Blinding Sparks – Brutal Awakening

It has been a fair while coming but French metallers Blinding Sparks recently unleashed their debut album, Brutal Awakening, and it is a jewel of a proposition; a flawed one maybe but a real treasure nonetheless.

Sarreguemines hailing Blinding Sparks came together in 2009, producing a clutch of demos before unveiling the Renaissance insipide EP in 2014 or 15; as with other moments in their early days, the date seemingly varying. Nevertheless, its post rock adventure lured strong attention and provided a spring board from which Blinding Sparks really took off in sound, reputation, and presence. As Brutal Awakening swiftly shows, the band’s sound has evolved into a rapacious alternative metal fuelled proposition but one embracing an array of flavours with an imagination which is as unpredictable as the album’s character.

Brutal Awakening opens up with Don’t Need A Name, a track instantly prowling the senses as keys shimmer. The muscular rhythms of drummer Nicolas Kieffer and the imposing snarl of the four strings cast by bassist/guitarist Claude Hilpert are as predacious as they are infectious, vocalist Jeremy Conrad joining their trespass with his gravelly tones, again part threat part invitation. The song mellows a touch before returning to its invasive temptation, the song, featuring French singer/actor Laurent Bàn, revealing mercurial enterprise twist by turn.

It is an adventure which fuels the whole of the album, next up Arch springing a web of grooves and vocal irritability across rhythmic predation. As Conrad’s vocals match his and Hilpert’s guitar in contrasting fierce and melodic textures with clean prowess, Johanna Flauder adds her warm tones, she impresses immediately and within every track shows she is much more of a presence and important hue than simply a backing singer. Vocals return to their raw state as the cycle begins again, nurturing thoughts that though Conrad is potent with each, personal tastes hope his ventures into his far stronger cleaner delivery are more concentrated ahead, a thought the album continues to nurture.

The punk infested My Dog Will Piss On You follows, its metal ferocity rabid and addictive with its death, alternative, and groove metal collusion matched in nature by the varying and richly enjoyable vocals, singular and united. The track is superb, a glorious nagging on the senses arousing attitude and spirit with every raucous exploit before Deathbeds calms things with its melodic, slight Latin spiced croon. Anthemic beats and melancholic strings respectively drive and wrap the song’s emotive stroll, Conrad and Flauder vocally magnetic as Hilpert and Kieffer lay down their own virulent bait. Both tracks are magnificent, instinctive bait to ears and quickly matched by the catchy seduction of A Trois, a song which arouses involvement like a puppeteer.

Not for the first time within Brutal Awakening, ears are reminded of Russian band Biting Elbows, this time by the melodically fired In Front Of My Mirrors. Its caustic touch and acidic melodies are perfectly tempered and complemented by the searing tendrils of guitar and invasive beats, the song tantalising at every turn with a quality more than exploited by the tenacious and increasingly volatile This Useless Fate straight after for another particularly stirring moment within the album.

The cantankerous often choleric For An Eternal Rest as good as bullies ears into submission next, its thoroughly enjoyably trespass escalated within successor I Fuck It, a track in breath and attitude more than living up to its declaration. Each leaves real greed for more, both with great vocal contrasts and the latter with its ravenous grooves and evolving maniacal drama.

That earlier mentioned diversity in the band’s sound is relentlessly in full charge but each track has a character unique to Blinding Sparks; the dark hearted, noir lit psychosis of A Tough Road For The Heart emphasizing the point. It might not quite match up to the heights of other tracks within the album but has to be the most compelling and fascinating moment within Brutal Awakenings, its nightmare simply beguiling.

Make You Happy sees Bàn guesting once more, the song another which is so easy to fall into if without inciting the lust others may have teased while the mighty assault of The Straight Line welcomes the voraciously scarring throat ripping tones of Océane Thomas. The track steals the show, Thomas and Conrad instinctively dynamic together; add the more composed yet as potent presence of Flauder and the rabid sounds of the trio and you have aural manna for certainly these ears.

The album closes with the brief serenade of The Last Song, a melodic seducing to drool over as band and release leaves as captivatingly as they entered. Brutal Awakening is a masterpiece, as suggested one with aspects which are not so much issues as potential to be realised, but simply one of the most enjoyable assaults heard in a long delivered in a roar living up to its title.

Brutal Awakening is out now.

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

Pete RingMaster 23/01/2018

Copyright RingMaster: MyFreeCopyright

Buzzkillz – Scum Of The Earth

There is always great enjoyment in the snowball effect of discovering one new band which in turns leads to another and so on. Checking out the new album from Finnish band Wanton on Undead Artists inspired the thought of what other psychobilly bands were hidden in the underground of their homeland. Quickly standing out amongst a potent many was Helsinki quartet Buzzkillz for which a like on their Facebook profile was inevitable. This in turn sparked the band to get in touch with their latest album Scum Of The Earth and now an eager recommendation of its contagious punkabilly.

Buzzkillz was formed in 2011 by vocalist/guitarist Ultima Foole and double bassist Jybe, the pair after playing for many years in their own respective bands “decided to do better music together”. A few personnel changes led to the current and potent line-up of guitarist Antti and drummer Joiku alongside the founding pair stepping forward in 2015 with an arsenal of punk/rockabilly bred tracks. The following year saw the band record their debut album with the uncaging of Scum Of The Earth coming in its fall and still luring a host of new hungry appetites for their sound week by week,.

Scum Of The Earth opens up with Sick Of It All, enticing with a Clash like beckoning before stomping through ears with psychobilly muscle and virulence. Rhythms take no prisoners, beats a thumping trespass backed by the delicious resonating bait that only a double bass can offer. The vocal growl of Ultima is quickly in the bullying mix, his grouchy tones backed potently across the band as the song cantankerously bounds across the senses. With wiry melodies adding to the pleasure, it is a great start swiftly backed up by the addictive punk ‘n’ roll shuffle of Deepest Pockets. Like a mix of Russian punks Biting Elbows and the Danes Grumpynators, the track soon has body and spirit locked in its grip and with consummate ease.

I’m Not The One comes next, its cowpunk flavouring another easy to embrace temptation and the spicy lining to the track’s contagious swing before the album’s title track brings a dirtier, grittier slab of rock ‘n’ roll to the party. Both tracks hit the spot dead centre, the second with a tone reminding of The Peacocks but equally each is overshadowed by the rousing rumble and incitement of Losing The Fight. With anthemic rhythms alone stoking up feverish fires, the song ensnares eager ears and appetite, treating both to a mesh of sultry melodies over relentlessly catchy rhythms.

Through the punk ‘n’ roll intimidation of Outside, Jybe unleashing another simply irresistible infection of bass, and the sinister rockabilly seduction of Fear Of The Unknown, band and album further share rich variety and salacious flirtation while Roll The Dice delves into some ska punk seeded devilment to stretch that diversity within those three songs alone.

Psychobilly drives the irritable charge of Monsters next, the track a rapacious trespass of ears and pleasure simultaneously infesting and captivating the imagination. Its melodies entice with zeal as riffs and rhythms badger and trap an instinctive appetite for their source genre; a psychobilly flavouring just as eagerly fuelling the carnivorous exploits of Some Scars, a track something akin to The Meteors in league with Nekromantix.

There is a whiff of Tiger Army to the smouldering seduction of Sleepwalking but at times even more so of Th’ Legendary Shack Shakers with its dark off-kilter invention. Persistently, the song unveils a fresh twist and hue to its rock ‘n’ roll, emerging the most unique and thrilling proposal in a horde of only striking encounters.

The album ends with the muscular rock ‘n’ roll of Cross To Bare, a slab of punk rock putting a feisty cap on one rousing and thoroughly enjoyable release. There are plenty of familiar hues to the album but with a freshness and inventive prowess which employs rather than relies on them. Buzzkillz is a band ready to embrace attention far beyond their homeland, they have done their part in that aim with Scum Of The Earth; the rest is down to you. Now the question is from their discovery where will we be next led…

Scum Of The Earth is available now @ https://buzzkillzband.bandcamp.com/releases

https://www.facebook.com/Buzzkillzband/

Pete RingMaster 18/04/2017

Copyright RingMaster: MyFreeCopyright

The Shapers – Reckless Youth

The Shapers Promo Shot_RingMaster Review

Having gotten their melodic punk claws into other parts of the world, French trio The Shapers are now concentrating on the UK with the uncaging of new EP Reckless Youth which is set to be followed by a British tour. The release offers a captivating collection of songs bred from the heart of punk rock and brought up embracing its numerous strains. It is punk ‘n’ roll to breed a hungry appetite for and an encounter which starts with a bang and, though it arguably does not always maintain its initial impact, only leaves a want for more.

Hailing from Toulouse, The Shapers emerged in 2009 from the union of vocalist/guitarist Anthony Cauvin, bassist/backing vocalist Raphaël Bouissière, and drummer Benoit Holin. Quickly unleashing a hunger to play live, by 2011 the threesome was touring China and Indonesia to such success that the band retuned again in 2015 to eagerly awaiting fans, adding the likes of Thailand to their global CV. Two years after that first tour, The Shapers was going around North America where they shared stages with NOFX and Pennywise, the prize for winning a ‘best up-and-coming band’ competition. With the release of debut Everybody Needs To Have A Dream in 2012 equally drawing potent acclaim to go along with shows alongside the likes of The Flatliners, Silverstein, Face To Face, and Dream on Dreamer over time, The Shapers have been on a unstoppable roll set to continue with Reckless Youth.

The Shapers Cover Artwork_RingMaster ReviewThe EP opens with a gentle caress of guitar as Can’t Forget slips into view. Within a few more breaths it is rumbling through ears with sturdy beats and ravenous bass riffs as band shouts crowd the voice and guitar enterprise of Cauvin. Initially there are few surprises but certainly an alluring dose of hooks and anthemic prowess which has the body bouncing and energies aroused. Subsequently though, an electro hinting broadens its presence to sizzle and provoke, the song from an opening Blink 182/Pennywise like character with a hint of Buzzcocks to it revealing a fiery G.R.I.M scented invention. Melodies and adventurous twists only add to the increasing creative drama and virulent persuasion of the song, resulting in a superb and invigorating introduction.

The outstanding start continues with Secrets and straight away it is taunting with beats as the guitar enjoyably hassles the senses with its spicy intimidation. The grooved bait of the bass only adds to the swiftly gripping tempting, as too an excellent mix of lead and group vocals. Carrying a fuzzy electro pop mischief into its imagination and urgency, the song reminds of Russian band Biting Elbows in a punk ‘n’ roll stomp that only gets the body and emotions fully involved.

The following Another Chance equally shows its muscle and catchiness early. The bass offers the menace whilst beats and hooks uncage the infectiousness which fuels the songs’ surge into attention and a keen appetite. Again maybe uniqueness is not as high on the agenda of the song as stirring up a good time, but whilst lacking some of the spark of its predecessors, the track only pleases with its feverish enterprise and refreshing energy loaded revelry.

The instrumental Lonely Moments comes next with an acoustic guitar hug of melodic charm which is enjoyable but does not quite fit in with the company of the songs around it, something which No Regrets has less problem with. It too is an acoustic bass croon with Cauvin as potent as ever vocally and impressively backed by band harmonies. It also misses the same elements which made especially the first pair of songs so captivating but again it only leaves satisfaction full before Youth Disaster takes over with its grumbling riffs and skittish percussion around more of Cauvin’s engaging. Offering a tenacious landscape of classic rock laced, punk seeded rock ‘n’ roll, the track plays like a mix of Good Charlotte and Sum 41, blossoming from a strong start into an inescapable, almost stormy roar thick with anthemic persuasion.

Ending almost as powerfully as it certainly started, Reckless Youth is one of those releases easy to find yourself drawn back to time and time again. As mentioned The Shapers have their eyes on the UK now and going by the potency of their EP, it is hard to see them failing to stir up another wave of eager fuss.

The Reckless Youth EP is available from Friday 26th February through all digital platforms.

http://theshapersofficial.com   https://www.facebook.com/TheShapersOfficial   https://twitter.com/theshapers

Pete RingMaster 24/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

THE TiPS – TWISTS’N’TURNS

pic C_Helge_Tscharn

pic C_Helge_Tscharn

An album to get you dancing, thinking, and acting on your instincts, TWISTS’N’TURNS is a mighty reminder that its creators, THE TiPS, is a band you really need in your life, especially if reggae, ska, punk, and funk brings your ears and emotions to life. The third full-length from the German band, it is also their most eclectic and imaginative adventure yet and in turn their most rousingly enjoyable.

Hailing from Dusseldorf, THE TiPS was formed in 2009 by vocalist/guitarist/keyboardist Aljoscha Thaleikis after returning back to his homeland after spending some of his formative years in the United States where he was introduced to styles of music that he was previously unfamiliar with. Having explored the merger of flavours such as soul, ska, reggae and dub with the punk rock of his roots, his return to Germany led to the creation of THE TiPS. The band’s debut album High Sobriety was released in 2011 with its successor Trippin’ unveiled two years later, both to potent success. The past two years alone has seen the trio of bassist Philip Pfaff, drummer Janosch Holland, and Thaleikis play over 130 shows, the sharing of stages with band such as The Mad Caddies, Die Rakede, Ruts D.C., The Toasters, and Jaya the Cat amongst them. Now they are poised to stir up broader and stronger attention with the Alexander Beitzke (Jamiroquai, Ed Sheeran, Florence And The Machine) produced and Pete Maher (U2, Linkin Park, Lana Del Ray Nine Inch Nails) mastered TWISTS’N’TURNS; twelve tracks which swing and stomp whilst taken a bite at issues impacting on all.

The album opens with Birds in Trees, instantly clasping ears with vocal and melodic temptation before showing its sonic and rhythmic muscles. From that wall of energy a mellower but no less magnetic stroll emerges as the song saunters with its reggae bred gait. Thicker eruptions break throughout, grooves and spicy hooks adding to the welcome trespass before things relax into captivating calm again. It is a riveting persuasion, a rich tempting only blossoming further with the distinctive tones of Skindred frontman Benji Webbe who guests on the excellent start to the album.

THE_TiPS_TWISTSNTURNS_RingMaster ReviewThe following Leaving Home gently swings in next, its sultry sway aligned to the thick brooding tone of bass and gripped by the excellent vocal presence of Thaleikis. Impossible not to be hooked by its reserved yet anthemic chorus alone, the song has a By The Rivers meets The Skints nature which simply entices, a success matched by the seductive croon of Wasting Time. Similar spices line the infectious romancing of ears, as too an equally catchy and tenacious energy which soon has hips and voice in eager involvement. Both tracks are irresistible, easy going yet imposingly compelling proposals though both are overshadowed a touch by the outstanding Chosen Fool. Stabbing riffs collude with the grouchy bass to quickly excite ears; imagination and an already keen appetite swiftly inflamed by the Ruts like punk ‘n’ roll invention which also emerges to add fresh bite and attitude to the exceptional encounter.

The band’s punk heart is given full rein for Johnny’s Song next, another striking and virulent arousal of body and emotions carrying an essence of Russian punks Biting Elbows to it. Similarly THE TiPS brew flavours which hint at a Sublime/Living End link-up, but coming up with something distinct and incendiary to themselves. It is uniqueness just as apparent in the infectiously sultry funk infused saunter of If You Want To and the noir lit landscape of City Lights. The first glides through ears with a slightly mischievous enterprise whilst the second is pure aural and emotive drama. From vocals to keys, exotic hooks to the ever pungent tone of Pfaff’s bass, the transfixing incitement is a web of intrigue with a volatility that is seemingly Skindred seeded.

Alien emerges with the same shadowy hues and emotional intensity next, flowing from the provocative shadow of the previous track. It swiftly wraps heavily persuasive and seductive tendrils around ears, at times conjuring a darker climate of intimidation to contrast and unite with the bluesy hued flames also arising from the mellower strains of the slow burning treat of an encounter.

Igniting another devouring of the band’s punk ‘n’ roll imagination straight after, Parade shares a riveting steely bass lure amongst swinging rhythms from Holland, before Do It Right prowls and flirts with its predacious ska punk devilry. Managing to be as sinister as it is irresistibility tempting, the song has body and emotions bouncing, matching all feisty movements in catchy and melodic kind. Equally, it powerfully stirs up thoughts too; an impressive knack the band has leading to full involvement from all aspects of the listener as evidenced by the Red Hot Chili Peppers spiced Back in the Days. There are some songs which are instinctive manna for the soul; encounters which simply turn on the sweet spot for an everlasting romance and this definitely qualifies as one.

Completed by the simply mesmeric, emotive serenade of Still Turning, another song which leaves a lingering imprint, TWISTS’N’TURNS is one thoroughly and imposingly thrilling union between band and ears. It is surely the release to take THE TiPS to the attention of spotlights beyond their homeland’s borders and the underground scene in general, at the very least destined to make a mark on a great many end of year favourites lists.

TWISTS’N’TURNS is out now on Long Beach Records Europe @ http://thetips.de/shop/

http://thetips.de/   https://www.facebook.com/thetipsofficial

Pete RingMaster 22/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Russkaja – Peace, Love & Russian Roll

PL&RR__RingMaster Review

Our own introduction to Austrian turbo polk metallers Russkaja was through their third album Energia! and there is no denying it stole our ears and lustful soul with ease. Now the septet returns with its successor Peace, Love & Russian Roll and fair to say the devilish fun continues. The album in many ways seems a more concentrated attempt at flirting with the broadest attention, songs sung predominantly in English this time around and the bedlamic nature of their songwriting turned down a touch, but it does not stop the band unleashing another manic and exhilarating stomp.

Formed in 2005 by vocalist Georgij A. Makazaria, Vienna hailing Russkaja has a sound which embraces the essences of its member’s Ukrainian, Austrian, and Russian heritage, the latter especially a potent hue in an adventure which entangles folk, punk, ska, jazz, metal, polka…well you name it and it will be in there as shown by both Energia! and now Peace, Love & Russian Roll. As suggested the band seems to be looking at stirring up a wider spotlight of attention with their new album, but in no way does it mean they are dipping into commercial attributes to cheat the imagination and fans, just that Peace, Love & Russian Roll has, well I guess it is a more mature and knowing touch to the songwriting and sound behind its magnetic schizo waltz.

The festival of flavour and adventure starts with the body igniting Rock’n Roll Today. Its opening fanfare of trumpet has ears instantly hooked, with the scythes of energy, riffs, and drum stick swipes only adding to the enticing. Within a few more breaths the track is in full throttle, stampeding through ears with a punk ferocity, multi-flavoured tenacity, and a web of rhythms which, as the sound, shifts gait and nature with every passing clutch of seconds and inventive twist. Vocally Makazaria growls as he leads the boisterous revelry, feet soon a blur in return and hips swinging to the breakout of ska seeded hooks. Like a mix of Kontrust and Tankus The Henge, the track sets the union between album and listener off in rigorously contagious and thrilling style, especially with its fifties rock ‘n’ roll detour towards its exhausting climax.

   The following Slap Your Face equally has the senses and imagination aflame, and again it all starts with an irresistible entrance which this time is blessed with the kind of blaze of brass that Roxy Music cast in their heyday. Soon metal riffs and beats back up its tempting, the mix persistently punctuating the ska seeded funk swagger which soon breaks out. As the first, the song is a flowing stroll of infectiousness and invention. Its fusion of sound reminds of Biting Elbows and Gogol Bordello at times with the added spice of King Kurt in for good measure, and fair to say that if as its predecessor, it is not luring your body and vocal involvement within the first minute, you should check you have a pulse.

Hometown Polka calms things down a touch with a restrained saunter spiced by the teasing violin strings of Mia Nova which provide a charming welcome. Its catchiness is in full flow pretty much straight away though, growing with strength as lively crescendos to the song come littered with a throaty bassline, mass vocals lures, and swinging traditional temptation. The dark allure of H-G. Gutternigg’s potete (a hybrid of bass trumpet and trombone), only brings greater flirtation to the song, complementing the spicy trumpet of Rainer Gutternigg and the melodic dance set by Engel Mayr’s guitar simultaneously.

A further breath can be taken thanks to There Was A Time, a warm yet melancholic croon of voice and sound. Once more infectiousness is as ripe as the skills breeding the total seduction, the English sung reflection making another persuasion impossible to not join within one round of its chorus. The sublime persuasion is matched by the Latin sparked El Pueblo Unido, its Spanish sung and South American coloured tones the canvas for a rousing ska infused canter complete with climatic crescendos and mariachi like drama.

597_Russkaja_RingMaster Review   Lovegorod wears its ska influences with a broad creative smile whilst Parachute guided by the pulsating beats of Mario Stübler is a folk shaped swing of melodic and lyrical romance hugged by siren-esque harmonies and trembling Mediterrean caresses. Both songs hold attention and imagination in firm and pleasing hands but each finds itself over shadowed by the theatre of the following Let’s Die Together. Arguably the most traditionally Russian bred song on the album, it is a bordering on schizophrenic maelstrom of voice and sound which boils into a familiar and addictive quickstep. Its energy and passion increases with every swaying step, its roaring catchiness of band cries over a deeply hooking swing, sheer inescapable virulence.

One major triumph is backed by another in the noir lit prowl of Salty Rain. Dark rock ‘n’ roll with a healthy spice of jazz and melodic sultriness, the song swiftly entrances body and imagination, once again hips coaxed into eager movement as the immersive narrative grabs thoughts. A core ska spine of guitar binds the outstanding track’s varied beauty together, alone manipulating limbs before letting You Are The Revolution flick the switch to another raucous outpouring of sound, attitude, and energy. Metal and punk collude to create the raw and gripping stomping with the bass of Dimitrij Miller, not for the first time, a prime protagonist in song and ears. Of course as volatile as it is, there is a contagion to its tempest which is just as mouth-watering as the turbulence around it.

Peace, Love And Russian Roll concludes with firstly the country rock/folk croon of Radio Song, a serenade as lyrically mischievous as it is musically tangy, and finally its title track. The last song’s name just about sums up it and the album’s contents, Russian rock devilry spawned by the theme of uniting in the good things to make life and the planet a better place. It is a glorious end to another delicious slab of unpredictable and inimitable aural festivity. If pushed previous album Energia! with its less polished and more of a raw toning still edges it as our favourite Russkaja moment but Peace, Love & Russian Roll is right up there leaving so many other offerings this year in its wake.

Peace, Love & Russian Roll is available now via Napalm Records http://shop.napalmrecords.com/russkaja

http://www.russkaja.com/    https://www.facebook.com/russkajaofficial

RingMaster 26/07/2015

Copyright RingMaster: MyFreeCopyright

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

 

 

LaBrassBanda – Europa

10369702_10152746523032834_5755316661823139889_n

To support and celebrate the band’s recent UK tour, German nine-piece LaBrassBanda have re-released their acclaimed 14-track album Europa, and if like us you missed it first time around, now is the time to join their compelling festival of sound. Uniting the richest contagious elements of everything from techno to funk, reggae to ska, and punk to alternative rock pop, the Bavarian outfit take ears and imagination on a euro stomp of irresistible creative revelry.

LaBrassBanda was formed in 2007, one of its founders, vocalist/trumpeter Stefan Dettl inspired by the Youngblood Brass Band. With a few line-up changes and an expansion of personnel, the band has persistently ventured across Europe with their sound, becoming renowned for their high energy live performances. As mentioned the band’s sound is bred on styles and flavours as diverse as the different musical backgrounds and tastes of its members. Originally released in 2013, Europa gets a fresh UK concentrated unleashing to accompany their just completed and highly successful tour and before the full complement of trumpeters Jörg Hartl and Korbinian Weber, trombonist Manuel Winbeck, bassist Mario Schönhofer, drummer Manuel Da Coll, percussionist Tobias Weber, tuba player Stefan Huber, and guitarist Fabian Jungreithmayr alongside Dettl hit the festivals of Europe.

The album fires up ears and thoughts straight away with opener Tecno, its sound as you would expect from its title a vibrant enticement for feet and dance-floors aligned to a great throaty shadowing of bass and tuba. The expressive vocals of Dettl are equally low in tone but as magnetic as the flames of brass which flirt with the senses across the relatively restrained but tenacious encounter. Thoughts of eighties bands like Pigbag and Mouth spring up as the song dances with ears before passing the baton of infectiousness over to the following Jacqueline. Immediately more feisty and energetic than its predecessor, the song swings and grooves with a funk bred air and gypsy folk devilry, again body swerves and lively feet the target.

0888837022521     The album hits its pinnacle early with the exceptional Holland, the track a slightly deranged waltz of hip hop tinged vocals and an accompanying mashing of syllables courted by a soundtrack of busy and psyche seducing brass. It is just the start of the fun and lustful persuasion though, a fluid step into a reggae spiced, punk hued romp reminding of bands like Asian Dub Foundation causing pure addiction. A track to bring graveyards alive and lungs exhaustion, the track is pure manna for body and soul. What it is about who knows, being Bavarian illiterate we fail you on that aspect as there is not an English word spoken across the whole album but we are led to believe plenty of songs are about beer, girls and partying.

Schweden next nudges and entices the listener with an electro beat based offering equipped with a potent seduction of bass which blossoms into a sultry croon of brass and melodic persuasion. It also has a whiff of nostalgia, parts of it reminding of Dalek I Love You whilst it’s more feisty and lively exotic catchiness has a sense of Mano Negra to its enterprise. The freely flowing encounter never erupts into a blaze but relentlessly seduces before allowing the agitated adventure of Z’spat Dro to tease and bounce with ears and appetite. A punk tenacity and energy surges through the infectious anthemic romp, think Biting Elbows meets Les Négresses Vertes and you have another treat of a track.

The punchy Nackert with is rock pop croon keeps the energies and thorough enjoyment in top gear whilst Sarajevo takes a gentler but no less enthralling flight across a boldly simmering but reserved scenery of melodic craft. The elegant instrumental has the imagination casting its own travelogue of adventure, brass and guitar providing the colour and rhythms the drama for thought sculpted exploits.

Entering into the second half of the album, Europa evolves into a more evocative and suggestive persuasion than the more forceful devilry of its opening half, though first of all the cosmopolitan soundscape of Frankreich reveals itself as another instrumental with bold rousing hints for ears and thoughts to play with. The colder climate of the melancholically charmed Russland comes next, its slow haunting an immersive caress whilst Western straight after saunters along with a jazz funk smile and brassy mysticism as vocals unite in harmonic, almost shamanic prowess.

Though admittedly there was pining for the outright devilment of a Jacqueline of Holland at this point, the album still has the listener firmly departed from the real world attention wise with each proposal, a success continued with the warm and dark theatre of Griechenland and following that, the folk lined shuffle of Vogerl where that gypsy folk/punk tempting returns to take feet and emotions on another flirtatious dance.

Europa ends with firstly the highly persuasive Opa and lastly the melancholic, funereal like sigh of Hymne, arguably the one time not understanding the spoken narrative is missed, though the wake like reverence of the music explains plenty.

It is fair to say that Europa is easily one of our favourite encounters this year and at times offers songs sparking a lust which borders on illegal. To bring your summer and year to life, if you have not already, time to join the LaBrassBanda festivities we suggest.

Europa is available now via Sony Music/RCA @ https://itunes.apple.com/us/album/europa/id651995604

http://www.labrassbanda.com   https://www.facebook.com/LaBrassBanda

RingMaster 12/05/2015

Copyright RingMaster: MyFreeCopyright

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

The Vox Dolomites – Self-Titled

10649906_695441497205846_3102955332048731960_n

British punk has been at a feisty high for a couple of years now and just gets more potent which each emerging band and release. At the heart and criminally not getting the attention deserved is The Vox Dolomites, a quartet which turns the seeds of punk rock and ska into lyrically and musically gripping dramas. Their songs and EPs have proven the band has an instinctive knack at inciting feet and thoughts with energy and skill. Just recently the Stockport based band released their self-titled debut album, a release which surely will finally draw the keenest spotlight upon their presence.

Formed in2011, The Vox Dolomites is a tenacious and voracious creative stomp driven by guitarists/vocalists Ant Walsh and Will Farley, bassist/vocalist Chris O’Donnell, and drummer Simon Dunnington. The band soon grabbed attention, including ours, with the release simply called First Demo 2012. Their introduction was a blaze of punk and ska revelry which instantly made with its raw and inventive presence, an instant and lingering impression. It was a success subsequently emulated by tracks like No Split Ends and the Down For Three / Joan & Frank single of 2013. Live too the band has earned a renowned reputation for their ferocity of sound and drive, playing acclaimed shows not only at home but across the globe where especially in Japan, the band is feverishly devoured. This was no more evident than in The Dirty Work Tour 2012 movie which came out last year. Filmed by Chalkman Video it honestly followed the band on tour out East, revealing everything about the connection between band and their fans. Working hard on their first album through the first half of 2014, The Vox Dolomites has now opened the cage to a stomping release which declares that the band has hit their sweet spot creatively and unleashed their most adventurous and eclectic songs yet.

Choppy riffs make an instant potent tempting as opener Backtrack steps forward, their lure accentuated by the stroke of piano which sparks a flavoursome stroll of shadowed bass and keys wrapped in expressive melodies. A breath is swiftly taken before vocals and songs rouse up the imagination with their spicy enterprise and punk tenacity. It is a riveting mix, raw punk and melodic rock colluding for an infectious proposition equipped with essences of Rancid and NOFX for extra flavour. Making a striking start to the album, the richly pleasing track is surpassed by the outstanding Battle Scars, a feisty roar with thicker sinews and predatory intent compared to its predecessor, cored by the gripping throaty bass of O’Donnell amidst an acidic blaze of guitar. One of the band’s early songs which graced a previous EP, the track has been revamped and given a new antagonistic tenacity so it stomps as a new beast

Both Down For 3 and Alone In Mexico keep the adventure and quality of the album flying, the first of the two a ska rock dance with the crisp beats of Dunnington coring a flirtatious bass enticement and the radiant devilry of keys. Vivacious and exhaustive for feet and emotions, the song is a virulent bounce infused with sixties garage rock seduction and insatiable melodic charm. The second of the pair explores a sterner old school punk attitude and sound, the switching of two vocal attacks an alluring graze to compliment the similarly harsh sounds. The song still develops an imposing catchiness though which is as irresistible as the brooding fury within its depths and narrative.

The brilliant No Split Ends comes next, a pop punk provocateur with ferocity to its jangling riffs and punch to its intimidating rhythms. Again the busy energy and intensity of the track is a breath-taking onslaught but also it is ripe with a seriously addictive lure and temptation which snarls as it seduces. As the previous older song, the track has been revitalised and twisted into an even greater slice of punk alchemy to take top song honours and reinforce reasons why those in the know wax lyrical about the band.

As mentioned there is strong and highly pleasing variety to the album as shown by the melodic and hard rock infused 6AM Rain. Fiery but simultaneously a gentler stroll, the track comes with skilled melodic endeavour and blues rock imagination whilst still showing its punk breeding. Whereas the previous song had a sense of Russian punks Biting Elbows and also [Spunge], this whispers a calm Turbonegro and Bad Religion fusion whilst still sounding distinct to the Brits. Without sparking as certainly its predecessor, the track is an intriguing and pleasing different side to the band’s evolving sound, as is the more ruggedly bruising ALA where again heavier rock riffs and that increasingly delicious carnivorous tone of bass bind attention and appetite. The stirring and muscular brawl of punk ‘n’ roll is an inescapable imposing setting up the passions perfectly for the impossible addictive Horrorshow. Ska punk with a growl to vocals and riffs tempered by the melodic seducing of keys, the track is one of those stomps which once infested by never leave thoughts and passions. Bands like Face To Face and Operation Ivy have helped drive the style of music employed, but whether either has crafted a track as potent and irresistible as this is debateable.

I Fought The Lawyer brings us back to old school punk fury with Clash like attitude within raw rock ‘n’ roll whilst the gnarly Kojak With A Kodak with stabbing riffs and a rumbling bass lining, takes ears into yet another new aspect in the band’s punk ingenuity and exploration. A slow burner compared to other songs on the album, even with its eager gait, the track reveals itself to be a fascinating and richly creative persuasion unveiling a little more to its depth and lure with every listen.

The album goes out with a bang through firstly the mouth-watering aggressive stomp of Break Down The Walls, the song another long-term lust in the making, and lastly the ridiculously contagious and body igniting Losing Hands. Punk does not come any better than these last two songs, well apart from the other tracks on this excellent rampage of an album. It seems we are praising The Vox Dolomites more and more with every release and there is no reason to change with this seriously impressive album. They are a band which deserves the keenest spotlight and hopefully now they have found the trigger to such attention and recognition.

The Vox Dolomites is available now via STP Records @ http://www.stprecords.co.uk/page4.htm on CD with a vinyl version scheduled for 2015.

http://www.thevoxdolomites.com

RingMaster 06/11/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/