Dirt Box Disco – Poppycock

To date every Dirt Box Disco album has been a reason to romp and stomp, to unleash the instinctive punk and rocker inside with the British band’s own devilish intent. Of course their new proposal, Poppycock, is no different, a fifth album which turns body and spirit into a mischievously brawling blur of flying limbs, riotous fun, and lustful habits.

The Burton on Trent quintet has long established its own punk ‘n’ roll sound across four voracious albums and a host of EPs and singles. Fair to say that Poppycock brings more of that belligerent rock ‘n’ roll rascality but yet again the band manages to tap into something fresh. It is not necessarily a definable essence though the STP Records released album has a pop catchiness to its attitude loaded, middle finger raised rampage, but something which just gives the album its own character and the DBD sound a new twist.

In another year seeing the band relentlessly cause live havoc across the UK and Europe, DBD set it all up perfectly an album leaping upon ears with the same hunger as opener The Bullshit Kids bursts into life. Rambunctious rhythms and voracious riffs join group calls to get things started, a wiry vine of guitar temptation from Danny Fingers escaping the roar as the track spreads its bait. With lead vocalist Weab.I.Am standing antagonistically but invitingly astride the muscular stroll, band and track barge around with contagious revelry, DBD instantly showing they are still kings of the rebel rousing, listener involving chorus.

The following Finger Blast opens up with a Stiff Little Fingers like air, Deadbeatz Chris’ burly bassline and the swinging aggression of drummer Maff Fazzo courting the spicy hook and subsequent surge of caustic riffs set loose by Fingers and Spunk Volcano. Raw pop punk relishing its inbred rowdiness and sonic enterprise, the song has the body rocking and primed for the immediate incendiary incitement of Punk Rock Riot, a track as you would expect living up to its title with virulent aggression and anthemic contagion. With a slight whiff of The Adicts to it, the track is an inescapable persuasion to raise hell.

The excellent Little White Lie romances the senses with its multi-vocal union and warm textures next, all fuelled by the wilful and headstrong energy and sound expected of the band while its successor, Working For Wankers, has vocal chords at full volume in unity with its sentiment and defiance. Blending explosive and calm pastures, choppy riffs and melodic teasing leading to ferocious expulsions, the song has ears and appetite hooked within seconds, success equally found by the snarling Fat Kid with its carnal metallic riffs and toxic grooves.

DBD show their pure rock ‘n’ roll instincts with Snorting Crack From A Girls Top Rack, a virulent and raucous UK Subs/Sham 69 meets Showaddywaddy roistering providing an almost two minute spirit stirring yell. A pinnacle amongst only peaks, the track leaves body breathless and attitude inflamed ready for the lighter but still imposing incitement and swing of Lazy Bastard, its raw captivation subsequently eclipsed by the metal infused rock of Slapdash And Haphazard. Part pub rock, part hard rock, and all punk, the third of the three roars with creative zeal as sonic tendrils offer a scorching flame within the aggravated air of vocals and song.

The tenacious and uninhibited exploits of Geronimo are a bruising addictive charm to persistently knock around, as too the bolder poppy shenanigans of Imaginary Friend; both raffish sing-a-longs that vocals chords yearn for. The vociferously grouchy and rousing Somethings Are Better Left Unsaid is no different, its lures more metal nurtured but instantly involving rock ‘n’ roll to stride through the world with.

Poppycock closes with the tantalising swing and shuffle of I Hate This City, a ska/reggae kissed stroll with a touch of The Members and Ruts to its initial saunter. Boiling up with every passing second, the track hollers and thrills, and though it is not the best song on the album it leaves an irresistible and lingering imprint just impossible to shake off.

Upon the first listen or two of Poppycock, as impressive and highly enjoyable as it was, it seemingly did not make the same immediate impact as predecessors. That suggestion was soon dispelled as songs imposed their infectious claws in thoughts far away from their home in no time, returning as they pleased. Poppycock creeps up on you as well as creating a thrilling clamour in its presence while again Dirt Box Disco create musical havoc, emotional incitement, and the kind of rock ‘n’ roll that has body and heart stomping and howling with sheer pleasure.

Poppycock is out now through STP Records @ http://www.stprecords.co.uk/page3.htm and https://dirtboxdisco.bigcartel.com digitally and on CD with its vinyl release April 5th

Upcoming live shows:

 

http://www.dirtboxdisco.co.uk    http://www.facebook.com/pages/DIRT-BOX-DISCO/129060477115572    http://twitter.com/dirtboxdisco

Pete RingMaster 16/03/2017

Copyright RingMaster: MyFreeCopyright

Spunk Volcano & The Eruptions – Ram Raid

As if the early excitement of 2017 could not get better with the release of the new Dirt Box Disco album, it undoubtedly did with news of a new EP from DBD guitarist and his cohorts, Spunk Volcano & The Eruptions. It was a year ago that the band released their acclaimed second album Shit Generation, though it seems only a couple of months back thanks to its constant airing in the offices. It and the band’s punk rock rebel rousing firmly set the band not only as a wholly different proposition to Spunk’s ‘day job’ but on the British punk scene full stop. Ram Raid cements that uniqueness whilst revealing the most aggressively raucous and virulently dirty sound from the band yet.

Ram Raid also sees new guitarist Stu Page alongside lead vocalist Spunk, fellow guitarist Tom ‘G Force’ Batterbee, bassist Deadbeatz Chris, and drummer Maff Fazzo, the latter pair also part of the DBD devilry. With the band in the midst of a run of live stomps sure to confirm the band’s reputation as one breath-taking and bruising live proposal, Ram Raid simply brings a fresh incitement and spark to the UK punk scene.

Its title track opens things up, almost stalking the listener from its first breath as its predatory riffs and imposing rhythms prowl the senses. Having sized things up it bursts into a muscular stroll with Black Flag like animosity and the infectious aggression of The Damned.  As already established over previous releases though, SV & The Eruptions embroil ears and imagination in their own unique exploits, an enslaving rather than inviting chorus demanding participation as riffs and rhythms trespass and punish the senses respectively. It is one thrilling encounter, an outstanding start to the EP which already has itself and listener all fired up.

There is no moment to calm down either as the belligerent punk rock of Stop Looking At Your Phone roars in ears, its antagonistic charge and dispute irresistible. It is a wall of sound and protestation, a torrent of violent riffs and equally uncompromising rhythms driven by the vocal antipathy of Spunk and the band. At barely a breath over a minute in length, the song is like being given the juiciest steak and only allowed one bite before it is whipped away, but what a mouthful it is.

Hanging Round The Shops is a collusion of punk and hard rock with a metallic lining and just as vociferously seductive and uncompromising as those before it.  It also has a pop punk devilry to its swinging grooves and lusty chorus; body and throat swiftly enjoying subservient participation before sharing just as much zeal with the contagion fuelled clamour of I Think Her Name Was Tracey?

The two tracks alone, but just like the EP, have something for all rock ‘n’ roll fans; whether of bands like Dead Kennedys, The Ramones or UK Subs, Turbonegro or Motorhead, indeed even New York Dolls to Gene Vincent there is plenty to relish. Ultimately it is punk rock at its voraciously ballsy best as proven one final time by EP closer Snap Backbone, a seriously catchy and tenacious slab of hook lined rip-roaring enticement.

Though only five songs running at twelve minutes, Ram Raid is the band’s most stirring and rabid yet rounded creative howl yet putting so many others and their offerings firmly in the shade.

The Ram Raid EP is out through STP Records on March 31st with pre-ordering available @ http://www.stprecords.co.uk/page3.htm

Upcoming Live Shows:

Fri March 31st – Rotherham – Cutlers Arms

Sat April 1st – Uttoxeter – The Old Star

Fri April 28th – Gateshead – Black Bull

Sat April 29th – Glasgow – O2ABC (Scotland Calling)

Sun April 30th – Wakefield – Warehouse 23

Sat July 1st – London – Tufnel Park Dome (Wonkfest)

Fri July 28th – Derby – Hairy Dog

Sun July 30th – Manchester – Star and Garter (Rebellion Warm Up)

??? August 3-6th – Blackpool – Rebellion Festival (day tbc)

Sat August 19th – Cambridge – Portland Arms

Sat September 30th – Northumbria Students’ Union (NE Calling)

Sat December 23rd – Manchester – Star & Garter (STP Xmas Show)

http://www.facebook.com/svate   http://spunkvolcanoandtheeruptions.bigcartel.com

Pete RingMaster 16/03/2017

Copyright RingMaster: MyFreeCopyright

Spunk Volcano & The Eruptions – Shit Generation

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As news that the next always highly anticipated Dirt Box Disco album is scheduled for a 2017 release, thoughts eagerly reflect on the fact that we now have a whole year to bask in and romp with the new and just as eagerly awaited Spunk Volcano & The Eruptions full-length. The side but equally essential and compelling project of DBD guitarist/co-songwriter Spunk Volcano, the band has already become one of Britain’s punk favourites through their previous EP and album, but with Shit Generation they have hit a whole new plateau with a sound revealing bigger and broader rock ‘n’ roll shoulders to cast energy inciting punk rock incitements from.

Bursting into view in 2014 with a self-titled EP, Spunk Volcano & The Eruptions quickly showed a more old school punk rock tone and ferocity to the band’s music compared to the anthemic punk ‘n’ roll of his ‘day job’. It was a boisterous and bruising flavouring which later that year helped drive debut album Injection into a waiting horde of greedy hearts and appetites within the UK punk scene. It also began revealing the variation to the band’s sound which did not have quite the room to show its prowess in the EP. Within Shit Generation it is in full flow, relishing the broad landscape of the songwriting. It is still prime punk rock, but bred with an array of anthemic twists and turns loaded with the spice of many flavours.

Alongside lead vocalist Spunk, The Eruptions consists of DBD colleagues in bassist/vocalist Deadbeatz Chris and drummer/vocalist Maff Fazzo, lead guitarist/vocalist Ste Lingard (Flat Back Four), and guitarist/vocalist Tom G Force Batterbee. Together they have created a tour-de-force of rock ‘n’ roll with Shit Generation, it getting off to a rousing and compelling start with Massive Mistake Masterclass. Fair to say, the opener had these ears from its first second, a grouchy bassline and equally gnarly riff instant seduction as jabbing beats move in alongside Spunk’s vocal introduction. In short time, the track is a blaze of aggression and incitement, a Stooges like flame colluding with the predatory nature of the song and its subsequently emerging melodic shimmer of a flirtation.

SHIT GENERATION - COVER_RingMasterReviewARTIt is a storming entrance into the album which is matched by its title track straight after. Mixing strains of garage and hard rock into its seventies punk toned defiance, the song as the first, has feet and voice involved in no time, a quality all tracks present with unwavering success as shown by the outstanding XR3. This is a track all certain car owners are obliged to blast out whilst on the road. It is a web of gripping grooves and emotions arousing vocals and simply another best friend in waiting within the release. Within the first four words of its chorus, vocal participation is a given, a quality which is repeated throughout Shit Generation as shown by DNA Failure and after that Send The Boys Round. The first of the two stomps in on another virulent chorus built on band chants; that same infectiousness infesting verse and the tenacious song’s cantankerous punk ‘n’ roll confrontation whilst the second uncages even thicker aggressive sinews to sculpt a heavy rock spawned challenge.

TV God reveals a glorious nagging on the senses with its predacious riffs and rhythms, the bass alone irresistible animosity. The song relaxes its intimidation a touch as Spunk brings in the narrative, raising it again to greater toxicity for yet another enslaving roar soaked chorus within the album. Immediately installing it as a favourite amongst favourites, it still gets eclipsed in ears and emotions by X Factor and its declaration of something we have all voiced with zeal over the past decade alone. As the diversity in sound has expanded between releases, so has the potency and design of the hooks gripping attention. The band has never been lightweight in that department, but as this song shows, Spunk and co have honed their invention into something as intrusive and lingering as a virus.

Through the feisty pop punk infused romancing of Tattoo and the snarling Motorhead-esque rampancy of Fist Fights, band and album has limbs flinging and throats bursting whilst Satisfaction Guaranteed brings a crabby yet fiercely catchy punk ‘n’ roll badgering into play before Shut Up Or Fuck Off takes control. From its first breath, the track is a brawly proposition; sonically fractious and quickly backed up by quarrelsome tones from the vocals. Of course allegiance is a given by the time the contagiously pugnacious chorus arrives and imagination seized by the wiry classic rock lined sonic enterprise which spreads throughout.

For all the might of each and every song, favourite honours eventfully go to I’m Not Sure. A canvas of infection loaded hooks, sultry grooves, and again surly riffs; the song is manna for the ears. Deadbeatz’s bassline is an irritable enticement which aligns perfectly with the harmonic tone of the vocals and Maff’s ever incisive anthemic beats. Add seduction lined melodies and another flush of pop punk suggested catchiness and you have a near on perfect piece of punk rock.

The album is brought to a mighty close by firstly the equally resourceful and creatively eventful Let’s Go With Your Idea. Baiting the passions with Lemmy like spicing to an UK Subs-esque adventure, the track leaves enjoyment full to bursting and energies exhausted though no time is allowed to regroup as its successor Together Forever As Ghosts, swoops instantly on the senses with another Class-A bass lure aligned to barbarously swung beats. As the song broadens its invitation and character, keen involvement is unsurprisingly inescapable and it is hard to think of many better ways to finish up what is, from start to finish, an embracing of rock ‘n’ roll across the ages with punk passion at its core.

Shit Generation is the album that guarantees a thrilling time and proof that punk/rock ‘n’ roll is best served hard, heavy, and with adventure in its heart. We predict that 2016 will be the year of Spunk Volcano & The Eruptions.

Shit Generation is released March 17th through STP Records @ http://www.stprecords.co.uk/page4.htm

http://www.facebook.com/svate

Spunk Volcano & The Eruptions embarks on the RELEASE THE BEASTS – ALBUM LAUNCH TOUR in March alongside Born To Destruct and Skurvi.

Dates are…

Sat Mar 12th – Abertillery – Dolls House

Fri Mar 18th – Cambridge – Corner House

Sat Mar 19th – Brighton – Prince Albert

Fri Mar 25th – Rotherham – Bridge Inn

Sat Mar 26th – Gateshead – The Black Bull

Sun Apr 2nd – Nottingham – The Maze

Fri Apr 8th – Birmingham – Flapper

Sat Apr 9th – Lancaster – The Yorkshire House

Pete RingMaster 01/03/2016

Copyright RingMaster: MyFreeCopyright

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

The Seduction of Noise: Twenty punk/alternative releases which ignited The RingMaster Review in 2015.

In another year of creative drama, sonic adventure, and melodic mastery across the broad sphere of sound, The RingMaster Review selects those EPs/albums covered by the site which most turned ears and imagination lustful.

TSPSI_RingMaster Review

The St Pierre Snake Invasion – A Hundred Years A Day
https://ringmasterreviewintroduces.wordpress.com/2015/11/04/the-st-pierre-snake-invasion-a-hundred-years-a-day/

Oh! Gunquit – Eat Yuppies and Dance
https://ringmasterreviewintroduces.wordpress.com/2015/05/02/oh-gunquit-eat-yuppies-and-dance/

Zedi Forder – Self Titled EP
https://ringmasterreviewintroduces.wordpress.com/2015/09/03/zedi-forder-self-titled-ep/

Mr. Strange – The Bible of Electric Pornography
https://ringmasterreviewintroduces.wordpress.com/2015/11/05/mr-strange-the-bible-of-electric-pornography/

Mr. Strange EP album cover _RingMaster Review

Billy Momo – Drunktalk
https://ringmasterreviewintroduces.wordpress.com/2015/02/02/billy-momo-drunktalk-album/

Black – Blind Faith
https://ringmasterreviewintroduces.wordpress.com/2015/06/01/black-blind-faith/

Los Bengala – Festivos Incluso
https://ringmasterreviewintroduces.wordpress.com/2015/08/25/los-bengala-festivos-incluso/

The Dropper’s Neck – Nineteen|Sixteen
https://ringmasterreviewintroduces.wordpress.com/2015/07/10/the-droppers-neck-nineteensixteen/

The Dropper's neck Cover Artwork_RingMaster Review

The Slow Readers Club – Cavalcade
https://ringmasterreviewintroduces.wordpress.com/2015/04/14/the-slow-readers-club-cavalcade/

Los and the Deadlines – Perfect Holiday EP
https://ringmasterreviewintroduces.wordpress.com/2015/07/13/los-and-the-deadlines-perfect-holiday-ep/

Le Butcherettes – A Raw Youth
https://ringmasterreviewintroduces.wordpress.com/2015/09/18/le-butcherettes-a-raw-youth/

Le Butcherettes A Raw Youth Cover_RingMaster Review

Asylums – Wet Dream Fanzine EP
https://ringmasterreviewintroduces.wordpress.com/2015/02/23/asylums-wet-dream-fanzine-ep/

Inca Babies – The Stereo Plan
https://ringmasterreviewintroduces.wordpress.com/2015/03/11/inca-babies-the-stereo-plan/

The Barnum Meserve – Self Titled
https://ringmasterreviewintroduces.wordpress.com/2015/04/06/the-barnum-meserve-self-titled/

Deepshade – Everything Popular Is Wrong
https://ringmasterreviewintroduces.wordpress.com/2015/09/24/deepshade-everything-popular-is-wrong/
Deepshade Cover Artwork_RingMaster Review

Kobadelta – Open Visions
https://ringmasterreviewintroduces.wordpress.com/2015/04/27/kobadelta-open-visions/

Dirt Box Disco – Only in it For the Money
https://ringmasterreviewintroduces.wordpress.com/2015/04/16/dirt-box-disco-only-in-it-for-the-money/

The Migrant – Flood
https://ringmasterreviewintroduces.wordpress.com/2016/01/08/the-migrant-flood/

Dick Venom & the Terrortones – SnakeOil for Snakes
https://ringmasterreviewintroduces.wordpress.com/2015/11/09/dick-venom-the-terrortones-snakeoil-for-snakes/

cover_RingMaster Review

Practical Lovers – Agony
https://ringmasterreviewintroduces.wordpress.com/2015/11/28/practical-lovers-agony/

The RingMaster Review 01/01/2016

Copyright RingMaster: MyFreeCopyright

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

Hell Puppets – Theatre of Sin

Hell Puppets_RingMaster Review

Picture the scene, after one flawed but certain success Victor Frankenstein’s ambitions go full out to feed his appetite for rabid music. So with bodies embalmed with the raw irreverence of Frankenstein Drag Queens From Planet 13, the ravenous metallic animus of Morgue Orgy, the virulent contagion of Dope, and the punk mischief of Dirt Box Disco, he created EviL-P, BeLiaL, GRavES, BeeLzEBeN, and SaTurNiST to spread the red and devour the soul. Or it might simply have been the Devil which dragged Hell Puppets from their English graves to conjure and release the lustful addiction that is Theatre of Sin.

The debut album from the Sussex bred quintet is a carnivorous vaudeville of horror and creative drama cast across a dozen songs which just thrust a knife of contagion through the heart and continually twist it with a bounty of punk ferocity, metal predation, and rock ‘n’ roll devilry. It drew a big grin on the first listen and a lustful stalking from the second, and fair to say since its release a couple of weeks or so back, we are not alone in adding the release to our cellar of favourites.

With members hailing from London, Brighton, Chichester and Lucifer’s right hand, Hell Puppets emerged in 2011 infusing inspirations from the likes of White Zombie, Pantera, Sex Pistols, Slayer, and Misfits into their swift attention grabbing fusion of punk and metal draped in horror, the occult, and Demonism. The first year saw the band solely concentrate on creating and honing their sonic infestation before setting out on their live scourge of the UK. A live session for a local radio station marked the growing emergence of the band during the next year before in 2013 they began recording debut EP No Strings Attached which was released in the following January. An increasing number of acclaim garnering shows surrounding its well-received introduction to the band and since with a support slot with The Hell later in 2014 another highlight. It was a successful year certainly eclipsed by this, as fresh from playing Bloodstock and touring with Meta-Stasis in support of their debut album, we simply have Theatre of Sin.

Theatre of Sin_RingMaster Review   From the opening carnage of Bow Bells, band and album has ears and imagination gripped. The brief track is a visceral scene setter for the following …From Hell, a blood dripping, flesh ripping introduction to the murderous streets of Victorian Whitechapel and the lust of Jack The Ripper which its successor impressively runs with. The second track to a concussive ring of bells rolls out an epidemic of inciting rhythms and growling vocals within a horde of punk riffs and tenacious hooks. All those bands initially mentioned come to thoughts as the track throws its sinew loaded attitude and mischievous insanity across the senses, yet as good as a hint that they are, the track is something demonically distinct to Hell Puppets, as too it emerges, the album. The band certainly cuts straight to the chase with the best track on Theatre Of Sin but there is no downward slope to follow, even if tracks can only closely sniff at the brilliance of the full opener.

Hung, Drawn and Slaughtered is one which runs it close, its blackened soul and horror punk fury colluding in another quick slavery of infectious hooks, grooves, and unpredictability. As many songs within the album there is a familiarity to it which seduces with the charm classic evil always has, a broad smile which captivates as djent kissed riffs and death instilled voracity works away at the senses and psyche narrated by the varied squalls of vocal animus.

From that metallic tempest another in the caustic shape of Born To Die steps forward, its body a maelstrom of glam and hard rock with punk ‘n’ roll tendencies aligned to metal ferocity. It is a stomp which seizes neck muscles and vocal chords to do its bidding before Project Mayhem uncages its primal anthemic roar laying somewhere between Black Dahlia Murder and Therapy?, and Political Diarrhoea taps into the punk beds of The Damned, The Vibrators, and Misfits for its rapacious stroll and lyrical agenda which gets the job done without fuss or wastage.

From an imposing shadow cast by the classic shark attack sound, complete with nasal secretions, the deranged hardcore fuelled roar of Drugged Up Shark excites and disorientates leaving ears prey to the clutches of Halloween, the band’s Christmas song. Only kidding, but it is a track which just keeps giving from its Carpenter inspired theme and melodic coaxing through to its grungy death infused sonic rancor. The track is glorious, another revealing new nuances and defiling attributes with very listen, much as We Are The Enemy and its whirlpool of insidious death metal, bracing rock ‘n’ roll, and juicy grooving. Imagine The Sex Pistols, Turbonegro, and Venom severely shaken until their juices merge and you get a glimpse of another big highlight amongst many within Theatre of Sin.

Morbid Mirror twists and turns like a clawed seductress next, its lithe grooves and rasping vocals bringing a mix of Grumpynators and Murderdolls whilst slipping into richer blackened spite throughout, especially vocally. Once more ears and emotions are lost to Hell Puppets and kept by firstly the bestial, mordant sound of The Decunted and finally the mouth-watering discord and sonic antipathy of Face the Reaper. The track is a bad-blooded smog of noise and sonic pollution which just brings the bedlamic acts of Theatre of Sin to a fitting ravenous climax.

The album is a wonderful desecration of body and soul and if any of those bands we mentioned as hints appeal, as well as something new and dirty to the touch, and the fact the Hell Puppets is our new favourite trespass, then hopefully we have incited you to be brave and enter the Theatre of Sin.

Theatre of Sin is available now via Hell Puppets’ Bandcamp.

Pete Ringmaster 15/09/2015

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

Dirt Box Disco – Only in it For the Money

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You always know what you are going to get with a Dirt Box Disco album yet they still push their sound and invention on each and every time to never sound stale or repetitive. With their new release though the UK punk ‘n’ rollers, who have been stomping and a hollering since 2009, have really pushed the creative boat out and come up with a collection of their most diverse and adventurous songs yet. Only in it For the Money is by far the pinnacle of their rampage so far and that is without losing any of the insatiably mischievous and dirty devilry which has equally gone to make Dirt Box Disco one of the most greedily devoured and roared about rock ‘n’ roll bands in Britain.

Whether it is because principal songwriter Spunk Volcano has pushed his boundaries with his solo project or it is just an organic progression, the new album is a web of diverse punk flavours retaining the key Dirt Box Disco sound. Previous album Bloonz impressed and thrilled but in hindsight it was not a big step on from its predecessor Peoplemadeofpaper. The question was had the band come to the end of its potential? Only in it For the Money is a swift kick in the nuts of such blasphemy and potentially the bridge between national capture and a global spotlight.

Band and album strike with voracious force in opener Guest list, a track which hits with the welcome DBD signature character but equally stirs up a new nest of creative hornets. Its initial touch is a stinging coaxing which in a breath turns into a turbulent stomp of anthemic vocals and compelling riffs. Sculpted on the confrontation every ticketed show must come up against, the track is pure virulence and if you are not leaping around and yelling within the first minute we suggest you call the paramedics as you might be on your death bed. Quite simply punk rock, indeed rock ‘n’ roll does not get any better.

The Art Of Conversation follows and presses ears with a broader rock sound before rigorously crooning vocally and antagonistically, at the same time breeding swiping rhythms and raw riffery. Contagion is always a given with the band’s songs and again here it is an irresistible persuasion amidst the coarser raging of sound. There is a great Buzzcocks bred hook within the tempest too, just a slither of tang but an intoxicating hue in the imposing slab of punk ‘n’ roll.

Only in it for the money - Cover   Like the music, lyrically the band get to the point, no bushes worked around to make an impact and if it takes a uncultured approach to get the impact needed so be it, and so it is with Fat Twats And Scumbags. From an Oliver like plea, the song is a prowling and bitter dagger drawn predation on the state of society and political agendas bred from old school punk and furious metallic provocation. The track is an animal and already three songs in revealing that earlier mentioned variety in the character and heart of the album.

Something In My Eye revels in a raucous pop punk canvas next. Riffs and beats are a tenacious abrasing to which the great vocal mix across the band led by WEAB.I.AM brings tasty infectiousness. It is the blaze of classic rock seeded guitar from Danny Fingers which steals the show, though only just from the rest of the essences making up one addictive encounter; a contagion just as potent in the similarly lighter brewed rocker I Dont Wanna Know Your Name. Galloping through ears with pure energy and melodic enterprise, the song is one of those sing-a-long moments impossible to resist physically and vocally, but then that applies to all their songs, certainly upon Only in it For the Money.

The following Crushed is a more expected DBD offering but again it has a fresh nature in its presence. The driving enticing bassline provided by Deadbeatz Chris takes hold from the first seconds, tightening its grip as the swinging thumps of Maff Fazzo cage and batter the senses. With the guitars of Spunk Volcano and Danny creating a flavoursome web of sonic endeavour, the track swiftly enlists the imagination and emotions though it is soon overshadowed by the outstanding Dirtbox Disco. A ferocious trespass of punk attitude and raging, this is a song we have been waiting for, the band name always lending itself to a song at some point and finally arriving as a predator fuelled by ravaging energy and compelling creative antics.

If You Want A Sexy Bird Join A Fuckin Band opens with a melancholic croon wrapped in Green Day like softness, its protagonist self-pitying over the lack of success with the ladies. The band is soon riling up against him though; it is quite simple if you want to score join a fuckin’ band. Surely not that easy but nevertheless the song continues to toy with a poppier punk sound battered with a hardcore old school punk fury, the result a thrilling union and collision with the senses.

There is a touch of Flogging Molly to parts of the excellent Please Dont Walk Away next, a thumping charge of a song with again a refreshing mix of rock hues in its surging fist pumping incitement, whilst Realy Fast Car is as much power pop as it is dirty rock ‘n’ roll. Think The Radio Stars meets Eddie and The Hot Rods then infested with the Dirt Box Disco DNA and you have one exhilarating onslaught.

We explore more seventies seeded power pop next with Cry Myself To Sleep, this time doused in the tantalising scent of The Damned. It is another offering where limbs and throat are submissive and eager to join in within barely a flood of seconds, but as suggested that applies everywhere as proven by the lively melodic croon of Day After Tomorrow. The bass seduces and vocals provoke a ready to play response immediately whilst the crisp beats and enticing riffs only add to an inescapable enticing simply oozing from the song.

We get pure DBD with Ladyboyz, lyrics as base and hilarious as you could wish and hooks as flirtatious and addictive as those at the centre of attention in the song, or so we are told. We have always wondered how personal, intimate to the band certainly the failed romance lined songs are, and even more so after this…a tale for another interview maybe? The track itself will linger and fester in the psyche once heard, especially its prime hook and that salacious chorus.

Only in it For the Money comes to an end through All Day Long, arguably the least adventurous and explosive track on the release yet another leaving ears doused in happiness and the album on a potent high. As suggested Dirt Box Disco have unleashed their finest moment yet, one which is a leap forward in every aspect from their previous impressive outings. They have set them self a new lofty marker for future releases to be compared to but this feels like a new dawning for the band, so easy to expect that they will simply take it in their creative stride.

Only in it For the Money is released April 19th 2015 on STP Records. For details check out http://www.stprecords.co.uk and https://dirtboxdisco.bigcartel.com

http://www.dirtboxdisco.co.uk   http://www.facebook.com/pages/DIRT-BOX-DISCO/129060477115572

Upcoming DBD live dates including album launch shows.

APR 17 – ASYLUM 2, BIRMINGHAM (Album Launch)

APR 18 – ZOMBIE HUT, CORBY (Album Launch)

APR 19 – Star & Garter, Manchester (Album Launch) – Tickets – http://www.stprecords.co.uk/page7.htm

APR 24 – Yorkshire House, Lancaster

APR 25 – Scotland Calling, ABC, Glasgow

MAY 03 – The Dog House, Nottingham

MAY 09 – The Boathouse, CAMBRIDGE

MAY 15 – Polish Social Club, Barnsley

MAY 16 – North West Calling, Ritz, Manchester May 23 – Nice N Sleazy, Morecambe

MAY 29 – Liquid Rooms, Edinburgh (with The Buzzcocks)

MAY 30 – Berwick on Tweed, Berwick FC.

JUN 07 – Boars Head, Kidderminster

JUN 13 – Riffs Bar, Swindon

JUN 20 – The Old Star, Uttoxeter

JUN 27 – Hillview Comunity Centre, Cheltenham

JUN 28 – Warehouse 23, Wakefield (with 999)

JUL 24 – Bladefest

JUL 25 – Private Party

AUG 6-9 – Rebellion, Blackpool

AUG 30 – 3 Chords Fest, Penzance, Cornwall

 

RingMaster 16/04/2015

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

Keeping it loud: exploring the world of STP Records with founder Stu Taylor

STPlogo

It is hard not to be rather excited about an ever thriving UK punk and rock ‘n’ roll scene which right now seems to be bubbling rather rigorously with great bands, inspiring releases, and memorable live events. Certainly in the underground, intoxicating and thrilling propositions seem to be a perpetual temptation for our ears, new and older bands with their shows and releases breaching new tenacious creativity with impassioned roars bred from aggressive and uncompromising rock ‘n’ roll. Helping provide support and an outlet for many of those incitements are serious music fans like Stu Taylor and his STP Records. From putting on shows on the Manchester music scene through to becoming a regular port of call at the Rebellion festival, Stu and STP has become one of the most potent and respected presences in the underground scene. Embracing punk to punk n’ roll, basically anything exciting them with flavoursome unbridled rock ‘n’ roll, the label has brought fans some essential and refreshing releases whilst introducing wider attention to their creators artists, and its founders a continual supply of history lingering shows and performances in Manchester and around the UK. Without wanting to sound like an advert, as a music fan and reviewer it is impossible to miss the open appetite and professionalism, insight and passion in wanting to help promote good bands and music within STP. Hearing of new plans and adventure afoot within the label we thought it was time to explore more the people behind many of our favourite encounters of recent times. So we grabbed Stu, piled him with a torrent of questions and went about learning about the background to man and label, future plans and their inspirations, the team behind the face and label, and how he ‘annoys’ the STP ladies at shows…

1185331_483457091780505_1556240827_nHi Stu, a big thanks for taking time away from important things to chat with us J

Can we start by asking some background to and what inspired you to set up STP Records?

The release side of things came about as an offshoot from the shows we have been doing at The Star and Garter here in Manchester since the mid Nineties, and those shows we started to do as bands were simply not playing Manchester. So with a friend, Ian, we used to travel to shows to see bands and simply asked them to come and play in Manchester. Like most promoters, we have been privileged to see a fantastic array of bands down the years, and sometimes that can lead to those bands becoming very good friends as well.

You know how it works, you are in the same room with bands sharing a beer and chatting away about anything and everything, a band mentions that they want to get their songs heard but either don’t know how or have anybody willing to release things.

The very first time we released something was for a band called Sadie Hawkins Dance and it became a collaboration with some Norwegian labels (October Party Records, Goldenmusic, Fucking North Pole Records) so we could get the hang of doing things.

The rest as they say is history as we continue with shows and releases.

Did you have a particular intent with it?

There was no particular intent and no initial thought other than to put on shows in Manchester to begin with to save us travelling when bands we liked were touring. Likewise there was no particular intent with the release side of things other than helping friends out and of course you have to like what you’re releasing as well otherwise it just becomes impersonal. As with anybody that attends a show, I suppose you could argue that the initial intent was, and still is, to have fun doing things and as any of the bands we have worked with will attest, I have always maintained that, and that extends to releases, the fun aspect from start to finish that hand in hand with the hard work and financial outlay leads to that smile when you get that finished product in your hand for the first time….something you don’t get with a download.

Obviously punk rock in its various shades is the focus of STP and your passions as a fan. Has this bred from mere love of the music and like us a hunger to hear and embrace the best of the genre or was there been a musical side to you before moving to create the label?

Various shades sum us up quite well, as we hope our selection of releases to date reflects. Of course in some instances we have more than one release from a band and whilst that becomes immediately identifiable to those buying from us, and fans of that band, we also think that the cross selection of musical styles on offer at STP Records keeps things interesting for us and others, at least we hope so.

Love of music as opposed to a musical background has of course kept us fuelled, and continues to do so, so yes we do like to hear and embrace all that several genres of music have to offer.

That having been said I can bathroom sing up there with the best of them in that tone deaf way so many of us enjoy so much, coupled with that at show beer fuelled singing which again many partake in so I don’t know if that counts as musical background, if so I’m an expert.

How would you say STP has evolved most dramatically since those early days?

Three areas to cover here; live shows, releases, merchandise…

On the live show side of things, from those first tentative steps of winging things and not really knowing what was involved, we now have our own backlines, can and have put on shows in various size venues not just in Manchester but around the UK, and are more than happy to share that equipment and knowledge, which we do frequently.

Regarding releases, again initial enthusiasm has now given way to full knowledge of every release from inception to final product, and in partnership with bands we like to ensure releases get honest reviews which benefit ourselves and bands in regards to constructive positive/negative feedback. We do enjoy reading fuller reviews rather than the one or two sentence variety but do appreciate some zines etc. do not have the space to carry fuller reviews, but all are welcomed.

Merchandise has become an offshoot of both shows and releases and for STP has built into a stall that we are able to adapt in size from a full 3 sided 18ft stall at large shows to a couple of release boxes at local shows. We have also rather than just concentrate on tee shirts and releases, added a whole range of items that cater for people wanting to buy jewellery, hair dye, boot polish, and a whole range of quirky and one off items sourced from a variety of places on our travels.

I think the largest evolvement for STP however is the name getting out and about by word of mouth combined with an online presence, and of course being out and about and recognised. We also count ourselves very lucky that without question, everybody we have worked with, whether band, festival, zine etc. has also endorsed what we do and for that we are grateful; this could I suppose count as a fourth area of evolvement.

For us STP Records is much more than a label, it is a proposition truly supporting the independent punk scene and its artists well beyond just providing an outlet for their releases. We can assume this was and is increasingly the driving force for the label and your personal endeavours?

Very nice of you to say so…Of course we do support as much as possible artists we release for and are reliant on sites like The Ringmaster Review to help us achieve that alongside venues / promoters / radio stations and the general public; all of these combine to hopefully get people out to see a band for the first time if they have not yet seen them or bring them back if they like what they see / hear first time round.

Of course anybody can release anything or put on a show to support a band / scene, and it will always be a work in progress in an ever evolving / changing entity as there is always room to take on board new thoughts. Support within not just the independent punk scene, but any scene / genre works 2 ways for us, we will give it unconditionally and are grateful if we get a return and likewise sometimes we get support and will return it. It doesn’t always work this way but it’s the same in any walk of life so it’s nothing new, you just have to accept it for what it is and move on focusing on what’s relevant to what you are doing, and again this train of thought comes with experience. We like everybody else have made mistakes in this area but for where we are now, we concentrate on the positive and it is this on-going positive thinking that has become our driving force.

424597_466808396672960_1027000482_n

Stu, Sam, and Babs

STP is basically a one man band? How difficult was it to set up the company and more so keep it going in the modern music scene?

Whilst it may seem like a one man band, it’s truly not. Initially a good friend Ian Lewis helped me set up shows back in the early nineties which is where we moved from being paying customers to promoters. Today we also have Samantha Mason (my better half), Barbara Taylor (sister) and Laurence Smith (nephew) who help out in their own inimitable way regards merchandise stalls, taking money / tickets on the door, carrying gear and basically supporting what the public perceives as STP in the manifest form of myself.

Of course people see what I do publicly, with bands and online and it’s easy to see how that is taken as a one man band but the above 3 people are as much STP Records as I am.

I would also count the many promoters we have done joint shows with, the staff past and present at the wonderful Star and Garter in Manchester, the bands we have released with, the people who have paid for our releases or come to our shows, and the staff and promoters at venues worldwide who have booked our bands and played our songs, and Rockers England store on Oldham Street for selling tickets and CD’s…all of these when added together knit a far and wide STP blanket under which we can sleep soundly.

As previously mentioned, anybody can set up a label, put out a release, put on a show. You just need a basic amount of research and how you take it forward is dependent on what you want to put into it or get out of it. And as anybody doing any of these will tell you, you learn as you go, you will make mistakes, you will do things right, you will upset people, you will be upset by people but if you take all that on board and continue, you will know if it’s right for you.

The modern music scene shifts all the time and you have to continuously look at things and not be afraid to change things, and I’ll cover this a little more in one of your other questions coming up a little further down.

Whereas previously you have been running the label alongside ‘real life’, I believe you have recently made STP your full-time job and attention?

I have indeed for many years been fitting a lot of what I do around a full time job. The only time this has been any different was a few years ago when I gave up work to work alongside the fantastic people of Vice Squad until a short illness took me away from this and back into work…but that’s another story for another day.

But yes, the decision was taken by myself with full support from Samantha to hand in my notice at work and I did indeed walk away from the day to day routine. Of course this decision was taken as we have paid off our mortgage and having worked since leaving college. It’s still a little strange for me after 7 weeks…and to be honest as I have mentioned to a few folk, how I fitted so much in before I will never know as I now seem to have so much to do but I am slowly incorporating appreciating time, nature, and more alongside thinking ahead for what I want do personally regards bringing money in, which for the moment is unimportant, and also for changing what we do STP wise, again something I will talk about further down the set of questions.

Was this move something you have intended for a while?

I had intended to do this a while ago as mentioned when I was out and about with Vice Squad, and indeed the last couple of years it has been the main thought to change my life outlook and something I am now dealing with on my own terms with the full support of family and friends as I look to integrate STP into an acceptable lifestyle for myself, Samantha, family and friends.

2015 will see a new shift in direction for STP I believe, can you explain what will be changing and growing with the label?

2015 will see a small change in that following a hectic release schedule in 2014 we have slowed down a touch this year, again to fit into my current lifestyle change. We have just released Horror Movie Matinee by The Obnoxious UK, again another band who over the course of a year or two have impressed with their attitude and friendliness as well as their music naturally, and sometimes you just have to release something to help bands like this get a foothold and that is indeed at this moment in time what I am doing. Outside of this we are planning only another 4 releases this year from Dirt Box Disco, Brassick, The Kingcrows, and Healthy Junkies as we also chase up another 2 outstanding releases from late 2014 yet to emerge….but again, I will cover the change and growth question more in your upcoming 2016 question.

Stu & laurence

Stu & lawrence

What about the live side of your work, shows etc.?

Live wise this is a bit bitter sweet at the moment. Our venue of choice for the last 3 decades for putting on shows in Manchester has been the Star and Garter. The venue has now been issued with a compulsory purchase order connected to the upcoming Northern Rail hub work (a story you can look up elsewhere) and that work is scheduled to begin early 2016.

Now a question I have been asked hundreds of times in the last few months is where will I do shows in Manchester…well the simple answer is that I will not be.

I simply cannot bring myself to begin to build the amazing relationship we have built with this venue, it is something unique and if any promoter elsewhere has the same length of time relationship, you will know exactly what we mean. It will be a sad day if/when it closes but I have taken the decision now to hold a last finale weekend for STP shows here and this will take place on Sat / Sun December 19th / 20th and we are urging people to get their tickets for this as for both ourselves at STP and the venue, it will be an emotional one to bow out on and we are hoping we can sell out 2 nights with everyone simply having an amazing time.

We of course have done shows in other venues in and around Manchester as well as further afield, but in a sporting context we view these as away fixtures with Star and Garter shows our home fixtures. We are truly privileged to have worked with the owners, staff past and present and clientele on some truly amazing shows and there are some amazing stories behind some of those shows.

For the future, the only STP shows that will surface will be Dirt Box Disco shows as that is the band we currently work with on a full time basis, and the occasional album release show for when we do decide on a new full release for a band, but none of those will be in Manchester.

How do you see the UK punk scene right now? From the outside its looks and sounds like it is in one of its healthiest states ever since the late seventies. How have you found it working within it?

Very active would probably be the best description. There is an awful lot going on, more so in some places than others but overall it’s in a good place. There’s a healthy mix of young and old, sometimes combining, sometimes not, but overall keeping things going.

There has always been something happening somewhere since the late seventies regards shows, releases, cafes, record shops and that continues today and long may it do so when we finish and leave our little dent in history.

Working within, we have covered every emotion over the years and I think it’s safe to say that’s the same for anybody who has done it. There is good and bad in all walks of life and people will continue to see it first-hand week in week out, but it all blends into making an ever evolving and hopefully thriving set of conditions for others to jump on board and augment, and as we have aged and grown we have learnt to respect anyone who gets on a stage, anyone who works behind that stage, anyone who puts on a show, anyone who releases anything, and anyone who buys anything or attends anything; they are all jigsaw pieces working to finalise an ever unfinished puzzle.

Can we ask a few things about your own musical tastes etc. like what were and have been the bands inspiring your passions as a fan and to get really involved with music? Has it always been punk first spreading outwards?

I hope this was intended as one question, if not apologies for my making it so but it seems apt. As those who know me well know, the only other interview I have ever done was in November 2006 for http://www.fungalpunknature.co.uk and I hit on this very briefly in that interview. Like anybody else of my age group, music played a big part at school and has remained a big part ever since, and hopefully will do so as I approach the big 50 this year and look beyond that.

I have always been drawn towards noisier bands and fortunate enough even at that young age not to pigeonhole things, something that was sometimes frowned upon for peer pressure purposes in the playground, but nonetheless has stood me in better stead for choosing to look at a broader spectrum. Both Rock and Punk gave me the door to finding that need for loud bands and that was augmented by Indie and extreme metal so to answer the second part of this question, it’s not always been punk first spreading outwards, but a good mix of bands and styles, and to answer the first part there are far too many bands over several years to point at. Of course I feel spoilt at having so many good bands over several good decades to watch and listen to and I hope to continue to be spoiled for a while yet.

How about live, what were your earliest pleasures watching gigs and which again especially went towards sparking an appetite to get involved?625591_3939692244749_705180367_n

Anybody who has been bitten by the watching live show bug will know, it starts young…From watching bands at Butlins Holiday Parks as a kid, to watching bands in school, then progressing to venues and pubs (and underage entry and drinking ones included); there have been many a place and reason for going to see something. My earliest pleasure, and still my favourite pleasure (sometimes much to the STP girls displeasure), I have always loved being in venues as early as possible and I continue this today taking in as much as possible and thus giving every band playing my eyes and ears.

Locally, despite closing venue issues aside, we still have many places to go and watch bands ply their trade on a stage, and that’s the same for most towns and cities. We have of course lost many a venue as well already (Banshee, Boardwalk, Metro, International, Rockworld, Gallery etc. etc.) but there are still places to see live bands and always will be, so as long as there are bands to watch and get involved with, that appetite will hopefully remain intact.

Is there anything about the punk scene or the UK music arena in general which has you feeling excited and alternatively things which frustrate even anger as a fan and a label owner?

Pretty much year on year, it’s the not knowing what’s coming next regards a new band, or a new album that keeps me on my toes. With so much talent out there, you just know that somewhere down the line you’re going to want to do something for a band that will hopefully pass on that excited feeling to others, but of course its individual to each and every one of us and it’s also that diversity of feeling that excites as well. Nothing angers me anymore as either a fan or label, I simply now accept things for what they are, do what we do as a label to ensure the best possible platform for our releases and shows, and then quite simply enjoy things and of course if that translates back into someone else being excited about things, all the better.

You mentioned the great releases lined up for the rest of the year, including Dirt Box Disco’s next album, a highly anticipated release from a band we like so many love with a lustful greed. What can you reveal going in 2016?

As previously mentioned above, regards this year and 2016, we have releases planned for indeed Dirt Box Disco, Brassick, The Kingcrows, and Healthy Junkies, and of course you have already reviewed our first release this year from The Obnoxious UK. That’s going to be pretty much it for 2015 as well as our last few shows in Manchester. Of course we will be out and about as usual around the UK (and possibly further afield) at various times this year and for the 2016 part of this question, let me jump straight to the next question and tie it in……..

Are there any ideas or irons in the fire to which you can hint at if not yet fully reveal?

2016 will see a change in thinking regards us releasing things on CD. A continuously shifting attitude to CDs will mean we will literally be doing at the maximum around 3 or 4 full releases in CD format, and by full releases I mean having pressed quantities of 500+, and even then I may even trim these to 300 copies and maybe add a vinyl option.

We do currently have 2 projects for vinyl in the works, one outstanding and one upcoming and we are going to look at maybe releasing some runs of 300 regards vinyl for initially Dirt Box Disco, and then maybe take a look at our back catalogue regards vinyl and in the case of something that may excite us around the corner, possibly a new band release as well.

I am also in 2016 going to be resurrecting and expanding our STPLE range of CD releases. These are Limited Edition releases of just 100 copies of a CD. These will be aimed at bands from overseas looking for some UK zine coverage and radio play, as well as new UK bands that have been in formation for no more than 12 months. The aim for these is to sell 50 to cover costs and use 50 to promote new bands and bands from abroad that folks have not yet heard….we have done 4 of these to date and they proved a very popular concept, plus of course if you own one you know that they are extremely limited with no repeat run by STP Records, so you have to be quick off the mark to order when we start these in January.

And of course our connection with the rise and rise of Dirt Box Disco will continue apace as we plan for 2016, which will see a change too, but I won’t reveal anything on that just yet, people will have to keep watching the sites and social networks.

Where can people best keep abreast of STP and indeed buy its releases etc.?

http://www.stprecords.co.uk/ is our website and of course you can find STP Records on Facebook and Twitter as well.

Thanks again Stu, any last words?

Absolute pleasure, the questions had me re-visiting some memories and I have no doubt omitted a fair bit but as with all things, anybody reading this can come and see me at a show, on a merch stall and ask me about any of this or anything else

Finally a slightly unfair question but is there one release coming up which you are especially excited about?  

Always excited, as mentioned already, about every release so no single one takes precedence over another in the excitement stakes.

Pete RingMaster

The RingMaster Review 26/03/2015

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://reputationradio.yooco.org/