The Parasitic Rejects EP sees the coming together of two of the UK’s most striking ear shredding prospects in a compelling trespass of a split release. On one side preying on the senses is York hailing crust/hardcore punks The Carnival Rejects and on the other the doom punk ferocity that is Parasitic Twins. Together they create a feral proposition as fierce and intimidating as it is captivatingly thrilling.
Consisting of guitarist/vocalist Jamie Robertson, bassist/vocalist James Briggs, and drummer Fi Rowntree, The Carnival Rejects offer up three punk intrusions for their part in The Parasitic Rejects EP. Disengage is first, its gentle melodic lead deceitfully concealing the antagonistically contagious punk flurry to follow. Happily grabbing a pop punk catchiness to its irritable breast, the song romps and stomps as it shares a skilfully woven holler of melodic and sonic tempestuousness.
Seize Control is their second incitement and immediately worms under the skin with its contagious belligerence and rousing incitement where biting beats unite with grumbling bass as the guitar wraps its caustic yet magnetic wires around the senses, vocals only accentuating the song’s virulence.
The Carnival Rejects finish their contribution with To The Bone, two minutes of feral punk rock with a potent Angelic Upstarts meets Discharge snarl to its causticity. United, all three tracks prove punk rock is as irritable and rousing as ever, a declaration just as ripe across the trio of intrusions alongside them.
Still reaping attention and acclaim through their debut EP of less than a year ago, All That’s Left To Do Now Is Sleep With Each Other, Hull’s Parasitic Twins reinforce their reputation as one fearsome and captivating proposition with their part in the EP. The duo of vocalist/guitarist Max Watt and drummer Dom Smith unleash senses molesting swarms of doom, punk, and grindcore manipulated into singular uncompromising furies. The first on the EP rises up as Autopsy, the track immediately scalding ears before its inherent rock ‘n’ roll instincts infiltrate its equally blossoming sonic toxicity. Vocals similarly share no respect whilst inciting ears and appetite, metal bred throes adding to its salacious predatory prowl.
Feel Nothing similarly devoured and sparked the senses, rhythms pummelling with determined predation as raw grooves entangle song and listener alike. As its predecessor there is something akin to a corroded blend of Napalm Death and Pig Destroyer to the track though this only seems to inspire its own individual dissonance.
The pair completes their contribution with a cover of the Babylon Zoo classic, Spaceman. Released a handful of weeks back as a single with all proceeds donated to The Campaign Against Living Miserably (CALM), the track finds itself dirt clad and infested with the cacophonous tension and disharmony which marked their well-received EP. Even so it manages to retain its catchiness even as it despoils the senses to bring one very easy to recommend release to a rousing close.
The Parasitic Rejects EP is out in association with Man Demolish Records @ https://mandemolishrecords.bandcamp.com/album/the-parasitic-rejects
https://www.facebook.com/thecarnivalrejects/ https://www.facebook.com/ParasiticTwinsBand/
Pete RingMaster 30/05/2019
Copyright RingMaster: MyFreeCopyright
The album’s title track keeps the grip on pleasure and appetite just as tight, its bruising weight and cantankerous intensity carrying an air of Pigs and Discharge to its irritable storm. It too is a song which twists through a host of inventive changes and detours, leaving a lingering psyche infesting dark presence and tempting which carries on into the likes of the emotively and sonically cancerous Kreative Center and the stalking animus of Pig In The Pen. The first of the two chews the senses with its nagging riffs whilst hooks and wiry grooves vein the scything swings of Zyon which cross another bestially toned bass trespass by Shanks. It is an unrelenting pressure of sound matched in its individual way by its successor whose initial doomy prowl soon expands into tar like sludge voracity interspersed with frenzied canters of energetic animosity.
The first two tracks come from the Boston foursome of guitarists/vocalists Terzakis and Gabe, bassist Jason, and drummer Dan, collectively known as Human Bodies. The band began in the October of 2013 as a studio project, developing over time into a fuller line-up and live presence to go with the well-received No Life cassette EP of last year. Just off of a successful full US tour, Human Bodies entangle ears in a rhythmic web as their first offering on the split, Only the Sigh feistily prowls into view. Energy and intensity continue to rise as a bestial bassline colludes with sonic hostility where guitars are ravenous and vocals raw intrusive squalls. It is an uncompromising attack yet has a swing and swagger to it which welcomes body and attention as much as its sonic trespass tries to defile them. It is lethal contagion and an outstanding start to the release which runs straight into a similarly alluring violation in the caustic shape of Malice Prepense. Repetitious beats and riffs again entice and spark a healthy appetite whilst a doomy cancerous breath smothers the listener to simultaneously temper the virulence but increase the potency of the whole malicious incitement.
total defeat of the human spirit by modernism” into his ruinous tempests of blackened punk loathing. Good Intentions (Coming Home I) is his first offering, an abrasion of erosive and raw cancerous morbidity which is as fearsome as it is sonically compelling, whilst Last Gifts of Worship (Coming Home II) takes all the enmity of the previous song and twists it into an even harsher and surprisingly catchy enticing. Of course that infectiousness lies beneath a tsunami of ill-will and rancorous intent which to swim through is as painful as it is rewarding.
legs as grooves and riffs again cast a spell of noise bred contagion for a minute and a half before evolving into the title track. Bringing a heavier weighted energy and intent, the third song stalks its victim with a leaden prowl wrapped in scuzz lilted melodies and harmonically scorched vocals. There is an element of The Pixies and more so Melvins to the smouldering intensive bait on show but again it only flavours a magnetic sonic causticity distinct to Plug.
features members from some of Australia’s most prominent punk rock bands from over the years including Crucified Venus, Crankcase, Rule 303, World War 24, and Black Rose. The band is no stranger to acclaim back home and further afield from live performances which has seen them veterans of three UK tours and recently their first around America, as well as sharing stages with the likes of Dead Kennedys, GBH, Peter & The Test Tube Babies, The Exploited, UK Subs, DOA, The Business, Sham 69, Rose Tattoo, The Varukers, The Vibrators and many more. With equally potent responses to their releases, especially the 2010 album Lean Mean Street Machine and Oi Oi Aussie Rock & Roll live, Rust now offer two striking tracks to Olde Worlde-New World, starting with Send My Love From England. An opening throaty bass croon immediately grips attention and more, its coaxing irresistible and soon joined by the caustic riffs and strikes of guitar within a punching rhythmic testing. With the kind of punk vocal delivery you almost expect with old school bred assaults, the track offers strong magnetic hooks and excellent anthemic moments to seize full vocal and body co-operation from the listener. It is a great start, a song with no surprises but one that ticks all the boxes for a deeply pleasing slab of punk antagonism
Taking over on the EP, Darlington trio Keyside Strike create tempests of punk infused with dirty rock ‘n’ roll, blues, hardcore, and psychobilly. Formed in 2002 their sound is one which stomps on the senses whilst plucking the passions with irresistible hooks, all within again a brawling maelstrom of roughly imposing energy and invigorating urgency. Their two albums and numerous appearances on compilations has made the band one of the true rock ‘n’ roll bands in the Northeast of England whilst their impressive live shows has seen them share stages with bands such as The Business, Murphy’s Law, Street Dogs, UK Subs, Demented Are Go!, Discharge, Madball, Demon City Wreckers, Stitch Hopeless And The Sea Leg and loads more across the UK, Europe, and America.
sound held strong whispers of Therapy?, The Wildhearts, and definitely Ruts. Any of those fair and what are the major influences which inspired you as musicians and band?
Back to This Is What We Are, an album which for us ‘is a riotous storm of rampant rock n roll with no intent to compromise or accept mere appreciation of its forceful sounds, it is all or nothing’. Do you have any set intent when writing songs?
Jamie offer something other than his art which impacted on you?
