Le Butcherettes – A Raw Youth

photo credit- Monica Lozano

photo credit- Monica Lozano

Contagious and fierce, diversely imaginative and aggressively bold, A Raw Youth is punk rock at its best. In sound it might not always seem so but in attitude and uncompromising nature it is a rebel, a confrontation to match its theme, which is best described by the words of Teri Gender Bender, “The focus of the album is the recurring conflict between minorities (the raw youths) and society: The oppressor and the oppressed,” the vocalist adding “Each song is a different story of a youth from a different time era. Some of them want to die because their faith in humanity has ended, some want to fight the authority, think outside themselves.

The new album from Mexico based Le Butcherettes also roars with a celebratory air and rousing enterprise, a quality ensuring each track not only hits the spot musically and lyrically but leaves a lingering web of temptation for body and emotions. That will not really be a major surprise to fans of the band, their previous albums Sin Sin Sin of 2011 and last year’s Cry Is For The Flies especially, bulging riots of gripping sound and middle finger combat, but fair to say the trio of Gender Bender, drummer Chris Common (These Arms Are Snakes) and bassist Jamie Aaron Aux have pushed the creative intensity and adventure on again with A Raw Youth. The band’s third, and as its predecessors, Omar Rodriguez-Lopez produced, the album is their finest incitement yet, a rebel rousing slice of primal, thought provoking rock ‘n’ roll.

It all begins with Shave The Pride, a growling punk bred encounter quickly availing ears of grouchy riffs and the ever appealing tones of Gender Bender. Common’s beats frame the union with zest whilst Aux’s bass just snarls its way into the passions. The song itself never meanders from a cantankerous tone and infectious stride through ears, leaving greater adventure to those to come but easily makes for a stirring and anthemic start which has ears and appetite wide awake and ready for tracks like My Mallely which follows. Discord kissed melodies from keys opens up the swift attention grabber, bass and guitars again adding their irritable bait before the compelling and ever distinct tones of Gender Bender enrich ears. The infectious swagger of the song, driven by the excellent addictive nature of Common’s rhythms, has a 4 Non Blondes feel to it backed by warm keys which just slip over the senses with emotive temptation.

Le Butcherettes A Raw Youth Cover_RingMaster Review   From one major highlight to another pair in Reason to Die Young and La Uva. The first seduces and bellows like a blend of PJ Harvey and a restrained Lene Lovich, voice and sound effortlessly inciting body and emotions with its tempestuous yet wholly virulent, slightly No Doubt like, blaze. Within it that an off kilter enticing adds a great unpredictability which is fully explored more in its successor. The fourth track on the album is a maze of textures and inventive sound entwining with and bouncing off the superb vocal union between the siren-esque harmonics of Gender Bender and the dark, lordly tones of guest Iggy Pop. Like De Staat meets Bauhaus with the devilment of a 6:33 infused, the track is a gloriously sinister and gripping fascination; a union of dark and light, warped power and innocence.

The outstanding Sold Less Than Gold keeps the lusty emotions inflamed again with its sixties pop meets indie revelry. A song looking on women who are sold into marriages or sex slavery, it is an invigorating flame of catchy rhythms, warm vocals, and bracing horns within a bouncy canter and energy in which potently reflects the resilience in the spirits of those enslaved.

Tantalising tones over a fuzzy landscape provides the next recruitment of feet and imagination in the shape of Stab My Back, its punchy touch and defiant nature ebbing and flowing with greater voracity across its four minutes before the aggression of They Fuck You Over ensures things get even scuzzier and antagonistically fiercer. A storm of punk and garage rock, it brawls with the listener yet has them on the dance-floor too. It with raw zeal uncages a contagion of addiction which in its own distinct way is matched by Witchless C Spot. Atmospherically immersive and haunting, the track wraps the senses like a dry mist initially, the voice of Gender Bender hypnotic in presence and word, before stalking textures and suggestiveness boil over in a fiery but controlled crescendo. It is a tempting repeating again, with the calm after holding more spicy additives second time around.

The Hitch Hiker is a riveting duet between the two protagonists within the narrative of the excellent encounter, Gender Bender taking both sides against saucy keys with an Oingo Boingo essence to them, and the ever welcome trespass of bass and swinging beats. Again the band has bodies out of their seats with ease whilst inciting thought, the lyrical writing and prowess of the vocalist as cutting and potent as the sounds relishing their input. It is a quality of course shown again in the transfixing Lonely & Drunk, a song far more hard hitting than on first appearances and increasingly magnetic with its golden melodies and predatory rhythms.

A favourite moment of the album comes with Oil The Shoe If The Critter Knew Any Better, a funk punk stroll of garage rock tenacity and psych rock hues which is as masterful prowling the imagination as it is venting its full energy and rapacious intent. The track just hits the spot leaving closing song My Half a tough job to match. Fair to say it does not quite find that success yet with the featured John Frusciante bringing his majestic fingers on steely strings to the bluesy/psyche mix, the album is provided with a thoroughly enjoyable and impressive end.

Le Butcherettes continue to burn the imagination and the issues of the world with their ravenous maelstrom of rock ‘n’ roll and A Raw Youth is their latest plateau of craft and imagination. There is always a smile when something new from the band arrives and their new album shows exactly why; one highly recommended proposal for you all.

A Raw Youth is available via Ipecac Recordings from September 18th via through all digital platforms.

Pete RingMaster 18/09/2015

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Billy Momo – Drunktalk


Following the acclaimed success of the single I’ve Got You, Swedish urban-folk collective Billy Momo unveil the title track of their upcoming second album Drunktalk. The band’s new song is a riveting and dramatically seductive embrace of folk intimacy and country ambience with a rhythmic and invention which is almost De Staat like in its imagination and Helldorado in its atmospheric ingenuity. Also seemingly drawing on the melodic richness of Broken Bells, the single is an engrossing treat to start off 2015 and simply ignites even greater anticipation for the band’s impending album.

Billy Momo is the brainchild of Tomas Juto and Oskar Hovell. Initially just the duo, the band swiftly drew potent attention and praise with the release of debut album Ordinary Men on Christmas Eve 2011 through their own Mobetter Music label, the record eventually getting a re-release via Hype Music in 2013 to greater success. The pair soon realised they needed to bring in 10881589_10152485803824071_4577033260872051476_nlike-minded musicians to take their music into the live arena with the addition of Tony Lind, Mårten Forssman, Oscar Harryson, Christopher Anderzon, and Andreas Prybil eventually completing the creative line-up which has already seduced their homeland and is working quietly but potently away on the UK scene thanks to the last single and live shows. Drunktalk is another inescapable temptation destined to light ears and appetites ready for the February release of its full-length namesake.

Drunktalk opens on a clunky ticking and heavy swipe of chains, a portentous almost industrial incitement which immediately teases the imagination before a winy twang of guitar and sultry vocal union cast their embrace on ears and attention. The startling and imposing presence of that opening ‘clang’ continues its baiting from within the brooding and provocatively melodic and expanding landscape draping the equally enthralling narrative. With strings adding broader and deeper shadows to the texture of the song and radiant harmonies aligned to evocative keys thickening its emotional drama and colour, Drunktalk provides an intoxication of senses and thoughts whilst creating a rich tapestry of vocal and musical expression.

The single is a temptation which lingers and worms into the psyche with increasing potency, building on the impressive presence of its predecessor but exploring a greater inventive aural theatre. Quite simply it is a glorious taster for an album which cannot come soon enough.

Drunktalk is available digitally via Hype Music from January 5th.


RingMaster 03/01/2015

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Snack Family – Pokie Eye EP


It is not often you get a real tingle in the ‘loins’ as a band tempts the ears for the first time, but there is no doubting the lustful response UK rockers Snack Family inspired with their deliciously warped Pokie Eye EP. Casting a sound which could be described as gothic blues but fits better the description of The Birthday Party in its early days meeting Th’ Legendary Shack Shakers in a sultry and unhinged embrace with The Fat Dukes Of Fuck and Melvins, the release is a unique and rebellious slice of rock ‘n’ roll derangement and inescapably addictive.

Hailing from London and formed in 2011, the trio of Andrew Plummer (baritone guitar/ vocals), James Allsopp (saxophone/key), and Tom Greenhalgh (drums) swiftly and understandably drew references of Nick Cave, Captain Beefheart, and Morphine with their startling invention, as well as an eagerly growing attention. Debut release, the Belly EP lit new fires earlier this year which Pokie Eye inflames again with its own rich tonic of Southern bred creative dementia. Recorded with Ben Lamdin at Fish Market Studio, London and wrapped in the striking artwork of conceptual artist Drew Millward (Gallows, Pulled Apart By Horses, Oceanside), Pokie Eye is a wake-up call for the imagination, psyche, and sonic insanity.

Lupine Kiss is first, swinging in on groove infected keys and mischievous beats all lit by jazzy flames of brass. It is an immediate trap soon developing a hazy seduction and virulent toxicity as a thick tang infiltrates grooves and the highly evocative sax temptation. The song soon nudges thoughts of films like The Monster Club and From Dusk Till Dawn, it casting the imagination in a jazz fuelled, liquor soaked nightclub dwelt by the most salacious dangers and evil seductions possible. The song swerves tantalisingly with its melodic curves whilst the crispy high-hat sound is simply tantalising persuasion amidst the devilment of the rhythms. Leading it all like a devious bartender is the gruff crazily alluring tones of Plummer, his delivery as fascinating and irresistible as the creative loco around him.

The track is a riveting enslavement soon emulated in its own wholly distinct nature by Plastic Factory, a cover of the Captain Beefheart classic. Within seconds the song is strolling with sf_pokie_eye_frontbulging beats and flirtatious sax temptation but wrapped in a sinister and darkly enticing air, its fiery rock ‘n’ roll tempered by the prowling stance of the song and the heavy basslines courting the gravelly vocals. It is a blaze of aural salaciousness, especially from Allsopp’s sax which when really inflamed reminds big time of the kind of brilliant discord cloaked revelry Essential Logic conjured back in the seventies.

No Reason is a journey into the darkest and menacing corners of the mind and Snack Family’s invention, the song a slow swarming croon of a proposition embracing the heavy smoky Cash like tones of Plummer. It is stuff of your darkest dreams, a brilliant noir drenched, jazz bred smoulder of primal seducing and imagination. Keys resonate as indefinable sounds simply colour the drama, the track enthralling and immersive but most of all just brilliant, though it is soon surpassed by the closing revelry of Pokie Eye Poke Ya. The final song is psychotic manna, from the first flirtation of sax soon joined by a contagion of rhythms which in turn ignite a Cajun kissed jangle of strings and vocal rampancy, the track is simply sensational. Percussion and beats are as psychotic as the sounds dancing with lost inhibitions around them, a mix recalling again Th’ Legendary Shack Shakers but also Dutch band De Staat. It is rock ‘n’ roll devilment, a lunacy as controlled and resourceful as it is manic, and easily one of, if not the best song heard this year.

Pokie Eye is a must for all those with a taste for the references offered here or anything from blues rock, psychobilly…well simply rock ‘n’ roll of any slightly off kilter colour and ingenuity. Snack Family just might be our new favourite band and we suggest they may be yours too.

The Pokie Eye EP is available from December 6th via Limited Noise @ http://snackfamily.bandcamp.com/album/pokie-eye and through iTunes, Amazon, Spotify, etc.



RingMaster 05/12/2104

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De Staat – Vinticious Versions


There is such an originality and warped invention to the music of Dutch alternative rockers De Staat that you wonder if they have any idea what is going to happen or know their intentions when starting on the journey of creating each adventure. It is what sets the band apart from the rest and makes them one of the truly and persistently unique propositions, as evidenced by their previous trio of acclaimed albums, and some of the most deviously memorable and lingering, psyche infecting songs. Now the band unleash new EP Vinticious Versions, a virulently addictive collection of re-worked tracks taken from those three albums, I_CON (2013), Machinery (2011), and Wait for Evolution (2009). The band twists and re-interprets the eights tracks making up the release, giving them new characters, fresh mischief, and mouth-watering devilry for another seriously compelling and fun proposition from the band.

Listening to Vinticious Versions is like venturing through secret doors and passage ways within familiar surroundings, finding yourself inside and at the heart of each proposition where you find an alter-ego or private fantasy of what the song would like to be just once in a while. Vocalist/guitarist Torre Florim sums it up best when he says, “the EP takes you on a trip down an alternative pathway with familiar surroundings…something that is a little more dark and delicious”. The concept for the EP came from the band being asked to play radio sessions and small in-store shows, this inspiring De Staat to imagine and craft different versions of their songs to play. What has emerged is a release which combining a ‘retro feel’ to its recordings, flirts and dances with the imagination like an old friend revealing their deepest kinkiness.

     Get It Together starts things off, an instant dramatic lure opening the door to an exotically populated dance floor of popping beats and sultry vocal harmonies courted by similarly heated sounds. An oriental air caresses each note and CGR7452sonic flirtation whilst bubbly melodies swing with the wiles of an insatiable temptress. It is as irresistible a seduction of sound as you can get, or so you think as its toys with the passions but then the pure intrusive lures of Build That, Buy That have not had their say at this point. A dulled vocal countdown is the lead into a ridiculously contagious stroll of almost childlike melodic simplicity and ingenious unpredictability. Even if new to the song it will be barely seconds before feet are leaping without mental direction and voice trying to join the ridiculously captivating call of the brilliant track. A creative shuffle where sounds and voices are as skittish and inventively lively as a backside on an ant hill, the song is an anthem to party though that applies to all De Staat songs on the EP and as a whole.

Input Source Select sways in next, its sultry curves rubbing seductively on ears as bulging beats and punchy vocals tantalise and spark the imagination. Reminding of nineties UK band Honky, the track is an old school hip hop seeded romp with a colourfully creative haze to its seventies fascination of sound. It is to be fair the norm that no one De Staat song is like another but no more so apparent than on the EP, as proven again by the next up Down Town, a noir hued climate of smouldering Tarantino like drama and melodic elegance. Every heat spilling note from guitarist Vedran Mircetic and keyboardist Rocco Bell comes with their own creative smokiness whilst the vocals of Florim are as dark throated and gripping as the heavy seduction of Jop van Summeren’s bass and the jabbing beats of Tim van Delft. Completed by a siren-esque breeze of female vocals, the song slips around ears and thoughts like a lover’s caress.

The humid reggae spawned swagger of All Is Dull comes next, its cheeky body swerving with the guile of a feline provocateur as vocals align their similarly magnetic and varied croons for an already greedy appetite filling incitement. It makes way for the slow funk fuelled sexually inflamed flight of Devil’s Blood, a track to make ladies swoon and men daydream. Again it has a rich and tasty sixties/seventies breath to sound and vocal persuasion, lighting senses and emotions ready for the glorious surf rock brilliance of Sweatshop. One of our all-time favourites songs, expectations were as excited as they were fearful on how the band would take on their classic. Within its opening distinctive twang doubts were banished as sweltering warmth of keys and guitar scythes swooped with as mentioned a surf bred temptation. Like B-52s meets Yello but still like nothing before or after it, the track like a psychedelically enhanced loner dancing intimately with themselves on the dance-floor, it pulsates and glows with celestial charm and inescapable teasing.

The release is completed by the sinew flexing pulsation of Wait For Evolution, another track hinting at hip hop inspirations whilst immersing its warped ingenuity with funk lined revelry and providing an enthralling end to a treat of an encounter. It is probably right to say that no track eclipses the originals but many come very close to equalling their might and all leave pleasure rampant and hunger for new De Staat fun as impatient and insatiable as ever.

The Vinticious Versions EP is available now digitally, and in CD and vinyl versions via Cool Green Recordings/Mascot Label Group @ http://www.mascotlabelgroup.com/destaat-vinticiousversions.html


RingMaster 24/11/2014

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Death and the Penguin – Accidents Happen

Death and the Penguin

Providing a clutch of immersive anthems, though may be not in the recognisable sense, Accidents Happen the debut EP from UK indie/rock band Death and the Penguin is not only magnificent stands as one of the most startling and compellingly invigorating releases to hit the senses this year so far. Consisting of six tracks which are as bewitchingly eclectic and striking as they are voraciously imaginative and inciting, the EP is a mouthwatering persuasion which boldly tempts and riotously seduces with an invention and virulence that is unstoppable. For a debut it is extraordinary and for a first step by a band one of the most exciting entrances in a long time.

Taking their name from a satirical novel by Ukrainian Andrey Kurkov, the London quartet of Tobias Smith (vocals, guitar), Christopher Olsen (guitar, keyboard, vocals), Andrew Acred (bass, keyboard, vocals), and Timothy Brennik (drums, percussion, vocals) make a first impression which it is hard to imagine could have been any more potent and incisive then what it is. It is a release which starts off with a stirring proposition and just gets better and bigger with each track, all the while revealing the depths to the band’s songwriting, craft, and adventure whilst soaking it in a promise which more than suggests of even greater things to come.

Opener Snuffed Out instantly awakens thoughts and attention, a blaze of guitar which almost swarms over the senses igniting an instant D&TPAHappetite with its Echo and the Bunnymen toning to the melodic flames leaving the fingers of Olsen and Smith. There is a throaty resonance to the sound which becomes a specific essence of the band across the EP to relish as well as a sweet tasting discord which only accentuates the impact of first impressions. As the song spreads its narrative, a Radiohead like whisper chills the lively ambience as a cleaner and warmer but no less striking version of an At The Drive In like rapaciousness rallies a greedy appetite. It is the dark heavy voice of bass and the coring riffs which steal the thunder though, their continuing likeness to McCulloch and co. irresistible. Though more of a grower than other tracks, it continues to worm its way under the skin and into the psyche, proving to be a dramatic and impossibly infectious not forgetting momentous first slice of temptation.

The following Space 1998 casts a spatial embrace around ears initially, its warm and intriguing elegance asking the imagination to play which it eagerly does, especially with the heavily weighted thump of beats and guitar snarl which joins the beauteous lure. From that union a dazzling mathcore weave of bass and guitar steps forth to toy and quickstep with the senses, their bewildering quickstep and groove unbelievably magnetic. The vocals as in the first song impress from the lead to the eager backing whilst the fire and passion in the band leaves no element unwashed as evidenced by the simply mesmeric chorus. For undefined reasons there is a feel of latter period XTC to the song which only adds to the insatiable funk and jazz bred ingenuity of the stunning and constantly developing landscape.

The song marks a loftier pinnacle in the terrain of the release, elevating past its predecessor before next up An Opening unveils an atmospheric and haunting embrace over the senses. It is a brief and highly evocative piece which swaps the adrenaline fuelled romps of other songs for a melancholic intensity and though it does not inflame emotions as elsewhere the track certainly leads thoughts into a potent venture.

Strange Times has no problem in setting a fuse to a predatory hunger with its roaring entrance; guitars, drums, and keys making a melodic cacophony courted by the ever heavy breath of the bass whilst vocally the band soars with relish and energy. The entrance immediately sparks thoughts of Young Knives though as ever the song twists and lurches through ingenious detours and turns in its way to seducing the passions. Continuing to ebb and flow in its evocative intensity, the eruption of a fire bred guitar surge and the persistently provoking rhythms of Brennik scorch and bruise the senses respectively as the band sculpts another gloriously unpredictable and vigorously compelling exploit.

The persistently rising curve of brilliance to the EP shows no sign of levelling out as it and band step to another level with the closing pair of songs. The first is Bitumen, a track which brings the anthemic unity of the chain-gang into a blues kissed slab of pure invention. As primal and tribal as it is voraciously soulful the track is just brilliant, a sonic and rhythmic alchemy which seduces and smothers every pore of body, mind, and heart. An element of De Staat comes to mind with the agitated glory of the drums and percussion, but again the song is as unique and distinct to Death and the Penguin as you could expect and wish.

As the track closed it has to be admitted that we thought the release’s pinnacle was found but The Words That Maketh Murder soon shoves that thought aside. The song leaps at the ear with a wind of raucous vocals and grooved sonic groans, like a mix of Collisions and Hadouken it consumes the ears with a punkish recruitment which has a greedy attention basking in the subsequent flow of emotive vocals and imaginative intrigue. The switching gallop and canter of the chorus is sensationally incendiary, whilst the increasingly fertile landscape of the track with its swing and groove lilted swagger just concentrates the submissive toxins of the quite genius encounter. With another flood of infection cruising through a climax clad in a kaleidoscope of inventive colour and sonic mystique to end things on a plateau, Accidents Happen is simply incredible and already the instigator to suggestions that the Death and the Penguin is the next big and important thing within British rock music. Time will tell but we will not be betting against it.

Accidents Happen is released on May 5th through Best Before Records.



RingMaster 04/05/2014

Copyright RingMaster: MyFreeCopyright

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BulBul – Hirn Fein Hacken


Ok I will admit I had not come across Austrian band Bulbul before being handed their new album Hirn Fein Hacken, a release which sees them returning after six years from not sure where, but from here on in after the intensive psyche examination presented by their latest, a backward investigation is sitting high on the list of musts. An insatiable and mischievous, not forgetting criminally addictive, exploration of every delicious element you can imagine to rile, ignite, and seduce the very core of the mind and senses, Hirn Fein Hacken is quite simply sonic irreverence and quite brilliant.

The first sign of Bulbul we can find is the release of their self-titled debut album in 1997, Bulbul a one man project of guitarist/vocalist Raumschiff Engelmayr at the time. With Derhunt linking up on bass, the band released second and again self-titled album in 1999, via as the first via Trost Records. Drummer Ddkern joined not long after as the band continued to experiment with sound, imagination, and their fans minds through their third and fourth albums in 2003 and 2005 respectively, again under the same monikers as the others. 2006 saw fifth album BlllBlll unleashed whilst the Patrick Pulsinger produced 6 was uncaged via Exile On Mainstream two years later to strong acclaim and attention. Hirn Fein Hacken is as mentioned the band’s return, again via EOM, and takes little time in slipping under the skin of the senses and psyche as well as giving the passions an irresistible creative toxicity to feast upon.

The Vienna hailing band’s influences according to the press release include the likes of The Kinks, Cpt. Beefheart, Rhys Chatham, Django Reinhart, Abner Jay, Fats Domino, and Bob Dylan, but as the album seduces with its ingenious seductive dementia we would suggest artists such as Kontrust, De Staat, Yello, and Fantomas as a starting place. Opener Fire offers a wide groan before bringing all of its thought and energy into a concentrated rhythmically driven nagging of ears and senses. Riffs gently niggle as the bass provides a fuzz kissed tonic to greedily swallow whilst all the while strong vocals dance over the bait with devilry in their tone and relish on their lips. The song continues to swagger and weave across the imagination, enterprise of the guitar as boisterously naughty as it is creative and the bass an irresistible growling incitement impossible to tear emotions away from.

It is a magnetic start which has little difficulty in making slaves of thoughts and passions, leaving the following Uhu a willing canvas to play with. An electro simmering ebbs and flows initially, its voice slightly smothered but eager to break free to greater clarity. That aspect is taken by the funk bred grooves and suasion of the guitar matched by the vivacious vocal delivery. The song smoulders, never lifting its gaze or energy from a wanton sway of its body and sex infused melodies. Not as dramatic as its predecessor but equally as enthralling, the song makes way for I hea eh scho lång nix mea, a song which like the first secures its initial conquest through repetitive coaxing before exploring an industrially inspired realm with clanking tubes, concussive temptations, and unpredictable almost maniacal imagination. The track pushes the earlier thoughts of De Staat to the fore, the song a cousin of their Sweatshop track without the same feverish urgency. It is a glorious trap for the passions warming them up for the even greater infestation to follow.

That virulence comes in the shape of the ridiculously addictive and epidemically infectious instrumental Kanzla. From its first second, guitars respectfully grind against the ears whilst the bass again adds a barracuda like tone to the abrasing lure of the song. The rhythmic restraint with punctuating twists of the drums only reinforces the delicious irritancy as the track persists with its rub through sonic rises and falls. The dip into a brief sultry teasing only inflames the senses more before the track reverts to its feverish meshuga of a tango, intermittently interrupting its blaze with further inventive twists.

Both the psychotic Fisole, where instruments are abused and random items employed for a warped bedlamic cacophony, and the noise rock taunting of Quicksand keep the passions breathless, the second of the two finding an element of Melvins and even Pere Ubu to its spellbinding guitar sculpted temptation. As impressively thrilling as they are the pair are only the appetiser for the pinnacle of the album, Gurdy. The track takes a breath before cantering eagerly through the ears, spicy short guitar strokes and rumbling riffing spurred on by the darkly sinister vocals and unrelenting rhythms. The track is pure 100% unbudging contagion, every flavour, trait, and inventive bait pure addictiveness. Imagine Mike Patton, Pryapsime, and Queens Of The Stone Age engaged in an illicit enterprise and you have the quite magnificent Gurdy.

Genderman Can provides a raw punk fuelled rampage next, vocals and bass antagonistic whilst the guitar boils the air with a blues tasting sonic toxin which again is only good for health and passions, especially its closing warped and sizzling smothering of the senses. From here the album relaxes its energetic stance to unveil a pair of slowly burning treats. Bomb comes first, its opening air awash with the fiery country blues flames which were hinted at on its predecessor. With pulsating beats and a psychedelic ambience drifting over song and listener whilst the vocals like the music flickers within a seductive fire formed around the narrative, the track is a mesmeric enchantment littered and primed with broad intrigue and unruly invention, but within a relatively sobering confine.

The closing A To Beans is just aural sex, a slow hip swerving seductress with smooth rhythms, a throbbing intent, and a sinister vocal invitation which should be avoided but impossible not to embrace as deeply as the noir blessed sounds. It is a ridiculously captivating end to a quite sensational release. As these last words are written contemplation of how BulBul avoided our attention is loud and incriminations rife, but it is hard to imagine previous releases being better than Hirn Fein Hacken so maybe this was the right time to find the band. We are heading back into their history as you read and suggest you do the same once you have been infected by this mad beauty.




RingMaster 08/04/2014

Copyright RingMaster: MyFreeCopyright

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The Physicists – Wayne Newton Hulabaloo

The Physicists

Finnish industrial science metal band The Physicists is a new treat for us and one which going by their new single Wayne Newton Hulabaloo points to its creators being another flame to add to the fires of passionate preferences already garnered over the years. The single is immense, an eclectic riot of rich imagination, insatiable energy, and potent inspirational enterprise. If like us the Helsinki trio is new to you then their new song is the perfect doorway into their seemingly eccentric and wonderfully inventive world.

Taking a look and listen at some of their earlier tracks before addressing the single, The Physicists seem a band which brings an essential breath of experimentation and intrigue to their creativity, the clutch of songs briefly investigated all with an unique presence and gait let alone diverse sound. The new song is no different and a track which is the band at their invitingly mischievous best.

Wayne Newton Hulabaloo is said to continue the scientific tracks which began on their debut album Observation in 2011. The band itself planted its seeds in 2004 becoming a fully functioning trio in 2006 consisting of MC Omega zero (guitar, vocals, loops), Eerosmith (drums), and Gravitinus XVI (guitar). After a series of explosive and unforgettable gigs their first EP Welcome To The Dark Room appeared a year later and was said to split opinions between rapture and confusion, something you feel all their songs and music will wonderfully do. 2008 saw the unleashing of The Old Religion EP as well as the departure of Gravitinus XVI who was replaced by bassist F.P. Meridian. A year later rhythm guitarist David joined and the band took the whole of 2010 recording their first album which included the leaving of the newest member. Produced by Hiili Hiilesmaa and released like the single on Inverse Records, the album drew strong acclaim and enthusiastic reactions. The current line-up was completed by 2012 with new guitarist M-Theory and drummer Bill Rubin replacing Eerosmith. The new single finds the band at first glance on an even greater plateau than before and looks set to make the band a wider known proposition.

Wayne Newton Hulabaloo opens with a deep velvety guitar caress before opening up into a stroll of thumping rhythms, throaty vocals, and hypnotic melodic teasing. It is an instant hypnotic dance for the senses with sonic dazzling and mixed voices, smooth, seductive, and growling. The brief explosive chorus with an additional female beauty is sensational within the rampant and persistent sinewy drive of the track. It is mere moments before voice and certainly feet are complying with the persuasive charms and enthralling energy at work. It is a techno metallic feast with melodic manna and sonic conjuring for which there is no resistance. Warm and aggressive the track is an irresistible brew of sound which plays like a mix of Kontrust, De Staat, and Bondo Do Role.

It is a sensational single which has recruited our passions and no doubt will grab many more recruits to the band given the chance. That is up to you but we can only recommend letting it make its persuasion.



RingMaster 11/01/2013

Copyright RingMaster: MyFreeCopyright