Dewaere – Slot Logic

Pic by titouan massé

With a sound something akin to a mutated fusion of Big Black, Fatima Mansions, and Melvins but openly distinct in its own roar and skin, Dewaere is a French band unleashing a rousing noise punk incitement very hard for us not to get excited over. Their music is a contagiously imposing trespass rich in imagination and enterprise and found in full devilment within recently released debut album Slot Logic. It is a cauldron of noise and raw temptation which harried, ravaged and seduced the senses from start to finish.

Hailing from Saint-Brieuc, Dewaere create an inescapably manipulative senses searing holler bred from the combined creative antics of vocalist Maxwell Farrington, guitarist Julien Henry, bassist Marc Aumont, and drummer Hugues Le Corre. As immediately revealed by album opener Get Down, the band’s music is nurtured in noise rock and punk flavours and inspirations but equally has an appetite for post punk and an additional array of sonic trespasses present and past. It all makes for a riveting insurgence of sound and adventure revelling the opportunity to infest ears. The first track initially teases with a guitar jangle which is swiftly joined by the commandingly and increasingly magnetic tones of Farrington. Almost as quickly the thumping beats of Le Corre descend as Aumont’s bass enticingly grumbles; it all coming together for a ferocious encounter but one with fluid moments of relative calm and composure. As an introduction to the band, the track is raw and majestic, and as a taste of things to come across Slot Logic quite delicious.

The following Budapest is similarly immediately compelling. The gnarly bass alone made an already keen appetite greedier as too the senses scything swings of Le Corre. The guitar insurgency of Henry is equally as invasive as it is hungrily seductive; corruptive hooks and grooves aligning with rhythmic predation to corrode and inflame ears and senses. The catchiness of the song is as powerful as its character of invention and matched within next up Happy Hour, another proposition which forces itself upon the listener before dancing with their rock ‘n’ roll instincts. A predatory affair led by the ever alluring vocals of Farrington, his presence as dynamic and devilish is in many ways akin to the likes of Cathal Coughlan (Fatima Mansions/Microdisney) and Guy McKnight (The Eighties Matchbox B-Line Disaster), while the track itself is its own snarling contagion in the album’s continuing revelation.

Through the likes of Garden, a primal irrepressible serenade of a treat, and The Vase with its almost carnal incitement around rapier swung beats, Slot Logic only further blossoms in sound and imagination, both tracks feral but sublimely crafted predators before the band next up delivers a cover of The Korgis’ song Everybody’s Got To Learn Sometime. Whilst embracing the original’s pop breath, Dewaere unleash their own corrosive power pop like bent alongside their never diminishing sonic causticity; unleashing an adrenaline fuelled gear never envisaged in the track originally. It is a spicing further developed within the outstanding St-Tropez In Summer which follows. There is at times a certain Eighties Matchbox B-Line Disaster meets Engerica flavouring to the band’s distinctly individual sound but a twist in the wonderful bedlam here which again also hints at a Fatima Mansions influence or coincidence.

The thumping stomp of Aye Aye within a sonic cyclone keeps release and pleasure flying before October casts a web of scorched and scorching sonic discontent around a darkly intimating vocal croon. The track hurts and seduces in equally measure, leaving ears sore and the imagination alive before Wot U Lyk completes the release with its pop hungry garage punk ‘n’ roll; the body swiftly bouncing to its own fevered energy and catchiness.

It is a fine close to an album which just impresses more and more by the listen much as Dewaere themselves with every passing creative exploit and invasion.

Slot Logic is out now via Phantom Records and BiGout Records; available @ https://phantomrecords.bandcamp.com

https://www.facebook.com/dewaereband   https://dewaereband.bandcamp.com

Pete RingMaster 04/01/2019

Copyright RingMaster: MyFreeCopyright

Frauds – With Morning Toast & Jam & Juice

It cannot be just coincidence that year on year December brings some of the relevant year’s best and often most dramatic releases. Maybe it is just that they generally come within a concentrated two week burst with the year’s final pair of weeks more likely to be party time for all so that it is more noticeable than in other equally productive months but there does seem to be a real gathering of striking encounters  as the year makes its departure. The debut album from UK duo Frauds simply adds to the evidence, With Morning Toast & Jam & Juice a glorious cacophony of noise bred rock ‘n’ roll infested with post punk and post hardcore rapacity.

Formed in late 2012, Croydon hailing Frauds consists of Chris Francombe (drum/vocals) and Mikey Alvarez (guitar/vocals), a musical partnership which seems to hail from well before their latest venture burst into life. Inspired by the likes of Nick Cave, Tom Waits, Sonic Youth, Fugazi, Mclusky, Hot Snakes, and Drive Like Jehu, the pair initially began jamming together again with the intent of only playing covers. Soon though their own imagination and creativity took over and new songs emerged. Since then the band has become a potent presence on the capital’s live scene sharing stages with the likes of Idles, Life, HMLTD, Tigercub, Demob Happy, Kagoule, USA Nails, Slaves, Blacklisters, Queen Kwong and site favs The St. Pierre Snake Invasion along the way. Fresh from tour dates alongside ex-Reuben front man Jamie Lenman, Frauds are poised to nag national attention with Morning Toast & Jam & Juice, a niggling hard to see failing such its raw majesty.

Let’s Find Out kicks things off, a riveting tendril of guitar winding around ears and soon joined by the thump of Francombe’s beats. Second by second the web expands, Alvarez’s guitar creating a clamorous jangle with post punk hues to its sharp spice. Vocals equally have a caustic edge, courting the repetitious magnetism of the encounter with punk attitude and ferocity. Sonic shimmers and distortions only add to the virulent nagging, the track as much an intro as a complete offering luring ears and instinctive attention into the waiting depths of the album.

Next up, Smooth instantly twists and turns around the senses, its post punk/alternative rock antics as invasive as they are seductive. Like the spawn of a union between The Three Johns, The Droppers Neck, and Mclusky, the song swings along drawing the listener deeper into its feral majesty before The Feeding Frenzy envelops ears with its noir clad atmospheric drama. Sonic smog devours as vocals provoke, the underlying volatility brewing a ravenous toxic drone as flirtatious as it is debilitating.

From its virulent inhospitality, the mischievous exploits of Sandwiches emerge, the song a rash of hooks and rhythms around brash vocals; all carrying a liquor of humour and captivating causticity. Again there is an eighties post punk discordance in allegiance with modern creative antipathy and again everything uniting in a corrosion of punk irritability which simply sparks ears and an instinctive appetite for noise rock. As it evolves with increasing imagination, the track feeds ears with a delicious groan of bassoon-esque guitar; its barracuda tone pure manna for these senses and matched in addictiveness by the duo’s vocal lures. There are numerous major moments within the album but this is the pinnacle with ease.

The psychotic rock ‘n’ roll of Just Come Of Age comes next to be a strong rival though, beats a kinetic psychosis matched by the wandering tendrils of guitar and vocal theatre. The Eighties Matchbox B-Line Disaster easily comes to mind as the song plays with the imagination, crawling over the senses with predacious glee and tenacity.

Suck Jobs keeps the thrills high with its senses scathing sonic enticements and vocal abrasions, the song mercurial in air and relentless in infectious dynamics while Doom prowls and seeps through the body with grievous intent. Its suffocating tones devour mood and thoughts, dragging attention by the throat into a finale which is pure punk ferocity. The track is one of the least easily accessible trespasses provided by the album but joining all in leaving pleasure brimming.

With Morning Toast & Jam & Juice concludes with firstly Could’ve, Should’ve, Would’ve, another carnally tart and compelling stroll with an Engerica hue to its visceral contagion, and finally through the transfixing saunter of Give In. Rhythmically hypnotic and melodically haunting with a just as appetising acrid edge, the song slowly entangles the senses, its own individual drone like bait viral persuasion becoming more chafing and disturbing second by second.

With a hidden scar of punk as its actual final breath, With Morning Toast & Jam & Juice leaves pleasure high and anticipation for their next move lustful. As earlier mentioned there have been numerous really stirring propositions this year yet it is hard to remember many as glorious as the debut from Frauds.

With Morning Toast & Jam & Juice is available now through Till Deaf Do Us Party Records and available @ https://fraudsfraudsfrauds.bandcamp.com/album/with-morning-toast-jam-juice

https://www.facebook.com/fraudsfraudsfrauds/

Pete RingMaster 19/12/2017

Copyright RingMaster: MyFreeCopyright

Love Buzzard – Antifistamines

LB_RingMaster Review

A riotous stomp embracing rock ‘n’ roll over the decades within its psyche punk /garage rock bred escapades, the debut album from UK duo Love Buzzard is lo-fi, high grade devilry to get lustfully involved with. Antifistamines sizzles on the senses, creating a mischievous and increasingly incendiary introduction to the pair of vocalist/guitarist Kevin Lennon and drummer Al Brown (the man behind Fluffer Records). Love Buzzard has a sound living up to its name too, music which insatiably seduces whilst stalking and preying on the carcass of the senses.

From around the release of first 7”double A-sided single Everything About You / Caught in The Deed in 2013, Love Buzzard has played over 150 gigs around the UK single, sharing stages with the likes of Cerebral Ballzy, Slaves, and God Damn along the way. The end of 2014 saw the release of a five-track self-titled EP on Brown’s Fluffer Records, a fiery encounter raising potent anticipation for the band’s first full-length. Released last year digitally and on CD, Antifistamines recently had its rousing body unveiled on special edition vinyl via legendary punk label 1-2-3-4 Records, the home of The Buzzcocks, Arrows Of Love, and Bad For Lazarus. Quite simply it is a raw and ravenous slab of rock ‘n’ roll with a broad brush of variety that is sure to fire up the energies of punks, rockers, bluesmen, and post-punksters alike.

The album starts with a bang courtesy of Cash; the pounding beats of Brown descending on ears from the first second as the spicy grooves of Lennon fizz and fiercely shimmer on the senses soon after. Hooks are as vibrant as the overall swing of the song too, its garage rock tenacity like a mix of Eighties Matchbox B-line Disaster and US duo In The Whale and as tasty as that mix suggests. An all-out assault unafraid to relax into momentary blues seeded seducing, the stunning opener leaves exhaustion and rich pleasure in its wake before the even more muscular Headrush snarls and barges into view. It too has the instinctive virulence of pure rock ‘n’ roll aligned to a just as contagious metallic intensity, not forgetting Cramps-esque mayhem.

art_RingMaster ReviewThrough the stoner laced fire of Beams and the dark seduction of Creep And Crawl, band and album has the body increasingly bouncing. The first is an agitated ball of steamy grooves whilst its successor dips into its passion for the blues to uncage another ravenous haze of tangy rock rabidity, though its own boisterous exuberance is eclipsed by that of the psychobilly/garage punk infestation of the psyche that is Passion. As the opening track it breaches a plateau that all tracks seriously worry, staking its claim as one of the major pinnacles of Antifistamines. Its success is matched by the equally psychotic and irresistible Superglue where Lennon and Brown create a jungle of temptation with their searing grooves and anthemic beats respectively; the former subsequently unleashing his ever magnetic vocal energy and persuasion to seal the deal between sound and ears.

Recently released as a video to tease attention and ears into the album, Wild blazes away next. It is a muggy and inflamed embrace of garage rock, a captivation which singes the senses whilst stirring up the imagination with gentle melodies and emotive lures within an otherwise ferocious climate. For personal tastes, the song does not make the same impact as the tracks around it but certainly keeps an eager appetite fulfilled before the schizo shuffle of Give It Some Range and the surf rock romancing of Heaven’s Got An Electric Fence again has body and passion leaping around without inhibition. The two alone are glorious examples of the diversity and creative adventure in the album, a bold resourcefulness which never breaks the kindred spirit flowing through the album.

Origins is another slow burner compared to others for these ears but easy to devour with its toxic grooving whilst the album’s title track badgers and nags like a middleweight boxer, Brown taking jabs as Lennon’s guitar and vocals flirt and dance around. The latter of the pair especially rouses the spirit with its Fat Dukes Of Fuck meets Hasil Adkins like revelry and is quickly emulated in feverish kind by Lines and its catchy merger of blues and fifties rock ‘n’ roll before Tower entwines some southern goodness into its adrenaline fuelled punk ‘n’ roll stomping. The track is a mouth-watering end to the album though the vinyl version has another five slices of rousing goodness.

The first is the cavernously raw Oh and garage punk at its most deviously addictive. Its inescapable slavery is followed by the wiry charms and thick belligerence of the outstanding Caught In The Deed and in turn the psychobilly sultriness of Rule This Town. These three alone are worth the purchase of the vinyl version, even if already owning one of the other options, but add a deranged and masterful cover of the Gang Of Four track Guns Before Butter and it is a no brainer. The duo takes a classic and turns it into another, retaining the cold air and rhythmic hypnotism of the original whilst igniting a tempest of energy and psychosis to bask in. Make You Mine is the final bonus song, a twenty second sing-a-long which simply leaves ears and mood on a high.

In a time of impressive rock duos, Love Buzzard installs themselves as one of the most exciting and addictive through Antifistamines. Rock ‘n’ roll is meant to be raw, impassioned, and bred to lead all into bad habits. Their album has all that and plenty more, and believe us when we say Love Buzzard has only just started.

Antifistamines is out now digitally and on Cd @ https://lovebuzzard.bandcamp.com/ and on fluorescent green vinyl via 1-2-3-4 Records @ http://www.1234records.com/#!blank/ez8yd/e3b62f39-bef9-c7ac-6707-f65fd40866a2

http://www.lovebuzzard.com/   https://www.facebook.com/LoveBuzzard   https://twitter.com/Love_Buzzard

Pete RingMaster 23/02/2016

Copyright RingMaster: MyFreeCopyright

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

Deepshade – Everything Popular Is Wrong

Deepshade Promo Colour Picture_RingMaster Review

Copyright Ashley Hardman Photography

Highly anticipated by many and set to excite a whole new crowd of hungry appetites for the band’s sound, UK band Deepshade release debut album Everything Popular Is Wrong. It is a masterful and magnetic fusion of alternative and psych rock with grungy tendencies and thick streams of imagination across ten exciting slices of sonic fascination. Imagine The Doors meets Queens Of The Stone Age with the occasional rich tonic of anarchic energy from Eighties Matchbox B-Line Disaster or Engerica, and you get a whiff of the magnificence lying in wait within Everything Popular Is Wrong.

Wigan bred Deepshade was formed in 2013 by vocalist/guitarist David Rybka, bassist Tom Doherty, and drummer Paul Barlow. Little time passed before the trio enticed a potent and loyal local following and began being featured on the likes of BBC Introducing and numerous shows and alternative radio stations within Britain, Europe, and the USA; The Guardian newspaper announcing Deepshade around the same time one of the ‘Hot Top Ten Unsigned British Bands To Check Out’. Their presence and reputation continues to grow and now with the band recently signing with Ambicon Music Group, the national release of Everything Popular Is Wrong allows the country and beyond to hear why.

Deepshade Cover Artwork_RingMaster ReviewRecorded with producer John Kettle (Merry Hell, Moko, Tansads) and mastered by Fran Ashcroft (Spin Jupiter Spin, Gorillaz), Everything Popular is Wrong opens with the tantalising shuffle of Time and an immediate lure of spicy grooves and just as vibrant riffs and rhythms. Seventies spice colludes with nineties fuzziness straight away, whilst an underlying snarl carries an alternative/punk snarl to echo the description given a few lines earlier. The string invention of Rybka matches his vocal prowess whilst the dark lines of Doherty and firm swings of Barlow cast hefty shadows and a driving energy to devour swiftly.

It is a great start but soon put in the shade a touch by its successor and increasingly so by the following pair of songs. The Line is next up and quickly leaps into a bluesy revelry with again irresistible tangy grooves and thumping beats courted by a growling bassline. Feet and hips are soon taken for a feisty ride by the track, its bracing energy as lively and infectious as the fiery nuances toning every subsequent melody and sonic temptation.

Out Of Hand steps up next to raise the bar again, its slower warm stroll hypnotically coaxing sonically entwined ears, subsequently leading them into a web of virulent hooks and melodic incitement. Again there is a raw air and scuzzy hue to it all which only adds to the addictive drama and the gripping tension which seems to breed within the track as it explores its invention and the imagination. As outstanding as it is, Tattoo shows it a clean pair of heels. Released as a free download earlier this year and understandably being part of the reason why so many were hungry for Everything Popular Is Wrong, the song prowls with a flirty if predatory gait and an open creative devilry similar to The Dropper’s Neck, slipping into fierce and fiery expulsions of noisy enticement from time to time too. Quite simply the track is like a lap dance for ears, swinging slim rhythmic hips wrapped in sonic curves with temperatures rising accordingly.

A southern breeze joins the melodic caress of the following Haven’t Said A Word, it a Kyuss like tempting which feeds the dirtily textured crescendos of intensity and emotions which erupt throughout the mesmeric and increasingly evolving croon whilst Bring The Axe Down straight after, twists a rockabilly like riff into a virulent seduction equipped with off-kilter imaginations of sound and theatre. The song is sensational, something akin to Josh Homme and Guy McKnight redesigning Powersolo and ridiculously more addictive with every listen; stealing the show each and every time.

Lowlights arguably carries the thickest grunge hues within the album in its creative body, its Alice in Chains/ QOTSA serenade a rousing proposal often as bruising as it is melancholically reflective whereas The Mud, The Blood, and The Tears (written as The Blood, The Mud, and The Tears on the album cover so take your pick) casts an enthralling bewitchment drawing on essences of Jim Morrison and co, The Walker Brothers, and Pearl Jam, and turning them into something unique and spellbinding to Deepshade.

The final two songs upon Everything Popular Is Wrong ensure the album continues to excite from a great height; Chairman first to spring a gentle yet agitated swing within sultry melodies across atmospheric skies as vocal harmonies captivate and the bass of Tom Doherty devilishly entices against the masterful skittish adventure of Barlow’s swings. Sad Sun has the pleasure of closing up the release and does so in riveting style. It brings all the nastier, scuzzy qualities of the band’s sound out in appealing style but equally the richness of its charmed melodies and smouldering ambiences, all qualities of every song on the release. Here though they all seem to be given full rein to vent or seduce but within a tapestry of craft and invention which ensures it unites perfectly to perpetually beguile and thrill.

Without doubt Everything Popular Is Wrong is one of our favourite incitements of 2015 and hard to imagine it will not be yours too. There is of course only one way to know, so we suggest you go get some Deepshade down you.

Everything Popular Is Wrong is available digitally and on CD from September 25th via Ambicon Records through most online stores.

Pete RingMaster 24/09/2015

Copyright RingMaster: MyFreeCopyright

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

THE DROPPERS NECK release ‘200 Volts’ video

The Droppers Neck Promo shot_RingMaster Review

Fiery Brit sludgy punk rockers ‘The Dropper’s Neck’ have uncaged the spanking new video for ‘200 Volts’. The cut is lifted from the band’s exhilarating new EP ‘Nineteen | Sixteen’ and can be viewed here: https://www.youtube.com/watch?v=OAvTT3HbL2s

By drawing from the formidable powers of Cancer Bats, Eighties Matchbox B-Line Disaster and Gallows, The Dropper’s Neck hit you with robust riffery, compelling dynamism and mesmerising dark hooks. The enigmatic quintet are poised to break from the underground this Summer.

Hailing from Essex, The Dropper’s Neck were born in 2011 and feature the talents of Lloyd Mathews (Vocals), Chris Blake (Lead Guitar), George Barrows (Rhythm Guitar), Jamie Abela (Drums) and Jack Turner (Bass). The five-piece soon cultivated an engaging live set and quickly built a name for themselves on the live circuit through extensively touring and by delivering a series of highly energetic and frenzied shows.

The band’s growth continued as they released their debut album ‘Second Coming’. The record was recorded by producer Paul Tipler (Placebo & Eighties Matchbox B-Line Disaster) and helped launch them to a national level. The album picked up a glut of national press and radio support, with Rock Sound, Classic Rock Magazine, Powerplay Magazine, Big Cheese Magazine and Kerrang! all firmly backing the band. Last Summer, support continued for the sludgy punkers as they released their explosive video single, ’Line Me Up For The Firing Squad’, which was exclusively premiered by Metal Hammer.

The industrious combo are now back in the saddle and fully loaded with a brand new EP ‘Nineteen | Sixteen’. The record is their best work to date and is brimming with seven slabs of highly toxic dirty punk rock, dashed with hints of psychobilly, and brimming with unabashed energy and sheer force. The frenzied garage punk new video single ‘200 Volts’ is a key highlight of the record and displays the fivesome at their very best. With a plethora of shows mapped out for the Summer, you need to latch onto the band now before they lift off.

Read our Nineteen | Sixteen review @ https://ringmasterreviewintroduces.wordpress.com/2015/07/10/the-droppers-neck-nineteensixteen/

THE DROPPER’S NECK HAVE UNLEASHED ‘200 VOLTS’, WATCH IT HERE https://www.youtube.com/watch?v=OAvTT3HbL2s

https://thedroppersneck.bandcamp.com/album/nineteen-sixteen

https://www.facebook.com/thedroppersneck

The Dropper’s Neck – Nineteen|Sixteen

The Droppers Neck Promo shot_RingMaster Review

To date there has always been a licking of lips in anticipation of any new encounter with The Dropper’s Neck and each time so far they have rewarded with dark rock ’n’ roll which simply infests body and imagination. True to form the UK quintet has done it again with their Nineteen|Sixteen EP, the dirtiest, sludgiest, most aggressively provocative offering from the band yet, an aural proposal perfectly suited to and reflective of its lyrical theme. The EP is inspired by The Great War and takes the listener along with its protagonist into the initial ‘glamour’ and lure of conflict, through its fierce pestilence before leaving them in the stark aftermath which follows. This all comes with the familiar but ever evolving fusion of psych and noise rock, punk and psychobilly brewed by the band, and quite simply it is another ravishing treat from The Dropper’s Neck.

Formed in 2011, The Essex band quickly pricked attention and appetites with early songs and releases but it was debut album Second Coming which lit an acclaiming and hungry spotlight. Drawing on influences such as Gallows, Blood Brothers, Eighties Matchbox B-Line Disaster, Cancer Bats, Every Time I Die, and Dead Kennedys, band and album unleashed something familiar yet powerfully unique, a distinctiveness which has festered and blossomed through the incendiary single Line Me Up For The Firing Squad and now to stronger depths with Nineteen|Sixteen. The single was certainly a potent teaser for the EP, though in hindsight just one glimpse of the dark throes and adventures now uncaged.

The Dropper's neck Cover Artwork_RingMaster Review   The release opens with the scene setting 57,470, an intro thrusting ears and imagination right into the landscape of rifle fire, thunderous artillery, and fear soaked horses. It’s violently portentous hue leads into King & Country, a sonic bridge to the incoming bruising beats and ravenous riffs entangled in an invitingly spicy groove. Rousing and anthemic, the track is a sign up of ears and emotions as potent as the bait enticing the young men of the narrative. Already though there is a snarl and corrosive edge to the music, expulsions of vocal hostility from Lloyd Mathews aligning with his expected and great monotone laced delivery. Hard rock ‘n roll stirring up air and body, the track is a forceful incitement setting things in compelling motion.

Somme comes next, the rhythmic and anthemic overtones of its predecessor veining its initial coaxing whilst hooks and grooves are soaked in even sharper, almost venomous incitement. Striding with an Eighties Matchbox B-Line Disaster meets Engerica like warped swing and brawling with a caustic Cancer Bats/KEN mode like ferocity, the latter becoming more intensive in ears as the reality of the horror of war is opened up, the track is little less than deranged bestial contagion.

Its increasing hellacious presence makes way for the even more psychotic Line Me Up For The Firing Squad, the track a maelstrom of rabid sounds, scarring vocals, and blistering viciousness. Within its raw and merciless tempest though, grooves and rhythms create the addictive shuffle of bait and infectiousness renowned from the band, the bass of Jack Turner especially seductive at times within the muddy and humid atmosphere of the unforgiving blaze. Production across the release is raw and very often as cold as the soundscape being explored; an aspect some have offered as a slight flaw but it only adds to and represents the physical effect and filthy ambience of the ground the EP’s context is inspired by.

The thumping beats of drummer Jamie Abela trap and push ears into the scuzzy punk ‘n’ roll of 200 Volts next, the guitars of Chris Blake and George Barrows creating a creative antagonism of defiant riffs and provocative grooves respectively. The predatory spine of the song is a virulent enticing which sends searing flames of sonic fire and expels hardcore spawned vocal hostility from its sobering bait with increasing tenacity and rage. It is an abrasive storm exciting and scarring already bruised and tender senses, no respite coming with the outstanding contagiously toxic and inventively addictive Monster. The track swarms through ears and over the psyche with its rhythmic emprise and sonic nagging, its body as the previous encounter, a garage punk spawned dynamo of bracing angst and violent intoxication, and the best track on the release, though there are so many rivals such as the closing Stutter which rampages straight after. Everything about the song, from jabbing and military seeded beats to erosive riffs, vocal diversity to scything grooves, is sheer inventive and hostile virulence, rock ‘n’ roll to honour the dead and incite the darkness of horrors past.

With a bugle announcing the end of hostilities in hidden track The Eleventh Hour, the Nineteen | Sixteen EP comes to a haunting close leaving thoughts rife and satisfaction full. The release is not a history lesson but certainly it makes a provocative and striking proposal with its pungent theme whilst musically revealing another thrilling exploit from one of the UK’s most exciting bands.

The Nineteen | Sixteen EP is available from 13th July @ https://thedroppersneck.bandcamp.com/album/nineteen-sixteen

https://www.facebook.com/thedroppersneck

RingMaster 10/07/205

Copyright RingMaster: MyFreeCopyright

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Panic Island – Cabin Fever EP

Panic_Island_Cabin_Fever_EP

First track catches ears and imagination by excited surprise, the second has both locked in a blaze of pungent rock ‘n’ roll, and by its third, Cabin Fever the debut EP from Panic Island has made a clear statement that UK rock has another potential ridden and magnetic proposition emerging from its midst. The three track release is a magnetic roar of alternative and melodic rock, a weave of pungent riffs and sinew swung rhythms entwined with creative and anthemic dexterity. Maybe not yet the release to suggest that Panic Island will be amongst those to the fore driving the ever changing face of British rock ‘n’ roll, the EP is definitely an impressive introduction for the band to spring on from and tempt those kind of heights.

image003     Panic Island is centred round the North London songwriting duo Arron Sans and Vinnie Shimia, two musicians which first met at a gig by The Cult in Spain in 2012. Sans had already “dabbled in acting and film production” before exploring music and songwriting whilst Brazilian born Shimia had developed a romance with the guitar since the age of 13, and moved to the capital from his homeland to pursue his aspirations in music. Their individual abilities and strengths going by Cabin Fever have certainly gelled and openly flourished musically and lyrically since the pair creatively united, openly evidenced by their first release. Produced by Paul Tipler (Idlewild, The Horrors, Eighties Matchbox B-Line Disaster), the EP is a storming adventure of sound and dark emotional exploration, a release which has you sonically gripped within a few choice moments and persistently thought provoked across each infectious proposal.

The EP starts with the outstanding We Start Fires, a thick lure of bass the first enticing quickly joined by jabbing beats and in another breath, an electronic teasing. Coming cold into the band and letting the music be the first indication of their sound, the latter element immediately sends expectations down the wrong avenue, with punchy beats the almost techno like tempting sparking thoughts of a dance-floor escapade to come. The great vocals of the pair soon begins dispelling that, their attention grabbing presence the trigger to a more volatile lure of rhythms and a stroll of pungent riffs and striking heavy rock hooks. There is a slight punk edge to things too, whilst grooves and vocals increasingly cast a more aggressive and flavoursome web of hard rock and melodic tenacity. The early electro devilment also continues to flirt with the imagination, from time to time coming to the fore but never for long as the unpredictable and thrilling anthemic stomp of a track continues to bound through and ignite ears.

The excellent start is followed by new single Temples, a song providing a more settled landscape of melodic rock but one equally as fiery and alluring from the off. Because of its more uniform canvas of sound, the emotive potency of word and voice has a stronger and clearer sounding board to spring its passion and angst from. This aligns perfectly with the just as magnetically imposing drama of melodies and craft of guitars. It is a combination offering a feel of Bristol band Mind Museum to the provocative nature of the song which excels again within closing song City Screams.

As the previous encounter, it too is a swiftly catchy and enticing proposition with raw feeling in the vocals and raucous enterprise in the heart of the music. It also shows that any of the three songs upon Cabin Fever can be a potent single for the band, each in their individual ways intense and incendiary slices of drama with the emotional climate expected in the consuming premise of the EP title.

Panic Island do everything right with Cabin Fever, and though their sound is not yet holding a truly unique character it is not an issue, just part of the evolution of the band’s creativity to that expected success. Anyway the release is a gripping slice of exciting rock ‘n’ roll and that more than works for us.

The Cabin Fever EP is available from May 18th via Flat 4 Records at http://amzn.to/1QTpAQH and http://panicisland.bandcamp.com/releases

http://www.panicisland.com     http://panicisland.bandcamp.com/releases

RingMaster 17/05/2015

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