The Idol Dead – Dark Little Heart

The Idol Dead Online Promo shot

If you missed out on the initial release of Dark Little Heart at the tail of 2012 from UK rockers The Idol Dead then stand ready to leap on board with its reboot this week through the band’s own label RAAA! Records. It is a feisty and fiery slab of rowdy and bruising rock ‘n’ roll but one with all the insatiable charm of a lady of the night and the contagious strength of the common cold. The Leeds hailing quintet merges glam and hard rock with a voracious breed of punk resulting in an invigorating and immensely enjoyable rampage of sound and enjoyment. Admittedly its first contact courtesy of the opening song left a promising and pleasing suasion but one which left reservations in regard to its originality and finding a spark to ignite more than simple satisfaction. They were short lived concerns though, the second track bringing a voracious bait before the imagination which set thoughts and emotions on fire. Certainly the album stays away from forging a really distinctive new proposition, thoughts of The Wildhearts and Backyard Babies an undeniable comparison, but Dark Little Heart emerges as one rebellious stomp of rock ‘n’ roll which simply hits the sweet spot.

The Idol Dead began in 2008 and soon made a rapid impression on the local rock scene. Their reputation for explosive live performances went before them as the band played throughout the UK, sharing stages with the likes of Killing Joke, Sebastian Bach, Buckcherry, Evil Scarecrow, Blackfoot, Warrior Soul, Molly Hatchet, Hatebreed, Pitchshifter, Laika Dog, and Spear of Destiny along the way as well as enjoying great responses at numerous festivals. After the well-received Shooting Star EP, the band’s debut album Die on my Feet or Live on my Knees on their own label marked the band out and drew strong responses but it is through the crowd funded Dark Little Hearts that you feel that The Idol Dead will find access to a much wider attention and fevered spotlight. Inevitable line-up shifts along the way have seen the band adapt and grow so that the five piece of vocalist Polly Phluid, guitarists KC Duggan and Tim Jeffs, bassist Dan Sugden, and drummer Nish Gonsalkorale now show themselves to be a potentially explosive proposition within British rock.

As mentioned at the start of the review, opening track Blue Skies provides an appealing encounter but is somewhat underwhelming in its The Idol Dead Cover Artworkpersuasion due to there being little surprise or unpredictability to its otherwise potent presence. Certainly the passion and craft of the band is an open declaration whilst infectiousness is rife from the riffs to the thumping rhythms and from the impressive vocals to the united anthemic band calls beside them. In hindsight it feels like the band is playing safe to start things off, giving ears a well formed and boisterous yet easily accessible entrance into the album. The track is still a thoroughly pleasing offer though but soon left looking pale as the following song lights the fuse to a passionate and imagination stirring experience.

Six Feet Under is just glorious, from its initial flush of raw flame of riffs and inciting rhythms it is an instantaneous trap which has feet, senses, and imagination recruited with its punk ‘n’ roll bred contagion. Holding an essence of Misfits to its sinewed romp and passions corralling enterprise, the track drags out a hungry appetite for it and the album. Again it is fair to say surprises are scarce in many ways, though just the weighty temptation and resourceful triumph of the track alone makes a detonator to the expulsion of expectations whilst leaving thrills and spills rampant. It is a major highlight but one which itself is exceeded by the following Vampire. From an atmospheric intimidating ambience in the dead of night, the song erupts with scorching flames of guitar and moody rhythms matched by the dark throated bass. The vocals of Phluid equally have a sinister edge and leer to their tone which adds greater intrigue to the narrative of the outstanding song. The band finds an even more addictive toxin to the chorus and infection veining the horror punk like predation, sculpting a track even more immense and irresistible than its predecessor.

Both Dion and Hey Girl unveil superbly crafted and shaped bodies of hard rock bred enticement and though neither can match the heights of the previous pair, the songs feed compelling strides of rock ‘n’ roll into a hungry appetite. The first is much like the opener in that is has few moments of wrong footing assumptions but provides enough invention in its unrelenting catchiness to bring a wholesome appetiser to devour before the more substantial feast of its successor twists and rolls with its garage punk/hard rock fusion. The song takes mere seconds to have limbs and voice enlisted in its cause, giving them a vivacious ride of riffs and grooves with barbed rhythmic hooks before making way for the ferocious Bad Fiction. The punk sided heart of the band is an open brawl in the song, rapacious mischief and energy surging through riffs and adrenaline gifted rhythms. Vocally too the band snarls and incites but it and the sounds all come with a wink and a loud whisper of Generation X within the urgency and pent up roar which wants to rock rather than fight.

The pair of I’m Drowning, a captivating stirring ballad featuring the excellent guest vocals of Claire Cameron alongside the again strongly impressive Phluid, and the magnetic Bleed continue to keep imagination and emotions on their feet; both with a longer to convince persuasion but each evolving into easy to recommend highlights upon the album.

The closing stretch of the album is a little undulating but continues to thrill; the blues filtered You Don’t Know a sonic fire which misses finding the trigger which elevates other tracks so masterly and the closing Beautiful Disaster almost ending the album as it started with a less than imposing offering but a skilfully written and presented one which does enough to leave a contented listener. Between them though the band unleashes one final gem in the rabid punk spawned I Don’t Wanna, an unbridled charge of dirty and belligerent rock ‘n’ roll with all the lures and seduction to spring the inner punk in us all. It is a terrific provocation again proving the potential and already open quality of The Idol Dead.

With Dark Little Heart you are not going to find new pastures to explore but for excitingly accomplished and virulent rock ‘n’ roll, there are few around right now to impress more than The Idol Dead.

Dark Little Hearts is available on 5th May through RAAA! Records.

http://theidoldead.com

8/10

RingMaster 04/05/2014

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The Senton Bombs: Chapter Zero

     The Senton Bombs 2

     Offering a thrilling and incendiary riot of punk infused rock n roll, Chapter Zero the new album from UK rockers The Senton Bombs is a feisty and rebellious instigator to mischievously party in tandem with. The eleven track album is prime sinewy attitude and inventive urgency with a hunger and passion to match, but most of all it is a thumping great time to swagger alongside and to be undisciplined to.

Formed in 2004 as The Terrorists, the Blackpool based band has grown into one of the best live and energetic forces within British underground rock music, continually improving whilst garnering persistent acclaim and rapidly increasing a fervour driven fan base. Their early days saw the band reach the semi-finals of the largest unsigned battle of the bands in the UK in 2005 followed by the release of their debut record, the five track demo DDT. Well received the release was followed a year later by second demo Death Valley Driver which spawn songs destined for good radio play and appearances on varied compilations. As well as sharing stages with the likes of Epoxies (Fat Wreck-Chords), The Imperial Vipers, One Way System, and C.J. Wildheart and the release of the Crimson Mask demo, the band also went through an unsettled period with line-up changes though they still were unrelenting in laying waste to audiences with their constant hunger to gig. Next release From Parts Unknown received great reviews and feedback in early 2008 though the same year saw another departure to leave the band as a three piece though it had little effect of holding them or their intense work rate back.  With the release of their debut album Sweet Chin Music in 2010, The Senton Bombs a quartet once more, felt a more intense force of acclaim to its release. The foursome continued to gain great plaudits for their explosive shows, headlining and alongside bands like Random Hand, and successful festival appearances, whilst the 2012 album Gambit set the band up as one of the prime punk n roll instigators in the UK. After its release the band took no time in writing and working on third album Chapter Zero, finishing it this past February for a STP Records release which stands as their finest inventive and invigorating moment to date.

The title track kicks things off with muscular riffs scoring the ear, the guitars of Damien Kage and Johnny Gibbons chewing the front cover finalsenses whilst the firm rhythmic pulses of drummer Scott Mason cage and lead with skilled intimidation. Into its stride the vocals of Joey Class begin to fully incite the emotions whilst his bass throbs and prowls within the already in place raucous encounter with menace and attitude. The song is a stylish mix of the swagger rock of a Wildhearts and the punk fire of a Backyard Babies/Eddie and the Hot Rods union, and leaves the senses hungry and alive for more with ease and accomplished craft.

The potent brawl hands over to the equally contagious stomp of Nothing Quite Like This, a track which stands with crown jewels and posture to the fore and its infectious sounds crawling all over the senses and passions. The track is not overly original but impossibly addictive and leaves the eagerness to enlist in its passion and energy with voice and feet an overpowering lust. There is nothing within the rock n roll debauchery not to like or devour with greed and it continues the immense start of the album with pleasing cockiness.

From the refreshing encounter of Heading For The Guillotine, a song which has a familiar ring to it without revealing the source of that impression, the album explodes into an even more striking and stimulating conspiracy to work on the passions starting with the imaginative fusion of the mellow and forceful that is So Cavalier. The vocals and surrounding melodic whispers smoulder within the testy rhythms and riffing to like most of the album, reveal the strength and variety to the songwriting and its realisation. The following Tornado and No Rest For The Rockin’ rip the skies to grip greater heights, both sharing top honours on the release. The first is a thumping electrified fury of big rhythms, sonic flames, and bass snarls coated in the excellent tones of Class and ignites the strongest inner fires soon copied and surpassed by the brilliant No Rest For The Rockin’. It is punk rock at its best, a song best described as having the infectious cheek of The Undertones, the defiant intent of UK Subs, and the melodic flames of New York Dolls, and an insatiable irrepressible triumph.

Both Reapers Sow and Medusa ensure the exacting power of the album is undiluted, the first a track which initially bewitches with slow soothing vocals and acoustic guitar before burning a hole in the senses with its furnace of energy and the second an avalanche of resonating big boned beats and mischief inciting riffs. After the last thrilling note of the track the album then unexpectantly finds inspiration in American rock sounds and whilst certainly the excellent Darkest Horse, and the closing pair of Acid And Alkaline and The Rider with their hard rock breaths impress and leave nothing but deep satisfaction, they do not quite match the earlier punk enriched glories.

Chapter Zero is nevertheless an exceptional release which no matter how many times it is allowed to infiltrate the ear it and The Senton Bombs leave a breathless and voracious hunger behind.

https://www.facebook.com/thesentonbombs

http://thesentonbombs.webs.com/

8.5/10

RingMaster 27/03.2013

Copyright RingMaster: MyFreeCopyright

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Television 60’s: Celebr-hate

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   Celebr-hate is one of those albums for all of its flaws and limitations you just cannot help liking, and maybe more than you know you should. Italian rockers Television 60’s is a band who create honest and undemanding dirty rock n roll seemingly schooled in the essences of Motley Crue, Backyard Babies, and Johnny Thunders and the Heartbreakers. It is not overtly original, at times it verges on ordinary creatively, but man is it fun.

Formed on a drunken escapade in Scotland on new Year’s Eve 2005 by bassist/vocalist Mikki and drummer Cioxxx, the pair returned home to Bergamo to rehearse and work on getting the band up and running. Realising they needed more to their sound than just the two of them guitarist Frizz was enlisted along with a vocalist. The singer came and went followed by another before Mikki stepped forward to do the duties himself. Since expanded by second guitarist Maark, the band unleashed  Celebr-hate, their second album, a couple of months back and though it will not challenge best of lists it is a pleasing brawl to party to.

The album is flooded with punk attitude and garage punk sounds fused with classic metal, its middle finger stance as infectious as 551904_10151057254632029_1123477480_nyou can imagine and its anthemic breath at times irresistible. The release takes its time to persuade ear and thoughts to its emerging qualities though with the opening pair of songs doing a satisfying job but little more. Bad Behaviours and Generation (Again & Again) are accomplished slabs of rock n roll but feel slightly stale due to a lack of originality. The first has a Sex Pistols like kick to it, especially with the Lydon like vocals of Mikki, and does a good job of inviting further participation in the release of interest and toe tapping.  The guitars are a fiery enjoyment as is the gang chorus which is impossible to resist but overall the song lacks a spark to ignite anything more than passing interest. The same can be said of the second though again it does enough to make a companion worthy of time spent with it.

Things suddenly lift off with the following Don’t Call Back. It is a pulsating beat thumping treat with niggling guitar riffs and crouching basslines which feel like they could leap upon the ear at any moment to ravish flesh. It is a slow stomp of slightly bluesy intent and riveting guitar play speared by much stronger and expressive vocals, and again ultimately anthemic in chorus and group ear slaps. The strong compulsive groove  spearing the track is a further greedy lure into a song which tells you more about the band and their promise than the previous two.

Sex Circus and Seek Salvation, Find Damnation continues the rise in appeal and charge creativity. The wanton seductiveness of hooks and rhythms of the first reminds of another Italian band Houston! whilst the other explores wider melodic enterprise than shown before on the release to push the boundaries of the bands songwriting. It is still uncomplicated but thrusts thoughts into a bruising filth clad stroll of heart capturing adventure. Both tracks again offer little new but fires up familiar traits for a varied furnace of easy to devour rock n roll. This consecutive trio of songs is the heart of the album and the strongest most enthralling part of its presence.

The album brings a raw bruise with Get Wasted which is an easy to get on with muscular dance before ending on the less inspiring Messaline and the great closing title track. The last song leaves with the band doing what it does best, fighting on the dance floor with scorched contagious hooks and abrasive in your face attitude and energy.

Celebr-hate is an album you will pick at and maybe criticise a little but also one which will have your voice and limb playing an eager part in the feisty engagement. It has its faults but you have fun in its presence and really that is what it is all about.

https://www.facebook.com/pages/Television-60s/45437782028

RingMaster 19/12/2012

Copyright RingMaster: MyFreeCopyright

Peepshow: Brand New Breed

For all those with a fervour for the likes of Black Veil Brides, Duff McKagan’s Loaded, Backyard Babies and CrashDiet then new rock n roll rebels Peepshow will be right up your eager veins, even more so if you like a good twist of the likes of My Chemical Romance, Wasted Sinners and Motley Crue to spice things up. Juices dribbling from the corner of your anticipation?…then the new album from the band, Brand New Breed is ready to satisfy.

Brand New Breed is the follow up to the self released and acclaimed debut album from the Scottish quintet of vocalist Johnny Gunn, guitarists Rusty Gill and Dagan, bassist Hex, and Hammy on drums. From its success and praise the band moved on to supporting the likes of Duff McKagan’s Loaded, Backyard Babies, and CrashDiet, an obvious natural and ultimately successful fit. The latter of the three bands were so impressed that they had Gunn co-write three songs for their most recent album Generation Wild.

Having to date not heard their debut, we have been reliably informed that Brand New Breed moves their sound on to a fuller and more mature level without losing their eager and irrepressible energy and attitude. Less antagonistic and more melodically driven too has been mentioned especially with the addition of keys to their sound bringing a slightly more symphonic and expansive feel. What is evident is the new album is an insatiable feast of rock music which leaves no one in doubt of the adrenaline driven energy and craft it is borne from.

From an atmospheric awakening intro hailing something striking and formidable approaching, which many bands are now employing in differing styles it seems,  the album erupts with the first single from the album Let Go, an impressive and irresistible opener to excite and rile up senses and emotions. Its electro start does not quite reveal the energised attack to follow though the band soon put that right as the fine vocals of Gunn lay satisfying upon the ear. There is a slight Wednesday 13 edge to his vocals though the smoother bulk of his delivery sets him apart and ahead of most . With riffs pumping up the blood with great power and the rhythms of Hammy firm without being combative it is an instant highlight to the release.

Live Free Or Die swoops in straight after with equal satisfaction.  With pure anthemic power and a muscular hard rock vein the track leaves one struggling not to join its call. The keys sway within the stiffer aggression adding acute warmth to the insistent song. The track chugs like a veteran rock song whilst bristling with fresh and youthful exuberance making an infectious pleasure something the description and result can be placed upon the following excellent Trouble. Arguably the best song on the release it lights up the ear with sharp melodies and an acidic solo that leaves sparks in its wake.

Peepshow is unafraid to and are skilled at mixing things up in sound and delivery too, with the likes of the stomping classic rock fuelled Only A Dream,  power ballad Feed On Me, and the full emotive slow burner Irreversible, showering the ear with strong and varied creativity. The third of these is a masterful display from Gunn, he is a vocalist that will light up many songs and hearts over the time to come.

With more powerful songs like Suffer, the outstanding and contagious title track with a bass from Hex to make knees buckle, and the belligerent Waking The Dead, bringing the album to a close it fulfils all needs from the senses from start to finish. Muscular without being destructive and catchy without losing credibility, Brand New Breed is a fine and pleasing album that will find an eager swarm of hands and ears heading its way upon its release on May 28th.

Peepshow does  not make the kind of music that gets first choice on our daily playlist but with Brand New Breed they might just change that.

www.peepshowonline.co.uk/

RingMaster 15/05/2012

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