Love Buzzard – Antifistamines

LB_RingMaster Review

A riotous stomp embracing rock ‘n’ roll over the decades within its psyche punk /garage rock bred escapades, the debut album from UK duo Love Buzzard is lo-fi, high grade devilry to get lustfully involved with. Antifistamines sizzles on the senses, creating a mischievous and increasingly incendiary introduction to the pair of vocalist/guitarist Kevin Lennon and drummer Al Brown (the man behind Fluffer Records). Love Buzzard has a sound living up to its name too, music which insatiably seduces whilst stalking and preying on the carcass of the senses.

From around the release of first 7”double A-sided single Everything About You / Caught in The Deed in 2013, Love Buzzard has played over 150 gigs around the UK single, sharing stages with the likes of Cerebral Ballzy, Slaves, and God Damn along the way. The end of 2014 saw the release of a five-track self-titled EP on Brown’s Fluffer Records, a fiery encounter raising potent anticipation for the band’s first full-length. Released last year digitally and on CD, Antifistamines recently had its rousing body unveiled on special edition vinyl via legendary punk label 1-2-3-4 Records, the home of The Buzzcocks, Arrows Of Love, and Bad For Lazarus. Quite simply it is a raw and ravenous slab of rock ‘n’ roll with a broad brush of variety that is sure to fire up the energies of punks, rockers, bluesmen, and post-punksters alike.

The album starts with a bang courtesy of Cash; the pounding beats of Brown descending on ears from the first second as the spicy grooves of Lennon fizz and fiercely shimmer on the senses soon after. Hooks are as vibrant as the overall swing of the song too, its garage rock tenacity like a mix of Eighties Matchbox B-line Disaster and US duo In The Whale and as tasty as that mix suggests. An all-out assault unafraid to relax into momentary blues seeded seducing, the stunning opener leaves exhaustion and rich pleasure in its wake before the even more muscular Headrush snarls and barges into view. It too has the instinctive virulence of pure rock ‘n’ roll aligned to a just as contagious metallic intensity, not forgetting Cramps-esque mayhem.

art_RingMaster ReviewThrough the stoner laced fire of Beams and the dark seduction of Creep And Crawl, band and album has the body increasingly bouncing. The first is an agitated ball of steamy grooves whilst its successor dips into its passion for the blues to uncage another ravenous haze of tangy rock rabidity, though its own boisterous exuberance is eclipsed by that of the psychobilly/garage punk infestation of the psyche that is Passion. As the opening track it breaches a plateau that all tracks seriously worry, staking its claim as one of the major pinnacles of Antifistamines. Its success is matched by the equally psychotic and irresistible Superglue where Lennon and Brown create a jungle of temptation with their searing grooves and anthemic beats respectively; the former subsequently unleashing his ever magnetic vocal energy and persuasion to seal the deal between sound and ears.

Recently released as a video to tease attention and ears into the album, Wild blazes away next. It is a muggy and inflamed embrace of garage rock, a captivation which singes the senses whilst stirring up the imagination with gentle melodies and emotive lures within an otherwise ferocious climate. For personal tastes, the song does not make the same impact as the tracks around it but certainly keeps an eager appetite fulfilled before the schizo shuffle of Give It Some Range and the surf rock romancing of Heaven’s Got An Electric Fence again has body and passion leaping around without inhibition. The two alone are glorious examples of the diversity and creative adventure in the album, a bold resourcefulness which never breaks the kindred spirit flowing through the album.

Origins is another slow burner compared to others for these ears but easy to devour with its toxic grooving whilst the album’s title track badgers and nags like a middleweight boxer, Brown taking jabs as Lennon’s guitar and vocals flirt and dance around. The latter of the pair especially rouses the spirit with its Fat Dukes Of Fuck meets Hasil Adkins like revelry and is quickly emulated in feverish kind by Lines and its catchy merger of blues and fifties rock ‘n’ roll before Tower entwines some southern goodness into its adrenaline fuelled punk ‘n’ roll stomping. The track is a mouth-watering end to the album though the vinyl version has another five slices of rousing goodness.

The first is the cavernously raw Oh and garage punk at its most deviously addictive. Its inescapable slavery is followed by the wiry charms and thick belligerence of the outstanding Caught In The Deed and in turn the psychobilly sultriness of Rule This Town. These three alone are worth the purchase of the vinyl version, even if already owning one of the other options, but add a deranged and masterful cover of the Gang Of Four track Guns Before Butter and it is a no brainer. The duo takes a classic and turns it into another, retaining the cold air and rhythmic hypnotism of the original whilst igniting a tempest of energy and psychosis to bask in. Make You Mine is the final bonus song, a twenty second sing-a-long which simply leaves ears and mood on a high.

In a time of impressive rock duos, Love Buzzard installs themselves as one of the most exciting and addictive through Antifistamines. Rock ‘n’ roll is meant to be raw, impassioned, and bred to lead all into bad habits. Their album has all that and plenty more, and believe us when we say Love Buzzard has only just started.

Antifistamines is out now digitally and on Cd @ https://lovebuzzard.bandcamp.com/ and on fluorescent green vinyl via 1-2-3-4 Records @ http://www.1234records.com/#!blank/ez8yd/e3b62f39-bef9-c7ac-6707-f65fd40866a2

http://www.lovebuzzard.com/   https://www.facebook.com/LoveBuzzard   https://twitter.com/Love_Buzzard

Pete RingMaster 23/02/2016

Copyright RingMaster: MyFreeCopyright

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Dick Venom & the Terrortones – SnakeOil for Snakes

Dick Venom_RingMaster Review

Eagerly awaited and as rascally salacious and creatively lecherous as hoped, SnakeOil for Snakes shows exactly why for a great many, Dick Venom & the Terrortones is THE essential British rock ‘n’ roll band. The band’s debut album is a web of flirtation and riot of rhythmic agitation bound up in vats of garage punk contagion posing as songs. It is manna for the insane and inspiration for the lascivious, but most of all, the album is punk ‘n’ roll to get a nation and continent romping.

Formed in 2010 by the inimitable Dick Venom, the Nottingham hailing band has left a fevered trail and reputation behind their live presence, an acclaim infected assault matched in plaudits by their increasingly impressive releases. Aside their own sweaty live stomps, the band has shared stages with the likes of The Meteors, The Rezillos, Bad For Lazarus, Demented Are Go, Lawnmower Deth, The Radiacs, Vince Ray & The Boneshakers, and Savage Messiah amongst a great many whilst first EP RockinRollin VampireMan set the trend for luring strong reactions and praise. Invasion Of The Spider Queen in 2013 only increased awareness and the band’s fan base, with last year’s EP The MonsterPussy Sessions nudging broader spotlights to match the band’s new step forward in sound. Yet another plateau of trash punk invention and pleasure has been breached by SnakeOil for Snakes, its crowd of dirty rock ‘n’ roll bred tracks the kind of thing addiction was invented for.

cover_RingMaster Review     With Wrex St.Clair, Dusty Vegas, and Stevie Vee alongside, Dick Venom is soon infesting ears with his distinctive and zealous tones, leaping forward from the choppy riff toothed entrance of Gun of a Tongue. The opener is soon into an eager stride, interrupting its jagged scenery with glam rock enterprise and sonic mischief. The Rezillos were mentioned earlier and there is an air of the Scottish band as the song bounds into the passions with its garage punk/rockabilly revelry.

I Can’t Find my BrainCell swiftly keeps attention and appetite engrossed and increasingly wanton for more straight after. As a thickly enticing bassline from St.Clair leads the virulence of the song, guitars spring tendrils of sonic temptation whilst beats roll along with a promiscuous tenacity. Venom as ever is a schizophrenic bundle of vocal imagination and rebelliousness, lauding over but only adding to the theatre of the track with his rousing energy, a success only repeated time and time again across SnakeOil for Snakes as shown quickly by TightPants (DoubleHeaded). Surf kissed strands of guitar spin their own irresistible weave as female vocals add a great snarl alongside Venom’s. The song despite its edge is more restrained than the previous pair of songs but just as fiercely catchy and impressive in its fifties rock hooks and tangy melodic imagination.

Three tracks in and it is fair to say that building from the potent inventive base of The MonsterPussy Sessions, the band has honed hooks to be more barbed and gripping with roars even more anthemic and rousing as ideas…well they are shaped by even greater ferocious imagination. Taken from that last EP, Dead Deadbeat Delinquent first time around was proof of a greater adventure being forged and even now, as an old well known friend, it holds the same rich enticement amongst just as devilishly imperious tracks. With bass and guitar bouncing around with slim yet inescapable addictive post/garage punk lures as the beats of Vegas rumble with the senses, the song is primal seduction; everything from toes to emotions quickly recruited and eagerly involved in its fresh psychosis of sound and maniacal enterprise.

Shimmering grooves from Vee welcome ears in next up FFFunny Kinda Luvin, the song’s winy nectar of temptation framed by more inciting rhythms and the measured vocal rowdiness of Venom. Bass and drums subsequently create a tribal enticing as sonic hues smoulder and grow into bedlamic invention around them, it all strung together by a prime hook which even in its absence within the proposal seems to weave rich magic on lustful emotions.

Dirty rock ‘n’ roll colours the walls of Last DumbDregs of Dragsvile after that, essences of The Stooges merging with something akin to The Spits feistily pleasing ears, whilst Go Fuck on the Sidewalk gets garage punk funky with its Cramps meets The Ghastly Ones tango. Both tracks thrill and lead to forceful hip swinging, especially the second of the pair before things get scuzzy with Do The Mash. Though not quite living up to its predecessors, certainly in swift convincing, the track soon boils with its fire of spicy guitar and robust rhythms courted by Venom at his most grouchy and gruff yet.

Taunting with an initial coaxing which surely is a distant relation to something the Knack might have conjured, No Good to get Up To thrills as it spills its intoxicating devilment next. Bluesy to the air, punk rock to the growl, the track prowls and stomps around with attitude and intimidation, igniting another wave of greed from the appetite along the way. It is success emulated by the gloriously lustful seduction of Planet of the HoneyFuzz. Imagine Sweet as Turbonegro and then bound in The Phenomenauts contagion and you have a hint of this unique Dick Venom & The Terrortones treat of an infestation.

   MyWay or the DryWay saunters in next, rhythmic taps a lead into a gorgeous creeping of noir woven creative theatre, whereas Crypt Tonight is a throbbing of garage rock ‘n’ roll which throughout its surf embraced rhythmic meander and melodic shimmering, is like a tongue led insatiable kiss on the senses and passions.

A final trespass of deeply biting and lingering hooks amidst compelling vocal and sonic imagination brings the album to a riveting close, Get Fucked Up Good a brilliant libidinal enticing and entrapment of ears and equally lusty reactions and a sensational end to an album exciting in all departments. Hopes were high and demanding because of The MonsterPussy Sessions, but now left looking lightweight by SnakeOil for Snakes. Dick Venom & the Terrortones are ready to be spoken in the same breath of the garage punk greats yet it is still easy to feel we have still only tapped into the first layer or two of their devious majesty.

SnakeOil for Snakes is out now via Jailhouse Morgue digitally and on 12” vinyl @ http://terrortones.bandcamp.com/

https://www.facebook.com/DickVenomandtheTerrortones  

http://www.dickvenom.com

Pete RingMaster 09/11/2015

Copyright RingMaster: MyFreeCopyright

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Sewer Rats – Money Maker EP

_RingMaster Review

Dirty, energetically angry, and sonically visceral; that is Money Maker, the debut EP from British psych rockers Sewer Rats. The band has a sound which more than lives up to its name and a release which is bred from the filthiest recesses of their grungy psychedelic lit minds. The five track encounter, unleashed by London based label Fluffer Records, intimidates and tempts in equal insatiable fashion whilst providing the potent seeds for a very healthy and musically carnal future for the band.

Consisting of vocalist/guitarist Luke Morris, bassist Iain Morrison, and drummer Dean Robbins, the Immingham in Lincolnshire hailing Sewer Rats has been brewing up plenty of keen attention through their fiery live presence and abrasive sound. Money Maker is sure to inflame matching success, its recent release already luring rich acclaim and hungry new appetites their way.

cover_RingMaster Review   It all begins with Skint and a swift caustic wind of guitar which in no time is part of a sonic lacerating of the senses as gnarly bass, scything beats, and raw intensity joins the mix. It is a blend weaving a sludgy swamp of stoner bred grooves and heavy, almost animalistic, riffs led by the scowling, Lemmy-esque tones of Morris. As thick and aggressive as that is, the scuzzy roar accompanying the sounds expelled ensures there is viciousness to the swing of the song and an irked belligerence to its bracing air. It is a superb start to the release, addictive hooks and grooves vocal throughout the tempest before it all makes way for Devil Blues.

The second track has a slightly more laid back approach to its bluesy filtered cauldron but still stirs up a blaze of scarring sonic trespass and anthemic hostility bound in more scorching grooves. Again this is a title which perfectly sums up its content; rock ‘n’ roll to open up hell and enslave salacious souls, and indeed leave the listener exhaustingly wanting more.

The psychedelic instincts of the band take centre stage with the instrumental Black Label Serotonin. It is a sweltering climate of sultry melodies and surf rock twisted enterprise, providing rich evidence that Sewer Rats can be as emotionally and sonically gentle as they are aurally ferocious. It is a bewitching hex which is swiftly a memory as the EP’s corrosive title track surges with toxic radiance and caustic energy straight after. Once more grooves collude with searing hooks and ever grouchy vocals to create a swagger to the sonic blizzard, and again feet and senses are treated to a rebelliously contagious and enjoyably punishing stomp.

Money Maker is concluded by So Far Away, the brutish Motorhead meets Black Tusk corruption of its predecessor replaced by a wash of psych rock acidity aligned to a southern kissed morass of aggressive invasiveness and inhospitable noise. It is a mighty end to a gripping release, though you can easily sense that Sewer Rats is only at the start of its evolution and there will be plenty more attention grabbing and mightier proposals forged ahead, certainly just as uncompromising ones.

If the likes of Bad For Lazarus, Converge, Mastodon, Unsane…well you get the idea, are your temptation check Money Maker out for sure.

The Money Maker EP is out digitally and on vinyl now through Fluffer Records.

RingMaster 14/08/2015

Copyright RingMaster: MyFreeCopyright

King Canute – Drive EP

King Canute Online Promo Shot

When UK rockers Ghost of the Highway came to an end two years ago fans were definitely left with a hole to fill in their enjoyment. Rising from the ashes, band member Johnny Lett (bass/vocals) has alongside Chris Woollams (drums/vocals), easily brought a new provocation to thrill over and bridge that gap in the compelling shape of King Canute. Fusing heavy rock and punk in a much more ferocious and raw yet voraciously imaginative brew than previous exploits, the duo made an immediate impression when emerging last year and its continues in the potent brawl of new EP Drive. Four tracks which roar and incite with unfussy and magnetic tenacity, the release is a storm not exactly setting out into new scenery for UK rock but undoubtedly giving it and fans a compelling adventure to keenly embrace.

Hailing from Guildford and Harlow, since forming King Canute has taken little time in raising support and attention with their at times uncompromising sound. They have lit up stages alongside the likes of Slaves to Gravity, Zico Chain, Idiom, Bad for Lazarus amongst a great many, as well as drawn acclaim with debut EP Cutting Teeth, it receiving equally strong media attention. The release which featured Jamie Lenman (formerly of Reuben), set down a feisty first marker for the band which Drive now pushes deeper with a richer persuasion, the Gavin Monaghan produced EP leaving ears and appetite with a new hunger for the band.

Cocaine Skank is the first encounter on the EP and instantly entwines ears in a mesh of vibrant rhythms and tempting bass, both increasing their coaxing in urgency and persuasion as the song evolves into a punchy incitement. Hooks King Canute Cover Artworkand short grooves add to the appealing and raw texture of the song whilst the vocals offer a potent expression and raw honesty to the proposition. A healthy punk antagonism crowds ears and riffs too whilst there is an alternative rock invention to the twists and turns the song seamlessly strides through.

The title track comes next and takes a more considered gait into its just as swiftly appealing presence. With scythes of chords and sonic temptation sweeping behind the strong vocals of both men, and a thumping rhythmic prowl inviting the fullest engagement, the song is a simmering hostile and openly anthemic enticement. Essences of Queens Of the Stone Age colour the impressive song but it, and the others making up the EP, most of all spark thoughts of nineties British rock band Skyscraper. Its captivating impact is matched by the following Trash Talk. Primarily electro punk but with aggressive abrasing and mildly corrosive melodies, the song is a mix of OurFamous Dead and Hundred Reasons with a touch of Alkaline Trio yet unique King Canute all the same.

An electro coaxing swiftly leads into the caustic arms of bass as Hellmates begins bringing the release to a close, jabbing rhythms and the similarly honest and expressive vocals of the pair soon joining the contagious bait. The song’s swagger is an instantly successful lure whilst the slipping into slower evocative moments, without gripping as potently still leaves thoughts and emotions enthralled. The song is again punk rock at its heart but the electronic veining, which equally pushes the potency of the song, and the exceptional intimidation of bass with its gnarly flavouring, all go to create a fresh and inventive proposition.

Drive confirms and reinforces the impressive emergence of King Canute whilst suggesting of greater things and more dramatic sounds ahead. That may come in the shape of the band’s debut album which they are currently working on for a 2015 release. Time will tell but it is hard not to have a healthy anticipation for its arrival thanks to the richly satisfying Drive EP.

The Drive EP is released 1st September and available through all good digital outlets.

www.KingCanuteOfficial.com

8.5/10

RingMaster 31/08/2014

Copyright RingMaster: MyFreeCopyright

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KING CANUTE go on a ‘Drive’ from 1st September‏

King Canute Online Promo Shot

EXPLOSIVE DEBUT EP FROM KING CANUTE SET FOR LAUNCH FROM SEPTEMBER.

Irrepressible Brit Rock punkers ‘King Canute’ continue their tempestuous assault on the UK, unveiling their brand new EP ‘Drive’, out on 1st September and available through all good digital outlets.

King Canute were born in the backstreets of Essex and Guildford with Johnny “JC” Lett on bass & vocals and Chris Woollams on drums & vocals. Both members stamp their individual taste all over their craft; Johnny’s background is based in dissident punk music and Chris’s hard-hitting metal influences help to create a truly unique electronic-heavy rock sound.

Ever since 2013, the band have extensively played throughout the country wowing audiences in the process with their highly energetic and explosive live shows. Support shows with Slaves to Gravity, Zico Chain, Idiom, Bad for Lazarus, and many others, have further added to their cause and so too has the release of their debut EP “Cutting Teeth”, which featured Jamie Lenman from Reuben. The record was unleashed last year to huge acclaim and achieved substantial national radio play and magazine coverage, with Big Cheese Magazine declaring that the record is “…an infectious blend of bass driven rock anthems with sing-along hooky choruses” and Raw Ramp Magazine touting that the band have “heavy riffs that blade into your skull like an ice pick”.

The relentless rocksters hit the road again in the Spring of 2014 and once more attacked venues throughout the whole of the country. Word and momentum are now rapidly starting to spread about the dynamic duo, and rightly so. After a hefty live schedule, the two-some decided to go into the studio with esteemed producer Gavin Monaghan to lay down cuts for their next EP. Entitled ‘Drive’, the record perfectly encapsulates the band’s live sound and vigour. From the opening onslaught of ‘Cocaine Skank’, which brims and spits out kinetic energy to the buzzsaw groove of ‘Drive’ and the anthemic ‘Trash Talk’, the record is sure to set the band ahead of the pack. ‘Hellmates’ closes the EP with a pounding piece of upbeat rock that is perfectly offset by the duo’s cunning use of electronics.

With another UK Tour planned for the Autumn, and with an array of live appearances penned for wider plains, including India, along with their debut album scheduled for 2015, the sky is the limit of this inspired rock unit.

King Canute Cover Artwork

http://www.KingCanuteOfficial.com    http://www.Facebook.com/KingCanuteOfficial

Dick Venom & the Terrortones – The MonsterPussy Sessions

DV

Still fresh from infesting our psyche with 7” single Invasion Of The Spiderqueen, Britain’s warped rock deviants Dick Venom & The Terrortones return with the just as salaciously compelling The MonsterPussy Sessions. The new EP provides five tracks of juicy sex encrusted rock ‘n’ roll soaked in the inimitable flavouring distilled and increasingly spiced by the Nottingham quartet. It comes with a new breath of individuality too, a stronger uniqueness which twists the inspirations from the likes of The Cramps and The Stooges into a richer vein of their own distinctive carnal devilry; quite simply it is the band’s finest slice of dementia yet.

Since forming in 2010, the band has been drenching audiences in live sweat and juices across the UK, recruiting eager bodies to their mischievous stomp of psychobilly, garage rock, and old school rock ‘n’ roll. Sharing stages with the likes of The Meteors, Bad For Lazarus, Demented Are Go, The Radiacs, Vince Ray & The Boneshakers, and Vince Ripper (ex-Alien Sex Fiend) has left a lingering mark just as their own one of a kind shows and releases. The RockinRollin VampireMan EP was the first to play havoc with morals and bland music followed more recently by Invasion Of The Spiderqueen. Now with a line-up of Wrex St.Clair and Dusty Vegas alongside the frontman, the band unveils an even more potent case of rascality and mischief upon the imagination for equally increased rewards.

     Valley of the AlleyAlligator Girls sets things in motion with a blues kissed flame of guitar coaxing and swiftly joining enticing rhythms, each a sultry lure on their own whilst together a captivating bait ready for the magnetic vocal Dick Venom & the Terrortones – The MonsterPussy Sessions prowling of Dick Venom. There is an immediate swagger to the song that recruits an instant appetite for its striding temptation and sex tinged horror kissed lyrical narrative. There is the heated and commanding stroll which is to be expected from the band but also a thrilling fire of a solo and a rhythmic shakedown into the song pointing to a new breath to the songwriting and aural tempting of the band. It is a masterful feet recruiting and passion igniting start to the release which is straight away backed up by next up BellySlam City.

The second song boldly walks in with its own individual striding and ear provoking incitement. Beats pounce with an eager reserve whilst the guitar offers an almost stabbing enticement amidst the rolling bassline. It is a simple but potently persuasive romp with the warped colouring of the band oozing from every limb igniting twist and creative shrug of its old school shoulders. Like Gene Vincent meets Lux Interior with The Pirates serenading both with trash rock revelry, the track seems to bask in the lustful hunger shown for its raw charms before making way for the dark seductive spicery of Crypt Tonight. Bass and rhythms throw out a net of rock ‘n’ roll shadows with virulent hooks whilst Venom canters over its canvas with his pouncing syllables and lustful expression. Again a garage rock blues bred toxin plays pleasingly with senses and thoughts as the release shows more of the richer maturity and diablerie coursing through songs.

The delicious garage/surf rock tempting of Dead DeadBeat Delinquent teases and thrills ears next, its prime hook an irresistible breeding of addiction to which fire cast riffs and dangerously hypnotic rhythms prey. It is a glorious roar of punk ‘n’ roll driven deeper into the passions by Venom’s bracing roguishness. The best song to come out of the band, certainly recorded, the track leaves psyche pumped and energy aflame ready for the closing No Good To Get Up To. The track seemingly is driven by its predecessor too, it’s thumping beats and high kneed entrance an agitated enticement of contagion and hot creative juices which spill into washes of sizzling soul infused squalls. The impressive burn of a track brings one exceptional release to a mighty and mouth-watering close.

Though there can never be another to rival The Cramps, it has not only been us who have thought Dick Venom & the Terrortones had the potential to be the British equivalent in potency and influence of subsequent sounds and artists. There is a long way to go before the band reaches those heights but The MonsterPussy Sessions shows that the possibility could definitely be a reality if further great impressive steps are continued.

The MonsterPussy Sessions is available now digitally and as a ltd edition cassette on Jailhouse Morgue Records @ http://terrortones.bandcamp.com/

http://dickvenom.com/

9/10

RingMaster 04/07/2014

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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Embracing individual shadows and unique lights: an interview with Katie Buckett of Jingo

jingo1

Across the past twelve months or so, UK based band Jingo has been one of the biggest surprises and persistently unique propositions to keep the site excited and busy with a regular presentation of singles. Recently the band unveiled the final three tracks in a series of four which were released one by one over a four track period. As almost expected now but always impressed by, the songs came with individual character and stylishly varied sounds wrapped in an equally mesmeric imagination.

There was the poetically evocative Before You Were Born, a song which opens with the ever sirenesque voice of Katie Buckett courted by just as elegant melodic caresses and pungent keys. Heart bred and emotively enchanting, the song immerses senses and thoughts in a striking aural narrative which grows and brews in intensity across its length, Kate’s husband Jack alongside Joseph Reeves and Sahil Batra casting a magnetic web of sound and vocal support, not forgetting sonic drama which is mouthwatering. It is a glorious song which shares diversity and startling persuasion with Home, another song which is able to simultaneously seduce and inflict an intrusive adventure upon the imagination and passions. The drama of the previous song is again, as across most of their songs, a thick temptation which shares shadows and sultry colour with the equally delicious sounds and gripping premise of the encounter. The track is a brilliant aural movie for mind and heart, a provocative suitor for ears and senses, and an ingenious lover for the imagination, just like the last of the single released in that aforementioned quartet. Turn Around is rhythmic enticement around which vocals and harmonies flame and melodies dance with a flirtatious summer bred festivity. Again the track offers something new from and about Jingo. It is a trait all of their ten plus singles has succeeded in impressing by, here a Caribbean swagger and warmth aligned to a psychedelic coaxing a bewitching venture to which Katie excels, once again.

Jingo is a band which surely cannot be a British secret for much longer, their invention and craft too big to be contained you suspect and hope, especially with the forthcoming release of their debut album which the band are finishing as you read. With a long overdue move to find out much more about the band; its past, present, and future we had the pleasure of having Katie share time with us and revealing…

 

Hey Katie and welcome to the site, thank you for talking with us.

Thanks for liking our music.

Tell us about the beginnings of Jingo, where it all started and on which side of the ocean; oh and was it band or romance first? 😉

Jack (guitar) and Joe (drums) brought their band to New York for six months to live the dream. They rented a basement flat in The McKibbin Lofts, a converted warehouse in Bushwick where I had been living for a couple years. I ran an open mic in the building where I first met them and there was a really great community vibe in the area so I guess you could say music brought us together, but it all really came together when Jack and I got married and we decided I should move to London. It was tough, I trained long and hard, but sure enough I mustered the strength to swim across the Ocean. Soon after their other band came to an end, we started playing music and calling it a band little over a year ago.

So what specifically inspired the relocation to London from the US?

Well Jack said in the event of a nuclear catastrophe, in which the only way he could survive was to move to the US, he would only just consider it, so I packed my bags.

Did Jingo start out with any specific intent and vision for the music and its presence? jingo3

The most important thing has always been making good music. Sometimes I make the mistake of asking Joe if my hair looks okay and he always says, “I don’t give a shit.” People sometimes ask questions about our varying styles of songs or our fluctuating stage antics but we don’t really care. We’re still growing and I think our attitude towards the music will lead us in the right direction. A Jingo can be stuck in their ways and no one wants to be that guy.

As evidenced by the mass of singles released over the past couple of years, your sound is as diverse as it is contagious; how would you describe your music in a single sentence for newcomers?

Rock and Roll Dinosaur Electronia that the girls can dance to.

Listening to your songs you get the feeling that they organically spring to life with their own ideas on character and then you hone and sculpt them; how does the songwriting works within the band?

Usually I’ll have the skeleton of a song with some words and Jack will refine the melody, then we’ll jam it out in the studio. Sometimes it will start with a guitar riff or more recently we’ll jam the whole song into being. We never really know when a song is going to come out, but at the moment they are coming out our ears. We don’t like to be very formulaic we just take them as they come.

It is a democracy when it comes to creating songs or is there a core source more often than not?

It is a democracy in the sense that whatever sounds the best is law. Sometimes it’s a matter of demonstrating your point, but most times we end up agreeing in the end. People naturally fall into their roles. Jack is definitely the band leader, lyrics are mostly all me, but the all-round writing of the song is very much a group endeavour.

Your songs always, however emotively shadowed they might be, come with a stroll and smile; this is a reflection of you as people and your wants from good music?

I think that even if you write a sad or dark song, you want the listener to enjoy the experience of listening to your music. Bad experience can unite us and a bumping beat is the best remedy. And you can never take yourself too seriously.

What inspires the lyrical side of your music? Some of the songs are quite dark at their core.

It’s not the same for everyone in the band, but for me art can be a sort of therapy. There are some things that have happened in life that are hard to conceptualize in any other way besides writing a song. I had a troubled friend who killed herself and our song Jaclyn is a combination of anger and loving life in her honour. Sometimes rocking out and screaming your heart out is better than suppressing love and loss where no light can get to it.

As mentioned you have released a tide of singles, how do you see your sound has evolved and grown since the first and the recent Turn Around?

I don’t think we’ve found a specific sound yet, but we are starting to play a lot more songs that aren’t as dark. Jack had only just started music production with these first recordings, so we’re definitely improving fast in that way. We’re becoming a lot more relaxed with each other and with our new band-mate Chris, who also produces electronic music. We’re really excited for what the future holds.

You are obviously a band who pushes themselves and embraces different styles and flavours; what past and currently has inspired you most potently?

I think we all get down with the music our parents listened to in the 60s and 70s- Led Zeppelin, Jefferson Airplane, Crosby Stills Nash & Young, King Crimson, Jimi, Beatles, . We are all avid music listeners. Our heroes of now are Jack White, Queens of the Stone Age, Interpol, Jeff Buckley, Radiohead, Black Rebel Motorcycle Club, Neil Young, Pearl Jam, Tame Impala, Grizzly Bear, Lana Del Rey, Prince, Haim, First Aid Kit the list is endless.

jingo4Live you are renown for your exciting performances, your first ever show being support for Blur’s Graham Coxon. How did that come about?

We run an open mic called Cable Street Electric. Once in a while we do a charity night, one of those was at Mother London in Shoreditch. When they wanted to do their own charity night for Shelter, they thought of us and invited us to play, just so happens Graham Coxon was playing after us, pretty dope.

Would you say it put you swiftly under a certain spotlight or it did not really aid the emergence of the band other than in experience?

It’s always great to play for fresh ears. I don’t know if we really benefitted especially from that night as far as the band goes, but it makes for a great story and none of us will ever forget it.

I am assuming band members have a ‘real ‘life’ and job outside of the band, so how does Jingo manage to be so prolific with their songwriting?

We’re really lucky in that music is what we do. We intentionally don’t have full-time jobs so that we can put as much into our music as possible. We all have certain skills that we can get by with for living costs, but the music is always at the forefront of our minds. We practice often, have a good work ethic, but also have a ton of fun doing it.

What has been your favourite single to date, or the one which you feel epitomises Jingo for new ears?

That’s a hard one, I’m sure it’s different for everyone, but I really liked the release of When You Want Me. We won a competition where we got to record at Strongroom studios where Radiohead and a load of others have recorded. It felt for a second like we were big dogs and they treated us really well and we got to tinker with all their toys.

Tell us about your forthcoming EP? What can we expect and how does it push on from the excellent singles which have already seduced so many?

It’s a full album silly! We are releasing our last couple songs with the record and they are quite fresh so we’re really excited about it. Also I’m a painter, so I get to do some artwork for it so I’m pretty pumped about that. There are some surprises with all that and two new music videos coming out around the same time. We aim to please.

Your singles have all been released for free downloads, are you going the same way with the album?

Nothing is final but we are definitely selling our album. With putting out free singles we really wanted to build a fan base and give everyone a chance to get to know us, I hope our fans will return the favour and purchase a copy so we can make more and tour potentially.

What were the ambitions for the band when it first began and for you when first making music, and have they changed or evolved since?

The ambition has always been to make great music; I don’t think that will change. The next cloud would be to make a living at it, I think we are well on our way but only time and hard work will tell. Maybe I can get the guys to all wear animal costumes, I’d get a kick outta that.

What is planned for the rest of 2014?jingo2

There are definitely secrets in store of which I can’t divulge. All I can say is stay tuned; album, videos and more to come soon.

Again a big thank you for chatting with us and providing such great and richly loved songs for our podcasts 🙂

Thank you so much for listening and sharing, we owe it to people like you putting a signal out.

Any last thought you would like to leave us contemplating?

All you need is mom’s spaghetti, a brick and a bin bag.

Lastly if you could schedule a stage at a festival with Jingo headlining, what emerging bands which you have played with or come across would you invite?

Not Blood Paint, Bird Courage, Bailiff, Pat Dam Smyth, Bad for Lazarus, Steve Nelson

http://jingomusic.com/

Pete RingMaster

The RingMaster Review 08/06/2014

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