hindsight shows that it is a mix which has primarily fuelled the band’s previous exciting releases in their various characters of sound but is at a new pinnacle within this latest encounter.

From 2012 EP volume/cow, Stockholm based Shit The Cow has uncaged a sound which infests the imagination but as shown by our recent discovery of them, thanks to the band themselves, maybe not always awareness. Certainly subsequent EPs, Salt of the earth (2013), Rissna (2014), and 67p have drawn plaudits and a host of new fans but it might just be, with deserved luck, that it is The one with the devil which ignites real attention.

Produced by Ron Haven, The one with the devil swiftly grips ears and induces raw hunger with opener Warcow. At a few breaths over a minute in length, the song is a rampaging surge of infectious caustic punk pop; like a lustfully dirty blend of The Dickies and The Super Happy Fun Club, all fuzzy guitar and irresistible hooks driven by thumping rhythms. Vocalist/guitarist Peter Söderberg sits astride the surging drive of the track, his great vocals backed and surrounded by the guitar/bass enterprise of Daniel Kjellberg and Erik Rosenberg, the pair apparently sharing instruments across the EP. Short but ridiculously infectious, the song has ears and psyche enslaved in little time before the EP’s title track lays down its potent bait.

art_RingMasterReviewOne With The Devil has a slightly slower stride to its gait but a more imposing weight and tone as it as good as prowls the senses. A glorious hook within a superhero essence captures the imagination as swiftly as the magnetically firm beats of Robin Lindqvist court the instincts to rock ‘n’ roll. Like Eagles Of Death Metal meets Helldorado yet not, the song is pure rock alchemy, a primal solicitation of the passions snarling away with increasing potency

The following El Chupacabra has a similar template to its character, stalking ears as engaging vocals and imagination entangling grooves collude with nagging riffs and rapacious rhythms. Featuring the backing female vocal charm and beauty of someone apparently called Alex, the song is a tempestuous, almost volcanic fire of raw intensity and melodic seduction which tempts and insists on attention as repetitious beats and niggly riffs core the whole bewitching affair.

There is something familiar about next up The Villain, an essence we have not yet pinned down but only adds to the intrigue and enjoyment of the exciting encounter. Again a wealth of flavours and textures are woven into a song by Shit the Cow, those female vocals alongside Söderberg icing on another irresistible slice of multi-faceted rock ‘n’ roll.

The band whips up another punk infested gen with IGGY next, the track a stomping beast of insistent beats and antagonistic riffs aligned to a bass growl to drool over with band vocals which ignite the spirit and indeed the vocal chords. There is a Jello Biafra air to the song, more Lard than Dead Kennedys maybe but very tasty all the same though ultimately song and sound is little like anyone else’s.

The EP is closed by an alternative version of Warcow; a quite delicious and haunting seducing with Alex on vocals courted by a host of portentous sounds and melancholically enthralling keys. The song is quite wonderful, a stunning end to a riveting and exhilarating first listen, for us, to Shit The Cow, the source of a new musical lust we are sure we will not be alone in having.

The one with the devil is out now across most online stores and @ https://shitthecow.bandcamp.com/album/the-one-with-the-devil

http://www.shitthecow.com/   https://www.facebook.com/pages/Shitthecow/325694852733   https://twitter.com/shit_cow

Pete RingMaster 13/10/2016

Copyright RingMaster: MyFreeCopyright

Bernaccia – Growl Peace Belief

lp-cover_RingMasterReview

Having followed with eagerness the progress of British band Bernaccia since the release of their debut EP in 2014, it has been a source of great enjoyment hearing the evolution in their striking sound. A proposition truly hard to pin down but openly flavoured by essences seeded in the likes of neo-psych rock, desert blues, and Eastern spices, the Newcastle band’s music has blossomed from the low key yet fully magnetic alternative/psych rock tempting of that first outing, the Cinema EP, to the rousingly haunting and spiritually anthemic soundscapes making up first album Growl Peace Belief. The nine track offering simply absorbs the senses, picking up the imagination with equal ease as tribal bred rhythms and melodic suggestiveness unite with harmonic flames and lyrical drama. It is one of those rare releases which comes and along and bewitches with aural alchemy; an album forcibly pushing the band to the fore of the UK rock scene.

Originally a quartet when forming in 2014 and more recently a quintet with the addition of vocalist Ellen Chetcuti’s charmed tones alongside the powerful delivery of vocalist/guitarist Jonny Noble, Bernaccia has increasingly drawn rich attention through a live presence taking in shows with the likes of Royal Blood, Lola Colt, Alabama 3, The Fall, Twisted Wheel, CUD, and Wolf People among many and releases like Cinema, its successor Light//-//Dark later that first year and singles such as Power To The Hills, Awake, and recently Angel. Each has revealed a new blossoming in the sound and imagination of the band, it all now coming to a head in the climactic Growl Peace Belief.

The album opens up with War Cry; a track emerging from an intriguing coastal sounding landscape as the listener is drawn by an exotic guitar melody with inviting tabla inspired beats courting the coaxing. Expanding its embrace with every passing second, an Echo and The Bunnymen feel caressing the imagination, Noble’s voice is the final pull into the shamanic bordering on erotic seducing of the senses. With the darker hues of Kieran Healy’s bass a brooding tone alongside the insistent repetition of Chris Cox’s drums, and the united roar of Noble and Chetcuti an inescapable engagement over their respective psyche entangling enterprise, the track is fiercely irresistible only imposing its persuasive weight further through the creative synth drama cast by Stew Falkous.

bernaccia_promo_photo_RingMasterReviewThe following Spiral is a slimmer proposal in terms of intensity, wrapping ears swiftly with an eighties synth pop welcome with just a touch of Bowie’s Heroes to it. As the synth bubbles and expels riveting mists of electronic enterprise into the air, guitar and bass begin weaving a tapestry of imagination which in turn seems to instigate a growing tempestuousness coming to a towering head as the vocalists expertly combine. Departing with the same masterful charm it started with, the song makes way for an equally thrilling proposal in Awake. Rhythms instantly trap attention with their tenacious dance, Chetcuti joining them with her firmly enticing voice backed by Noble soon after before the song drops into a mystique laden bellow of sound with the latter seizing ears as that shamanic prowess of the band again grips body and spirit. The imagination constantly has a field day with Bernaccia songs, this one like a flight across a cavernous and intimately spiritual soundscape.

Power To The Hills also provides eighties reminding hues, this time King Trigger with their similar rhythmic invention and Nick Cave through the song’s dark rock n’ roll graced theatre of word and tone suggested in thoughts. The track is another which builds dramatic crescendos which boldly ignite the senses, the build of melodic and rhythmic ingenuity leading to them just as rewarding and provocative as the fiery expulsions themselves.

As the ear enslaving captivation of Angel and the poppier shuffle of Vega come and go, band and album simply tighten their grip and further inflame an already discovered appetite for the Bernaccia invention. The first of the pair is arguably the least imposing of the band’s songs but just as virulent in its imagination and infectious psychedelically hued tempting while its successor has all the shadowy beauty and danger found in other songs but with a catchiness which infests the listener as a blues/psych flavouring similar to that conjured by My Baby arrests the imagination.

Every track within Growl Peace Belief is a treat with Murder one of the most thrilling next with its repetitive keys placed melody and volcanic intensity. Graced by another glorious vocal union between Noble and Chetcuti and the individual theatre of sound and suggestiveness crafted by all, the track is superb, it’s nagging quality alone manna for ears before Senorita consumes with its romancing Latin seduction and dramatic rhythms as keys and harmonies virtually swamp the senses.

Concluded by its invasively melodic and drama driven title track, another stunning pinnacle of the album deserving ears more than words to reflect its might, Growl Peace Belief is the realisation of the hard work, thick imagination, and spirited energy Bernaccia has spent and discovered these past two years. It is also the declaration of a band ready to have a big say on the British rock scene ahead.

Growl Peace Belief is out now and available through many online stores and @ https://bernaccia.bandcamp.com/

 

https://www.facebook.com/BernacciaMusic/  https://twitter.com/bernaccia

Pete RingMaster 13/10/2016

 

The Machismo’s – Share One With A Friend

TM's_RingMasterReview

At times listening to Share One With A Friend, the new album from The Machismo’s, it is hard to decide whether it is a kaleidoscope of its author’s talents and imagination or a bedlam of the same. It is one of the most eclectic and unpredictable escapades you could wish to be confronted with and one of the most inescapably enjoyable.

The album consists of fifteen one of a kind slices of creative exploration and mischief, and the first new songs from the band in eighteen years. Its sound ranges from indie and alternative to punk and noise rock with experimentation at every turn. The band itself probably described their music and release best via their Facebook page where it says they are “Putting the Punk and the Weirdness back into Indie.” with “Now includes added poetry….” as an extra essence. It is a suggestion that they certainly live up to within Share One With A Friend.

The band itself is the brainchild of Sam Marsh, once of the compelling and irresistible Jacob’s Mouse. Initially a solo project, The Machismo’s formed in 1995 and recorded two full albums in Sam’s home cassette portastudio. Recruiting additional members for their live exploits, the band never really exploded into serious action though and disappeared with many recordings put aside unreleased as Sam moved onto other projects. Almost two decades later though, he relooked at those songs and releases that lay awaiting attention and realising their quality and worth, released the 1996 recorded debut album Good Things About To Happen in 2013 whilst also reviving the band with Rachel Marsh and Karly Stebbings. The album was a striking invitation for those of us missing the Bury St Edmunds hailing band first time around to explore, and it seems a spark for Sam himself to push The Machismo’s on with new zeal in what is a very exciting music scene within his home town right now. As mentioned, Share One With A Friend offers the first brand new tracks from the band in a long time whilst equally offering reasons to suggest that The Machismo’s is one of the most compelling propositions within the British music scene, past and present.

The album opens with the warm and fuzzy indie pop of The Loveliest, the song a sizzle of melodic guitar jangle and robust rhythms around the expressive tones of Sam. It has an echo of the tracks within that debut album as a raw and unfussy elegance captivates as potently as the catchy swing of the song. It is a straight forward start, in comparison to things to come, and an alluring one with its additional folkish hues before the unpredictable tango of Vrrrm! takes over. Beats throw their agitated lures all over the place from the start, though finding more restraint as punkish flames of guitar align with the great dual vocal persuasion. The further ears get into it, the more volatile and thrilling things become; all the time a debut album era Squeeze essence adding to the off-kilter indie punk attraction of the song.

cover_RingMasterReviewThe outstanding Collapse To Be Rebuilt grips ears and imagination next with its garage punk infused punk ‘n’ roll. With an addictive swagger as riffs and rogue voices add their unconventional roars, the Iggy Pop meets Pere Ubu like stomp has ears and body bouncing, and an already awoken appetite licking its lips and greedy to indulge in the following dark theatre of Bad Dreams.  Straight away a grumbling static storm crowds and rumbles around vocal poetry as a single slim guitar melody adds its own melancholic emotion to that of the vocals within the thickly compelling piece.

It is hard not to think of Jacob’s Mouse a little as the sultry sway and bewitching climate of When You Know It’s Real seduces ears next, its bulbous rhythmic swing the spine for flirtatious melodic vocals and the percussive imagination making equally irresistible advances within the excellent track. It has a brilliance of presence and fun which is emulated instantly by the punk devilry of Rise Again. Snarling guitars opens up and a flirtatious noir lit hook pushes on the irresistible encounter; the latter swiftly joined by the swinging vocal persuasion which as much as anything urges hips and spirit to get involved. Twanging bass groans, sonic sighs, and ear clipping beats only add to the smile inducing adventure of drooping hopes and their Viagra crafted resurrection; whilst the combined festivity of all creates one of those moments that only lingers.

Through the likes of the muggy aired and sonically bracing Should Recognise and in turn the folkish canter of Plastic Surgery, with Sam again leaning on his poetic craft as much as his musical prowess, band and album surprise and enthral, using the following Belvia to stir up an even stronger hunger with its scuzzy pop punk trespass. It has an old school punk tone to its rapacious character and energy too, a hue which only adds to the dirty and inviting bait rushing through ears.

Post punk meets indie discord is maybe the best description for the ear grabbing, pleasure giving lo fi stroll of Gotcha!, bands like The Three Johns and Swell Maps coming to mind for certain essences of the song. To be fair though, any references are hints to portray the individuality of song and The Machismo’s free and rebellious experiments of sound and imagination which continue to evade expectations with the folk laced croon of A Better Man and the addiction forging shuffle of The Storm. Like The Jazz Butcher meets Mark E. Smith but not, the latter track is manna to ears and passions; the kind of stripped back rock ‘n’ roll with a grin in its heart that all music should be bred from.

The album concludes with the trio of firstly, the melodically salty and slightly Cajun scented However Nice You Are, There’s Always Someone Who Think’s You’re A, the Pixies-esque garage punk rumble of Class A High, and finally the nursery bred and chimed ingenuity of Machismo’s 4 Tha Kids!; all three songs offering yet more fresh twists in the album’s tale to feel stimulated and refreshed by.

The Machismo’s is not exactly a new band but their presence and invention within the album feels like something that is, which of course the album’s songs are.  So if you are looking for the unconventional but something damn good too, then go Share One With A Friend.

Also worth noting as treating yourself with is The Poets Pendulum: Is It Good Or Is It Shit?, an album of Sam Marsh’s poetry which he has been bringing to the band’s live shows for quite a while to eager responses. Both albums are available as Name Your Price Downloads @ https://themachismos.bandcamp.com/album/share-one-with-a-friend with Share One With A Friend also available on very Ltd Ed vinyl.

https://www.facebook.com/TheMachismos   http://themachismos.tumblr.com/

Pete RingMaster 21/04/2016

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