Atomic Suplex – Fourteen Inches of Fist

Atomicsupplex_RingMaster Review

Great rock ‘n’ roll always benefits from a good dose of creative dementia in its devilry and you get plenty of that and more in the bedlam that is Fourteen Inches of Fist. The new album from London quartet Atomic Suplex is nonstop ingenious lunacy, a dangerous riot for body and soul, and quite brilliant.

The UK quartet has been stirring up sonic trouble for a number of years now, earning increasing acclaim with every release and a reputation as one ferociously exciting and uncompromising band live. Stages across the UK and Europe, as well as Asia, have been shared with the likes of The Hives, Guitar Wolf, The Gories, The Adolescents, Nobunny, The Kids, Jet Boys, Armitage Shanks, Richard Herring, The Spits, The Fat White Family, The Buzzcocks, Theee Bat amongst many more whilst singles and EP’s over time, and certainly acclaimed 2010 debut album Bathroom Party on Crypt Records, have marked the band out as a must investigation for a growing horde of fans. Now it is Fourteen Inches of Fist raising a storm since its recent release, and declaring Atomic Suplex as not a must but the essential riot for all rock ‘n’ roll fans.

Sound and album is garage rock, punk rock, noise rock…any kind of dirty, insatiable rock ‘n’ roll you can think of and a torrent of fun from its first to last breath. One Man Party kicks things off with the announcement “When I say I’m a dick, you best believe I’m a dick! D- I- K.” It sets the aggressive belligerent tone which rousingly fuels the whole album, and a song which is soon erupting into a salaciously tenacious slab of punk ‘n’ roll driven by the rousing tones of Jim Suplex. A sonic web of noise is soon grasping ears through his and Emma Leaning’s guitars whilst a gloriously throaty bass sound is conjured by Dan Suplex amidst the wicked swipes of drummer JD Kickdrum. The track is pure attitude, like early Damned merging with The Sonics, and instant slavery.

The album’s title track comes next, it too a concussive explosion of sound but this time infusing honky-tonk piano, blues rock spicing, and garage rock ‘n roll devilry into its mix of raw sixties and seventies rock ‘n’ roll. Flames of brass only add to the theatre of the muggy scenery as too the gritty backing vocals of Emma behind Jim’s raw incitement. As its predecessor, the track has ears and appetite lustful, a success 14 Inches of Fist relentlessly achieves from first song to last.

Cover_RingMaster Review   Set It On Fire has limbs scything through air next with seventies punk antagonism meets psych rock contagion, its guitars and brass a resourceful scorching, whilst Wild Love invites naughty deeds with a Rocket From the Crypt meets Dick Venom and the Terrortones infestation of sound. Both tracks are ridiculously compelling persuasive yet find themselves outshine by the outstanding Firing Line. The song is manna for the ears and heart, its Mighty Mighty Bosstones like opening alone igniting the instincts to party before rhythms provide a jungle of unstoppable temptation frequented by wonderful squirts of sax. They develop into subsequent deranged toxicity further in, colluding with a just as rigorously arousing web of guitar and bass enterprise. As ever like a side show barker, Jim adds his vocal stirring to the mix for one slice of irreverent creative alchemy.

Fifties inspired and seventies coloured rock ’n’ roll gets the Atomic Suplex corruption next, the raw and caustic devilment of S. U. P. L. E. X. a tempest of sonic and vocal raucousness pierced by melodic bait and fiery hooks. It is less than a minute and a half of catchy mayhem before Two Girls flirts like a punk incarnation of The Shangri-las tutored by The Rezillos. As all songs though, air is raw, sound scuzzy, and the encounter as abrasive as it is virulent, and again thrilling.

   J.D. Attack pounds the senses like the bastard son of a Showaddywaddy and Reverend Horton Heat union, its thumping rhythms and heavyweight brawl of sound one party you know would welcome gate crashers with devilish relish whilst the corrosively scarring Ass Tecnica is noise punk knavery which, as in the previous song, twists anything from surf and r&b to garage rock into its ravenous bellow. The pair unsurprisingly leave exhaustion and exhilaration in their wake, as too the eighteen second punk assault of No Pain No Gain, a song more than backing up its title.

Like The Cramps meets The Mobbs, You’ve Got Some Nerve has the body throwing moves hips were surely not made for across its forty odd seconds, a wonderful physical test followed by some respite through the hex that is Pancho. Sultry sax caresses ears initially though in no time it is joined by a wall of sonic intrigue and adventure which has a whiff of Oh! Gunquit to it. Continuing to spill funky hooks, searing grooves, and a garage bred invention; the song is as psychotic as it is clear infection, and another pinnacle of a very lofty landscape to Fourteen Inches of Fist.

Chicken Rich is a ragtime hued haunt seeded in the past which descends into anarchy the further its nostalgia persists whilst closing track White Shoes is quite simply incendiary rock ‘n’ roll which manages to spin a tapestry suggesting everyone from Billy Haley to The Cramps, King Salami and The Cumberland 3 to Turbonegro, and Screaming Jay Hawkins to Johnny Thunders within its epidemic of unbridled energy and senses inflaming rock ‘n’ roll.

Fourteen Inches of Fist is one of the best real and organic rock ‘n’ roll album this year and of a few before, maybe the best, and Atomic Suplex the one band you were meant to lose your sanity with.

Fourteen Inches of Fist is available now via Dirty Water Records on 12” vinyl, CD, and digitally.

RingMaster 25/08/2015

Copyright RingMaster: MyFreeCopyright

http://www.zykotika.com/

The Kut – Rock Paper Scissors

The Kut Promo

More captivating with every listen, Rock Paper Scissors is one of those encounters which make a bigger impact in four songs than many bands can in a handful of song loaded releases. The new EP from UK rockers The Kut; it is a ferocious yet alluring mix of grunge, alternative rock, and punk. Each of the tracks offers something different to those before it without departing from the core heart of the band’s sound. It is pop, punk, grunge all at once, but predominantly it is anthemic rock ‘n’ roll to rage and romp with.

Taking inspirations from bands such as Deftones, L7, Hole, Incubus, Placebo, Nirvana, and Faith No More, the London trio whipped up keen attention with their first EP Make Up last year whilst singles and songs like No Trace, Mario, Closure, and Doesn’t Matter Anyway have bred keen support and appetites for their emergence in fans and media alike. Now is the turn of the more dramatically imposing yet virulently contagious James LeRock Loughrey (Skindred,White Zombie, My Vitriol, Page & Plant, Bjork, Def Leppard) produced songs of Rock Paper Scissors to make their persuasions, and there seems little will stop them awakening an even hungrier spotlight upon the band.

Artwork- The Kut RPS   Immediately opener I Want You Maniac treats ears to a scuzzy riff matched by punchy rhythms and an inviting vocal confrontation from guitarist Maha. Just as swiftly there is a sense of a more aggressive, angry even, feel to the tone and music of the track which is supported and realised in broader visceral fashion across the rest of the EP. The infectious qualities which marked the previous release are just as prevalent too, hooks and anthemic vocals a virulent persuasion against the fuzz lined enterprise of Maha’s guitar and the thumping beats of Violet Cannibal aligned to the predatory lures of Alison Wood’s bass. As mentioned the track has a new aggressive and raw belligerence in sound which without doubt benefits band and release. The song hunts the senses like a mix of L7 and Distillers but with the punk toxicity of early Damned and the catchiness of The Ramones to its potency.

   Alekhine’s Gun steps up next and has a mellower more relaxed touch to its opening, though again there is menace in the rhythmic framing and atmosphere shadows surrounding the excellent vocals and infectious melodic tempting. The rage which seems to fuel the EP erupts in abrasing vocal bellows throughout the encounter but persistently it manages to return to a less volatile and equally compelling state, subsequently offering great unpredictability and adventure throughout.

The best tracks on the EP complete Rock Paper Scissors, the first coming with the rock/punk pop excellence of I Don’t Need Therapy. Brewing essences of bands like Spinnerette and Valentiine into its own distinct landscape of dirty rock ‘n’ roll, the song strolls boldly with simple but voracious riffs speared by gripping hooks whilst the bassline running through all is sheer grouchiness. The track has an inescapable familiarity to it but that only adds to the rich flavouring offered and enjoyed.

The closing Bad Man emerges as the favourite, everything about it preying on ears from scything rhythms to caustic riffery. Even its melodic passages have a sultry yet sinister occult/psyche rock colouring which would not be out of place in a Jess and the Ancient Ones or Blood Ceremony offering. The track is outstanding; the pinnacle of The Kut’s invention for personal tastes and a fine way to leave the listener with a long and lingering excited impression of the release.

Listening to Rock Paper Scissors it is still easy to feel there is plenty more to come from the threesome, in songwriting and sound as well as invention, to truly set the band aside from the rest and give the UK a band to rival the statures of bands like Hole and L7. Right now The Kut provide a thoroughly enjoyable and impressive proposal which goes just down a treat.

The Rock Paper Scissors EP is available now via Criminal Records digitally and on CD at https://thekut.bandcamp.com/album/rock-paper-scissors

Upcoming live dates for The Kut…

2nd May: Hell Fire Club, Redhill, Surrey

Saturday 16th May: Elektrowerkz, Angel, London

Saturday 24th May: Mainstage, Glastonbudget, Leicester

Saturday 23rd – 24th May: Strummercamp Festival, Manchester

Saturday 30th May: The Harvest Home, Haughton Regis, Bedford

http://www.thekut.co.uk/   https://www.facebook.com/thekutgirlsrock

RingMaster 15/04/2015

Copyright RingMaster: MyFreeCopyright

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

 

 

Revelation – Inner Harbor

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    Revelation is a band many have acclaimed as providing the seeds and spark for progressive doom metal and over the years since forming in the mid-eighties, the Baltimore band has richly earned and garnered the respect of fans and bands alike for their doom clothed progressive imagination. Admittedly it is a band which has eluded our focus at The RR more often than not over that time, though occasionally we have dipped into their melancholic familiar yet distinct sound without finding the spark to spending an intensive time with them. The release of new album Inner Harbor via Shadow Kingdom, with a vinyl version through Pariah Child, has changed that. The enthralling six track release is not destined to worry end of year best of selections nor send us diving into their back catalogue more intensively but it has a charm and intrigue which makes it hard to leave it alone.

The trio of guitarist/vocalist John Brenner, bassist Bert Hall Jr., and drummer Steve Branagan, have stepped forth with a new, for arguments sake direction for their songwriting and aural presence, Inner Harbor a mellower and warmer seductive persuasion compared to their expected heavier stance. It still carries heavy enveloping shadows and crawling alluring atmospheres rife with intensity but there is an air of light and playful energy which arguably has not featured in their creativity before. It is a relaxed and laid-back encounter with weaves and calming washes of progressive temptation taking the lead before their darker absorbing doom intent. The presence of seventies Italian progressive rock as an influence to the release has been cited and certainly across the tracks thoughts of Goblin were playing upon the surface of thoughts, but the release has many textures and flavours at work and is wonderfully hard to pin down. It is also a little inconsistent and even after multiple intensive plays the final opinion of it is undecided. It is definitely an enjoyable and as mentioned wholly intriguing album which refuses to let go but it never really lights any fires within for a long enough or truly lasting impact but there is still something which calls one back.

The album opens with the fiery breath of the title track, its stoner blues introduction a cautious but inviting welcome especially with the flame of sonic fire from the guitar. As the vocals join the song drops into a reserved stance and loses that initially grip, though the track still holds a healthy attention. The vocals are fine without inspiring any real reaction, their expressionless style lacking against the sounds and almost pulling them into a similarly less than dynamic voice, and in many ways the track epitomises the album. It does not leave flushes of thrills but there is something to it which magnetises and persistently invites an inquisitive appetite. The climax of the song with its teasing groove and lead laden prowl leaves thoughts in question and emotions feeling equally short-changed but equally hungry for more.

The following Terribilita with its abrasive tone and sonic blaze of craft and invention again opens up a depth of interest like the first and with the following sway of the keys instantly offers something new and compelling. Also like its predecessor the song almost taunts and teases the passions into life but lacks the weaponry to seal the deal, the melodic caresses and vocal arms around the shoulder mellowness verging on soporific. It is a deceptive lure though as again the band save the best moments of the track for its electrifying conclusion, the charged groove and elevated pace still veined by the electro brilliance, a rousing crescendo.

Rebecca at the Well opens with an excellent almost vintage punk groove and intensity, the guitars and bass holding a snarl to their intent which is lacking in the previous songs. The heavily gaited breath of the sound has a L7/Damned like spice whilst the drop into the dark slowly consuming bowels of the track for a moment is a predatory menace soon dispelled by the bright hypnotic groove and mutually lit synths which ushers it away. With more than a post punk whisper to it the track is an enticing piece of invention and the highlight of the album though soon challenged by Eve Separated and the outstanding Jones Falls. The first of the pair offers its own addictive hook and groove combination whilst the vocals again without taking a firm grip bring a strong and eager melodic embrace, especially in the adjoining harmonies. Though finding the same problem as the earlier songs in that it has moments where it brings real excitement in between others which only leave a respectful satisfaction, the track undoubtedly beckons with enough to want to share its presence again. The second of the pair starts off with a feel of The Stranglers soon merging with Sabbath like imposing riffs and a sonic growl. Into its stride the track unveils eighties electro shimmering, its acidic touch an unexpected and exciting contagious co-conspirator with the best vocal performance on the album. The song is a bewitching journey through a landscape of ideas and colourful aural scenery, bright yet as across the album not quite finding the clarity to explosively dazzle. It is a great track though and adds to the allure of Inner Harbor even if not able to force a full adoration for the whole release.

Ending with An Allegory Of Want, an enveloping heady want of oppressive air and lumbering emotive, Inner Harbor is a release that will possibly open up a wider presence for Revelation. It does not leave a burning hunger in its wake but plants seeds of that irresistible intrigue which makes persistent entry into its almost puzzling realm a given.

7.5/10

RingMaster 03/05/2013

Copyright RingMaster: MyFreeCopyright

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Centre Excuse: In Your Mind

As soon as the brewing storm of electro punk energy and thumping rhythms accost the ear, the feeling that something special is about to unleash itself on the senses is rife. In Your Mind, the new single from UK sound rioters Centre Excuse, does not disappointment, their stunning release leaving no atom of dissatisfaction alive as its stomping and bruising encounter ignites the fullest deepest pleasure.

The trio from England’s smallest county Rutland, has left audiences and fans breathless from almost day one since forming on 2010. With their debut EP All Systems Go, the three piece of Teddy Lewis (vocalist, guitarist, synth) and brothers Jamie (guitars, bass) and Alex Rush(drums),  inspired a swiftly growing following and great responses to their inspiring blend of punk and rock drenched in the vibrant synth pop of the eighties. Their music is fresh and consuming but with a glow and blistered elegance which is hard to define yet delicious to taste and immerse within. The new single follows their last successful release, the Generation Z EP which itself continued the great acclaim and ardour spawn from previous singles.

In Your Mind is the most powerful and thrilling song yet from the band, its intimidating and feisty energy an aggressive variation from the aforementioned EP showing another strength and diversity to their sound. Whereas other songs in their continually impressing creativity bask in a captivating merger of post punk with electronic caresses and inciting rock urgency, the new single entangles the senses in a caustic maelstrom of punk and electronic acidic weaves. Think early Damned and Depeche Mode in a hybrid union with Zebrahead, and you get an idea of the wonder going on.

The track burns wonderfully as it rampages from its first note to last, the searing sonics of the keys as wonderfully harsh as they are mesmeric whilst the guitars scythe through to the senses with lean and rabid intensity. If that does not have ears and emotions blissfully on alert the explosion of rhythms and jabs drums on the senses from the drums ensures total capitulation, the bruises they offer worn like medals whilst their merciless punches reward as tremendously as the predatory tempest surrounding them.

The track is glorious and gets better with every listen. It is a song which elevates the heart rate and sends the blood surging through the body to match the intense energy unleashed and inspired in its recipients. If there is only one single you choose before the close of the year, this adrenaline driven impossibly infectious one from Centre Excuse should be it.

http://www.centre-excuse.com/

RingMaster 09/11/2012

Copyright RingMaster: MyFreeCopyright