Threatmantics – Shadow On Your Heart

As we have suggested before, originality can be found in numerously various places within music but uniqueness is more of a holy grail as each decade passes. One band which radiates the latter is Welsh outfit Threatmantics; well certainly their third album, Shadow On Your Heart deserves that declaration and as frustratingly it is our own introduction to the Cardiff quartet we will eagerly generally tag them with it too.

Like mischievous troubadours, Threatmantics weave tales and musical adventures with a fusion of art and folk rock; though that alone only hints at the essences which make up their deviously tantalising sound. It is a proposition which embraces the hues of bands such as The Cardiacs, XTC, This Heat, Mr Bungle and Gorky’s Zygotic Mynci in various ways and places throughout Shadow On Your Heart but essences only spicing the band’s hard to pin down music and imagination.

Recorded with French producer Anne-Sophie Ouvrier, Shadow On Your Heart opens up the theatre within with it’s title track; initially tempting with snarly riffs before breaking into a smiling melodic saunter. Those few seconds alone had ears fully intrigued and attentive, the viola of Heddwyn Davies a summery lead alongside the earthier moves of Gareth Middleton’s bass and the crystal touch of Andrew Rhys Lewis’ guitar. Davies’ vocals are just as magnetic with their bard-esque character, a swing to their lilt matching that of the outstanding start to the album.

First Things is next up and just as much a tease of musical lures from its first breath; viola and rhythms colluding in instinctive temptation before vocals bring their own invitation to the immediately infectious brew. With a controlled but rousing burst of chorus and unpredictability in every move and twist in its drama, the song is aural devilment led by the equally catchy swinging beats of Huw Alun Davies. Echoes of Zanti Misfitz and The Cardiacs shimmer within the riveting encounter before Now You Are Gone reveals its own individual magnificence. Middleton’s bass is a delicious grumble, the guitar of Lewis sonic nectar while the vocals of Davies just recruit participation in the virulent saunter.

Who Is Afraid Of Patrick Wolf? is folk encrusted rock ‘n’ roll so easy to be enslaved by; a Horslips like scenting adding to its indie natured entangling of ears and appetite while Cold Warts darkly serenades with a Gorky’s Zygotic Mynci flavoured breath. Both tracks were as irresistible as those before, the second of the two adding Cardiacs meets post punk ingenuity to its kaleidoscope of multi-decade sourced antics.

The band’s new single follows, Dangos Dy Ddannedd a darkly lit seducing with volatility in its belly and melodic bedlam in its instincts. Increasingly intensifying in fever and pandemonium, it makes way for the McLusky natured mayhem of Krystal Pystol. A rousing ruckus of punk infused noise it in turn breaks from the speakers to allow the calmer breath and charm of Under The Sun to caress the senses. A rugged stomp emerges from its slightly disturbed tranquillity to manipulate and escalate an already in place satisfaction with the song’s exploits.

The album closes with the impish folk ‘n roll of Mother Folker From Hell, a song alone showing the array of flavours employed in the Threatmantics imagination and lastly the sludge thick chunter and feral crawl of Little Johnny. Imagine the mutant offspring of 12 Stone Toddler and Melvins and you get a sense of the sublime end to one glorious album.

Like us for us there may be many to whom Threatmantics is an undiscovered thrill so we suggest making Shadow On Your Heart the moment the rapture begins.

Shadow On Your Heart is out now through Ffatbyrg Records @ https://threatmantics.bandcamp.com/releases digitally and on 12” vinyl, with a limited edition, numbered run of hand printed covers by acclaimed Welsh artist John Abell.

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Pete RingMaster 05/03/2019

Copyright RingMaster: MyFreeCopyright

Matt Finucane – Disquiet EP

Following the release of Ugly Scene this past May, an “abrasive, noise-heavy protest” of an encounter, British alt rock troubadour Matt Finucane has its successor, Disquiet, poised for unveiling. Living up to its name, the EP is a collection of songs which as mellow and intimate as they are, come soaked in discord and melodic dissonance. They all breed a mix of challenge and seduction but most of all a fascination leaning towards needing more.

Having come across Finucane back in 2012 through his acclaimed album, Glow in The Dark, an encounter which had us simultaneously absorbed and confused, pleased yet unsure and most of all compelled to pay attention to its creator ahead, there has been constant intrigue to follow how things evolve. Fair to say feelings around Disquiet have not ventured too far away yet the enjoyment of his sound has certainly continued to grow through the offerings between both releases and is now at its most eager with the latest encounter.

As all his propositions, Disquiet is a DIY cast summons on ears and imagination as raw as it is creatively animated with opener Ulterior Motives quickly establishing Finucane’s distinct character of enterprise. Its acoustic/electric indie pop dances and flirts with ears though biding its time disharmony haunts the shadows brewing its infestation by the chord until eventually sparking a low key but inescapable cacophony for a captivating incursion of senses and song. The track epitomises the indefinable nature of his music; art and punk rock possible tags, wonk pop and dark folk others but honestly it is in a corner of its own.

The darker woozy presence of Happy Chains continues the contradiction and temptation, it’s off kilter shimmer and Finucane’s equally divisive vocals infesting melodic radiance like disorientating haze over a sunspot while the following People Move On exposes its fuzz seeded instincts. There is something akin to the kind of music artists like Frank Black and Pere Ubu have spread to Finucane’s sound, certainly a hue in its want and need to unsettle the expected and orthodox.

The EP concludes with firstly the warped melodic reflection of Always A Shadow, a track which feels like the aural side of a distorted mirror, and finally the seven minute plus journey of Dead Men Sing Us To Our Rest. In a cavernous embrace of echo and distortion, emotively and physically, the track is a malaise of frictious harmony, melodic discrepancy, and pretty much unnerving beguilement.

There is no doubt that the music of Matt Finucane is not going to sit easy with a great many but for those with a penchant for disturbing adventure and the song of the asylum, it and Disquiet should definitely be checked out.

The Disquiet EP is out October 19th via Crude Records; available @ https://mattfinucane.bandcamp.com/album/disquiet

 https://mattfinucane.net/   https://www.facebook.com/Matt.x.Finucane/

 Pete RingMaster 19/10/2018

Copyright RingMaster: MyFreeCopyright

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/

 

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Pete RingMaster 15/08/2018

Copyright RingMaster: MyFreeCopyright

The Chewers – Downhill Calendar

Defying the claws of pigeonholes and predictability with even greater relish and mischief, US duo The Chewers release their new album in the devilish shape of Downhill Calendar. Off kilter rock is pretty much what the band calls its sound and more than anything echoes the captivating web of styles and flavours making up their new release and rock n’ roll.

The Chewers is the creation of Travis Caffrey and Michael Sadler, both West Virginia bred who by chance eventually met up having individually relocated to Nashville. 2010 saw the release of debut album Every Drop Disorganized and the raw seeds of the sound and humour which has grown over subsequent releases and now boldly flourishes within fourth full-length Downhill Calendar.

I’m Getting Thinner starts things off and within its seven plus minutes of captivation entangles a host of flavours from art/avant rock to post and raw punk through to noise and experimental rock. Immediately bass and drums lay down a repetitive lure smothered in sonic lacing and rising acidic grooves. The rhythmic core of the song echoes the prowess of Gang of Four, its sonic side also hinting but expelling a more feral touch and intent. There is an instinctive nagging at the heart of the song, rhythms its main fuel, which epitomises all album tracks; each song almost harassing attention but rewarding with contagion loaded enterprise matched by the lyrical agility and magnetic delivery of the vocals.

Never a labour only an addictive pleasure even at its extensive length, the excellent opener hands ears and imagination over to the following Skin Stay Thin. Its first breath brings an inescapable swing which again is as primal and raw as it is compelling and manipulative. Hooks and grooves spring like leeches at the imagination, a mischievous edge to them all recalling the creative antics of former PiL/Killing Joke/Pigface member Martin Atkins in his Brian Brain guise. Becoming more caustic by the moment it in turn makes way for the electro /noise punk courting of Where Is the Fun?, those wonderfully infernal rhythms again worming under the skin and into hips within seconds. Vocals, words, and guitar swiftly entwine and saunter across that rhythmic incitement, the latter embracing blues grazing to its melodic vines and funk nurtured swings.

 Rat Belly crawls through ears next; squirts of brass radiating on its heavy infection loaded lumber. With the song’s step never accelerating, the guitar scorches its flesh as electronic resonance brings its own dark dissonance. Bordering on bedlam but just managing to restrain its mania, the track pretty much slips into the psyche trapping Frankie’s Downhill Calendar. Once more drums lead the incursion, their instinctive agility a puppeteer to physical involvement and a rock ‘n’ roll appetite as the creative toxicity of guitar and imagination sear song and senses alike. As vocals once more unearth their own regular magnetism eighties post punk hues please and intimate but only adding to the individual sound of The Chewers.

Without quite sparking the same ardour for its predecessors Yo Yellow Pig still got attention locked in with its mischief coated swing and blues nurtured causticity while the excellent Then There’s Me offers a corroded blues rock canter as seductively elegant as it is openly mordant.

Both tracks trapped attention with ease leaving I Let the Stooge Loose to bring things to a close with its untamed but masterfully mercurial rock ‘n’ roll. Not only to the closing track but The Chewers’ sound in general, there is a sense of bands like Pere Ubu, Powersolo, and The Residents to its character but as the song proves all essences in something unique to The Chewers.

So if you are looking for rock n’ roll in its most “off Kilter” adventure then Downhill Calendar is a must exploration, indeed one for all fans of the flavours The Chewers twist, corrupt, and use so enjoyably.

Downhill Calendar is available now @ https://thechewers.bandcamp.com/album/downhill-calendar

https://www.facebook.com/thechewers/

Pete RingMaster 24/07/2018

Copyright RingMaster: MyFreeCopyright

Das Fluff – Ringmaster

As writers, we are constantly inspired by the sounds and records we cover; words sparked and imagination stoked by the craft and invention of others. It is a rare honour to return the favour but that is exactly what we have managed to do. Last year we introduced ourselves to electro/art rock outfit Das Fluff, the brainchild and creative vehicle of Berlin/London-based vocalist/writer/producer Dawn Lintern, through firstly the single Far Gone and in turn the band’s current album Flower With Knife. It was our review of the latter which seemingly sparked the imagination of Dawn into writing a new track. That song has now become the band’s new single, Ringmaster, and even without the bias of our lucky involvement it has to be said it is one mesmeric seduction of a proposition.

The single comes ahead of a fourth album the band is currently working on, the magnetic tones and lyrical agility of Dawn uniting with the electronic experimentation of Christian Ruland. It is a proposition among fans and media alike for which anticipation is full and one sure to be escalated after the release of Ringmaster.

The song opens with a melodic sigh swiftly joined by the caress of guitar and throb of rhythmic shadow. Just as quickly the alluring voice of Dawn slowly swings from their textures, her tones writhing around the sounds like a sultry dancer whilst coaxing ears and imagination with seductive intimation. There is a dark carnival meets shadowed burlesque breath to the track, an alluring glaze which adds further colour and shape to its instinctive romance and darksome heart.

Haunting and transfixing, like a flirtatious sunset lined with melancholic beauty, the song is pure captivation and alone more than enough reason to get excited about the band’s forthcoming full-length. Ringmaster is a track which outshone even our pride spun hopes and comes with a stunning video which you can see on our Video Selector page, another pleasure from Das Fluff.

Upcoming Das Fluff live shows:

May 25 – Petersburg Art Space / Berlin

June 2 – Electrowerkz / London

June 9 – Stigmata / Glasgow

June 16 – Zosch / Berlin

http://www.dasfluff.com    https://www.facebook.com/dasfluff/     https://twitter.com/DasFluffTwit

Pete RingMaster 09/05/2018

Copyright RingMaster: MyFreeCopyright

Day by day with Reverse Family

We all have different outlets for extreme emotions be they bred in grief, frustration, anxiety or romance for example. For many an artistic avenue is the release from such overwhelming trespasses and so it is with Reverse Family who are about to unleash a daunting but we can already assure you irresistible adventure for ears.

The Reverse Family is the solo project of Dermot Illogical, someone probably better known right now as Andreas Vanderbraindrain, the frontman of British outfit The Tuesday Club. Towards the end of last year, he released acclaimed debut album My Songs About Life Mid Crisis, a collection of multi-flavoured lo-fi experimental goodness which continues to hang around in the imagination and passions like an inescapable itch. It was an introduction which commanded attention and breeds real anticipation for the next epic outing with Reverse Family.

Starting in October, Dermot is releasing 365, a project made up of 52 EPs released as one a week for a whole year. Before panicking, shouting impossible, or mistakenly thinking anything that massive has to be more filler than thriller let us declare that with the evidence of the sampler sent by the man our way in our hands, it is going to be an escapade taking ears and imagination on a helter-skelter of honest and emotionally raw but instinctively fun exploration; a journey given greater intimate potency by Dermot’s diary entry of that particular day by the way of ‘sleeve notes’.

The tracks making up the project were all recorded DIY style at home between Jan 1st 2015 and Dec 31st 2015 with Dermot playing every instrument and sharing every syllable. Everything heard is as played and recorded; no editing or tampering made with every song bred in heart and spontaneity. It is an organic air and array of textures which grips the imagination as much as the sounds themselves; a fly-on-the-wall like climate baring the same open heart as that of their creator.

The catalyst to the project was the death of Terry, the drummer of The Tuesday Club. His sad passing came just as the band was deservedly stirring bigger and bolder praise carrying spotlights, a time topped by the band supporting Toyah at The 02 Islington and releasing their most successful and critically acclaimed EP to date. It was a world crushing time for the band and especially for Dermot who was also coming to terms with divorce, life dictating and changing illnesses for both parents as well as the constant struggle of being self-employed. It was a time many would have buckled under but Dermot focused all the suffocating turbulence into his music and turned it into a creative quest, one which at times you feel probably completely took over his world but gave him a survival and now the listener a spark for pleasure and thoughtful contemplation.

As the tracks we have reveal there is no ‘woe is me’ self-pity fuelling the adventure. Yes, it scratches his open wounds at times and is not always sharing smiles but every moment is an open insight and reflection on his feelings across the evolving year of those challenges and the life around Dermot in St. Albans with plenty of knowing black humour involved along the way.

The first track swiftly grabbing years was Future son – The Twa Twa’s, day 8 of the creative pilgrimage. Instantly it reminds of My Songs About Life Mid Crisis with its post punk twang and Dirk Wears White Sox era Adam and The Ants like character. A gorgeous hook lurks within the angular clamour, Dermot’s vocal delivery a swinging flirtation matching the similar allure of bass. The structurally organic design of the track alone is a web of lust clasping shenanigans, the song in its whole a psyche infesting treat.

Some tracks have an even rawer sound and temptation than others, This house is empty (day 10) one which borders abrasive in sound but within its causticity is an instinctive funkiness which has the body bouncing and appetite eagerly exploring words and emotion. There is a sense of despair and also hope carrying new beginnings felt with the track, a conflict most of us are no strangers too at some point and can grab with nodding recognition.

The clutch of songs within the sampler show the great array of styles embraced by the Reverse Family sound, the outstanding I stand alone (day 13) a post punk natured infestation managing to sound like a mix of Fire Engines, Swell Maps and unsurprisingly The Tuesday Club with Dermot’s distinctive tones yet is unique in every pore while MP3 (day 310) is a junction box of sonic wires casting a Devo meets Pere Ubu scented discord over the imagination.

The darker, grungier Faded colours (day 336) offers melancholy at its most magnetic, In my head (day 337) sharing a sonically and emotionally haunting incursion on the senses as pained as it is corrosively elegant, and both songs continue the broadening maze of flavours and emotional tempestuousness within the sampler alone. Like many tracks, each is also a relatively brief encounter; fleeting moments in an unsettled and often unsettling day though Bad cartoon (day 343) stays a little longer with its melodically jangling and evocatively persuasive as Bowie-esque toning draws the listener with seductive ease into its own personal melancholy.

The punk ‘n’ roll of Do it just for me (day 344) hits the spot just as easily, its tenacious canter a gentle cacophony of guitar, rhythms, and voice while I built a new contraption (day 356) shares a broad grin in its post punk/art rock pop. The pair relish in the addictive prowess Dermot constantly finds in his minimalistic but oh so potent grooves and hooks, though he saves maybe the most addictive for Breathy graffiti (day 365), its electronic poking the kind of inescapable nagging lust was bred for.

So that gives a hint of what is in store for us once 365 begins revealing its heart in a few weeks. It would be a little unrealistic to expect every one of the songs within the 52 EPs, each suggested to contain seven tracks, will hit the lofty heights of those on the sampler but do expect each to be the most honest and spontaneously shared temptations sure to intrigue and captivate like nothing else around today.

We for one just cannot wait!

The first of the 365 EPs will be released digitally from 2nd October 2015 through Perfect Pop Co-Op / Nub Country with one a week through to the first week of October 2018. For more information keep an eye on http://reversefamily.co.uk and https://www.facebook.com/reversefamily/ or through https://twitter.com/PerfectPopCoOp and the Perfect Pop Co-Op magazine.

Pete RingMaster 26/08/2017

Copyright RingMaster: MyFreeCopyright

Jack of None -Who Shot Bukowski

Having released one of the most fascinating albums of 2016, US trio experimental brother sister trio Jack of None offer up one of this year’s most compelling in its successor Who Shot Bukowski. Weaving a tapestry of art, alternative, post punk and electronic rock, to simplify their sound, the band infests ears and fingers the psyche across ten tracks of creative drama. It is a journey into the shadowy side of the human condition, an adventure into devious infectiousness, and increasing addiction to embrace with every manipulative listen.

Splitting themselves between Philippines capital Manila and Chicago, Jack of None consists of brothers A.G. (principal composer on guitar, bass and synths) and Julian Syjuco (guitar) alongside sister Maxine (poet-songwriter and vocalist). Last year their first album, Who’s Listening to Van Gogh’s Ear?, was greeted with widespread acclaim, going on to receive 3 nominations at the 15th Independent Music Awards including Best Album in its genre, though what that genre maybe is anyone’s guess such the eclectic nature of their imagination and sound. Who Shot Bukowski is destined to not only replicate its predecessor’s success but thrust the threesome towards thicker and richer attention with its irresistible theatre of contagious intrigue and bold enterprise.

Swiftly Who Shot Bukowski reveals that doughty adventure and imagination in opener Strangest Bedfellows, allowing the hints and seeds sown in the more industrial lined Who’s Listening to Van Gogh’s Ear? to blossom and flourish. The track glides in on a slow swing, guitar and rhythms teasing with tantalising bait around the seductive temptation of Maxine’s voice. Steelier grooves erupt as things get provocatively hazier and magnetically sinister but still the emotive affair between ear and song continues to have the thickest grip whilst sharing increasingly catchy and flirtatious lures along the way.

It is an outstanding start swiftly matched by the following pair of Sticks and Stones and X-Y-Sex. The first of the two merges industrial and psych rock with folk pop hues, its touch simultaneously grainy and warm as Maxine erotically touches the imagination with her tones. A Marilyn Manson like causticity breaks as the track bursts into a more volatile state but soon returning to that initial now increasingly jazz funk laced calm; a carousel which continues to turn across the song before its successor steals the show with its noir lit beauty and haunting contagion. The previous track reminded of US industrial electro rock outfit Scream Machine, this even more so but equally has something of eighties UK band The Passage to it too. Like a dream almost nightmarish in its Orwellian design as visual eroticism teases, the track is pure bewitchment leading the imagination on a flirtatious dance from start to finish.

Dear Georges (Vous Petit Monstre) is next, an even darker bête noire of emotion and thoughts with its entrancing charms and seductive shadows, all led by Maxine’s almost predatory melodic grace and the similarly disarming exploits of her brothers. It too carries flames of metallic toxicity through the raw torrents of guitar but is at its most fantastic with its deviously mellow caresses.

Lyrically every song is a story, a gothic poem of sorts which is as much an engineer of the imagination as their delivery and the sound cradling their revelations, The Brainwashers another fine example within its raw dance and invasive electronic machination. A uniquely beguiling hook offsets a slight repetition of earlier tracks in certain moments, a lining of dark sounds and insidious suggestion adding greater individuality to the encounter before Polyamorous Serial Monogamist writhes seductively in ears. Every melody and smouldering syllable is a physically swerving enticement only accentuated by the surge of guitar and keenly slapping beats, it all woven into a mesmeric incantation.

From the six seconds of Again, the excitable rock ‘n’ roll exploits of The Princess and the Pistol (Can You Feel That?) tenaciously romp with the senses, the track a restrained yet tempestuous incitement while next up Little Devil Girl provides its own suggestive haunting with almost visceral charm and beauty. It is an edge which grows with the subsequent surge of guitars and bass groan which emerges within the garage punk scented treat, the superb encounter never losing its composure but instilling lingering seeds of fear.

The album closes with Tenderly, She Said, a song which from a melodic kiss of acoustic guitar grumbles and smooches with the ever arresting presence of Maxine. Progressive in its tone, hungry in its diversity of texture and flavouring, the song grabs ears and imagination with sublime craft and ease, epitomising the album with its own inescapable alchemy.

Who Shot Bukowski simply captivated and thrilled from its first moment in speakers and ears, and indeed has only tightened its lure and grip ever since. This time around Jack of None would not be too misguided in hoping those previous nominations become awards.

Who Shot Bukowski is out now across most stores and @ https://jackofnone.bandcamp.com/album/who-shot-bukowski

http://www.jackofnone.net/    https://www.facebook.com/jackofnoneband/

Pete RingMaster 02/08/2017

Copyright RingMaster: MyFreeCopyright