Scant Regard – You Know The Drill

Pic Dave Cox

If its predecessor, Skipping Over Damaged Area, was an exploration and echo of the “apocalyptic destruction and devolution of the planet we live on”, then You Know The Drill is the bold new adventure in its escape; a sci-fi toned tapestry of intrigue and contagion wrapped in sounds which just infiltrate and enliven the body and imagination.

You Know The Drill is the new creative exploit from Scant Regard, the solo project of Will Crewdson; guitarist/musician/songwriter previously acclaim notorious for his work with Rachel Stamp, Adam Ant, The Selecter, Johnette Napolitano, Bow Wow Wow, and Flesh for Lulu as well as currently one half of the equally irresistible She Made Me Do It. It is an encounter which still sows its seeds in the decay and destruction of the modern world but within its body ventures into the hope and relief brought through space lit, sci-fi cultured escapades. Crewdson’s previous offering, the deviously magnetic Skipping Over Damaged Area, felt like the corruption of hope and light by a creeping darkness. You Know The Drill is the reverse in many ways, bringing light and respite to the sunless breath of the world; both encounters casting trips of sonic poetry and rich intimation drenched in uncompromising infectiousness.

 You Know The Drill opens up with Ulterior Motives, electronic pulsing instantly nagging on ears and attention before rhythms collude to pitch immediate contagion upon the senses. In swift time Crewdson’s vocals join the hungry enterprise, the knowing deception of the song’s sarcasm springing greater catchiness by the second before saving its thickest dose of virulence for the delicious throaty bass led groove which breaks out.

The album’s title track follows, blues liquor fuelling its opening flames before a surf kissed breeze courts the controlled but pungent rhythms at its core. As the opener sprung a lure of descriptive intimation in its sound alone so its instrumental successor weaves an even more stirring sonic tale of drama and suggestion to play with before No More follows suit with its shadow wrapped stroll into ears and thoughts. Again every hook carries creative revelation for the imagination to conjure with; the track nurtured in the same suggestive espionage and danger which marked the best themes tunes of sixties and seventies TV shows such as UFO, Space: 1999, The Avengers or The Prisoner.

Its dark temptation is followed by the thickly enticing lures of Projectile Comet, bait which erupts in another of those riveting hooks and grooves which Crewdson has proven so irresistible and diabolical with across the years. The intergalactic hue of the track brings threat and adventure, the concussive rhythms at its heart chased by voracious riffs and intoxicating grooves in a mix which hungrily got under the skin, an infiltration being quickly replicated by the post punk incident that is the outstanding Calamity’s Creation. Bass and guitar unite to project an instant infiltration of theatre and seduction, vocals riding the groove wired hook lined incitement with matching lust bugging enterprise. There is something of The Monochrome Set to the track at times, the scent of Lester Square creative prowess aligning to the inimitable craft and imagination of Crewdson as another momentous moment within the album is cast.

The swarthy southern hues of Nevertheless bring another hug of instrumental suggestion straight after, ears and thoughts united in their swift embrace while both A Process of Illumination and Charmed I’m Sure share thick fascination with their respective electronic web of insinuation and industrial rock incitement, the latter a piece as aggressively imposing as it is mentally manipulating.

Rogue Prototype similarly draws on industrial instincts, its cyber hull the host for pop tempting and dark post punk menace. The track proved pure fascination in its breath and imputation, suspicion and drama soaking every note boiling and erupting in its tempestuous body before leaving Heart Torn Blood Ratio to bring the gripping release to a close. Melancholic beauty and solemn radiance coat every second of the brooding serenade as darker heavier throes of enterprise rumble in its depths; the track an enthralling end to an album which danced with the imagination and provoked eager attention from start to finish with rich pleasure the outcome.

Look up the definition of fascination and you find the likes of captivation, attraction, intrigue, magnetism and obsession as similar meanings and all thickly apply to the also gloriously art wrapped You Know The Drill, Scant Regard’s greatest moment yet.

You Know The Drill is out now digitally and on blue vinyl effect CD @ https://scantregard.com/store and https://scantregard.bandcamp.com/album/you-know-the-drill

http://www.scantregard.com   https://www.facebook.com/scantregardpage   https://twitter.com/scantregard   https://www.youtube.com/user/willcrewdson

Pete RingMaster 29/02/2020

Copyright RingMasterReview: MyFreeCopyright

Ben Wood and The Bad Ideas – Cora Cora Cora

You will forgive us, like the band we hope, for bringing this single to your attention a little late but it is a must for all those with a bold adventure in their indie rock hearts and rapacious fever in their indie pop instincts. The track is Cora Cora Cora and it comes from UK outfit Ben Wood and The Bad Ideas, and the first song in a planned project which if all prove as striking will make 2020 a highly busy and successful time for the UK band.

January saw the launching of a 12 month campaign which will see the London based band release a single per month for that period, songs set to feature guest performances from the likes of drummer Nick Maybury (Juliette Lewis & The Licks/ Scott Weiland Band) and prog pioneer Billy Ritchie (Clouds/ The 123) on keys alongside lead vocalist/guitarist Wood, lead guitarist Andy Duke (Flesh Tetris), bassist Ed Sonsino, and drummer Clive Bissell.

Cora Cora Cora as mentioned is their first offering and sees the legendary Dave Barbarossa (Adam & The Ants/ Bow Wow Wow) featuring on drums. Fair to say the track immediately gripped ears with its almost sinister melodic lure which emerged from the initial blast of rhythmic temptation. That fruitful hook continues to wind across the song, increasing its intoxication as Woods potent tones swing on the creative threads of the band led by Duke’s ever magnetic craft.

It is a captivating encounter which is only grips tighter with its post punk seeded shadows and rhythmic nagging and erupts to greater heights with its enlivened chorus and increasingly virulent sound.

The track is superb and a thrilling introduction to the band’s proposed endeavour so go grab now before its greedily anticipated successor is uncaged. Ben Wood & The Bad Ideas are out to grab your ears and attention and already it is easy to feel it could be a done deal.

Cora Cora Cora is available now via Back2Forward Records.

https://www.facebook.com/BenWoodTheBadIdeas/

Pete RingMaster 16/02/2020

Copyright RingMasterReview: MyFreeCopyright

She Made Me Do It – Scorched

She Made Me Do It is a band which weaves compelling adventures not only in sound and the web of flavours making up its character but also from the rich shadows within the depths of both and the duo’s imagination. Across a host of releases and tracks it has provided a kaleidoscopic landscape of intimation and contagion which has maybe been no more compelling than within new EP, Scorched. Its five tracks share intense enterprise and rich drama, the release a bold venture into the outfit’s creative psyche and one eagerly tapping into the cinematic conjuring of the listener.

The successor to their acclaimed Drenched EP, Scorched finds the twosome of Shaheena Dax (Rachel Stamp) and Will Crewdson (Rachel Stamp, Adam Ant, Scant Regard, The Selecter, Bow Wow Wow, Flesh For Lulu) infesting their alternative electronic rock with the richest tapestry of genre varied threads to escape the London based pair yet. Theirs has been a proposition always embracing the ripest essences of punk, new wave, post punk but the new encounter borders on the ravenous in its seizing of fresh diversity.

Scorched opens with the band’s new single, Love’s Demise bounding in on a tide of voracious rock riffs and swinging rhythms before the swiftly joining tones of Dax show just as much hunger in their melodic enticement. Crewdson’s guitar continues to snarl as its infectious nature aligns with that of Dax, hard and punk rock spices taunting as electronic fingers tease in the riotous but controlled stomp.

The rousing start is only accentuated by Fun and Games, a track which lit up the airwaves with its uncaging as one of last year’s best singles. A calm but keenly coaxing electronic pulse dances in ears first; it’s subdued but apparent skittishness soon surrounded by a contagion of air splattering beats and attention burrowing hooks, it all courted by the delicious dark bassoon-esque grumble of the bass. The infection loaded stroll is soon equipped with greater temptation as Dax brings her perpetual craft and captivation, alt pop and punk insisting on uniting with the track’s rock instincts to dig deeply and relentlessly under the skin.

Throughout both, shadows lurk if in a subdued state but now flood the sounds within the EP’s stunning third track and our senses. It is a cover of The Cure’s Three Imaginary Boys, a slice of already undeniable greatness given a whole new breath of drama and potency. Crewdson and Dax draw out the anxiety and tension of the original, increasing both as they escalate the post punk heart of the original. It is pure drama, emotions caught in a dense spiral of apprehension and inescapable contagion as the band equip the song with a cinematically claustrophobic air soaked in an emotional cold war amidst a crepuscular soundscape.

The equally exceptional Poison Aura follows, it too a dark senses consuming address of ears and thoughts even with the golden glow of Dax’s voice an absorbing light across the track’s caliginous tone and post punk nurtured landscape. The encounter ignited the imagination as much as ears as again a theatre of intimation provided a palette of suggestion so easy for the imagination to paint with.

For all the thick ravenous shadows the band breeds, each track is a surge of greedy catchiness too, the band’s pop instincts fuelling the heaviest dark and equally the most boisterous light, final track Fatal Confidante epitomising all in its esurient virulence and pop punk featured tenacity. As much as the EP’s tracks infest ears and imagination with the creator’s craft and fascination, all invade feet and body with a matching zeal, the last song on offer unscrupulous in getting the listener bouncing.

With a cover any band on a similar endeavour will have to truly go some to match and a striking quartet of inimitable and unique She Made Me Do It goodness, the sensational Scorched confirms the duo as one of the UK’s most exciting and imaginative encounters; one we have already been enslaved by and do not apologise for urging all to check out with even greater lust.

The Scorched EP is out now, available @ https://shemademedoit.bandcamp.com/album/scorched-e-p

https://www.shemmdi.com/   https://www.facebook.com/shemademedoitpage   https://twitter.com/SheMMDI

Pete RingMaster 05/02/2020

Copyright RingMasterReview: MyFreeCopyright

She Made Me Do It – Drenched

pic by @dcmusicvideos

There is nothing better than an encounter which immediately enthrals attention and appetite but is only scratching at the depths of temptation and adventure within. The Drenched EP from She Made Me Do It is one such offering; a release which instantly had ears pricked and the body bouncing but was just revealing the seeds to blossoming levels of imagination and seduction.

The four track release is another in a long line of rich enticement from the duo of Shaheena Dax (Rachel Stamp) and Will Crewdson (Rachel Stamp, Adam Ant, Scant Regard, The Selecter, Bow Wow Wow, Flesh For Lulu) and one of the pairs’ most deviously tempting offerings. From start to finish it is a magnetic almost teasing fusion of dark shadows and elegant radiance bound in an equally rich mix of punk, new wave, post punk and alternative rock adventure. The successor to their 2017 album, The Frantic Legion, the compelling exploits of Drenched sees the band’s sound even more defined yet bolder in its adventure and tapestry of flavours. Through the captivation and intimation of Dax’s golden yet often almost portentously lined vocals and the descriptive yet rousingly tenacious antics of Crewdson’s guitar to the suggestive caresses and intriguing shimmers of their keys, She Made Me Do It create a captivating web to immerse in and dance with.

Produced by Crewdson and with Joe Holweger providing drums, Drenched opens up with the swiftly irresistible Bones. Straightaway post punk tendrils escape Crewdson’s guitar, their clinging hues something akin to the claws cast in the past by the likes of Leitmotiv and Sex Gang Children. Escalating these lures by the second, the track builds into a lumbering but lively stroll where Dax soon springs her own potent temptation as bass and drums steer the dark throes of the song’s canter; the punk hues of guitar only adding to its anthemic and equally predacious swing. Inescapably infectious but with that great edge of danger and intimidation, the song, as indeed the EP, needed a mere play to get under the skin and only burrowing, deeper and deeper thereon in.

The following Broken Morning is a just as skilful manipulator of ears and appetite even as it instantly reveals a much warmer and calmer nature. That is no chain to an instinctive catchiness and creative eagerness though, the song devilishly impossible to resist joining in with especially when faced with one contagion laded chorus and again a swinging energy which enlivens the body and spirit of song and listener alike. There is something, if right now indefinably, familiar to the track but a hue which only adds to its compelling design and persuasion.

Ashes is next up, electronic pulses gently but firmly resonating before the dirtier breath of the bass joins up quickly followed by the similarly beckoning strains of guitar and voice. A song which relishes its electro pop instincts as fully as its rock ‘n’ roll heart, it offers a tapestry of flavours and creative twists, all as unpredictable as the track is unsurprising in its voracious zeal and stirring enterprise.

The release ends with the melodically celestial beauty of Time, a song of intimate and spatial elegance over an earthbound spine that just as easily ignites the imagination as the siren-esque flight above.  It is a hauntingly mesmeric conclusion to a release which as we said just grows more impressive and tantalisingly by the listen. It is a heavier, more guitar driven rocker than predecessors but equally richer in its melodic and broad weave of flavours and adventure; a must in anyone’s book.

The Drenched EP is out February 1^st on Catranstic Records with pre-ordering available @ https://shemademedoit.bandcamp.com/album/drenched-e-p and https://shemmdi.com/store

 

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Pete RingMaster 30/01/2019

Copyright RingMaster: MyFreeCopyright

Perfect Pop Co Op Sampler – Impulsive Compulsions 01

 

As we all look for the perfect gift for loved ones this time of year, the irrepressible UK indie label Perfect Pop Co Op are giving one to all music lovers. Free with the December issue of their magazine, Impulsive Compulsions 01 brings together 13 tracks from six unique bands and seven projects past and present borne from within the Perfect Pop Co Op family; quite simply a baker’s dozen of the best and most mischievous songs and artists you could wish dangling from the stocking on your various speakers.

From start to finish, the album teases and flirts with the imagination as it dances with ears; getting off to a mighty start with Scant Regard. The band is the solo project of London-based guitarist/writer/producer Will Crewdson renowned for his work with the likes of Adam Ant, The Selecter, Johnette Napolitano, Flesh for Lulu, Bow Wow Wow, She Made Me Do It and Rachel Stamp, which he co-founded. Taken from his snare of an album, the wonderful Skipping Over Damaged Area which was released earlier this year, Destroy (We’re Here to) is a salacious flirtation of electro punk/ synth pop intimation; a viral infection which could even have the walking dead dancing to its hook spun, groove strung, guitar driven, funk sprouting machination.

It is a glorious start which sets the tone to the sampler, each track unapologetically individual in sound and character but united in DIY imagination, devilish intent, and sonic goodness as proven immediately by next up Impulsive Compulsions by Pony Virus. The band is the original incarnation of The Scratch and the track a tantalising piece of post punk shoe gaze as haunting as it is infectious. The song is a slice of weird with hues of eighties bands such as The Passage, The Wonder Stuff and Inspiral Carpets; teasing with these somewhat familiar spices in a whole new recipe sounding as fresh now as it did back in the day.  The Scratch itself provides its own piece of temptation later in the album’s playlist with Teen Idol, itself a ridiculously magnetic encounter which had us hooked from the first rumbling growl of bass. Currently on hiatus after releasing a quartet of greedily devoured albums, the band’s sound s pure pop/indie punk romping blessed with seventies DIY adventure and inescapable contagion.

Through the sinister dark electronica bred dystopia of Age of Control in a remix by creators Rogue Sector, a track which also haunts ears and thoughts whilst teasing hips to gather momentum with its electronic dissonance, and the wonk pop punk bred Limited Ambition swung through ears by Andreas And The Wolf, temptation and captivation to the album only deepened. Both bands have debut albums in the works and each has been given a rich teaser through their contributions to Impulsive Compulsions.

Andreas And The Wolf also provide the radio show which this album has mutually sprung from with Perfect Pop Co Op, all favourite artists being greedily featured over time, none more so than the following pair of Dislocated Flowers and The Tuesday Club. The first of the pair gives AudioBiological to the parade of aural independence, an invasive psych rock track inciting the body to erupt as it corrupts the senses with its imposing and invigorating instrumental incitement. Unshakeable favourites and friends to The RR, The Tuesday Club simply infested the passions with Too Pure To Live, a slow swing of a creative virus directing hips and imagination like a puppeteer. The band has unleashed numerous gems over the past few years but this track alone shows they are creating not only their finest escapades but some of that fuelling the independent rock scene.

And the goodness just kept coming, just confirming already the thought we had rattling around the brain that this is an essential, indeed must have release.  The Venus Overload kept the suggestion bubbling with their encounter Without Doubt, a sixties nurtured psych pop lure echoing the band’s major inspiration, The Velvet Underground, but with its own compelling persona.

Further into the album, the poetic drama and stark atmospheric breath of Sometimes When I Dream simply infested thought and appetite, the dark soundscape from Southdown Laundry Club, a  project created by Pete ‘Joyless’ Jones (Department S) and Andrew Trussler (Rogue Sector) as mesmeric as it is chilling.

In its own way, Dead Marchers is just as tenebrific and haunting, the track by Bleeding Soul Angels an inviting smog of psych and dark pop with a raw edge to its contagion while the following Dream boy doin’ well had the body bouncing with its punkabilly stomp. The Bleeed is an offshoot of four members out of The Tuesday Club when it was a seven strong rascal, and features the devious swings of drummer and gentleman Terry Super Cockell, who since its creation has passed away. The band has vowed to return this year and on this scoundrel of a track we for one cannot wait.

The album is finished off by firstly Waiting for the Walls to Come Down from The Dodo. A band made up of Andy Scratch, Steve Filth and John the Bassist, who released one album in 2010 before the side project was put aside, they had the body bouncing like it was on a string with their contribution. Mixing sixties pop and seventies new wave to try and describe its epidemic of temptation, the track is another in a perpetual line of major treats, the last coming with album closer Way it goes. From Reverse Family, a project headed by the reported missing but maybe we know better (wink wink) Dermot Illogical, the band have just completed their 2018 epic task of releasing 365 songs over 365 in weekly EPs, an epic adventure in sound and pleasure we are still catching up on such its size. Way it goes gives all the reasons with its Adam & The Ants-esque, swing spun chicanery for you to go check it out too and the band’s debut album it comes from, My Songs About Life – Mid Crisis.

There are a host of truly great independent labels out there right now and Perfect Pop Co Op stands right there on the frontline and as mentioned all songs and artists have been featured on the Andreas and the Wolf radio show which equally we can only heartily recommend; the album in celebration of one year of their shows and fifty issues of the Perfect Pop Co Op magazine.

The Perfect Pop Co Op Sampler – Impulsive Compulsions 01 is out December 11^th free with the new issue of the Perfect Pop Co Op magazine.

https://theperfectpopco-op.bandcamp.com/   https://perfectpopco-op.co.uk   https://www.facebook.com/perfectpopcoop/   https://perfectpopco-op.co.uk/magazine/

Pete RingMaster 5/12/2018

Copyright RingMaster: MyFreeCopyright

Dave Barbarossa – Mudsharks

Some musicians have the most distinctive style and enterprise that it is easy to know who they are just from a burst of sound. When it comes to drummers for us here it is not so easy but one man has a touch and style to his rhythmic imagination that it is impossible not to recognise. That artist is Dave Barbarossa and he has just released a rather irresistible new EP as part of the Icon Series.

2013 saw the publishing of Dave’s excellent debut novel Mud Sharks and the new EP adds its apparent connection through its title. The Mudsharks EP provides three instrumentals uniting his trademark style with electronic intimation and endeavour; at times marrying the rhythmic sound which ignited so many musical journeys in the seventies with his just as potent exploits through more recent projects such as Cauldronated.

The EP opens with Buttercup Girl, a slice of tenacious dance music with summer fervour in its keys and melody and flirtatious incitement in its rhythms. Like a flight through spatial climes but with earth bound muscularity pulling at its exploration, the track has the body bouncing and imagination conjuring in no time.

It is a rousing start though one for us swiftly eclipsed by the following pair of tracks. First up is Keep Walking, a piece which strolls along with relentless tenacity through cosmopolitan air over a more defined urban landscape. Dave’s rhythms just shape the imagination; suspense and drama fuelled by his web of swings as a cinematic weave is cast by electronics and synths. Quickly addictive and more so by the listen, the song reveals itself a viral persuasion.

The closing arousal of the EP’s title track is the perfect union of nostalgia and new. MudSharks harkens back to the irresistible rhythmic exploits of Bow Wow Wow but incitement draped in thick electronic intimation and drama amidst the floating lures of vocal harmonies. As its predecessors, it masterfully lures thoughts into painting adventures whilst turning hips and feet into its puppet.

Dave Barbarossa has been integral in numerous major treats and now the Mudsharks EP can be added to the list.

The Mudsharks EP is out now on download and Ltd. Edition Cassette Tape via Icon Series.

https://www.facebook.com/dave.barbarossa   https://www.facebook.com/iconseriesrecords/

Pete RingMaster 13/08/2018

Copyright RingMaster: MyFreeCopyright

Scant Regard – Skipping Over Damaged Area

Pic by Thomas Triton

A body infesting, imagination twisting kaleidoscope to the hope and insanity of the world we shape, Skipping Over Damaged Area is the senses ravishing new captivation from Scant Regard. An album of unscrupulous hooks, electronic virulence, and guitar carved intimation, it surges through ears casting a realm of suggestion and reflection as devilish as the themes inspiring its creative antics leaving hope, fear, and sheer pleasure in its wake.

Scant Regard is the solo project of London-based guitarist/writer/producer Will Crewdson. He is a musician few can have failed to have been consciously or unknowingly pleasured by. Whether with the rock escapades of Rachel Stamp, which he co-founded, and She Made Me Do It or through his work with the likes of Adam Ant, The Selecter, Johnette Napolitano, Flesh for Lulu, Bow Wow Wow and numerous other bands he played guitar for, Crewdson is a guitarist who has been in demand because of his instinctive ability to incite and bend the imagination as well as simply ignite songs and ears alike. Scant Regard has been an adventurous showcase for his craft and skills across four previous albums, Skipping Over Damaged Area a riveting new addition to their ranks.

Exploring various shades in an overall theme “of the apocalyptic destruction and devolution of the planet we live on”, Skipping Over Damaged Area is a tenacious maze of styles and flavours glazed with a sci-fi nurtured intrigue. At times it is like a warped soundtrack to a seventies TV show such as UFO, Space: 1999, or Doomwatch but with a dark lining in its every move; corrupting hope and light at a turn, tempering their threat in the next.

The album opens up with the swiftly addictive Mostly Accidental, electric pulses exploding on impact as it swaggers into view with an almost predacious swing. Instantly electronic suggestion and animation dances and flirts on the senses, thick doomy hues underlining the brewing Westworld-esque imagery conjured in thoughts by the instrumental piece which fully comes alive once Crewdson’s guitar explodes on the imagination.

It is an outstanding beginning, one to be honest we had to listen to twice before moving on upon our first listen to Skipping Over Damaged Area but quickly matched in strength and temptation by Fuck Everything. Repeated samples of its title float across a landscape of attitude, another electronically woven tale which immerses the listener in an evolving cascade of light and dark, fun and irritancy driven by inspiring shards of guitar.

The following Ill Gotten Gains is a corruption of sound and reflection; an addiction breeding ground with melodic lures aligned to dark deeds. At times it lies somewhere between the evolution of Martyn Ware and Ian Craig Marsh’s project British Electric Foundation into their band Heaven 17 but with thicker shadows and dare we say even more infectious boldness.

Similarly Destroy (We’re Here to) has an eighties electronic edge to it around hooks and melodies which border on the salacious. Like the musical voice to a modern day Mars Attacks, the track waltzed over the senses, sending them spiralling as the imagination conjures. Simultaneously feet and hips were given a good smile wearing work out before BIGBLACKSHADES creates a conspiracy of sound and suggestion with its cold wave meets industrial espionage. Electronics and guitar again unite in a dark interpretation of life, its funkiness contrasting yet complementing the song’s voracious dynamics.

A lighter climate accompanies the outstanding Car Crash on Pluto, the track like something akin to Fred Schneider colluding with Helldorado as they glide the cosmos upon surf rock fuelled winds, while Hemi Demi courts indie rock tenacity within its electro pop enterprise as again seventies flavoured hues spice its rock ‘n roll.

Through the celestial smoulder of Traits, a track with lava hot melodies veining a volatile shimmer, and the hook carrying electro smoking canter of Sublineage Blues, ears and imagination are drawn into further incendiary drama while Posthistoric springs a more intensive atmosphere and adventure to navigate as a bubbling undercurrent of catchiness snaps, crackles and pops. All three simply tantalise and captivate as the imagination fantasises, Crime and Retribution in turn sparking the same responses with its brooding electronic groans and emerging guitar spun cold war clamour.

The album closes with Blue Moon Juice, a collage of vivacious sounds woven into a canvas of rockabilly bred devilry; imagine a psychobilly Yello and you get a hint of the track’s irresistible lure as it brings the album to a forcibly magnet conclusion.

Skipping Over Damaged Area is a prismatic insight and incitement for body and thoughts. It impacts on numerous levels, pleasures on every one. Crewdson is no stranger to attention and acclaim and can expect plenty more with what just might be his finest moment yet.

Skipping Over Damaged Area is out now on download and CD @ https://scantregard.bandcamp.com/album/skipping-over-damaged-area

https://scantregard.com    https://www.facebook.com/scantregardpage   https://twitter.com/scantregard

Pete RingMaster 09/05/2018

Copyright RingMaster: MyFreeCopyright

Pussycat and the Dirty Johnsons – Dirty Rock ‘n’ Roll

pic debbie-attwell

As the band work and finish material to grace a new album, British rockers Pussycat and the Dirty Johnsons have linked up with Dirty Water Records for the long awaited digital release of second album Dirty Rock ‘n’ Roll and quite simply if you missed it first time around and have an instinctive appetite for insatiable bordering salacious punk infested rock ‘n’ roll, than it is a must.

Formerly in a band just called The Johnsons, the Basingstoke hailing trio is fronted by the wild feline wiles of vocalist Puss Johnson with founding guitarist Dirty Jake (Feckle, Lube) and drummer Filfy Antz (The Krewmen) alongside uncaging their own raw and incendiary antics. It is an explosive combination which saw their 2010 debut album Exercise Your Demons earn many plaudits as too over the years a blistering live show seeing the band share stages with the likes of The Jon Spencer Blues Explosion, Thee Oh Sees, The Fuzztones, Mad Sin, The Damned, 999, The Polecats, The Creepshow, The Rezillos, Bow Wow Wow, The Meteors, The Vibrators, Resurex, DragSTER, Trioxin Cherry, and Atomic Suplex.  Three years later, Dirty Rock ‘n’ Roll was the cause of even greater eager attention and acclaim upon Pussycat and the Dirty Johnsons; a spotlight sure to be regenerated by its digital uncaging ahead of as mentioned a new album.

Featuring eleven tracks spun from attitude loaded threads of everything from punk, garage rock, glam, psychobilly, garage punk and any other form of rock ‘n’ roll you wish to offer, Dirty Rock ‘n’ Roll is an explosive riot for senses and body alike. Produced by Alex McGowan and featuring guest double-bassist Phil Bloomberg of The Polecats on a couple of tracks, the album instantly prowls the listener as opener Burying The Bodies settles in to place, once set continuing to stalk but with an infectious swagger led by the biting beats of Antz. Straight away there is an obvious devilment in the band’s sound and the lusty roar shared by Pussycat, her presence and delivery a snarling seducing. With big hooks and winding grooves, the slab of predacious rock ‘n’ roll is an irresistible start to a release proving to be unrelenting in its fiery creative and aggressive incitement.

Hell Bent is swift agreement, its whining grooves courting flying rhythms and Pussycat’s plaintive cries, all united in another tenacious track which eyes you up with distrust yet reveals the most compelling enterprise amidst mouth-watering unpredictability before Livin’ With Mum And Dad sees the band move from raw rock ‘n’ roll into a more seventies flavoured encounter as much glam rock and power pop as it is old school punk. For personal tastes, it lacks the bite and spark of those around it but with its Pistols-esque hook and caustic catchiness there is no escaping being sucked in.

Psychobilly flavours the magnificent stomp of Get Outta My Face next, Bloomberg bringing his masterful slaps to the Batmobile meets Imelda May scented stroll with Pussycat like a punk Wanda Jackson. Fiery guitar and senses badgering beats bolster the seriously rousing proposal as the song shows another aspect to the album and the Pussycat and the Dirty Johnsons sound.

The scuzzy blues punk of She Don’t attacks and excites next, its corrosive character and sound as virulently infectious as anything upon the album while Mirtazapine uses similar strains of flavouring for its own individual trespass. With a touch of post punks Bone Orchard to its untamed garage punk challenge, the track is a superb mix of rapacious restraint and unbridled furor taking ears and imagination into the darkest shadows of the fiercest volcano.

There is no let-up of the enjoyably exhausting confrontations as Why Do You Hate Me? sears the senses with its punk rock lava around a rhythmic tempest while Dirty Li’l Dog, with the magnetic craft of the Polecat returning, leaps around with uninhibited rhythmic rioting as blues guitars embrace numerous other spices around the carnival barker leadership of Pussycat.

The final trio of songs just epitomise the variety and devilish imagination in the band’s songs; Sort Yourself Out a fuzzy blend of growling punk and toxic blues within The Pirates like rock ‘n roll and Souvenir simply one glorious invasion of garage punk with a scent of The Cramps, Animal Alpha, and In Evil Hour in its unique best track earning triumph.

Closed out by the adrenaline fuelled and feeding Hideous, a final belligerent detonation of rabble-rousing incitement, the outstanding Dirty Rock ‘n’ Roll is its title and so much more. It might not be a new release but it deserves this new exposure and Pussycat and the Dirty Johnsons the fresh attention ahead of what can only be anticipated as another uncompromising uproar.

Dirty Rock ‘n’ Roll is available digitally through Dirty Water Records @ http://www.dirtywaterrecords.co.uk/shop/#!/Pussycat-and-the-Dirty-Johnsons-Dirty-Rock-n-Roll/p/75045471/category=2793895 with physical options @ http://thedirtyjohnsons.com/shop/4564430166

http://thedirtyjohnsons.com   https://www.facebook.com/thedirtyjohnsons/   https://twitter.com/Dirty_Johnsons

Pete RingMaster 14/12/2016

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Rhythmic slavery and expressive words: exploring the creative world of Dave Barbarossa

 A potent and swiftly vocal roar for one particular band in the past months has been very noticeable in the London and UK underground scene, an eager buzz which led ourselves and colleagues at Reputation Radio to go check out live Cauldronated, the new band of punk legend Dave Barbarossa. This is a musician who has been the rhythmic driving force and inspiration behind Adam and The Ants, Bow Wow Wow, and…well the list goes on. Certainly those first two bands, and indeed Dave’s unique playing style left a legacy still inspiring artists today, and it is quite easy to suggest his new project with Eva Menon, has the potential to make the same potent impact. So excitedly we got in touch with the man to not only discover more about the band but also to find out about Dave’s acclaimed debut novel Mud Sharks which has just had a revised edition released via New Haven Publishing Ltd. Dave kindly agreed to let us throw a torrent of questions at him, subsequently taking us into the world of Cauldronated, the seeds and landscape to Mudsharks, the linking up with Adam Ant on tour again, and the musical heart of Dave Barbarossa.

Hi Dave and thanks for sharing your time to talk with us.

There is so much to, and areas within your career to talk about but with the enjoyment at your recent show at The Unicorn, Camden still rushing through the veins and thoughts, can we look at your latest project Cauldronated first. How would you describe the band and its sound to newcomers?

Thanks for those kind words, mate. It was a pretty good gig, I have to admit. Cauldronated is a blend of quirky synths, a lot of drums, and impassioned vocals. I like the discipline of playing with a digital metronome (clicks/synths). It pushes my playing into places it wouldn’t go if I were just allowed to play as I liked…so the strictness makes me creative, that make sense?…sounds a little masochistic, but I enjoy it.

Was there a particular spark or idea which gave birth to the band?

I was working with David Harman (we were both in Chicane together). We thought we’d try something very drummy with synths and sequences.

How did the initial link up with David and Eva Menon come about; were these musicians you already had in mind to work with on something?

I’d not met Eva in person. I was aware she was a drummer. When I eventually met her, I had one of those ‘McLaren’ moments and immediately asked her to join David and me in a bit of an experiment.

Eva has a presence and drama to her stage presence which has the potential to be, in my mind, one of the most creatively imposing and invigorating vocalist you have worked with. Was it this quality which first captured your attention too?

Yes, her presence and intensity were compelling. I knew she would ‘pull her weight’ with the idea I had.

When I saw the band at The Unicorn, it was just Eva and yourself on stage, is that the usual live set-up?

At the moment it is…who knows what the future may hold.

The band has a sound and presence which feels as punk in nature and attitude as anything over the past four decades; this was a deliberate or organic essence which emerged?

It was deliberate only in the sense I wanted something uncompromising and challenging. I didn’t want to serve up what people expected. Musically, I feel uncomfortable being comfortable.

Do you still feel that individualistic punk and defiant attitude in your music and creativity as strongly as those first days and years of your career?

That ‘individualistic and defiant attitude’ sustains me. I’d be in a covers band in a pub without it. At the risk of sounding a bit of a knob, I will forever be a punk rocker.

How about in music in general, is it still loud and potent or more of a recurring whisper in modern music for you?

It is still loud and proud. You just have to dig beneath the superficial…it has always been that way.

Cauldronated seems to find you returning to and exploring the more tribalistic rhythms and contagion which marked your time in The Ants and more so Bow Wow Wow. Is this something you feel too or have you not been too far from that side of your adventure over the past years anyway, so it is just part of the current evolution of your ideation?

There are so many drummers (most better than me) playing ‘straight’ beats, ‘serving the song’, being a ‘side man’. I’ve got a trick and I’m gonna play it!

Your first novel Mud Sharks was published in 2012, but I believe it is being republished again very soon?

It is…With added extras; photo, review and a ‘Mud Sharks’ track. (please keep this under your hat until I have a release date – that will be very soon) ta.

What was the trigger to writing a novel? Was it something brewing in your thoughts for a while?

Yeah, I think a lot of us have a novel in them. I simply got mine down. Some emotional events collided with professional ones and out it came. Frankly, I’m a little stunned about how well it has been received.

Can you give a synopsis to the novel?

This is what is says on the cover so it must be right ‘Mud Sharks? Harry Ferdinand is in trouble at home, in trouble at school and now he’s in trouble with the police. He’s battered, bruised and lost until he meets the love of his life: the drums. Things are never to be the same again. Plunged into the world of Punk Rock, Harry finds purpose, adventure and heartbreak as he transforms from boy to man.’

It looks at and confronts racism and violence in its story, within the embrace of the seventies music scene. How much is autobiographical or inspired from experiences you have had or closely come across yourself?

It is a story based on my childhood, schooldays and early career. Not a factual, chronological ‘blow by blow’ of my life. But, all the stuff, good and bad, happened, pretty much.

Do you feel its narrative and observations still represent the current music world and young lives within it now?

It is a story of its time, but perhaps it resonates with people of ‘Harry’s age now. Dunno

Have you plans to write another book in the future?

Yep, finished the second…It is going through the editing and proofing stage. These things take yonks.

Returning to music, what were the inspirations which led you into music predominantly?

I was captivated by the drums, so big and loud. I wanted to master the instrument, on a very basic level. Never dreamed it would be my life.

We have to ask about those heady days, certainly for us fans, when Dirk Wears White Sox was the creative anthem for a great many of us. What are your strongest personal recollections of that time with Adam and the Ants and in the punk scene generally?

Well, it was a while ago and at a time when a young person’s life flashes by. Personally, I was in a perpetual state of astonishment and relief. Both states were euphoric, blissful, magical…how’s that sound?

Next came of course Bow Wow Wow and the highly publicised and still seemingly talked of departure of yourself, bassist Leigh Gorman, and the sadly missed Matthew Ashman from the Ants. What musically enticed the move and how coincidental was it that the two projects pursued the tribal/Burundi sound from that point on?

I really can’t think of why the drums sounded so familiar in both bands – insane coincidence?   I left Adam because Malcolm gave me the opportunity to be my own man. Create my own sound and lead ‘from the back’. With Adam, I was a loyal soldier to a musical genius. I like change.

Probably the last thing fans imagined would be the coming back together of yourself and Leigh with Adam again, something which happened last year when you both joined him in The Ministers Of New Super Heavy Funk Punk and an UK tour. Was this something you would have probably not predicted over the years either or was the supposed ‘animosity’ between all parties a media driven ‘reality’?

Never been any animosity between myself and Adam. I’ve played in his bands off and on down through the decades. We have coffee, talk about our daughters.

How did the link up for the shows come about?

Adam called me and asked if I’d fancy doing the old Dirk numbers live. We’d never done it live, apparently. The minute we got in rehearsals, we knew why. He turned round to me during Animals And Men and said, ‘This is fucking jazz, how did we do it?…’

It is fair to say that you helped pioneer the tribal rhythmic temptation which has graced so many bands and still does. Do you offer yourself an inner smile every time you come across another proposition in band and song form obviously inspired by your legacy?

That’s very kind of you mate. I have been lucky to do what I love and what comes naturally.

Sadly missing out plenty of the other bands and projects you have been involved with, can we turn back to Cauldronated and what is ahead for the band over the coming months?

We’ve got another offering out soon…Ring of Khan, there’ll be gigs and the inevitable quest for world domination…All of it, such a laugh.

What about your solo sounds,; particularly thinking of the Barbarossa Beat two-track download release of last November which teased with a sound reminiscent of a Bow Wow Wow flavouring in songs like I Want Candy but took feet and energies into a new tantalising dance…More to come and any other irons in the fire musically for us to look forward to?

Yes, more to come with Barbarossa Beat, I love changes in direction, challenges. There are a few other things, collaborations popping up too.

My big thanks again Dave for your time.

An absolute pleasure Pete…Thanks you so much for your interest.

Mudsharks is available @ http://www.amazon.co.uk/Mud-Sharks-Dave-Barbarossa-ebook/dp/B00ULELOP0/ref=pd_rhf_gw_p_img_10 and for more info regarding the book go to https://www.facebook.com/MudSharksNew/

https://www.facebook.com/dave.barbarossa   http://www.cauldronated.net/

The Buy This Thing EP from Cauldronated is available now @ https://itunes.apple.com/gb/album/buy-this-thing/id914978407

Pete Ringmaster

The RingMaster Review 19/03/2015

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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/

Cauldronated/ Dave.I.D / Sebastian Bartz at The Unicorn January 30th 2015

It was a night so cold that face stubble receded to search for warmth and involved a walk long enough to worry time zones, but all was forgotten at The Unicorn, Camden on the last Friday of January 2015, thanks to a trio of bands which left the senses reeling and emotions elevated. The night marked the return of the venue’s Post-Punk Club, and the dramatic union of what are three of the UK’s most uniquely original and inventive bands right now.

Anticipation was already a heady brew for Cauldronated, the new band of Dave Barbarossa of Adam and The Ants, Bow Wow Wow, Republica, Chicane… the list goes on…fame. An appetite sparked by his history and confirmed thanks to already unleashed tracks and videos. Equally there was a seriously pricked intrigue in the prospect of being introduced to two artists with a healthy buzz around them, Sebastian Bartz and Dave.I.D. It proved to be an adventure which threw assumptions and expectations to the floor and set about stirring up blood, energies, and emotions.

The night opened with the post punk voracity of Sebastian Bartz. As became the norm for the night, the quartet of musicians arrived as good as unannounced, as every song on the night from all bands (our only niggle), and swiftly unleashed a sonic tonic for the senses with immediate effect. Song after song was sculpted around a seriously potent rhythmic frame, with the drummer especially stealing attention in a couple of the tracks, including the closing treat from the band. To this guitar and keys added their often raw and always impressively toxic melodies as Sebastian prowled and sized up each song and audience member with a belligerent but endearing androgynous theatre. Fresh to the presence of the man, it is fair to say that he and the band impressed unreservedly, every second of sound and twist of lyrical spite accompanied with addictive antagonism and contagious craft. Equally there was a power and attitude expelled which often pushed tracks to their rawest limits, and caused ears to wilt under the sonic force offered though they only remained hungry for more, especially with tracks like She’s Gone which was amongst so many standing out, but the only one with a title known. Not letting a broken guitar string deter the onslaught of post punk imagination and intimidating devilry from songs and band, Sebastian Bartz powerfully proved why he has the reputation of being one of the really exciting propositions of the London live scene.

It is clear that the majority of the audience was there for one particular thing, to see Cauldronated, which left Dave I.D. who closed the night, staring at only a handful of certainly keen and attentive bodies. It was a shame as the solo musician captivated with his heavily atmospheric and soulful sounds. His hands were often a frantic movement spinning a web of musical invention with his varied equipment whilst his creative nature was a twitch of vocal angst and expression. There is a dark emotion to his industrial seeded music and sobering lyrics which challenges and transfixes simultaneously. Also there is an underlying anger which skilfully colours his music and on the night seemingly erupted with a flying drum stick, though if in frustration at the lack of bodies before him it was possibly understandable, his compelling set deserved, as his emotive sounds, more.

Splitting the two was Cauldronated with a performance which blew away man and night alike. As mentioned the newest project of Dave Barbarossa, the band took merely the initial tempting of opener iBossa to bind attention and imagination, never relinquishing it until the last beat and note of the demanded encore. On stage the band is driven by Dave’s still strikingly potent and inspirational rhythmic craft; in fact ‘still’ does him an injustice as much heard on the night left marks surpassing a lot of his legendary history in invention and sheer agility. In front of him stood the vocal, lyrical, and occasionally rhythmic drama that is Italian extrasolar poetess Eva Menon. The lady has a presence which forcibly lures attention yet is as organic and natural as it comes, well until she unleashes her lyrical tirade which just enthrals and sparks in ears and imagination. Eva has a stage scowl, a leering confrontation which is not forced but part of the whole impacting incitement that is Cauldronated yet also an underlying mischief which could not stop breaking out through smiles on the night, especially to the birthday wishes flung her way.

As said opening with the exceptional iBossa, which as all their songs sounds even more powerful and infectious live, there was the feeling that if they could straight away uncage a fan favourite there was bigger treats to come, and so it proved. Songs like Buy This Thing and In This World left bodies and emotions enslaved, Dave’s ridiculously creative and addictive beats turning feet and limbs into his own personal puppets whilst Eva has thoughts bound with her scythes and lashings of vocal and lyrical confrontation. Of course around this, binding their ingenious strikes are the adventurously melodic and creative sounds of David Harman, absent on stage but lighting up every song with imagination and worldly temptation through his recorded enterprise.

The band’s incredibly rousing set flew by in a blink, but every minute was a standout muscular and tenaciously seductive flirtation. The band’s bio call their sound punky, drum-centric techno, surely after such a stunning performance, it should be merely tagged as alchemy. As mentioned it seemed like the whole night was there for Cauldronated, the likes of Andy Dukey from London based band Top Buzzer and Johnny Summer, the head of the Reputation Radio Station, adding their enthusiastic moves to a seriously invigorated and healthy crowd.

Dave Barbarossa is no stranger to helping create and driving forward some important moments in the history of the British music scene, and he with Eva and David Harman could just be poised to do it again. Certainly with the equally stand-out performances of Sebastian Bartz and Dave.I.D backing them up, Cauldronated has given London an early pinnacle in its live scene for 2015.

http://www.cauldronated.net/

http://www.dave-i-d.com/

https://www.facebook.com/sebastianbartzmusic

RingMaster 04/02/2015

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Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today