There is a new hypnotic rumble brewing in the belly of the Birmingham underground scene and it goes by the name of Dirty Jane. This salaciously flirtatious garage punk ‘n’ roll filly is not exactly brand new, the British trio emerging in 2014 but they have just made their national introduction with debut single Boogie Monster, a track with a primal swagger which simply infests body and spirit.
Consisting of vocalist/guitarist Jack Brown, bassist John Beadsmore, and drummer Elliot Morris, Dirty Jane has become an eagerly supported and talked about proposition within the Midlands music scene; earning a fine reputation for their energetic live presence amidst shows alongside the likes of The Strypes, The Sherlocks, The Computers, The Dirty Nil and most recently Hvmm. As mentioned, Boogie Monster is the band’s first fingering of national attention and surely lustful reactions such the infectious devilry breeding the single.
Fusing garage punk and punk rock with fifties rock ‘n’ roll, the Dirty Jane sound prowls ears and psyche like a fusion of The Cramps, The Phantom, Dick Venom and The Terrortones, and Eighteen Nightmares At the Lux; a creative breed of temptation which instantly has ears and appetite inflamed as the single sonically and vocally shatters the silence. Within another breath, rhythms are prowling the senses with a lively almost predacious gait casting catchy menace for Brown to vocally embrace. With insatiable hooks equally grabbing ears all along his guitar’s swarthy grooves, a delicious grumble to Beadsmore’s bass alongside, and the whole of the band courting thick involvement with their vocal roars, the song demands lusty participation, Morris’ tenaciously swinging beats extra incentive.
Produced by Gavin Monaghan, Boogie Monster is quite simply irresistible; its psych rock essences icing on the diablerie escaping the band and if a sign of things to come, the beginning of major mischief and adventure for and from Dirty Jane.
Boogie Monster is out now on 7” from the Magic Garden Vinyl @ http://magicgardenvinyl.uk/Store/ and digitally through iTunes.
http://www.dirtyjane.co.uk/ https://www.facebook.com/Dirtyjanemusic/ https://twitter.com/dirtyjaneuk
Pete RingMaster 04/04/2017
Copyright RingMaster: MyFreeCopyright
Recently unveiled single and EP title track, Sink Or Swim is the first lure of the release and instantly it tantalises ears and imagination with its flirtatious and slightly agitated web of melodic enterprise. There is funkiness to guitar and bass as they align with skittish beats around the swiftly impressing vocals. The seriously engaging start is soon a heftier stroll of boisterous endeavour and energy, beats a beefy incitement within the feisty blaze of guitar and bass stringed revelry. Though it relaxes at times throughout, that first expulsion of creative zeal fires up the rest of a song thereon in; a contagion which simply gets under the skin with the great expressive character of the vocals leading the way.
it’s tempting to the garage rock stomp as the song hits the ground with a lively gait. As its predecessor the virulently catchy encounter swiftly ignites an even greater appetite and satisfaction whilst being relentlessly fascinating though its expectations defeating adventure, a quality which is even more exploited by It Rises!
toxicity soon after, adding predacious swings as vocalist Paul Gautrey begins unveiling the dark toned narrative. The heavy throated lure of Ben Auston’s bass only adds to the demonically erotic seduction embracing ears and imagination, almost egging on the darker tempting of the song as it immerses the psyche. Virulently contagious and greedily insatiable, Love Sick is raw sonic alchemy with grooves and hooks as spicy and venomous as the instinctively enslaving rhythms and emotively ravenous vocals.
strumming before breaking into a hungry stroll of expressive and sinisterly grinning vocals alongside slide guitar teasing and rhythmic prowling. It is an immediate recruitment with a sonic hook which seduces the passions instantly. Around that barbed lure the bass of Elt romps and crawls over the ear with a rapacious greed, its menace bringing dark corners to bear upon the country rock lined stomp to find a dark union with the equally nightmare seeded lyrical narrative wonderfully expelled by the vocals of Teece.
explodes into a muscular stroll of scuzz lined riffs and throaty bass calls within a cage of rhythmic sinews and acid warm keys. Taking a breath for the vocals of Harlow to start their lyrical declaration with an effect coating to his expressive delivery, the song stomps its rhythmic feet and waves a welcoming sonic finger at the emotions which is irresistible. There is wantonness to the stirring and sturdy spine of the song whilst the keys and melodic caresses within the riotous breath bring virulently infectious sultry temptation. The track dances like a combination of The Black Keys, Kings Of Leon, and Eighteen Nightmares At The Lux, leaving no passion and primal urge untouched.