Perfect Pop Co Op Sampler – Impulsive Compulsions 01

 

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

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

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

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

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

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

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

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

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

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

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

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

Pete RingMaster 5/12/2018

Copyright RingMaster: MyFreeCopyright

K-Man & The 45s – Self Titled

Pic DannyDonnovan @bucketlistmr

This month sees the new romping stomping album from Canadian outfit K-Man & The 45s uncaged, a release which had the body bouncing and spirit roaring like a teenage boy after his first sexual adventure. The band creates a contagious proposition from a fusion of ska and rockabilly spiced classic rock ‘n’ roll with plenty more involved, a recipe providing their finest feast of sound yet within their self-titled full-length.

Hailing from Montreal, K-Man & The 45s has been a constant and acclaimed presence on the Canadian music scene; their records luring keen praise and support and live presence just as rich plaudits and a matching reputation. The band has shared stages with the likes of The Slackers, Big D and The Kids Table, The Satellites, The Original Wailers , The Planet Smashers, The Brains and so many more as well as graced and ignite a host of festivals across their homeland over the years. It is easy to suggest that their new album is their greatest moment yet and even easier to eagerly push it towards the attention of ska, punk and rock ‘n’ roll fans alike with the band embracing the inspirations of bands such as The Specials, The Beat, The Ramones, and The Cramps among their influences though it is fair to say K-Man and co have successfully nurtured their own individual character of sound as in thick evidence across the new record now getting its deserved push via Stomp Records.

Opener They Gotta Know had us hooked with its first breath, a classic rock ‘n roll guitar lure entangling ears and appetite before the song leaps into its punk rock swing. The jangle of Kman’s guitar flirts as the beats of Brian Smith arouse against the melodic dance of an organ; a potent enticement only enhanced by the dancing flames of Josh Michaud’s trombone and the trumpet of Seb Fournier. Bouncing along to the track’s body and stroll is inevitable, we can testify to that, as the song gets the album off to a rousing start.

The following Poppy’s Back In Town is just as manipulative, its rowdier rock colluding with the animated canter of keys and guitar with, as in its predecessor and every song, Kman’s vocal mischief leading the fun. Lively melodies and lustful hooks line its boisterous stroll before I Don’t Mind wheels in with an instantly appealing breeze easily reminding of The Beat. The band soon adds its own distinct colour to the song, adding a vocal backing in which participation is simply unavoidable. Smith’s clipping beats just get under the skin too, the brass n turn into the passions as the track lustily manipulates body and spirit.

Rudy Don’t Smoke equally had the body dangling from its virulent strands of sound and enterprise; its ska and punk collusion a devilish puppeteer with a glint in the eye of its imagination before Piece Of The Action bursts in with drama and intrigue which would not be out of place in the theme to a sixties TV spy/private detective show. With a Department S-esque hue to its theatre, the song is more than a match for the lofty heights of its predecessors as too the cosmic adventure of Space Thriller. Bringing the atmospheric prowess of The Specials into a surf rock spiced ska saunter the track has the same level of drama and intimation as the last song, its story a sultry seduction of lust and danger descriptively shaped by brass led enterprise.

Through the punk ‘n’ roll/ska bred stomp of Road Rage Randy and the fifties rock ‘n’ roll seeded ska spin of This Moment, pleasure only escalates with the album, each adding a new shade of sound and mischief to its party before a great cover of The Kingpins’ Party in Ja joins the fun. Giving its reggae nurtured catchiness a Ruts like dub makeover the track pulsates on the senses as again the body is lost to an instinctive bounce.

Next up is Johnny Thumbs a track which maybe did not inflame the passions as others around it but still made for the most enjoyable playmate before the outstanding Far Away Eyes Come Home simply became a love affair with ears. From its revolving hooks and melodic enticement to vocal and rhythmic invitation, the song devoured inhibitions.

The album finishes with another gem in What’s Inside A Girl, a glorious garage punk and rockabilly spun tease with a healthy psychobilly and surf rock glaze led by yet another delicious bassline among so many across the album from Frankie amidst the perpetual rhythmic incitement of Smith. The song epitomises the craft, sound, and contagious exploits of K-Man & The 45s perfectly whilst at the same time sealing its best track moment though that is debated with each and every listen.

K-Man & The 45s is a band which deserves the biggest attention within the ska, punk, and simply great rock ‘n’ roll world; all the reasons are in their new album so no hanging around go have fun.

Recently the sad news that drummer Brian Smith has terminal pancreatic cancer was announced and a Go Fund Me page set up to support him and his family. To help out this great musician and friend to so many go to https://gofundme.com/support-brian-our-brother

The K-Man & The 45s album is out digitally and on vinyl now @ https://k-manthe45s.bandcamp.com/album/k-man-the-45s

 https://www.facebook.com/kman45/   https://twitter.com/kmanandthe45s

Pete RingMaster 14/08/2018

Copyright RingMaster: MyFreeCopyright

Los Chicos – Rockpile of Shit

Los Chicos_RingMasterReview

There are few rock ‘n’ roll parties as thrilling and irresistible as those provided by Spanish rockers Los Chicos, an experience they offer once again with new album Rockpile of Shit. Offering fourteen tracks which embrace everything from garage to pub rock, punk to funkily soulful shenanigans and plenty more, the release is a feast of boisterously rousing rock ‘n’ roll and a delicious echo of the Madrid quintets’ inimitable live show.

Formed in 2000, Los Chicos have released a quartet of increasing acclaim grabbing albums before Rockpile of Shit, the previous trio of Launching Rockets (2007), We Sound Amazing But We Look Like Shit (2009), and In the Age of Stupidity (2013) released, as the band’s new encounter this time in conjunction with Folc Records, on the always impressing Dirty Water Records. Live the band has ignited stages alongside the likes of Mudhoney, Southern Culture on the Skids, King Khan, The Sonics, Johnny Casino, Soundtrack of our Lives, Redd Kross, Cosmic Psychos, Spencer P Jones, The New Christs, The Young Fresh Fellows, The Meanies, Barrence Whitfield, Hi-Risers, Eddie And The Hot Rods, Roy Loney, and many others and toured across the globe, hitting Australian four times. Now they are ready to set a new stomp in motion across the world with Rockpile of Shit, a one hard to resist slab of fiercely flavoursome rock ‘n’ roll.

Feet and hips are soon as on board with band and album as ears when opener A Kingdom Of Coolness starts things off. Choppy beats and riffs soon tempt as grooves and vocals steer the course of the punk infused encounter. With its seeds seemingly in sixties garage rock and seventies punk, the track carries a great feel of old UK band The Cortinas to it as it emerges an undemanding yet seriously inescapable incitement to body and appetite as virulently infectious as it is commandingly rousing.

The same qualities fuel the following Rockanrolla, its own raw rock qualities making a potent temptation around the inviting tones of vocalist Rafa Suñén. Again the guitars of Gerardo Urchaga and Antonio Urchaga nag and jangle with remorseless enterprise and persuasion, bringing an Eddie And The Hot Rods hue to its boisterous catchiness before the even more virulent charms of I Don’t Wanna Learn Anymore steps forward. The swinging bassline of Guillermo Casanova makes for a powerful lure as the crisp beats of Ral García back up its invitation; they in turn matched in old school revelry by the guitars but with a modern spice which is inimitably Los Chicos.

FDW003_RingMasterReviewThe funky R&B of Older And Better has feet taking to the floor from its first rhythmic beckon, backed perfectly by the sizzling flames of sax which grace the outstanding encounter. With a hint of King Salami and the Cumberland Three to it, the song is mouth-watering devilry laying an early claim to best track on the album but soon rivalled by its Department S spiced title track. It too infests body and soul, bringing each alive and indeed eager vocal participation with its and the bands creative festivity.

Last Day Here offers a fiercer snarl while feasting on a fifties rockabilly inspiration. Equally though, it has a power pop vibrancy which lights up another impossible to escape chorus, voice and hips puppets to its manipulative magnetism. With discord flirting with the guitars and a Devo-esque quaintness emerging, the track epitomises the album; a seemingly simply flavoured proposition soon showing itself bursting with bold adventure and diversity.

The country/cow punk romp of Responsibility Ville hits the spot with ease next whilst More Beer is a melodic jangle sparking thoughts of countrymen The Pulsebeats as it too grips an already greedy appetite for release and sound. The wonderful relentless beats of García, as throughout the album, enslave ears and spirit alone, guitars and vocals playing with its conquest in an array of styles and devilish ways, Miami Beach soon employing its own surf hued punk ‘n’ roll web ensuring there is no respite for the listener’s  body and enjoyment.

Through The Ramones meets The Members like Mommy’s On MDMA and the country punk of Little Man, there is no lessening in bouncing songs and bodies while Night Ride adds its own individual twist on the country rock scent. All three leave a big smile on the face, though each is eclipsed by the scuzzier funk ‘n’ roll of I Know I Don’t Know and finally the hypnotic shuffle of closing track Toga Land. The pair ensures that physical and emotional involvement is at its most eager as the album comes to a mighty conclusion, an event leading only to a hard deny urge to press play and start all over again.

A great many already know of the rock ‘n’ roll majesty spun by Los Chicos, and with Rockpile Of Shit we can be safe in suggesting so will a great many more. This is one party everyone should gate crash.

Rockpile Of Shit is out now via Dirty Water Records/ Folc Records @ http://www.dirtywaterrecords.co.uk/shop/#!/~/category/id=2801529&offset=0&sort=addedTimeDesc and http://folcrecords.tictail.com/product/fdw003-los-chicos-rockpile-of-shit-preventa-disponible-en-mayo

https://www.facebook.com/LOS-CHICOS-42339317978

Pete RingMaster 30/06/2016

Copyright RingMaster: MyFreeCopyright

Three minutes and counting…talking pop with The Perfect Pop Co-op

pp_RingMaster Review

Recently we featured The Perfect Pop Co-op on the site, an indie label reminding of days past with their DIY attitude and energy and excitement with the kind of sounds and releases already unveiled. Formed by members of outstanding, one of a kind UK band the Tuesday Club, The Perfect Pop Co-op is ready to stir up the music scene with pop bred revelry. We set about getting to the heart of the label with creators Andy, John, and Dave…  

Hello and thanks for sparing time to talk with us.

The Perfect Pop Co-op has been around for a while now, tell us about its beginnings.

Andy: The Perfect Pop Co began as an idea around 2011. All of the members of the Tuesday Club were in different bands at the time and we were looking at a vehicle to release material through. Previous to the PPCO, we (John and Andy) were in a band called The Scratch and used to release our material through our own label Ponyland Records; PPCO was based on those lines, but basically the idea was a Rough Trade style collective or Factory Records, which was more accurate in the fact that both they and we had no budget or business acumen… (allegedly)…

So it is fair to say that the label was formed as much as anything because of The Tuesday Club but was also diverted from realising its initial intent because of the band’s success?

Andy: Well as we said we had already had the idea and done the vinyl renaissance thing too, our first 7″ (The Scratch) came out in 2002 when vinyl most defiantly wasn’t hip, but yes especially as at the time of starting the Tuesday Club we were an 8 piece so there was budget, desire, and more than a little material ready and waiting. Jordan had Recharged Radio, Andy, John and Terry had The Scratch, Dave was in We are White Worm, Minki had 50ft Woman, Lozz had been in loads of bands and since left to form Knock Off and Brian had been in lots of bands too and worked as a session player.

John: Yeah – as Andy said, we’d originally set up the label to release all the different bands we were in – but as the Tuesday Club was such fun the other bands went on the back burner and the TCs became our main focus.

Dave: The mistress became the muse if you like.  For me, it was like falling in love with being in a band again; limitless possibility and no baggage.  Remembering why I wanted to do this in the first place.

pp tc_RingMaster ReviewWhy form a label in the first place. I know The Tuesday Club is not exactly a band which is ever idle so it was not because of wanting to find something to do.

Andy: Basically we were overflowing with ideas and concepts and needed a way of archiving them coherently, but at the same time giving the world a chance to listen in. Since it’s conception The Bleeed, Andreas and The Wolf and two or three other off shots have happened, not least The D.O.D.O from 2011 and Reverse Family that has been in existence since 2006.

John: We’ve always been pretty prolific on the writing and recording front… not everything always fitted with what we were doing with the Tuesday Club, and with 8 of us in the band, getting the time to get us all together to write, rehearse and record material meant that there was always a surplus of tracks – so with The Bleeed, that was 4 out of the 8 of us recording some of those tracks in the gaps between working on the Tuesday Club.

I am assuming The Tuesday Club came first, a fair time before the start of the label? Give us some idea to the background of the band too; how you all got together etc.

Andy: Actually the label may have come slightly earlier; we started putting on nights at a local pub in St. Albans, The White Hart Tap. The Scratch generally headlined, 50ft Woman played and we had other bands come down as support. We had these loyalty cards that got stamped and we gave away free stuff to people who collected enough stamps. I think the Tuesday’s were only rehearsing at this time, I seem to think 2011 November, Electrowerkz in London being our debut.

What was the spark to Perfect Pop Co-op returning to its original idea and bringing other projects to ears?

Andy: There had been a lot of upheaval in the band, the tragic loss of Terry hit us all very hard; Lozz and Brian had already left, I guess we were unsure of the future and kind of thought we need something solid and positive to focus on

At the moment, the bands and releases on Perfect Pop Co-op are all linked in some way or another to members of the band?

Andy: Yes at the moment, each project features at least one or more past or present member of The Tuesday Club, but we do have dreams of samplers featuring other bands, we are basically trying to raise the profile of PPCO to see where it can take us

Can you give us some insight to the bands currently filling the label’s cast?

Andy: Each band has a different sound, though most in fact all have Andy singing on them; there are a lot of styles. We see The D.O.D.O for instance as a 60’s tinged – psych experiment. The Bleeed is our goth, Hammer Horror side, but we also have 2 or 3 experimental pop acts and an 80s synth duo! We never set out to write in a style, and tend to go with where it takes us. Our latest plans are for a PPCO invasion of Irish 4 piece Girl Band, who blew our minds when they played in St. Albans last year.

John: We often write and record tracks concentrated bursts with whoever is about – for example The DODO album was written and recorded in 3 weeks over Christmas a few years back with 3 out of the 5 of us in The Scratch – and so that became one project. Another, as yet unnamed project, which still needs mixing – was an albums worth of stuff recorded by 3 of us from The Tuesday Club last August – so that will become another project – so I guess these bands are all just different permutations of a wider pool of friends – so each one is different as we all bring different things to the party.

Are these all on-going projects too; bands we can expect more releases and new songs from in the future?PPart_RingMaster Review

Andy: Yes, we have plans to release something new for every month of this year; generally when a new mag (IN THE CLUB) is out. In the club 028 May 16 comes out so a new release will, not only older material, but we are intending to record a new track a month in our bunker, under the Perfect pop review.

What are the differences, if any, of releasing just one’s band’s material and having many projects to take care of?

Andy: There’s no difference really, other than the style of the artwork.

I read somewhere about the labels’ idea of the ‘perfect’ pop song. Can you elaborate on that and does it mean we are safe from hearing meandering ten minute epics from you? haha

Andy: Well everyone’s idea of perfect pop is slightly different, none of us are Queen fans, but Bohemian Rhapsody wasn’t 2 minutes or O Superman by Laurie Anderson. Personally my favourite ever single is Buffalo Stance by Neneh Cherry, but I don’t think you could beat Ride a White Swan by T.Rex or Tainted Love by Soft Cell, they are more the area we are dabbling in I’d say.

John: I think we all have a love of the 7 inch single – fitting everything into a 3 minute blast of perfection is quite an art and growing up in the 70s and 80s we were spoilt with great examples – what I liked back then was that often really quite weird tracks could get onto top of the pops. Laurie Anderson is a good example – but things like the Flying Lizards – I Want Money… or Pump up the Volume by MARRS.

Dave: Speak for yourselves.  Queen is a bit of a guilty pleasure.  Great pop music is like that elusive thing where a song hits the spot, first time, and it lives with you forever.  It’s just…..right.  No thought required, no second listen, just perfect.

Perfect pop…

Is there a plan in motion with Perfect Pop Co-op in regard to expanding artists and where you hope to be in say two or five years?

Andy: Yes as we said earlier, first we need the world to know we’re here, from there who knows

Will the label remain an in house bed of creativity or are you looking at some point in releasing records from other bands?

Andy: The Creativity bit is key to us, but yes we’d love to one day have PPCO numbers all over people’s record collection.

The remit will always remain pop in its varied guises?

Andy: Yes, I think a catchy chorus is always they key

Tell us more about the online magazine from Perfect Pop Co-op.

Andy: The mag started as a vehicle for The Tuesday Club and everyone contributed daft columns, and we did a monthly podcast of tracks we liked by new and old bands. But as the band evolved/changed we got less TC and more PPCO, plus now we have more outside contributions. We like getting bands we like involved too, our In the Club section has already featured Richard Norris (Beyond the Wizards Sleeve), John Robb (Membranes), Will Crewdson (Adam and the Ants), Maggie Demonde (Scarlet Fantastic) and Pete Jones (Department S), plus loads of local St. Albans bands we like too. The idea is defiantly ‘fanzine’ in the style of the Old punk zine ‘Sniffing Glue‘, very DIY, rather than the old NME or Melody Maker – there’s no time for loads of editorial, but that’s not to say that we wouldn’t welcome an editor Pete 😉 – trouble is the pays crap… £0 per hour! Basically the mag is a free way to support and PR our musical community and hopefully tempt people into buy our wares!

ppart2_RingMaster ReviewWhat is in line for our ears and imagination rom the label in the coming weeks?

Andy: Next up we are going to put out an Andreas and The Wolf single track and with the June mag is Zerox, The Tuesday Club cover of the Adam and The Ants classic, we recently did a gig with Adam’s current guitarist Will Crewdson – top bloke and in more bands than our own Rogerio TC, so we thought what with Adam back on the road too why not get that baby out in circulation!

And from our favourites The Tuesday Club?

Andy: We’ve just been back in the studio with our producer the fab Steve Honest at Hackney Road and recorded 4 tracks towards a new album (3), which we hope to have out in the spring of 2017.

Will there be a live aspect to the label, i.e. shows with your bands together at any point?

Andy: That was something we spoke about which is where the PPCO review idea came from, it’s definitely a possibility

Once again big thanks for the chat and time shared. Anything you would like to add?

Andy: Our thanks is to you Pete for your continued support. All we’d say to the world is get over to our bandcamp and get involved 🙂 The Perfect Pop Co-Op

Read out feature on The Perfect Pop Co-Op @ https://ringmasterreviewintroduces.wordpress.com/2016/05/17/introducing-the-perfect-pop-co-op/

Keep an eye and ear out for what comes next at, musically https://theperfectpopco-op.bandcamp.com  and in word and vision @ https://issuu.com/perfectpopco-op/docs/in_the_club_028_may_16/1

https://www.facebook.com/The-Perfect-Pop-Co-Op-205518542879875/

Pete RingMaster

The RingMaster Review 02/06/2016

Introducing the Perfect Pop Co-op

ppco_RingMasterReview

I hear you asking just what is Perfect Pop Co-op. In the words of its founders, it is “A record label set up by a bunch of music obsessives to release all of our various musical adventures…

There is a good chance you might already have come across the label especially if fans of the inimitable pop ‘n’ roll of The Tuesday Club.  Created by Andreas Vanderbraindrain and his colleagues in the band, PPCO was set up a few years back to release the exploits of The Tuesday Club as well as those of the bands they were also involved in at the time and previously. The success of The Tuesday Club quickly stole all attention and time it is fair to say, with the label becoming the sole vehicle for the band’s acclaim sparking releases over the past four years.

Tuesday Club_RingMasterReviewNow though, the label has gone back to its initial intent and is beginning to release old side projects, new side projects, collaborations, and plenty more alongside the continuing creative antics of The Tuesday Club. Under its umbrella, a clutch of singles are already lying provocatively available alongside the recent quadrilogy of EPs from The Tuesday Club, a collection of tracks ready to flirt with ears and imagination.

For those behind PPCO, the perfect pop song “is the 3 minute, or under, 7 inch vinyl” with the likes of the Buzzcocks singles, Virginia Plain from Roxy Music, and Get it On by T.Rex as examples. It is a design which has shaped The Tuesday Club songs since day one and going on early evidence is the starting point for the bands on the PPCO roster which also includes The Bleeed, The DIY or Die Organisation (also known as The D.O.D.O), Andreas and the Wolf, and Reverse Family.

Alongside the music, PPCO also has an online magazine keeping all up to date with the label and its bands with half devoted to the world of The Tuesday Club, which their fans know is a full time job in itself. The latest issue has insight on those bands behind the label’s new releases, plus additional features on the likes of Department S and Automat as well as news, shows and much more. The magazine is a throwback to the seventies DIY press in tone and character, a time when it was almost as much fun and informative to read about bands as it was to hear them.

As to the music, we have already mentioned the four EPs of The Tuesday Club released over the past eighteen months, Forbidden Kiss, My Consciousness, Lady Gargar, and Boo Hoo, for ppco4_RingMasterReviewwhich you can find reviews elsewhere within The RR. Alongside them there is also the original New Glamour single from the band, a track which swiftly became a crowd lust and here shares the plaudits with its B-side Old Before Your Time, a typical and an as ever one of a kind Tuesday Club encounter.

Also recently available is The D.O.D.O single Waiting for the Walls to Come Down. The Saint Albans band, consisting of vocalist/guitarist Andy Scratch, guitarist Steve Filth, and bassist/keyboardist/drummer John Viney, creates a psych pop adventure with a great scent of darker punk blues to it, especially in Waiting for the Walls to Come Down. It has a nostalgic seventies air too yet strolls along with a fresh rock ‘n’ roll swagger embracing decades of the genre’s invention. It is accompanied by the sultry croon of Into The Black, a thrilling slow tease of a song with a southern bred air caressing the imagination like a mix of John Otway and a Bowie inspired Wedding Present.

Also out now is The Silent Scream EP by The Bleeed. With its title borrowed from one of the best episodes in the Hammer House of Horror series of the eighties starring the legendary ppco 1_RingMasterReviewPeter Cushing, the EP and its title track quickly thrust their sonic tendrils through ears. The opener rhythmically dances with devilish intent on the senses instantly, the quartet of Beautiful Wolf, TB telski, Andreas Vanderbraindrain, and Wasabi P flirting with and prowling the psyche with their horror punk ‘n’ roll. Seemingly inspired by eighties gothic rock as well as darker rock ‘n’ roll hues, the song swings along with a character and dark melodic drama which does reminds a touch of the previously mentioned Department S. The track is glorious, a rousing slice of dark anthemic pop backed up as potently by the punkish Valerie Leon (Queen of Neon), a tribute to one of Hammer Film’s many stars and finally Super Juice, a wonderfully irritable and fiery song.

All these releases can be found on the Perfect Pop Co-op bandcamp site with the added treat of a free to download cover of Commando from The Bleeed, a track released to celebrate the 40th anniversary of the release of The Ramones’ debut album.

It is just the start of big things from Perfect Pop Co-op, plenty more releases being line-up with in time the label hoping to embrace a broader expanse of bands. They have certainly started in style with the first selection of records, uncaging hungry and unpredictable pop ‘n’ roll encounters that simply excite and grab attention.

Keep an eye and ear out for what comes next at, musically https://theperfectpopco-op.bandcamp.com, and in word and vision @ https://issuu.com/perfectpopco-op/docs/in_the_club_028_may_16/1

https://www.facebook.com/The-Perfect-Pop-Co-Op-205518542879875/

Pete RingMaster 16/05/2016

Copyright RingMaster: MyFreeCopyright

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

Scarlet Echo – An Exact Portrayal of Nothing in Particular

SE_RingMaster Review

Starting off 2016 in fine style, we look at an album released just a few weeks back with keen intrigue inspired by the more recent single taken from its compelling body. An Exact Portrayal of Nothing in Particular is the debut album from Scarlet Echo, a UK band whose sound, self-described as ferocious echospheric music, expertly sparks ears and imagination into eager involvement.

Proof came with the single Emergency Exit last month, a song stirring up ears and appetite with invention sprung from a fusion of post punk and indie rock. An Exact Portrayal of Nothing in Particular quickly shows that its nature is only one hue in the musical tapestry of the band, a design equally woven from varied electronic and shoegaze nurtured threads. Since forming in 2012, the Essex hailing quartet of Hannah (vocals/guitar), Jamie {guitar), Miles (Bass), and Alex (drums/samples) has incited a healthy buzz and following through their live presence, the sharing of stages with the likes of Bassment Jaxx, Rat Boy, Hadouken, Buzzcocks, The Hoosiers, and Department S amongst highlights. Now they have begun brewing a greater intensity of attention their way through An Exact Portrayal of Nothing in Particular, a tempting in force from its first moments.

Album opener Mainstream swiftly stirs ears with bounding rhythms and dramatic melodies, both aspects as shadowy as they are vibrant whilst laying down the platform for the distinctive vocal presence of Hannah. Miles’ throbbing bassline makes a just as gripping entrance; its post punk throatiness the perfect foil to the Lesley Woods (Au Pairs) like tone of Hannah’s voice. The emerging catchiness of the song draws in all these magnetic hues, in turn creating a flirtatiously gripping stroll part eighties and part modern persuasion.

ALBUM-ARTWORK-FRONT_RingMaster Review   It is a thrilling start to the album, fully waking ears and attention for the following calmer mystery of Factory Floor to play with. Coldly atmospheric and romantically melodic, the track taunts and caresses the imagination with, again, a blend of melodic and raw textures. The Passions come to mind as the song writhes impressively within ears, but as shown time and time again, Scarlet Echo twist any elements into their own imaginative devilment; a Talking Heads spiced bassline perfect evidence from within the excellent encounter.

A fiery climate is explored by the sonic heat of Mass Production next, the addictive song a sultry resonance of sound and emotion driven by tenacious rhythms quickly matched in success by the sizzling blues wrung blaze of Technophobia. Its fire is interspersed with evocative slithers of calm, though it is the almost occultist air of the blistering rock expulsions which steals the show within the brief but scintillating proposition. The song shows yet another side to the band’s sound, its volatile might at times like a mix of Jingo and Jess & the Ancient Ones.

Falling Prey offers an instrumental relaxation from the fire, its shimmering melodic beauty and warm ambience enticingly mesmeric before making way for the boisterous adventure of Emergency Exit. The track opens with a splattering of guitar tempting, those bubbling lures soon joined by The Cure like potency of the bass. The minimalistic landscape of the song is beguiling, almost Young Marble Giants like on its way to brewing a livelier and thicker contagion driven by dynamic rhythms, guitar jangling, and the excellent character of the vocals. As a single the song impressed but fair to say it has only grown in stature over time, creating another major pinnacle of An Exact Portrayal of Nothing in Particular.

The smoky jazzy air of Paradigm envelops the senses straight after to fine effect; its charm and muggy seducing an absorbing temper to the revelry of its predecessor whilst casting its own hard to resist instrumental flight into imagination feeding pastures and provocative aural scenery. Its potency is emulated and surpassed by the outstanding Silicone City, its unique exploration a trigger to adventurous thoughts and heavily pleased ears as guitar and voice simmer and sway over the tempestuous incitement of bass and drums.

The album is brought to a close by firstly the sonically evocative, ambience soaked Ataraxy and lastly the poppier shuffle of Lose Control. Neither track quite lives up to what came before them yet each has body and satisfaction eagerly on board with their creative and dramatic captivations.

Scarlet Echo is a band destined to further transfix and thrill as they grow and creatively spring from this impressive debut. An Exact Portrayal of Nothing in Particular may have been released at the tail end of 2015 but for a new year of musical exploration we could not have got things off to a better start.

An Exact Portrayal of Nothing in Particular is out now through iTunes or at http://scarletecho.bigcartel.com/product/an-exact-portrayal-of-nothing-in-particular

http://www.scarletecho.co.uk/   https://www.facebook.com/scarletecho    https://twitter.com/scarletecho

Pete RingMaster 04/01/2016

Copyright RingMaster: MyFreeCopyright

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

Scarlet Echo – Emergency Exit

SE pic_RingMaster Review

Every now and then a band comes along and just grabs attention by the balls with an almost knowing instinct on what the passions go for. For us UK quartet Scarlet Echo is such a proposition, and though their new single Emergency Exit is just one song from an album yet to be heard here, it and the band have quickly given a keen to be greedy appetite one thrilling poke.

Formed in 2012, the Essex hailing Scarlet Echo has earned a strong word of mouth reputation through their live presence and compelling sound, a buzz reaching us well before a note was heard. The past couple of years or so has seen the band share stages with the likes of Bassment Jaxx, Rat Boy, Hadouken, The Buzzcocks, The Hoosiers, and Department S, and it is the latter in their early days which new single Emergency Exit brings to mind in some ways.

Taken from An Exact Portrayal of Nothing in Particular, the band’s debut album, Emergency Exit instantly splatters ears in inviting melodic drops cast by the guitar. They are quickly joined by the dark throaty temptation of the bass, it in turned courted by the excellent and diverse vocals led by Hannah. The jangle of her and Jamie’s guitars continue to coax and excite as the rhythmic shadows sprung by Miles and the swinging beats of Alex bring further irresistible bait. There is a definite eighties hue to the post punk meets indie rock contagion seducing ears and the imagination, with that colouring of Department S, their early singles especially hinted at, coming to mind as the song hits its dynamic stride. Also though, the melodic prowess of The Passions is reminded of by the single and the darker tonal might of Au Pairs and Horse Party, a band also exciting the now, comes to thoughts too as the track continues to transfix and thrill.

Ultimately though, the outstanding Emergency Exit with a matching video, breeds a character and addictiveness solely Scarlet Echo sculpted with a need to explore their album growing in its wake, and with increasing impatience after every listen.

Emergency Exit is available now, as also An Exact Portrayal of Nothing in Particular, via iTunes.

https://www.facebook.com/scarletecho   http://www.scarletecho.co.uk   https://twitter.com/scarletecho

Pete RingMaster 15/12/2015

Copyright RingMaster: MyFreeCopyright

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