Noseholes – Danger Dance

If you are looking to have your imagination twisted into torturous shapes matching those drawn from the body, then checking out the twisted disco of German outfit Noseholes is a must. The ticket to its no wave/post punk/noise rock devilry comes with debut album Danger Dance, an encounter living up to its title in deed and temptation.

The Hamburg hailing quartet of Henk Haiti, Steve Somalia, ZooSea Cide, and TH have already been teasing and tempting through a host of well-received tracks which now collude with equally as compelling adventures within the band’s first full-length. Danger Dance opens up with its title track, a flirtatious bassline leading the coaxing as beats stroll alongside. Soon an equally seductive melody escapes the guitar, the combination reminding of the Au Pairs even as vocals spring their web of temptation and intrigue. The suggestive spice of keys and the alternating female and male vocals all add to the captivating drama relentlessly driven by addiction stirring rhythms

A just as potent rhythmic lure fuels the following post punk shuffle of Lush Box. Spirals of guitar and flames of sax latch onto the swagger of beats and bass; the song’s jazz bred discord and post punk dance bouncing around like a Delta 5 meets Blood Red Shoes tango before Styling shares its own riveting devilment with a similar but quickly individual template of flavours. To be honest the rhythmic heart of the first trio had us trapped hook, line and sinker, all the other psyche infesting imagination icing on their inimitable cake with only the briefness of each song a frustration, a common niggle across the album.

Yelzins Affair makes a more tempered start but one with intrigue and noir lit shadows in its breath and sound from the off. Creating a tapestry of creative languages and suggestion over rapacious rhythmic pulses and lean but potent melodic tendrils the song is a mysterious fascination allowing a breath for the body and adventure for thoughts.

Tenacious endeavour and energy breaks again in Ex Driver, a track which in its sonic webbing has a definite early XTC deviousness, while Bed Smoker bounds in on a boisterous rhythmic skip and melodic manipulation which has the body and imagination eagerly bouncing like a four year old. Both are manna to any post punk/noise pop bred appetite while the closing Aspirin Nation is pure joy to jazz infested noise rock mania. Its acidic instrumental dissonance and rhythmic pounce is captivation enough but add the Essential Logic-esque squirts of sax and again attention was lustful.

Danger Dance teased, taunted, and pleasured pretty much our every personal want from music; it may very well do the same for yours. Only one way to find out…

Danger Dance is out now through ChuChuRecords / Harbinger Sound; available @ https://noseholes.bandcamp.com/releases

https://www.facebook.com/pg/NoseholesBand/

Pete RingMaster 27/02/2018

Copyright RingMaster: MyFreeCopyright

The Guilt – Self Titled

Here to give your senses an abrasively bracing blasting and the body an irresistible work out is the debut self-titled album from Swedish duo The Guilt, a band which just might be the most exciting thing to happen to punk rock in recent times. Musically the pair of vocalist Emma and guitarist/beat caster Tobias create something angry and seductive from styles bred from electro punk to heavy rock and any flavour of rock ‘n’ roll your ears desire, or as they call it, laserpunk. Bottom line though is that The Guilt creates instinctive punk rock to rouse the spirit and assault the world in one of the year’s biggest treats so far.

The Guilt emerged in Helsingborg 2012, Emma and Tobias making a fresh musical start after the death of an old friend. Initially the pair used an iPod for synths and beats rather than replace the drummer before turning to a Roland synthesizer resulting in the fine mix assaulting the listener from within their first album. 2015 saw the release of their maiden EP on Heptown Records, who now release the album, with another outing for it last year through Suicide Records. It was a nudge on attention now being followed by a mighty slap courtesy of, as already suggested, one of the essential moments of 2017.

An electronic squiggle draws ears to the waiting clutches of opener Cunty Mess, the song swiftly taking advantage of intrigue with its scuzzy riffs and wandering groove. Once the voice of Emma saunters in, defiance reeking from every breath and syllable, the song just comes alive. Tobias conjures a web of hooks and unpredictability as a gnarly bass grabs its piece of an already lusty appetite for the track’s punk ‘n’ roll. Bouncing with catchy enterprise across its body but especially a pop infested chorus, the song seduces within its first spirit inciting roar.

The following Hate Hate Hate is swifter to unveil its antagonistic attitude, guitar and synth colluding in devious coaxing before Tobias unleashes a deliciously nagging groove as Emma stands hollering, irritation fuelling her presence and attack. She almost prowls song and listener, building her zeal loaded rage for the rapacious chorus; the sounds around her just as dynamic and predacious. Yet there is virulence to the repetitive groove and tenacious beats which has limbs and body as involved as energy and thoughts, dancing and rioting united in one song, though pretty much all the tracks within the album spark matching reactions.

I Don’t Care follows with its dose of crabby rock ‘n’ roll, the track simply punk rock to its core. Like L7 meets Midnight Mob, the song strolls along with a militant air; its middle finger raised under the defiance stoking shout of Emma and driven by the equally ferocious sounds of Tobias. The track is superb, maybe even eclipsing its predecessors before I Just Know It has feet and hips bouncing to its electro pop punk antics. With a touch of The Objex to it when it snarls and a whiff of The Knife in its calmer electronic shuffle, the song epitomises the band’s ability at fusing danceable pop and threat loaded punk rock if showing more restraint of its aggression than those tracks before it.

Having your senses crawled over; imagination fingered does not come much more potent or enjoyable than the start of Bad Things. It infests ears with its dark deeds and growling textures, the Roland popping away with its electronic spots to highlight rather than temper the irritated heart of the track; a union only blossoming to bigger exploits as the song boils over in another anthemic chorus surrounded by enjoyably corrosive flames.

The stunning Anomlays is next; the band’s latest single an incendiary eruption of punk and pop sounding like Animal Alpha leading Morningwood into a pit of hellacious body corrupting toxicity. One of the highest pinnacles in nothing but across the album, its success is closely matched by It’s Not Me It’s You. A little like Blood Red Shoes given a hefty dose of animosity but again emerging as something unmistakably unique to The Guilt, the song swings and grooves while spreading venomous fun and ravishing attitude; electro pop and punk has never sounded so delicious together.

That is another key thing about the album; for all the references we suggest or others different people may offer, The Guilt has a sound which stands alongside no-one. Its voice, imagination, and character is one of the most original around right now yet feels like a friend from its first hungry touch. Next up When The Honey Comes is proof, the track swaggering through ears with another grimace to its tone but is as quickly springing infectious flavours and hip provoking exploits as guitar and bass niggle away with their great persistence.

The release is brought to a fiery close with firstly the cantankerous stomp of Give It and lastly the psychotic hop of Ovaries. Both tracks leave exhaustion and instinctive pleasure in their wake, the first with its primal punk ‘n’ roll and its successor with its electro punk revelry though even with its kinetic web of sound and contagious consuming of the body there is something inescapably predatory to the album’s thrilling conclusion.

The Guilt is beginning to catch and excite new ears and passions in droves, their album shows exactly why. It assaults, infests, demands, and rewards in equal measure; most of all it gives music and its fans the kind of fun time and rebellious streak it has arguably been missing lately. We say let their album be your next port of call and as for us, they just might be your new favourite, probably obsessive passion.

The Guilt album is out May 5th through Heptown Records.

http://www.theguilt.se/    https://www.facebook.com/theguiltsweden/    https://theguiltswe.bandcamp.com/

Pete RingMaster 05/05/2017

Copyright RingMaster: MyFreeCopyright

Vukovi – Self Titled

Even before seeing her, Janine Shilstone, the lead singer of Scottish outfit Vukovi feels like a blend of Barbarella and Harley Quinn; a bold vocal seduction of beauty and devilry, glamorous temptation and mischievous warrior which her visual presence and energy only accentuates. Vukovi matches that inescapable focal point with a sound and energy just as tenacious and creatively boisterous not forgetting hungrily imaginative. It is all in evidence within the bands self-titled debut album,  a rousing and enjoyably imposing roar of pop infested rock ‘n’ roll as colourful and attention grabbing as its vocal protagonist’s hair.

Emerging in 2010, Vukovi have earned an acclaim ridden reputation for their live prowess which has more recently seen them successfully play festivals such as at Download, T In The Park, Hard Rock Calling, Live at Leeds, and British Summer Time Festival as well as open for Highly Suspect late last year. Equally a clutch of singles, many bringing their thrills to the album, have lured increasing attention which now the band’s first full-length will surely explode into even eager life such it’s striking fun and adventure.

Vukovi, band and album truly explode into life with opener La Di Da, a recent single which leaves the speakers shaking and body exhausted. Immediately, as a strike of musical drama scythes across ears, the titanic presence and roar of Shilstone ignites the imagination, her vocal strength and character a glorious trespass as warm and inviting as it is formidable and striking. Bass growls and swinging beats are equally as dynamically riveting, Hamish Reilly’s riffs almost stabbing the senses as Shilstone continues to blaze. A song partly inspired by the singers almost obsessive appreciation of the relationship between The Joker and Harley Quinn, it is a volcanic pop and rock stomp with a touch of Djerv about, indeed the Norwegian band’s vocalist Agnete Maria Kjolsrud the closest comparison to Shilstone’s distinctive presence that we can suggest.

The track is immense, a plateau setter which the album does not always match from thereon in but certainly worries track by track starting with And He Lost His Mind. With steely riffs quickly chaining ears with their predacious intent, and  vocal cries and rebel rousing just one trap in its manipulation of ears and body, the track borders the carnal whilst unleashing a catchiness as invasive and inescapable as it’s primal urges. For no obvious reason, post punks Xmal Deutschland frequently come to mind during the song, well a pop version of them, the track carnivorous in its earthy air and sonic snarl.

Weirdo has a lighter pop flirtation to its body yet still riffs and bass add their already established barracuda growl and heavy prowl to the stirring tempting. Drummer Colin Irving jabs with relish as melodies swirl with their own raw magnetic flair around emotion lined vocals before the Blood Red Shoes meets Morningwood stroll of Target Practice involves more caustically shadowy endeavour. Again bassist Jason Trotter brings a deep dark edge to the affair with ears while the catchy tenacity of its predecessor is equally matched as Shilstone robustly serenades with increasing passion.

Through the Paramore-esque charm of Prey, though we would suggest that the Americans have never discovered the instinctive thunder in their sound as that which persistently frequents song and album, and the controlled but naturally frantic exploits of Bouncy Castle, ears are aroused and buffeted with feet unreservedly worked on with zeal as the imagination is fed a variety of textures and enterprise.

Vukovi is more often than not tagged as a pop rock band but already the album has established them as real rock ‘n’ roll with a skilled hand at creating the warmest moments of infectiousness and emotive intimacy as betrayed in the beguiling Wander; a song where vocals alone seem to come from an inner flame of personal revelation. Similarly, I’M WIRED has that potency of word and expression within its cauldron of lava-esque sound, mercurial rhythmic incitement, and melodic radiance. Both tracks beguile; their personalities from another place on the Vukovi spectrum of creativity and as powerful and compelling as anything around them.

Next up, Animal has things lustfully bouncing again, its rhythms a driving infection as spiny riffs grizzle alongside the ever radiant vocal lament of Shilstone who in turn is hugged by the siren calls of keys, while Boy George leaves little to be further desired with its Animal Alpha hued stew of sound and imagination if admittedly it does not quite ignite personal passion as much as other songs, their success rather than any deficiencies within it the reason.

He Wants Me Not is another which only pleases with its crystalline grace and rousing energy but cannot quite live up to the heights of certainly the likes of La Di Da and Wander, though by its close satisfaction is overflowing and hips weary but still willing to embrace the gentle swing and roaring heart of closing track Colour Me In.

Produced by long-time collaborator Bruce Rintoul, Vukovi is our introduction to its creators, an encounter which with no expectations of it, surprised, thrilled, and certainly across its first two thirds just blew us away; its final stretch only confirming a new lusty appetite for the band’s sound. We do not expect to be alone in that realisation and strength of enjoyment.

The Vukovi album is out now through LAB Records, physical copies available @ http://vukovi.tmstor.es and digitally @ http://labrecs.com/VUKOVI-iTunes

http://www.vukovi.co.uk/    https://www.facebook.com/vukoviband      https://twitter.com/Vukoviband

Pete RingMaster 22/03/2017

Copyright RingMaster: MyFreeCopyright

Raketkanon – Florent

 

    Raketkanon

    Raketkanon is most likely a name still relatively or entirely unknown to the wider expanse of British ears and appetites, but a situation unlikely to remain the same after the release of the band’s debut UK single. Florent is sheer noise alchemy, an insatiable and ravenous temptation. It is also the first teaser for the band’s new album, a larger and easy to suspect no less potent proposition with the potential to make the Belgian band a new lustful passion for a great many across the UK.

Hailing from Ghent, Raketkanon (meaning Rocketcannon in Dutch) have a sound which launches itself on the senses with zeal, relish, and devilish invention. It is easy to offer comparisons to the likes of Melvins and Tomahawk upon the band’s music, yet it defies real tagging as equally essences can be found of nosier exploits like Kabul Golf Club, Butthole Surfers, and Coilguns. It is a proposition which more than likely will draw different ideas and references from different sets of ears, and a sound, alongside the band’s presence on stage, which has led to the release of the single on Jazz Life Records, the label of Blood Red Shoes. Laura-Mary Carter of the British band recently commented on Raketkanon, saying “After seeing their first London gig and being pinned to the back of the wall by the sheer force and insanity of them playing live, I knew we had to sign them to our label.

Feedback and sonic enticement make the opening lure, bait swiftly reinforced by a heavy rhythmic stroll and he discord kissed enterprise which springs from the intriguing start. Consisting of Jef Verbeeck, Pieter de Wilde, Lode Vlaeminck, and Pieter-Paul Devos, Raketkanon soon has ears and imagination immersed in their thick, unpredictable experimentation. Sludgy atmospheres collude with quietly psychotic textures whilst just as reserved droning comes to play with the senses. Each though is just a strand in the fascinating and incendiary tapestry of noise conjured by the band, post punk seeded bass and guitars aligning with rapid fire beats for a psyche twisted dance bound in a sultry and equally bedlamic synth cast seduction. Courted by the increasingly deranged delivery of vocalist Pieter-Paul Devos, the track is a bedlamic croon, a distorted and unhinged serenade sending shivers of joy across senses and imagination.

Florent is quite sensational, an insatiably and creatively irrational seduction which is not only frighteningly captivating but an irresistible temptation to the band’s forthcoming album RKTKN2#. Britain and the world is about to be seriously infected and after being tainted by Florent, it cannot come fast enough.

Florent is available on limited 7” white vinyl through Jazz Life Records from March 30th whilst RKTKN2# is released via KKK Records on April 13th.

http://www.raketkanon.com   http://raketkanon.bigcartel.com/   https://www.facebook.com/Raketkanon

RingMaster 23/03/2015

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://reputationradio.yooco.org/

Ex Norwegian – Wasted Lines

Ex-Norwegian

It was with second album Sketch that US band Ex Norwegian reeled us in with their hook laden mix of power pop and indie rock. Subsequent releases and songs have only dug a little deeper into a keen appetite but with new adventure Wasted Lines, the Florida band has bound ears and passions like they were Houdini whilst ensuring there is no escape from their tempting bonds.

Every encounter from Ex Norwegian comes with a creative twist and pleasing unpredictability even within a distinct and wonderfully recognisable sound, and this time it is through the addition of vocalist Lucia Perez and her sixties pop touch seductive tones. Her voice adds a new warmth and cheeky lure to the intriguing drama of the songs, an additional colour igniting another real treat from the band. The album as a whole strangely shows a bigger gap between its delirious highs and lesser, a word used with tongue firmly in cheek, successes compared to previous triumphs, but emerges as the band’s most complete and riveting, not forgetting exhilarating release yet. Produced by band founder Roger Houdaille alongside Fernando Perdomo (Linda Perhacs), Wasted Lines is simply a radiant melodic rock captivation casting a perpetual spell over senses and imagination.

Formed in 2008 and grabbing their name from the one Monty Python sketch everyone knows, Ex Norwegian made their mark with debut album Standby of 2009 and the following Sketch that same year, though its initial release was followed by a break up in the band before being re-released in 2011 when the band was reformed by Houdaille. This was the trigger to stronger and broader attention with both House Music in 2012 and Crack a year later pushing the band into hungrier spotlights. As suggested though Wasted Lines is the new pinnacle of the band’s artistry and sound and as opening track CheepCheep alone toys with emotions, easy to expect the catalyst to major success.

The first song is swiftly stamping its rhythmic and riff wrapped feet with an almost glam rock swagger before being joined by great heavy basslines and the pop fuelled revelry of Perez’s voice. Ex-Norwegian coverThe song bounces around but with hints of an explosive nature which intermittently erupts with a raw and fuzzy blaze of guitar. Managing to be clean cut pop and dirty rock ‘n’ roll simultaneously, it is an infectious start to the album and a tasty appetiser for the following Be There and its sultry climate. Like a mix of Blood Red Shoes and Metric aligned to a great funk seeded, the track flickers and seduces like a fire. Its touch is hot and magnetic, especially with the alluring bedlamic mix of noises which frequent its body and the great contrasting moments seeing a union of vocals between Perez and Houdaille.

The lively croon of Much Rooms swings it’s tempting next; celestial vocals from Perez a siren-esque courting of the tangy hooks and dark throated basslines which fill the song. Its radiance makes way for the outstanding Unstoppable, a song which from a potent if understated start grows into a virulent addiction thanks to a chorus which flames like a pop version of Spinnerette. In many ways as punk as it is indie pop, the track glows in ears with a guitar solo bringing its own spicy coaxing to excite further a by now very greedy appetite.

The gentler, folk kissed caress of All The Time comes next, its rhythmic energy a sturdy spine through the melodic elegance around it whilst its successor First Time confidently strolls through a harsher but no less graceful landscape of melodic rock and ska glazed scenery. The latter is just a whisper but there in the swing of the increasingly enticing offering.

The smouldering croon and melodic balladry of You Could Be Someone brings strong satisfaction next as once more a sixties flavouring lies on the irresistible vocal tempting of Perez as well as the more incendiary surface of the guitars. Its heated embrace leads to the contagion of the glorious It’s Too Late, the best track upon Wasted Lines with a swing and character which excites like a pact between Late Cambrian and Kirsty MacColl. It’s enthralling feet and voice sparking romp is matched in favouring by Only The Clues, those comparisons and especially that of MacColl, an extra spice to the temptress like allure of another very fine persuasion.

The heavy and thick romance of Unfair to Compare starts the final breath of the album, it’s almost oppressive atmosphere a mystique loaded tantalising engulfing ears and immersing thoughts. It is an exotic and slightly imposing psychedelic adventure of idea and craft which seems to pass on its ethereal qualities to the harmony fuelled closing Love Is. Acoustically shaped and vocally coloured, the track is a beaming sunset to the album and one final enslaving incitement.

With every listen Wasted Lines as well as growing in sound and stature, reveals more underlying qualities and treasure within its depths. It is a blaze of imagination and uplifting sounds which all should contemplate blessing their days and nights with.

Wasted Lines is available now via Limited Fanfare Records as a CD Digipak limited to 200 @ http://limitedfanfare.bigcartel.com/product/ex-norwegian-wasted-lines and digitally and on standard Cd @ http://shop.exnorwegian.com/album/wasted-lines-deluxe-edition

http://www.exnorwegian.com/

RingMaster 09/01/2015

Copyright RingMaster: MyFreeCopyright

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

http://www.thereputationlabel.today

 

 

Forgery Lit – Onamacritus

Forgery Lit pic

Listening to Onamacritus, the new EP from UK band Forgery Lit, the overriding feeling is that tingle you get when you feel like you are in on the beginning of something rather special, an awareness which not many others have had the taste of yet, though it would be a real shock if the trio from Bristol were not echoing around the senses of a great many in the very near future. Their four track release is simply scintillating, an inspired and imaginative temptation bred from distinct invention and unique aural mischief. Sounding like the tantalising offspring from an orgy between Blood Red Shoes, Breeders, and Penetration with the Au Pairs and Spinnerette offering their juices, and yet sounding something completely different, Forgery Lit is a fire waiting to happen, and their new release we suggest the irresistible spark.

Consisting of Ami Amp (vocals/drums), Gareth Jones (bass/backing vocals), and Niko Mar (guitar, backing vocals), the three friends from three different parts of the world (Greece, South east and South west of England), take inspirations from the likes of Juliette and the Licks, Mogwai, No Doubt, Nirvana and more, spicing up a sound which defies tagging and stands loudly distinctive to the band. As shown by the EP, it is a fusion of indie and rock which employs breaths from many other ventures for one new thrilling experience.

As soon as Dirty Life throws a mesh of sonic dust at the ear senses are opened up and appetite wide eyed in anticipation. It is a 27934_607200582626200_832823740_nbrief scrub soon replaced by a teasing groove and strolling rhythms hand in hand with a swagger lit bassline. The vocals of Amp confidently coax and seduce with slight menace and total persuasion adding to the provocative temptation which subsequently reacts to the listener’s submission with a sonic crescendo of squalling greedy energy before going through the whole incendiary lure again to cement the deal. The drift into blues soaked tempting within a bedlamic ambience makes for an unexpected and exciting aside whilst the returning earnest tempest confirms the already incited ardour. The lead track/video from the release it makes a potent introduction to the band.

She Said has a reggae whispering walk to its opening embrace with the vocals and rhythmic enticement of Amp waving a beckoning finger at the ear before bass and guitar light up the scenic embrace with feisty passion and evocative colour. A more gentle engagement than the previous song it still grabs thoughts and emotions by the scruff of the neck and leads them into an excitable dance of discord teasing melodic blistering crafted with a post punk enterprise. It has an uncompromising invention which is hypnotic in its invigorating ingenuity but is never afraid to drench it in a surge of heart sculpted energy bleeding ferocity.

With just two songs the EP has won its case but with the remaining pair of Bicycle and Fairweather, there is nothing less than more eclectic weaves and rapture igniting quality to devour and drive those thoughts and expectations that Forgery Lit is poised to become a new force in UK rock. The first of the two stands eye to eye with the senses, a riff guided groove searing the synapses to enslave their focus before beats cage their escape and Amp lays out her narrative with a seductive wantonness.  It is with the expulsion of sky bound sonic flames with acidic melodic fuel and a deliciously broody bass assistance that the track finds another plateau of excellence. X-Ray Spex meets Karn8, it is a sizzling and beguiling confrontation and the best track on the EP, a creative devilment which says as much about the immense invention as the other three songs together.

The closing Fairweather is a slowly smouldering caress which is as gentle as it is caustic in its predatory surges, a final piece of passionate and expansive excellence setting the band up as one of the most exciting and promising bands of recent years. Recorded at AudioBeach Studios with Forbes Coleman, Onamacritus is one release all need to invite into their ears, your hearts it will find by itself soon after.

https://www.facebook.com/forgerylit

9/10

RingMaster 28/05/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com