Popes Of Chillitown – Work Hard, Play Hard, See You In The Graveyard

Releases which have us throwing feet, hips, and bodies around in an uninhibited frenzy are just as boisterously devoured here as those provoking thoughts and imagination into the same eager exploits. Work Hard, Play Hard, See You In The Graveyard, the new album from UK outfit Popes Of Chillitown is one such example, an encounter which stirs up every aspect of the human spirit across thirteen slices of what for the moment we will simply call ska punk but is so much more. The band and release swiftly had the body bouncing, energies uncaged, and mind feeding off its insightful social and personal lyrical intimation. It is one of those unforgettable, deviously manipulative propositions which will surely set Popes Of Chillitown on the way to being a household name far beyond the ska and punk scene.

From London, Popes Of Chillitown has already bred and nurtured a fine reputation across two albums and a live presence which has had venues and bodies bouncing, as the album now, with lustful participation. 2013 saw the release of their pledge-funded debut album A Word To The Wise, a keenly embraced encounter eclipsed by its even more eagerly received successor To The Moon two years later. Since that first offering, the sextet has further lit up the live scene, from the Capital bursting across the UK and into Europe sharing stages with the likes of Reel Big Fish, The Selecter, The Skints, Imperial Leisure, [Spunge], Mouthwash, The Snare and many more along the way.

As Work Hard, Play Hard, See You In The Graveyard swiftly reveals, the band’s sound has an irresistibility which borders on the viral. It is a fusion of upbeat ska, punk, 2-tone, dub, drum & bass, reggae, indie with plenty more flavoursome spices working away in the mix; a rousing incitement which never flirts with the predictable and across the new album, easily the band’s finest moment yet, persistently has body, imagination, and spirit bounding.

Straight away as intrigue coaxes ears there is a sense of drama and mischief at play which swiftly sparks opener Prang into life, the track springing along with wilful exuberance. The guitar of Tom Penn winds around ears from an already persuasive hook spraying stroll while the rhythmic prowess of bassist Arvin Bancil and drummer Jack Ashley gets under the skin in no time. Matt Conner’s rousing vocals are just as effective, listener participation we found inevitable and can keen testify to. The track is superb, its twist into discord and off kilter imagination icing on the stomp.

The flames of trombonist Ieuan Williams and saxophonist Jon Pryce open up the following Get Off/Get On, lighting the way to another persuasive saunter ridden by the increasingly captivating vocals of Conner. There is a touch of [Spunge] meets King Prawn to the track, a tasty flavouring quickly ignited by the band’s own raucously individual enterprise.

Fair to say Work Hard, Play Hard, See You In The Graveyard already had its temptation racing through our veins in two songs but raised the temperature of its persuasion even more with next up Vexed. Cored by a hook which had ears and appetite dangling like a fish on a rod as well as a glorious teasing yet taunting grumble of a bassline, the track instantly took the album’s seductive clamour to another level. Brewing an addictive roar something akin to The Mighty Mighty Bosstones meets Capdown with the rawer edge of The Hostiles, the track simply and quickly had us enslaved and adding our less able attributes.

The equally outstanding No Manners In Ireland is next, the song a web of twists and turns littered with creative hooks and melodic lures which seduce like sonic sirens. Guitars and vocals dance on the swagger of the rhythms, their dark lined joy seared with the soulful flames of brass as the song evolves in form and imagination across four minutes plus of pure magnetism. Its glory is matched by that of the far briefer but just as riveting Graveyard. A dub infested mix of Skindred and again King Prawn, the slither of a track just ignited the senses before Upside Down got the body rocking and rolling with its almost salacious bounce and antics.

Across the fiery ska fuelled punk ‘n’ roll of The Last Elephant and the swinging holler of Mr. Piotr, physical reaction is inescapable as thoughts invest in more of the band’s lyrical inference, both tracks cauldrons of drama and physical manipulation so easy to devour while the likes of What A Guy and Inner Peace add yet more variety and adventure to the album’s beauty. The first erupts from a haunting melancholic sigh into another inescapable to resist canter, voice and hips soon embroiled in its creative romp before its companion smoulders seductively on the senses with its less boisterous but just as tenacious reflection. From guitars to rhythms, brass to voice, the song serenades and seduces; volatility in its heart adding greater depth to its inventive cry and increasingly rising temperature and intensity.

Take Control is punk rock blessed with the ear clipping tenacity of ska; a rousing trespass of an incitement under a sweltering climate of suggestion cast by sax and trombone. Unsurprisingly again indulgence in its swing is unavoidable, a lack of discipline thankfully the whole of Work Hard, Play Hard, See You In The Graveyard exploits.

The album closes up with firstly the melodically shimmering Lego Prisoners, a track resembling what you might imagine emerging from the essences of Ruts DC, The Skints, and a calm Random Hand being locked in together, and lastly Culpa and its reggae brewed saunter where grooves and beats overwhelm restraints even before voice and hooks sink their temptation into ears.

It all makes for one deliciously riveting and rousing adventure going by the name of Work Hard, Play Hard, See You In The Graveyard. Popes Of Chillitown has been firing up the ska and punk scene pretty much from their first days but are now ready to be spoken in the same breath as those bands which immediately come to mind as inspirations to the across the array of styles the Londoners skilfully embrace and employ in their own adventure. After Work Hard, Play Hard, See You In The Graveyard they might just be the first name to lips.

Work Hard, Play Hard, See You In The Graveyard is out now on 12inch vinyl, CD and Digital Download @ https://popesofchillitown.bandcamp.com/album/work-hard-play-hard-see-you-in-the-graveyard

 

Upcoming Popes Of Chillitown tour dates:

MAY 27 – BOURNEMOUTH Cursus Festival

JUN 02 – NOTTINGHAM The Maze

JUN 09 – CHEPSTOW Balter Festival

AUG 04 – BLACKPOOL Rebellion Festival

AUG 09 – NEWCASTLE Trillians*

AUG 10 – GLASGOW Audio*

AUG 11 – LONDON Underworld*

AUG 12 – WINCHESTER Boomtown Fair

*w/ Fishbone

http://www.popesofchillitown.com/   https://www.facebook.com/PopesOfChillitown    https://twitter.com/popesofctown

Pete RingMaster 18/05/2018

Copyright RingMaster: MyFreeCopyright

The Hostiles – Last Call

Giving the most glorious workout to swinging hips and inexhaustible feet, as well as instinctive pleasure, Scottish Ska-punks The Hostiles recently released new album Last Call. It offers thirteen tracks of melody thick, brass clad, and feverishly delivered punk ‘n’ roll as raw and snarling as they are inescapably irresistible.

Formed in 2001, The Hostiles began with brothers Josh (guitar/vocals), and Chris Barron (bass/vocals). Growing up in the US, the pair was seduced by the sounds of west coast ska and the likes of Reel Big Fish, NOFX, and No Doubt. In their teens, the pair moved to Scotland, soon discovering the rawer energy and sounds of bands such as Capdown, Lightyear, and King Prawn. Linking up with Callum Douglas (drums) and Steve Bruce (trombone), The Hostiles was soon rousing the local live scene with in time Joe Stainke (trombone) completing the current line-up. Quickly renowned for their energetic live performances, the band’s reputation swiftly grew and spread, helped in turn by the release of debut album Always Looking Forward in 2009. Proceeding to share stages with bands such as Reel Big Fish, Less Than Jake, Zebrahead, The Mad Caddies, Strike Anywhere, and many more, The Hostiles followed up their attention luring first album with the Late Nights… And Early Hours EP in 2012 and the single/video For A Good Time Call 07946058526 two years later.

Now it is Last Call drawing attention and from its first minute arousing body and spirit. From the opening intro, the album leaps upon the listener with opener Ed Knows. An attitude laden bassline stalks the initial vocal draw, both leading into a fiery lure of guitar and rapier like swings from Douglas. Quickly as the trombones share their melodic flames, the track is a contagious blaze of infectious sound with a funk infused swing and punk ingrained fuel to its roar. There is little time before the listener is adding their full contribution in voice and movement, a success matched in the following Inconsiderate. A lighter stomp of a song with Hammond flavoured keys courting its instantly open catchiness, it carries a familiar air which only adds to its thrilling appeal.

The band’s inspirations are never far from the surface at times, the second song evidence but spices used to shape songs which undoubtedly have The Hostiles character, as shown again in the prowling You Liar. Swaggering alone with mischief in its creative glands, the song is confrontational but an epidemic  of big hooks and intimidating attitude, and quite superb. It reveals the great mix of pop honed and punk rock driven sounds which have sparked the band’s passions over time, all woven into another distinctive proposition before things calm a touch with I’ll Assume. It is just a touch too as the song soon shows its teeth and melodic prowess in a King Prawn like canter with exotic melodies and moody basslines entangling the ever potent vocals and swathes of mariachi hued trombone.

Both Night Out with its dirty tone and ridiculously infectious enterprise and its successor Wish You All The Best has body and soul leaping. The first is ska punk at its most creatively virulent and indeed addictive while the second is a boisterous romp shaped with smart hooks and persuasive melodies as well cast in imaginative drama coloured by rock guitar and theatrical brass.

The album continues to keep the listener on their toes with a broad grin on their face as the punk brawl of Spend My Life, the gentler sway of So, I Wonder, and the blazing exploits of Late Nights come, go, and leave ears and appetite aroused. The third of the trio especially adds another pinnacle to Last Call, all offering undeniable reasons to embrace The Hostiles adventure, with To Err Is Human providing another major highlight. The band’s latest single, it also has a hint of Mariachi El Bronx to its melodic and trombone nurtured side, a great flavour mixing with heavier punk rock attitude.

Released From Captivity uncages another addictive tempting, guitars and bass alone creating a web of hooks which snare body and heart with ease. Familiar essences come to the surface of the song but flavours simply used to shade its own individual devilment before the closing pair of encounters starting with Nobody Else. The song does not make the same impact as others within Last Call, yet has mutual participation with ease so does little wrong before the album’s title track brings it all to a cantankerous close. It is a ska infested hardcore brawl of a proposal, vocals a throated scraping challenge as brass bring a tonic to the imposingly grouchy touch of guitar and rhythms.

It makes for an unexpected and pleasing end to a release which sees ears and fingers itching to go again within seconds of its close. There are a few rather special ska flavoured punksters around right now and as proven by Last Call, The Hostiles stand by their side.

Last Call is out now on Bubble Tea Records @ http://thehostiles.bandcamp.com/

https://www.facebook.com/thehostiles/   http://www.thehostiles.co.uk/

Pete RingMaster 05/08/2016

Copyright RingMaster: MyFreeCopyright

Faintest Idea – Increasing The Minimum Rage

Though understandably often tagged as a ska punk band, Faintest Idea definitely shows themselves to be a true punk band with a penchant for ska bred hip swinging revelry loaded with oi! inspired snarls upon new album Increasing The Minimum Rage. The eleven track stomp is an irresistible roar of politically charged songs that have no qualms in getting feet and bodies feverishly bouncing whilst thoughts and emotions are inspired by its lyrical bite. Most of all though, the British band’s new offering is simply one of the most rousing slabs of contagious rock ‘n’ roll heard in many belligerent moons and deserving of everyone’s energy and time.

Formed in 2008, the Kings Lynn hailing Faintest Idea initially was a jugular ripping punk band venting their political unrest and distrust. That attitude and defiance has never lessened even as the band began weaving in inspirations taken from two-tone, ska and reggae influences. 2013 saw the release of debut album The Voice of Treason on Manchester’s TNS Records to swift acclaim, soon potently backed by the videos for tracks such as Bull In A China Shop and Youth. Live the band has equally become an essential great time for many, the “rudeboy street punks” taking their rousing presence to shows and festivals across Europe and the UK, including in 2014, a 10 date tour of Russia.

Now the band is ready to uncage a new infectious call to arms in the shape of the Hieronymous Melchers (Capdown, Citizen Fish, King Prawn and Snuff) recorded and Massimiliano Giorgini (Anti Flag, Rise Against, Alkaline Trio, Common Rider) mastered Increasing The Minimum Rage. Featuring guest contributions from Vic Ruggiero (The Slackers) and Sean Howe (Random Hand), the album quickly reveals Faintest Idea to have a grouchier fire in their creative belly and a sound at its heaviest and angriest, musically and lyrically, yet with no detriment to their instincts to swing and inflame the listener’s body. The first track, Circling The Drain opens on a theme setting sample as horns meander in the background. From there as a guitar adds its vague musing, the song grabs a breath and leaps into a captivating stroll with Jack’s choppy riffs colluding with the flirtation of mischievous melodies amidst organ shared smiles. The brass flames of trumpeter Sara, trombonist Bobble, and tenor saxophonist Lil dan add to the infection quickly grabbing ears and imagination, creating a rich platform for the snarling vocals of bassist Dani and his dark throated bassline. There is a snarl to Jack’s guitar enterprise too and a firm hand to the beats of the other Jack but as the song’s climate gets feistier and more agitated, a rampant swing stills drives it and the listener before it slipping straight into the equally irresistible Cocktails.

The second track similarly bounds through ears with rhythms and riffs as inescapable bait and a virulent catchiness to its energy and attitude equally matched by the band’s vocals. Throughout hooks grip and again flirt with the imagination as the song’s skittish gait takes care of the body, vocals in turn challenging thoughts at the same time as brass unveils a rich seducing in something akin to Rancid meets Random Hand meets The Members. Its mellowing departure simply simmers into the sultry embrace of Down Pressure, a funk infested and ska fuelled romp as light on its feet as it is antagonistic in voice. As its predecessors, the song defies the listener not to become fully involved, dares them not to offer their hips and support; a challenge impossible to win as the song leaps around with kinetic persuasion.

The power pop/ska punk exploits of Echo Chambre steals attention next, working its addictive charm on every aspect of a willing disciple as guitar jangles and pop punk rhythms act as ringleaders to another thrilling proposal embracing smouldering brass and lively shadows furthered nurtured by Dani’s vocal attitude. Its tenacious exploits lead to the thick energy and aggression of The Well Has Run Dry which, from its first breath, is a confrontational proposition equipped with spiky hooks and a flaming melodic coaxing courtesy of guitar and some emotive lip prowess. United it stirs up air and emotions before the outstanding Stick Em Up (Lords of War) takes a stand with its punk ‘n’ roll contagion. As jazzy and funky as it is ska and old school punk spun, the track tantalises and badgers in sound and tone. Female vocals bring a B52s spice to certain parts whilst other times the song rumbles along like a mix of early Specials and The Adicts, revealing itself as another enjoyably multi-textured adventure.

Through the Clash/ Serious Drinking like chest beating of the beguiling Throw Away The Key and the ballsy rock ‘n’ roll of No Consequences, greed and thick enjoyment for the album is only confirmed before being given another big shot in the arm by the brilliant pairing of Ouroboros and Corporation. The first of the two is a web of flavours and styles as surf rock spiced guitars entangle with ska spawned riffs and intrigue loaded progressive punk grooves whilst Dani and co take potent shots at political and social injustices. The track is glorious and swiftly matched by the dramatic theatre of its successor. With vaudevillian prowess to a sinister soaked sound, the band bring the exploits of the song’s villainous title protagonist into panto-esque but certainly not trivialised view before descending upon them with oi! fuelled animosity and anthemic incitement. The track is ingenious; pure creative theatre and heading numerous memorable moments within the album.

Closing on Tightrope with its strongly brooding persuasion of sound and imagination, Increasing The Minimum Rage makes it so easy to say it is destined to be one of the year’s highlights. From start to finish it has every aspect of the listener enthralled and involved; only increasing that hold with subsequent plays whilst showing that to stand up and be counted does not have to see an absence of unbridled fun.

Increasing The Minimum Rage is released via TNS Records on 1^st April @ http://tnsrecords.bandcamp.com/album/increasing-the-minimum-rage

http://www.facebook.com/faintestidea   http://www.twitter.com/faintestidea   http://faintestidea.bigcartel.com/

Pete RingMaster 31/03/2016

Copyright RingMaster: MyFreeCopyright

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

Skaciety Featuring Laila K – Step Back (Take a Look Around)

With the second Skaciety album in the works, it is hard not to be a little excited in anticipation for its subsequent arrival thanks to new single Step Back (Take a Look Around). Also featuring Laila K from Sonic Boom Six, the track is the instinctive arousal of feet, hips, and emotions from a band that, if you can go by just one song, seem to have hit another plateau in sound and creative fun.

Formed in 2012, the British ska punks has been a feverish live surge of aural good times across the UK since emerging, even though its members are still in full time education. Meeting and forming the band as students at a school in Sittingbourne, the Kent quintet of vocalist/bassist Aiden Lamb, trombonist Benjamin Davison, trumpeter Harry Whatrup, guitarist Logan Haddrell, and drummer Will Freed have persistently roused audiences at shows and festivals around Britain, including playing Rebellion twice. They have also raised a sizeable amount of funds for The Sophie Lancaster Foundation along the way and released well-received debut album, .​.​.​For Your Age in 2014. Currently working on their second full-length with producer Dave Chang (Capdown, Lightyear, 4ft Fingers), Skaciety first tease and tempt with Step Back (Take a Look Around), a track taken from a recently released spilt 10” with the equally irresistible Popes Of Chillitown.

Guitar and vocals make the first potent lure, with the recognisable and always richly enticing tones of Laila K inviting attention within a few breaths or so. Whilst the early coaxing has its successful way with ears and appetite, dark bait from Lamb’s strings similarly worms under the skin. It prowls the song, especially courting the vocal collusion between the bassist and Laila K’s to add a potent contrast as catchy jagged riffs and the tenacious swings of Freed create their own contagious web to get caught up in. Add the evocative flames sprung from the lips of Whatrup and Davison, as well as the increasingly expanding sonic tapestry cast by Haddrell, and quite simply the song is a thick and lusty arousal of the senses and passions.

With a finale which no set of feet or hips can surely resist, Step Back (Take a Look Around) is a feel good stomp to push Skaciety and expectations of their future album to new heights.

Step Back (Take a Look Around) is out now via Reacharound Records.

https://www.facebook.com/Skaciety   https://twitter.com/skaciety??I    https://instagram.com/skaciety

Upcoming Skaciety Gigs:

January 23rd – Harp Restrung, Folkestone

January 30th – T Chances, Tottenham

February 12th – Wheatsheaf, Banbury

February 13th – Retro Bar, Manchester

February 20th – Phoenix, High Wycombe

February 27th – James Street Vaults, Plymouth

April 1st – Red Lion, Ramsgate

April 9th – Inverness (Venue TBC)

April 10th – Edinburgh (Venue TBC)

April 11th – Glasgow (Venue TBC)

May 26-29th – Nice N Sleazy Festival, Morecambe

June 4th – Squires Bar, Leeds

Pete RingMaster 16/02/2016

Copyright RingMaster: MyFreeCopyright

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

Unleashing truths: an interview with Merc from The Karma Party

With a snarl and biting attitude which is spawn by and reflects the state of broken Britain, UK band The Karma Party has emerged as a compelling and inventive force with a musical craft and imagination as potent as the uncompromising yet thoughtful lyrical thoughts and often venom they wield. The quartet brews up a unique and irresistible fusion of hardcore, punk and dub-step with flames of electronica which come together for a fiery storm of thrilling and explosive invention. Their recently released Dark Matters EP has caused a fury of acclaim and attention their way and not wanted to be left in the wake we had the pleasure of talking to vocalist Merc about the outstanding release, the band itself, and what inspires the rage and enterprise which drives them.

Hi Merc, many thanks for taking time out to talk with us here.

No problem, thanks for having us!

For all those new to The Karma Party please introduce the band.

Hello! We are The Karma Party from the derelict holiday resort of Blackpool, nice to make your acquaintance.

How did you all meet and how did the band begin?

Me (Merc) and Luke used to be in another band with James who is now in Sonic Boom Six.

For one reason or another that band fell to pieces, after which James helped me formulate ideas and then bit by bit we assembled what is now The Karma Party.

You hail from Blackpool; is the place as run down and far from its former glory as the media portrays?

It’s worse! I mean, I watched 999 What’s Your Emergency? They went easy on the place. A lot of people come to Blackpool as tourists, which is mind boggling enough. They come to see the lights and drive down the prom unaware that one street away people are living in abject poverty. You can see the weight of the place in people’s faces as you walk around. There is a massive problem with violence and drugs and the only the thing the local authorities want to do is to make it more attractive to the booze tourists and hen nights to bring more revenue into the area, which only perpetuates the substance abuse issues.  Most people in Blackpool don’t care about anything anymore; they have become resigned to that lifestyle and believe it is the norm everywhere. I don’t think there is anywhere else in the country like it. Maybe Morecambe…

…And a place to inspire dissent, anger, and lyrical potency for songs?

It’s impossible not to be inspired in a place like that as there is so much material on your doorstep.

I think Blackpool is like a microcosm for the whole country containing every issue the country has, so definitely a main source for the lyrics.

You create a striking and passion inciting sound from blending punk, dubstep, hardcore, electronica, and more. A fascinatingly eclectic brew brought with passion and attitude I think it is fair to say. How would you describe your sound and what are the major influences musically which have had an effect on your ideas and music?

Thank you! We’re not very good with labels but we’ve been called Punk Step and Punk n Bass which kind of sums up a lot of what we do. There is such a massive eclectic taste amongst the band which allows us to see the similarities between the genres. I don’t think it would work as well if we were all into the same music. We love to watch bands utilising electronics properly as it brings another dynamic to the show. It would be impossible for us not to cite Enter Shikari as an influence and one of our favourite bands. Other artists would include: Bad Brains, Gallows, Mike Patton, Squarepusher, Venetian Snares, Reprazent, The King Blues, Sonic Boom Six, Mouthwash, Skindred, London Electricity, Nero, Rusko, Eminem, Lowkey, Clint Mansell, Danny Elfman, Capdown, NOFX and Chris Murray….I could carry on.

Do you see yourselves as a political band using anthemic music for weaponry or a band creating individual and stirring music which just happens to be inspired lyrically by the injustices of the day?

One of the main things we agreed on when we started this project was to keep it as real and true as possible. The public have a way of sniffing out lies and if you pretend to be something you’re not, I believe that they can tell. Although I can’t speak for the rest of the band (as it’s not something we talk about) I’ve never been to a protest or voted, I doubt I ever will as I don’t think either makes a difference as all aspects of the game are rigged. I do want to spend the rest of my life trying to make a difference but I think change has to come from the people. They are the ones who are keeping this system in place. We are a tiny part of a massive universe, there is  no past or future, no good or bad and we could change the world in a heartbeat if we so wished. I want people to know they are not insignificant and they are loved…..including politicians.

If everything was perfect, yes a far-fetched possibility ha-ha, would The Karma Party exist?

If everything was perfect I don’t think I would have ever picked up an instrument or have the mind-set that I do now. The famous quote by Victor Hugo springs to mind; Adversity makes men, and prosperity makes monsters. It’s so true in my case.

You have just released your debut EP, the excellent Dark Matters EP. It is for us a five track eclectic feast of sound and invention not forgetting being greedily infectious. I imagine the songs on the release all find an enthusiastic reaction in your live shows such the impact they make on the EP.

Again thanks for your nice words. We’ve just finished the Dark Matters Tour which was our first time on the road and the response has been overwhelming. The shows have been mental, something we didn’t expect first time out. We’ve put a lot of work in making the live show stand up to the recording and from the reaction it seems to have worked. It was crazy to have people singing the words back at us on our first tour something we didn’t see coming and I’ve been humbled by almost everyone we’ve met.

How has Dark Matters been received so far, especially critically?

From our perspective it was such a personal recording that we couldn’t tell if it was good or bad anymore. We were so involved in it that we’d lost all perspective. It has been received better than we ever expected with mainstream press like Kerrang! and Rock Sound giving us great reviews and blogs and websites all over picking it up.

In all honesty we couldn’t have hoped for a better reaction.

You have released it as a free download opportunity for fans, any particular reason for that?

We want everyone to be able to listen to our music whether you can afford a CD or not. In the band we are shameless streamers, torrenters and file sharers, so for us to be precious over our record when we have “stolen” so many other peoples music would be very hypocritical.

How do songs emerge within the band generally?

It’s a varied process, usually we demo and produce a lot of stuff in our bedrooms and over the internet and then take the ideas into the practice room for fine tuning.

Do lyrics spark songs or musical ideas, or is it a mix?

Tricky question…Musical ideas definitely inspire the lyrics in the demo process and then later the track is re-worked around the lyrics. So I guess it would be a mix.

The release contains your two singles Collapse and This Is Britain, both seemingly gained the tag infamous from a great many. Tell us about both of the powerful and lyrically volatile songs.

This is Britain – You’ve got to laugh at what Britain has become. I find it almost impossible to relate to any facet of mainstream culture. So this is our way of poking fun at what seems to be a ridiculous way of life. From the Royal Family to Ant and Dec, from our drinking culture to gossip magazines and from politicians and police to orange girls with Sharpie eyebrows, I don’t fit in anywhere. I didn’t want to whinge about all this so I tried to put myself in the mind-set of someone who loves modern Britain. It’s so sarcastic we were worried people might take it literally.

Collapse – Collapse is almost like the serious brother of This Is Britain. We wanted to talk about the poverty we see in the country. This recession and depression has been brought on by the government and they continue to shift the blame and show us statistics that say everything is ok but you only need to go out in the street to see how bad it’s getting. We want people to know they are the real power in this country and globally and politicians are counting on you to do nothing about it. Your country needs you and it needs you now.

Would you say This Is Britain has become already your musical calling card, the song people instantly refer to in relation to the band?

I really hope so, I think it’s a fine example of what we want to say and do musically. I think we’ll be playing that track for years to come.

Both songs have impressive videos, with the one for This is Britain like the song especially potent. Who did you record them with?

Thanks! Videos are a massive part of what we want to do. James Kennedy from Trifecta Films in Manchester did the This Is Britain video. We brought him to Blackpool for two days. We shot in our local and took him and his team on a sightseeing tour of the grimiest places in town. We had really good fun.

Some bands find it hard to create contagious songs without diluting the message or impact of the lyrics whilst others just concuss with noise to empower their impacting words. On the evidence of Dark Matters you have found the perfect balance. How much effort goes into your balance of both aspects or is it something which is just instinctive for you?

The rest of the band act as editors for the lyrics so when I’m pushing a point too much or what I’m doing lyrically is impacting on the aesthetics of the track they let me know. It’s sometimes hard for me to hear anything but the lyrics so it helps to have a team who know a good track when they hear it. There is definitely a group editing process.

How much impact do you believe artists and music can truly make on people in regard to social and world issues?

Art in general has the ability to change the world forever; it connects more people than Facebook and brings us together in ways we still don’t properly understand. A lot of people would call me naïve but I think doing nothing, putting your faith in political systems and hoping for the best is naïve.

What is next for The Karma Party?

Touring in April, May and June with Random Hand and Anti Vigilante. Playing Rebellion festival in August and we will have more new material / videos out later in the year!

Once more big thanks for chatting with us, any last thoughts for the readers and fans?

No worries thanks for the great questions. The only thing we want to say is a massive thanks to anyone who has given us a listen or come to show you are the reason we do this.

Grab the Dark Matters EP for free @ http://thekarmaparty.co.uk

Read the Dark Matters EP review @ https://ringmasterreviewintroduces.wordpress.com/2013/03/05/the-karma-party-dark-matters-ep/

The RingMaster Review 28/03/2013

Copyright RingMaster: MyFreeCopyright

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Only Fumes & Corpses – Selfish Act 1

Less than twelve minutes in length yet thirteen songs in content, Selfish Act 1 from Irish hardcore punk band Only Fumes & Corpses is definitely not a blink and you miss release. It is an abrasive and cutting assault of violent energy and brutal intensity which no one could possibly ignore. The songs charge and bristle with an uncompromising intent and destructive nature brought through challenging punk rock at its most caustic.

From Galway, the band formed in 2005 and become renowned as one of the hardest working and determined hardcore bands in Ireland. They have toured relentlessly throughout Europe as well as their homeland, sharing stages with the likes of Sick Of It All, Glassjaw, Bane, Comeback Kid, Capdown, Set Your Goals, Sonic Boon Six, Agnostic Front, and No Trigger, continually garnering acclaim along the way. Their releases similarly have made strong impressions; their self released four track demo, the eight song Read What Is In Between EP, and debut album Who Really Cares, What Really Lasts on Lockjaw Records, marking the band as one to firmly watch. With a new line-up, the quintet has released the first of two EPs in the shape of Selfish Act 1, again through Lockjaw, to surely ignite a mightier horizon for the band.

The title track distorts the air first, the blistering instrumental a scouring breath upon the ear with a restrained energy which sets things up powerfully for the impending rush of violence. The following Blinded screams at the senses in vocal and sonic breath, whilst within its 30 second fury it pulls an anthemic lure out of its brusque heart.

Tracks like Lost Generation with its squalling vocals and scything guitar sonics continue to ignite the senses whilst other rages such as the initially prowling Towers Fall with its defiant breath and the raging Won’t Come Back enflame the passions with their swift yet potent spite and intent.

The epic Full Circle, well at a minute and a half and compared to other songs feels like a giant piece of adrenaline fired animosity, is a ferocious pummelling from rhythms and churning riffs. The gang shouts combine with the vocals to agitate the senses further whilst the track as a whole is a wall of challenging and emotive energy. As this track confirms, each song despite their brief life always feel complete and even when there are moments where you wish there was a longer presence the tracks are rounded and wholly effective in their mission and success.

Further standout tracks include Smile Forever, the explosive We Were Heroes, and the captivating two parts of The Lush, arguably where the band explore their songwriting and individual abilities the most openly.

Selfish Act 1 is an excellent riot of hardcore punk brought with skill, expression, and most of all passion. It offers all the destructive antagonism and will you could require in a release whilst giving it individuality to set Only Fumes & Corpses apart from most other similarly driven bands. Angst has never been so slight yet so impactful.

https://www.facebook.com/onlyfumesandcorpses

RingMaster 08/10/2012

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Oslo Ess: Verden På Nakken, Venner I Ryggen

Though really there should be no grounds for it there was still a real surprise when approaching the new album from Norwegian band Oslo Ess. The reason for that was the unexpected pleasure of hearing the band playing high grade punk rock. In hindsight it seems silly but a Norwegian punk band just felt strange and at first a bit of a novelty. Once the sounds burst out from Verden På Nakken, Venner I Ryggen though, one is soon shown there is no gimmick involved and that the album is one thrilling and stirring slab quality punk rock in varied shades. With the exception of the new Biting Saints album, the second album from Oslo Ess is arguably one of the best punk releases this year.

Though formed in 2007 by four friends, the band did not truly become active until 2010 where upon their introduction to the world it has to be said their rise these past two years has been a storming ascent. After their second ever gig the same year, the band was booked to play the Øya Festival as an unknown and unsigned act. Twelve months later in 2011 they returned to the Fest as headliners whilst squeezing around 80 other shows in between. Last year also ended with a goal of playing Rockefeller achieved by the Oslo quintet with a sold out show. During this time there was also the small matter of their debut album which appeared in 2010. Since its release Uleste Bøker og Utgåtte Sko has been showered with acclaim and exposure, award nominations, and airplay of its tracks, all adding to their swiftly growing popularity. Already the first single Caroline from the new album has been a constant on Norwegian national radio over the past six months and as the world wakes up to the band, their stock is sure to only ascend higher and higher.

Produced by Oslo Ess and Bjarte Lund Rolland and released via Indie Recordings, Uleste Bøker og Utgåtte SkoVerden På Nakken, Venner I Ryggen instantly fires up the senses with opener Kakerlakkene (Cockroaches), a riotous ball of energy and infectious heart. Far too brief for the pleasure it brings, the track bounces with an enthusiasm and hunger to excite and rifle the ear with pure insatiable punk passion. Does it offer anything particularly new…not really but if you want to know whether it ignites the heart…it is a massive and resounding yes.

The album is delivered in the native tongue of Åsmund Lande (vocals, guitar), Peter Larsson (guitar), Knut-Oscar Nymo (bass), Einar Stenseng (Keyboards), and Mads Golden (drums), but that simply adds to the texture of the energy and strength of the songs, though it is a little frustrating trying to join in on what are predominantly irresistible strikes of catchy anthemic contagion.

God Morgen (Good Morning) backs up the impressive start with its melodic punk prowess, its guitars scything sonic trails across the expressive keys and vocal harmonies. The rhythms of drums and bass too leave nothing but mighty and inventive impressions especially in tracks like Bislett Stadion, a rock n roll brew of incisive guitar play and explosive heart.

The ska punk driven Fritt Fram (Free-Up) emerges as one big favourite, its care free swagger a heated tease upon the ear which surely no one could turn away from. Another song where once you finally have your tongue around part of the infectious chorus the song has moved on two tracks… have the band no compassion for us untalented linguists?

The likes of the aforementioned single Caroline and Gaselle i Tigerstaden (Gazelle In Tiger Town) bring a blues and soulful breath to their well lit presences to further the captivating diversity across the album, whilst songs like Ut av det Blå (Out Of The Blue) and Är du som Jag? (Are You Like Jag) respectively add a rock and power pop tone to the release.

Ending on the intense punk intensity of a NOFX with Tøffe Gutter (Tough Guys) and the Celtic punk spiced Over Stokk, Over Stein (Over sticks and stones), the album is one glorious feast of punk music at its best. If the likes of Flogging Molly, Bad Religion, The Transplants, and Capdown tweak your pleasures than Oslo Ess and Verden På Nakken, Venner I Ryggen are simply must not be ignored treats.

https://www.facebook.com/OsloEss

RingMaster 10/09/2012

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