The Kut – Rock Paper Scissors

The Kut Promo

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

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

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

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

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

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

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

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

Upcoming live dates for The Kut…

2nd May: Hell Fire Club, Redhill, Surrey

Saturday 16th May: Elektrowerkz, Angel, London

Saturday 24th May: Mainstage, Glastonbudget, Leicester

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

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

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

RingMaster 15/04/2015

Copyright RingMaster: MyFreeCopyright

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

 

 

dragSTER – Dead Punk

Photo by Uglypunk —

Photo by Uglypunk

 

Not sure about you but the quality of British punk rock right now is inspiring tingles not that far removed from those felt when its first generation of sounds and bands were in their heyday. This is all down to bands like Coventry quintet dragSTER and ridiculously exhilarating releases like Dead Punk. Rampaging with thirteen riots of hostile punk ‘n’ roll, the band’s third album is a tempest of feet inflaming, passions rousing ferocity with a strength of invention and virulence to match. There has been some extraordinary rock ‘n’ roll storms in recent times but few can be said to have come close to the fire and flare of Dead Punk.

Formed in 2006, the Coventry hailing dragSTER built, on a love of 50’s iconography, sci-fi and B movie horror, and ‘dirty, fast and energetic music’, their own punk turbulence which was soon stirring up a nest of attention with its voracious energy and aggressively forceful sounds as pungently evidenced on the Rat Scabies produced Trailer Trash EP. Extremely well and greedily received by fans and media alike, the band reinforced their emergence with first album Step Into The Deathray in 2007. It was swiftly devoured upon release whilst subsequent shows with the likes of The Damned, The Buzzcocks, Sham 69, Eighties Matchbox and Electric Frankenstein only enhanced and increased their reputation before second album Here Come The Meat Robots in 2010 had its impressive say. Released as Dead Punk on STP Records, the release marked out the band as one of the most exciting prospects in UK and European rock ‘n’ roll. Featuring ex and current members of bands like UK Subs, Texas Terri Bomb, Criminal Class, and Pigface, dragSTER has pushed on again in both songwriting and sound to now uncage one of the modern punk classics.

A slither of an intro leads ears into the opening fury of Gatecrasher Hostage as Dead Punk begins consuming ears. The song is an instant roar, expelling abrasing riffs and thumping rhythms around the fiery confrontational tones of vocalist Fi Dragster. Ears and appetite are immediately seduced by the onslaught, especially as potent hooks and spicy grooves add their bait to the straight forward but already juicy sound. The machine gun bursts of beats from drummer Ryan Murphy only inflame the intensity and addictiveness of the encounter, leading the listener into a predacious web of dark temptation from guitarists Diesel and Ben Kelly, the latter following up with a short toxic solo of magnetic enterprise. It is a delicious bellow of a song and entrance by the album, a triumph straight away surpassed by its title track.

Dead Punk is, as all tracks to be honest, an addiction forging anthem of belligerence and cantankerous endeavour bound in grooves and hooks to lose inhibitions over. With nostrils flared and dragdradramuscles giving ears a thorough going over, the track compounds its might with a chorus even the deaf and deceased would be drawn to engage in. There is no escaping the slavery of the song, a potency grabbed by Drink You Pretty next and twisted into a new furnace of tangy grooves and chorus placed vocal roars. The song growls and rages with a raw infectiousness and diversely flavoured enterprise, squalling like a mix of X-Ray Spex and Midnight Mob with a healthy dose of  Distillers added. Also repeating and increasing its prowess and bait is the bass of Tom AK, the throaty and at times grizzled tones conjured bringing a perpetual primal lure to this and surrounding tracks, bait again is impossible to resist.

Through the broader dirt clad hard rock spicing of Cattle Prod, band and album keep the variety and thick attraction of the album blazing before Evil Craze provides another massive thrill with its balls to the wall punk rock savagery quipped with another seriously habitual roar of a chorus. The protagonist bursts from the speakers with an almost physical and certainly visceral presence, Fi raging over it like a Queen of attitude and defiance whilst vocally and musically the band beside her unleashes their individual and creative furies to equal intensity and glory.

Such its magnificence, there is an instant fear or feeling that maybe the next track has a mountain to climb to impress but that is soon dismissed by the rampant fifties seeded rock ‘n’ roll of The Dead Are Out In Droves. Garage and old school punk meets horror punk with metal bred venom for company; the track casts its own unique anthem of quarrelsome and addict making sounds, passing on the same challenge to compete to Terminal Loser. Opening with a Generation X like lure of guitar courted by a demonic bass temptation, the song is soon rumbling and grumbled with every note and swiping beat. That antagonistic intent is matched by the fearsome and ever captivating Fi as she opens up the pop tainted heart of the song. A Spinnerette whisper adds to the rigorously seduction at work whilst the guitars scowl and tempt with a canvas of vicious and riveting endeavour which ensures that the track easily matches the potency of the previous storms.

The furiously caustic sounds of Just Wanna Fuck provides one minute of unbridled punk lust next before Liar Like That stamps its raucous authority on ears and emotions with a volatile union of vocals for the chorus the final key in the corrosive passions chaining encounter. Both leaves ears exhausted and spark a serious greed for more, a want and need fed copiously by firstly the Misfits stroked raging of Death By A Thousand Cuts and straight after by the stalking temperament of Indonesian Buzz Cut. The first of the two seizes ears with a raw wind of riffs and bass grievances splintered by the crippling swings of Murphy whilst the second, from a prowling gait of an entrance is soon a viper’s nest of incendiary rhythms, stabbing riffs, and vocal incitement. The pair also come with their own breed of contagion posing as choruses and a lack of thought of using their toxic hooks and inflammatory grooves sparingly.

The refreshing melodic and mellower tones of Fight Fire With Gasoline infuse more new spicery to the album, though that is not to suggest it lacks the same unforgiving attitude in sound and voice as any other proposition with Dead Punk. Thoughts of Penetration come to the fore as the fascinating encounter croons and blazes within its inventive presence before leaving final track Skull Ring to bring it all to a highly satisfying end. The closer is a dark protagonist openly sculpted from the gene pool of seventies punk, The Adverts a suggested spicing, and a bracing and ravenous bruising of unfriendly and irresistible rock ‘n’ roll impressively completing an outstanding provocateur of a release.

Dead Punk is not only one of the finest if not best punk release of recent times but stands on the front line of any emotionally and energetically charged slab of rock ‘n’ roll heard over the past twelve months or so.

Dead Punk is available via STP Records now on CD @ http://www.stprecords.co.uk/page4.htmn and digitally @

www.dragsteruk.com

RingMaster 16/01/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.thereputationlabel.today

 

Hype! : Hype

   Hype!

    Hailing from Zrenjanin in Serbia, Hype! is a band on the march and with their debut album about to set European rock music alight. Blending an incendiary blend of alternative rock, punk, and mischievous rock n roll, the band with their outstanding album is on the first step of a rapid rise of recognition, certainly if there is any reward for providing such an impressive and thrilling release.

Formed in 2009, Hype! takes influences from the classic rock and the punk fleshing of Seattle and Detroit in their prime. With a more than healthy wind of rock pop in the mix their sound is epidemically infectious with intimidating sinews coated ion the most delicious seduction. Openly accessible but still with a menace to all who enter, the album is the mightiest introduction to a band which is as honest as it is passionate and accomplished. Since forming the band has earned a strong reputation for their live performances which has seen them igniting numerous festivals including Exit, Warriors Dance Festival, and the INmusic Festival. The time is ripe for the band to step into the view of a much wider and further afield audience and they could not have made a more impressive first encounter than with Hype.

The Odlican Hrcak released album takes mere moments to set ears and senses on alert, the initial firm riffs and rhythms of Weird 862626_4790575076235_1416792272_nsetting the scene for the soon to join fiery guitar teasing and the outstanding vocals of Dragana Mijatović aka Gaga Lee. With a mutual snarl and melodic kiss to her tones the front lady oozes attitude and seduction with her delivery to bring the lyrics and heart of songs to life alongside the inspiring energy and creativity of her band mates. Into its prowling and accusing stride the track is a compelling instigator with loud whispers of Spinnerette and L7 to its presence, and an irresistible first engagement which is unafraid to switch tact and gait within its imaginative confrontation.

The single from the album Erase steps up next, the song retaining the feisty elements and tones of its predecessor whilst adding deviously addictive grooves and barbed melodic beckoning which remind of Biting Elbows at times. With a roguish bassline entangled by sonic hooks and acidic guitar wraps, the song romps with restraint but unbridled passion to continue the already in place infatuation upon the release, something the likes of What Do You Want From Me, Still Right Here, and Just A Boy only elevate. Though arguably the trio do not have the same impact as the first pair, all captivate with diverse and vibrant invention, and it is only the might of the other two which leave these slightly in their shadow. Still Right Here with its smouldering vocals and great throaty bass taunts from Miloš Kralj (also in Memlah) as well as air sizzling guitar craft from Pavle Kirćanski (Impurita) and  Dalibor Kurjak (ex-Gluve Kučke),leaves warm and excited emotions behind whilst the bluesy Just A Boy is simply a heated fascination.

From the Karn8 like joy of Same Stuff, the album hits its greatest heights with firstly Come Get Some soon equalled by Kill ’em All. The first of the pair is a maelstrom of agitated rhythms and slashing riffs thrust into a psyche rock riot of invention, sound, and belligerence. Offering a further Red Hot Chili Peppers/ SOAD like grooved interference caged by the sturdy rhythms of drummer Darko Kurjak (Partibrejkers, Memlah), the track is an irresistible infestation of noise rock imagination. The following Kill ’em All is a thumping pulse firing slab of melodic punk with Distillers spite attached to a Jimmy Eats World melodic craft, and again impossibly addictive, both tracks cementing the already seeded ardour with hungry relish and enterprise.

The magnetic Soulmates and the mesmeric Suicide with its smouldering elegance and enveloping shadows complete a truly impressive and breath-taking album. An explosive spectrum of imagination and varied flavoursome sounds, Hype is a release which sets Hype! as one of the immensely promising and invigorating bands to hit rock music in recent times.

www.hype-band.com

https://www.facebook.com/hypezr

8.5/10

RingMaster 14/03/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

www.audioburger.com

Twinkle and The Sluts: Self Titled EP

    Band

    Having had the pleasure of reviewing their previous Sluttier Than Thou EP and playing well received tracks on the Audioburger.com radio shows, it was no surprise that there was a tingle of excitement when UK punk rockers Twinkle and The Sluts recently released its self-titled successor. As the first EP, the release is a DIY treat of enterprise and attitude from the band which like the sounds inside, takes emotions back to the refreshing early days of punk.  Consisting of five stomping tracks the new release is blessed by and suffers from the same essences as their previous record and is equally as pleasing and rewarding.

Musically the band have not exactly moved forward but then with a sound which is aural contagion whilst chewing on the senses it is hardly worth mentioning. Production  like with the first EP does throw up issues from their DIY stance, making some moments feel bare and starkly raw when a little polish is needed but again back in the late seventies when this was the norm as bands broke free, we loved it. Again the collection of songs shouts out the potential of the band ahead whilst bringing a greatly satisfying riot in the now to engage in. Twinkle and The Sluts are one of the more impressive emerging rock bands in the UK, their blend of sounds which treat like a mix of X-Ray Spex, Penetration, Distillers, L7,and Juliette and The Licks, bringing them up to the side of the likes of The Bambi Killers and The Duel.

The release opens with the snappy beats and snarling bass of Renegade, its prowling predatory glancing speared by the feisty sonic381338_508381209191309_1661638130_n gazes of guitarist Alex and antagonistic vocals of Twinkle. The song never explodes into an expected fury but switches the addictive teasing with fuller bruising crescendos leading to and around the chorus. The beats of Curlz are hypnotic as they frame and drive the song whilst bassist Ash probes and snaps at the ear with simple but rich basslines, it all combining for a tasty opening to the EP. We would be lying if we denied feeling a little short changed by the production, expecting and wanting the song to bitch slap the senses at some point but being as over demanding as ever, the song still delivers big time to our satisfaction.

Drag Me To Hell follows and sets itself up as one of the best moments on the release. It is a dirty little gem of a track with a knowing swagger and Ramones like innocence which grabs the ear from its first grooved second to its last middle finger fuelled note. It is probably one of those songs which will find a different reception with different people, its repetition and corrosive cymbal smashes not for everyone but with its infectious breath and effect teased vocals makes for a compelling and pleasing encounter.

Things drop to a slow stalking with Sleaze, its rock gait and well thought out layers of instrumentation quite irresistible. Like the other songs it shows off the imagination in the songwriting and individual skills nicely giving evidence that the band has more in their locker than just punk and uncomplicated rock n roll. The track nicely sets one up to a song which was the highlight of the last EP and receives a reworking this time around. Narcissism is an exceptional song, a track which ticks all the boxes and sends limbs and passions into full frenzy. It has to be said though that the new version does not match the original which is surprising and disappointing, though it still stands as an impressive and addictive joy. It is hard to say what is missing, but there is certainly a lack of the bite and intensity which came with the Sluttier Than Thou original.

The release is completed by the excellent Russian Roulette, a song which has a Siouxsie and the Banshees meets Hole feel about it. It shuffles up pace and intensity for a thrilling incursion upon the ear with expertise and with its smart hooks and skilled melodic enticements takes top honours of the release.

The Twinkle and The Sluts EP is a great piece of combat to stand toe to toe with, of course the band wins but it is great fun succumbing to their uncompromising mischief. Hopefully someone somewhere will let them loose in a full studio without trying to quell their instinctive punk independence and attitude, then watch out.

www.facebook.com/twinkleandthesluts

RingMaster 30/11/2012

Copyright RingMaster: MyFreeCopyright

Twinkle and The Sluts – Sluttier Than Thou EP

With a name like Twinkle and The Sluts it was only going to go two ways. The band was either going to be a bunch of glam posers with pretence and a misguided belief in the actual weight and might or a formidable dirty rock/punk band with an attitude to match their edginess. Thankfully the UK punks are firmly in the camp of the latter and a band with the intent to stir things up with music that puts heart and creative energy first.

We called Twinkle and The Sluts punk but they actually sit nicely between that genre and rock to forge their own sound which, though as the Sluttier Than Thou EP shows the band are still defining it, has an impact and devilment which lights up the ear on every track. The band deliver a sound which feels inspired by the rock sounds of the likes of Distillers and Juliette and The Licks as well as being influenced by punk bands like L7 and Vice Squad. It is a stirring mix which only goes to accelerate the desire to hear more from the band.

 

The EP is of a demo quality to be fair but its rawness cannot hide the quality and vibrancy within the band and their music, and actually adds to the feel and edge of the contents. Each track fills the ear with little regard for comfort or gentle persuasion, the Birmingham based quartet eager to rattle cages and inspire reaction. The track Shut Your Dirty Mouth is a prime example. Opening with rhythms from drummer Curlz which intimidate from the off as Adam plunders the ear with his bass, the track erupts into a frenzied assault of guitar riffs from Alex primed to provoke a response. With the fine vocals of Twinkle taking charge the song is a slightly retro punk song which satisfies greatly.

The same can be said of Coffin Nail, another song dripping attitude which tramples over the senses with feisty riffs, forceful beats and commanding bass play. Brief though it is the song leaves blisters from its rock fuelled passion and scorched melodies. These two songs show a band with thought and ability in their songwriting and great balance in its presentation. Each song is solid and extremely pleasing but against the remaining two songs on Sluttier Than Thou are more the support for the main event.

Built To Last plunders the ear with rampaging beats from Curlz that hypnotise well before the caustic riffs of Alex and moody bass from Adam entrench themselves on the senses. The song again has a punk essence which here reminds of an X-Ray Spex and Hole rolled into one. Well crafted and confident the song varies its intensity and pace at times to intrigue constantly whilst Twinkle leaves no one in doubt to her and the lyrics intentions. The band have raised their game here wonderfully but they do not stop as the last of the quartet of great tracks explodes into the ear.

If there is one song right now that lingers and returns to the mind whenever it desires it is Narcissism. The song is glorious, its wanton swagger and taunting riffs as infectious as a cold. Spinnerette and L7 really come to mind here but the band have twisted those spices into their own striking punk rock song with a delicious twist of scarring melodies. The song confirms and strengthens the belief and thought that this is a band with a very bright future once they really get their sound defined.

Twinkle and The Sluts and Sluttier Than Thou will have you off your feet and joining in within moments of the first song, they are that contagious. There are not many truly outstanding punk/rock female fronted bands around currently but Twinkle and her cohorts are well on the way to joining them.

https://www.facebook.com/twinkleandthesluts

RingMaster 03/03/2012

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