Punching Swans – Faces

If you have allowed the boisterous noise and feral enterprise of Punching Swans to trespass ears before you will not be surprised to read that as maturity and a new bold touch embraces their latest release, their cacophony of sonic devilment is just as insatiable. Faces is a collection of tracks which stalk the imagination, manipulate the senses, and send the body into blissful spasms whilst courting a whole new level of adventure with the British trio.

Bred in the ever fertile round of the Medway region of Kent, Punching Swans is the creative union of vocalist/guitarist Greg Webster (Houdini), bassist/vocalist Joseph Wise(Frau Pouch), and drummer/vocalist Pablo Paganotto (The Explorer’s Collective). Formed in 2012, apparently “as a dare”, alongside their other projects, the band has simply grown in a sound, taking on inspirations from the likes of from The Fall, Sonic Youth, Bogshed and Mclusky as well as the dark realms of John Carpenter, The League of Gentlemen and The Evil Dead films, their imagination ensnaring releases perpetually earning bigger and keener acclaim. A self-titled debut that first year was a kind of warm up for the greater exploits inside Mollusc two years later. The album reinforced the band’s inimitable sound and creative mischief but flourished as the threesome in many ways ’took things more seriously’ with the project. Its qualities and success was only eclipsed by its successor Nesting in 2016 just as its seriously impressive character and adventure has been put in the shade by Faces.

The new album’s theme is a dark and compelling proposition; the release made up of eleven faces (tracks), each referring to the faces of serial killers. As Webster explains, “They each have a stupid feature for a face which is related to their story… so people who look kinda stupid and are unlikely killers. But then again, who is a likely killer? Can you really tell by appearance? As we wrote each new song they seemed to fit into a particular image of a face and from there we wrote what their particular background story was. We were picturing a kind of Dick Tracy rogues gallery of villains. “

The album opens up with Blood Face, gradually looming up on the senses in a sonic shimmer before a raw wash of voice and sound explodes on ears. The scything beats of Paganotto pounce and swing as a sonic swash of guitar colludes with the rapaciously dark mumblings of bass, a fiercely magnetic union completed by eager vocals. Slipping melodic teasing amongst its ravenous discord, the track is a magnificent and quickly addictive start to an album which only escalated every lure heard with imagination thereon in.

The following Areola Face instantly had hips swaying and appetite’s tongue licking lustful lips as Wise’s throaty bass strolls with dark but infectious intent, a catchiness only accentuated by the more ‘violent’ animation of guitar and beats. Ebbing and flowing in its volatility, vocals following suit, the track provides a caustic flirtation before Strobe Face licks at the senses with a rapid flicker of beats and a sonic sunspot which in turn sparks a slightly corrosive but fully captivating trespass; a captivation only boosted by the singular dance of vocals and beats which escapes before things become more psychotic yet tenderly seductive.

Through the calm but predacious post punk militance of Batter Face and the reserved siren-esque psychosis of Coral Face, animated temptation richly soaked ears; Paganotto’s kinetic swings as conniving and irresistible as the intimation shredding exploits of Webster and Wise’s skilful rhythmic dark saunters, traits fuelling the whole album from start to finish. The latter of the pair has a definite Houdini meets The Fall feel before making way for the simply glorious murderous drama and inharmonious beauty of Cliff Face. Featuring Dan Toms of Bear vs Manero and the biggest treat out of nothing but, the track is simply manna for ears and spirit, unscrupulous rascality at its best.

The following pair of Grater Face and Lady Cheese Face refers to each other, the songs “Romeo and Juliet-style lovers who simply could not be.” The first is a wild slice of post punk ‘n’ roll with a personality something akin to Mclusky meets The St Pierre Snake Invasion while its companion of sorts shows a devious side to its more tamed incursion on the senses. Discordant yet with a sonic elegance which is as threatening as it is alluring, the track is a true predator of a song, getting under the skin with subtlety and flirtation before gnawing away with bloodthirsty relish.

Raw and wolfish, Carpenter Face infiltrates ears next with an almost industrial like hue to its expanding tapestry of lawless noise. A low key serenade with a portentous breeze of sonic duplicity inserts itself in the breaths between it and Face Face straight after, the piece brief and never quite breaking the surface of its limbo before the penultimate track careers in on a rhythmic canter with a sonic mane spraying in its trenchant winds.

God Face completes the release, the song a lure of shadow bound celestial scheming simultaneously  tenebrific and radiant round another simply rousing rhythmic incitement from Paganotto and Wise alongside the melodic dissonance of Webster.

It is an enthralling end to a quite superb and increasingly addictive release. Punching Swans has never been as so damn manipulative or devilishly rousing as they are within Faces. It is not only a band at its momentously best but noise rock/post punk too.

Faces is released October 26th via Skingasm Records; available now for pre-order @ https://punchingswans.bandcamp.com/album/faces

Upcoming live shows:

OCT 26th LEEDS, Chunk

OCT 27th LIVERPOOL, Invisible Wind Factory

NOV 9th LONDON, Aces & Eights

https://www.facebook.com/PunchingSwans   https://twitter.com/punchingswans

Pete RingMaster 23/10/2018

Copyright RingMaster: MyFreeCopyright

Frau Pouch – Fairymares

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I am sure we were not alone in eagerly anticipating a first album from British no wave post-punks  Frau Pouch. They are a band which captured and ignited our imagination on our introduction to them in a split release with fellow Kent outfit Houdini back in 2012. Their sound is a sonically and creatively gurning fusion of post and garage punk with other feverish forms of wonderfully irritable and imaginatively twisted rock ‘n’ roll. Each release, since that first meeting, has seen the Medway trio stretch, twist, and inject their imagination with new creative psychoses, nurturing their most irresistible outcome yet in debut album Fairymares.

Released via Skingasm Records and recorded with Greg Webster of Houdini/ Punching Swans, Fairymares is warped manna for the ears especially if they have been nurtured on a diet of post punk seeded bands such as The Fall, Pere Ubu, and The Victorian English Gentlemens Club. The album swiftly enforces the fact that Frau Pouch has its own sound though, even with essences reminding of others, it stands boldly unique and creatively salacious to the threesome of vocalist/guitarist Joe Wise(also of Punching Swans), bassist Ollie Crook, and drummer Suzanne Freeman.

As previous tracks and the All Hail Space Chicken EP before it, Fairymares swiftly entangles ears in a web of sound and invention, opening up with the band’s lust breeding single of last year Biscuit Beard. From the glorious carnivorously natured, bestial toned growl of Crook’s bassline setting things off, the track infests body and soul. Wise’s riffs are just as carnal in touch and sound, his flowing grooves equally rapacious as Freeman’s controlled swings punch further subservience to the song’s call on an instantly lustful appetite. The track is pure addiction, its Gang Of Four soiled rhythmic tempting alone irresistible and the wiry web of sonic endeavour and vocal nagging Mekons like.

It is just the start of the album’s insane grooving and rhythmic baiting with the following Dracula Pukes revealing its own nest of creative vipers as cutting scythes of guitar and punch happy rhythms challenge and enthral for a mere fifty seven seconds; a gripping minute of cantankerous confrontation leading to the virulently infectious stroll of Ham Planet. Like Pere Ubu on steroids as Turbogeist writhes under the punk influence of The Fall, the track dances with pop infused boisterousness though every swinging movement of its creative hips comes with seductive venomous intent as Wise declares his vocal desires.

The exceptional Burn Baby keeps the lust hungrily burning next, its lo-fi canvas a tangle of steely petulant grooves, intimately flirtatious beats, and crabby bass groans as vocals install their own brand of psyche trespassing persuasion. It is aural corruption leaving a lingering touch though Witch Fingers straight after soon steals all attention. With we assume Freeman taking vocal lead, the track is like a demented fusion of Daisy Chainsaw and The Fire Engines, off kilter toxic melody and dancing vocals uniting in an adult nursery rhyme like trespass of sanity.

Ghost Fire offers its own cranky invention, stabbing riffs and sonic vining shadowing Wise’s compelling stabbing vocals as another gloriously testy and intrusive bassline sparks feverish submission across its single minute before the repetitive prowess of Erotic Clocks has ears tempted hook, line, and sinker. With a slight whiff of Spizzenergi to it, the track is another sure fire infestation of body and psyche with its rhythmic nag and caustic expulsions.

With seductive danger to its cartoonish and creative loco, Gotham Piper lures the listener in next, continuing to lay a certifiable creative hand on the senses before intermittently uncaging its inner meshuga in ferocious style. The Cardiacs comes to mind within the thrilling encounter, Mark E. Smith and co even more so in successor Cat Curfew though once more as Wise lords over his own weave of sonic wiring and the rhythmic union of Crook and Freeman, Frau Pouch imprint only their own uniqueness.

Sleepstalker completes the line-up of treats, its sombre yet vibrantly magnetic fingering of the senses the stuff of nightmares; Crooks’ grievous bassline the stalker, Freeman’s beats the trap, and Wise in voice and sonic intrusion the swamp impossible to escape from. They are all delicious ingredients in a thrilling end to not only the best thing to come from Frau Pouch but potentially 2017 as a whole.

Fairymares is released 27th January via Skingasm Records.

https://www.facebook.com/FrauPouch/    https://fraupouch.bandcamp.com/

Pete RingMaster 24/01/2017

Copyright RingMaster: MyFreeCopyright

Frau Pouch – Biscuit Beard

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Having meant to do this a couple of weeks ago, we apologise to the band and to you all for the late lusty shouting out of one of the year’s most irresistible singles. The track is Biscuit Beard and comes from irrepressible noise post punks Frau Pouch. Since their outing with another of Medway’s essential bands Houdini in a split release, the trio of vocalist/guitarist Joe Wise, bassist Ollie Crook, and drummer Suzanne Freeman has invaded the psyche with the All Hail Space Chicken EP and invaded the senses with their lo-fi punk sound live. Their finest moment though comes now with Biscuit Beard, the kind of song and addiction we for one were born for.

From the first second of its insane grooving and rhythmic baiting, the track is in command of ears and imagination. It is a throwback to the late seventies/early eighties in some ways and a new unique beast of invention in others. Rhythmically the track is a cross between Gang of Four and The Mekons, Crook’s bass a deliciously grouchy growl infesting the psyche with its grooves whilst Freeman’s beats are a hypnotic tapping of the senses far too easy to succumb to. Alongside them the guitar of Wise teases and taunts with almost cancerous grooves and spiky cuts before spreading melodic discord over it all from time to time. With his vocals as distinct and wonderfully slim as the textures uniting for one rich incitement, Biscuit Beard is pure manna for ears and any punk heart.

To it all there are moments when eighties band The Dancing Did is parked in thoughts too, just one more rather enjoyable essence in easily a single of the year contender.

Biscuit Beard is out now via Skingasm Records on iTunes etc.

https://www.facebook.com/FrauPouch/   https://fraupouch.bandcamp.com/

Pete RingMaster 14/10/2016

Copyright RingMaster: MyFreeCopyright

Punching Swans – Nesting

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How to describe UK trio Punching Swans?

You could say they are a carnivorous groove machine, a sonically schizophrenic rumble, or a rabidly twisted siren; all applying to the creative psyche and adventure that breeds the band’s irresistible sound and now their new fiercely virulent album Nesting. Maybe the best way to describe Punching Swans is a twisted union between The Fall, McLusky, The Fire Engines, and Maths and the Moon. It is a band which despite a clutch of similarly distinct releases has remained in the shadows of the UK music scene like the black sheep of a family which gets locked away in the attic away from prying ears. Now though, the door is unlocked and the band is about to infest British rock ‘n’ roll with their tempestuously deranged math punk, courtesy of the inimitably thrilling Nesting.

Punching Swans is the ravenous creation of producer (Sunlight Studios) Greg Webster, formerly of Medway greats Houdini, the equally impressive Frau Pouch’s Joe Wise, and Pablo Paganotto from The Explorers Collective. Formed in 2011 or 2012, depending where you read, by Greg and Joe from a one-off band called Laura Palmer and the One-Eyed Jacks they got together for a Twin Peaks night, Punching Swans quickly sparked ears with a self-titled debut album in 2012, and even more so with its successor Mollusc two years later via Skingasm Records. Each has inspired potent attention and praise across fans, media, and radio shows but it is easy to feel it has all only been the taster to reactions about to be triggered by Nesting.

Telling the “story of one man’s journey from self-imposed isolation to the skies”, Nesting takes little time in gripping attention and appetite as its opener, Cuckoo Cuckold K-killed, dangles sonic bait in front of ears before the robustly contagious beats of Paganotto get to rebellious work. His swings tempt and seduce with a tenacious grin, coaxing bodily involvement as vocals walk the rhythmic web into the imagination as tangy guitar and devilish bass lures begin to stir and add to the increasingly enthralling and incendiary stroll. Unsurprisingly there is a touch of Houdini and Frau Pouch to the delicious incitement but equally thoughts of Swell Maps and inescapably The Fall also flavour the first treat.

Seriously dynamic and gripping, the album’s superb start continues with Man Nest, an even more psychotic and caustically enterprising proposition that needs mere seconds to seduce and inflame the senses too. Wise’s bass shows it has probably the grouchiest textures in British rock ‘n’ roll at its disposal whilst Webster’s guitar trespasses show no qualms about infesting the senses and psyche, acidic grooves and fiery tempting a perpetual forte.

Pigeon Street toys with more restrained energies and urgencies for its enthralling exploits next, though it is all relative to what came before as the song, with the scything beats of Paganotto an inescapable trigger to get physically involved, blossoming into an insatiable almost predatory shuffle of searing grooves, thumping rhythms, and zealous revelry. Even its calm climax has an element of off-kilter ingenuity before the infectious rock ‘n’ roll of Ovulations rumbles along with the fervent vocals of Wise and Webster holding the reins. Again hooks and grooves steal the passions as rhythms jab deeply, the song entwining post and garage punk texturing into its fearsomely alluring landscape.

That great bass tone is at its crabbiest again in the following Beak Throat and its peevish stalking of the senses within a net of guitar spun wiry hooks and sonic delights around vocal dexterity. It is hard to imagine anybody able to resist the choleric grooves of the song or possible to see the track alone avoid sending rapturous waves across post punk/noise rock pastures with its gloriously savaging and exhilarating tempest.

The brief but again irresistible invasive seduction of Ostrituals comes next to forcibly arouse the passions. If Public Image Ltd had been The Wonderstuff or Wire been McLusky, you wonder if they would have sounded like this mouth-watering predacious stomp whilst its clamorous successor Headless Chickens suggests The Dancing Did or Stomp doing salacious things with Pere Ubu or Marc Riley & The Creepers. The outcome of both and all songs though, despite suggested spices, is always something unique to Punching Swans as proven by Pecked to Death which cantankerously sits between them. Snarky in tone and unhinged in character, the track meanders and twists into unpredictable and manic detours but returning all the time to its rapacious and concussively catchy directness.

The bulging rhythms of Egg Rock is an immediate and successful infestation of the passions, its sonic tendrils and testy Mark E. Smith laced vocal strains only adding to another senses searing, lust inducing incitement before Flight brings the invasive alchemy of the album to an end. The clamant finale to Nesting is a raw soar into noise pop infectiousness and magnetic sonic caterwauling which just lights the touch paper to rapture before retiring to leave ringing in the ears and euphoria in the heart.

Nesting is the first essential album of the year and Punching Swans one of the bands set to step out of the shadows in 2016 and become seriously shouted about.

Nesting is released via Skingasm Records on 22nd January digitally and on CD with a hand numbered limited edition of 30 with a 16-page book featuring drawings and notes from the story behind the album @ http://punchingswans.bandcamp.com/

 

— Punching Swans Tour 2016 —

JAN 28 CANTERBURY w/Mass lines, Death Pedals, Negative Space

JAN 29 CHATHAM Poco Loco – MEDWAY ALBUM LAUNCH w/Girlpower & Bear vs Manero

FEB 11 CAMDEN Unicorn w/Mayors of Miyazaki + Screen wives

FEB 16 BRIGHTON TBC

FEB 21 OXFORD The Library Pub

FEB 24 BRISTOL Stag & Hounds

FEB 27 LIVERPOOL Maguire’s w/ Robocobra Quartet, Jazzhands and Cal Banda

 

http://punchingswans.tumblr.com   https://www.facebook.com/PunchingSwans   https://twitter.com/punchingswans

Pete RingMaster 20/01/2016

Copyright RingMaster: MyFreeCopyright

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Frau Pouch – All Hail Space Chicken EP

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When we were first introduced to UK post punk meddlers Frau Pouch via their excellent split release with fellow Medway band Houdini, we called them ‘the bastard evil offspring  of an illicit intrusion between The Fall and The Victorian English Gentlemens Club with some fingering from The Cramps and Turbogeist.’ Their new EP, All Hail Space Chicken or it seems also just called the Space Chicken EP, shows that that description does not truly frame their distinctive sound so now we declare the trio to be the bastard evil offspring of a mutated alliance between The Fall, Swell Maps, and The Mekons with The Victorian English Gentlemens Club and The Cramps not forgetting Gang Of Four adding their dirty little digits into the mix.

The All Hail Space Chicken EP and band will not be for everyone but if those references mentioned play with your curiosity than Frau Pouch will tease out a lifelong passion for their unique presence. Consisting of Joe Wise (guitar/vocals), Ollie Crook (bass), and Suzanne Freeman (drums), the band has continued to impress and garner a fervent fanbase through their live performances around the middle of England spreading outward but the new release places them into another spotlight of individuality which deserves to find a corner in every punk and post punk lovers psyche.

Recorded and produced by Ben Sammon alongside the band, the release soon sets free its six track psychotic dance upon the ear with opener Krakthulhu. Immediately a carnivorous bass temptress snarls at the senses with delicious rabidity in its breath whilst beats punch the ear into shape ready for the expressively quarrelsome vocals and discord scowling riffs of Wise to play within. There is a Mark E. Smith lilt to his delivery at times which only adds to the drama of the attack whilst musically the song rampages with rhythms clamping their jaws tight and a raucous sonic distrust firing an encounter which is vintage like in flavour but equally driven by current day antagonism.

The production is as caustically raw as the sound and though it at first makes you stop and assess its merits certainly against previous releases with doubt, it does compliment the brashness of the release ultimately and the great start soon expanded by the gnarly presence of Podling Party. Again the bass of Crook is irresistible, it’s growling belligerence a mighty weapon in the sound and a defences splitting barb for the passions as it forms an irrepressible spine for the guitar to throw its acrid waltz around. That Swell Maps feel is ripe here whilst at times a further Nikki Sudden hint breaks through.

Both Don and Idiocracy reap the seeds set by the earlier songs to ignite even greater rapture for their disorientating infection, the first a rhythmic donkey punch on the ear leaving an unprotected canvas for its bruising grazes of sonic caressing and the concussive consumption from Freeman to defile the senses. It is another welcome riling but everything before is left in the shade of its successor. With a certain Gang Of Four bass framework being crafted from the off and the guitar of Wise adding a flesh which also recalls the Leeds post punk giants whether intentionally or by chance, the song is the biggest highlight of the release, the track marking Frau Pouch further as one of the brightest sparks in emerging music whilst emphasising the evolution in imagination and songwriting which is grips the release. There is also a very early Killing Joke call to the track which only adds to the incendiary power of the song and its carnally propelled stroll.

The track Space Chicken lurches its quick step of bedlamic energy and psychotic dance next, guitars and bass a scurrilous blur of riffs and movement across the drum puncturing punk plain of the song. The Fall in its heart and Joy Division in its unhinged mentality, the track is another limb disjointing joy which even Ian Curtis would find dancing to problematic.

The closing predatory Aqueducts provides the perfect uncompromising wiry and discomfort forging challenge to end and sum up this fine release. The track simply sweeps you away in its accomplished and technically sculpted hypnotic whirl leaving only sheer unbridled pleasure and hunger for more behind. With only the production to bear a little with as slight labour, Chicken Space EP is a post punk/noise rock treat and one genre fans ignore at their loss.

https://www.facebook.com/FrauPouch

8.5/10

RingMaster 29/07/2013

Copyright RingMaster: MyFreeCopyright

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The Creeping Ivies: Ghost Train EP

Having just been introduced to the glorious schizophrenic garage punk sounds of UK band Frau Pouch we now have the distinct pleasure by kind invitation of the band itself to meet Scottish duo The Creeping Ivies through their new EP Ghost Train. The follow up to their debut EP Rock N Roll Party, the new EP is quite simply immense, a pure unbridled splattering of the senses from sonic expulsions squeezed from psychotic blisters. Spearing the ear with all the right sounds and searing flesh to just the right depth The Creeping Ivies are one of the most exciting bands to emerge in the UK, and the beginning of a salacious love affair with their creative manipulative sounds here.

Comprising of just vocalist and guitarist Becca Bomb and drum molester Duncan Destruction, the duo rile up more noise and reaction than most multi-personnel bands as they work their way deeper and hook with the sharpest of bone splicing musical barbs. Their music can be best described as The Cramps meets The Pixies amongst an orgy of The Orson Family, The Victorian English Gentlemens Club, The 5,6,7,8’s, and The Stooges. The result is a glorious strained melodic bedlam which brings all the decades of garage rock and punk from the 50’s through to today with infectious and unique ingenuity. It is rare to be truly excited by a band but there is no avoiding it with The Creeping Ivies.

The track Ghost Train opens up the EP and immediately one is captivated by the irresistible simplicity yet fully intrusive beats and guitar. As Becca unleashes her deep and strong vocals the first thought is that this is what The Cramps would sound like if fronted by Wanda Jackson. No note is wasted on frills and no space unfilled by stirring primal beats and energy. The addictive chorus assumes control of ones voice within seconds of its first appearance and the electrified discords of pleasure from the guitar leave one spinning. The track is an unrelenting stomp with a contagion power to make any virus enviable. The song is easily our favourite of the year so far and kept the other two tracks on the EP waiting for their chance as it invited multiple plays before moving on.

    Don’t Cry strolls in next with equal flair and instinctive charm. There is nothing as hypnotic as a song primitively basic yet stunningly crafted as The Ramones who offer more than a spice here have proven. The Creeping Ivies have tapped that same vein of invention to equal effect and success. The track is spawn from shadows within shadows to offer a disturbance found in the likes of Th’ Legendary Shack Shakers and The Birthday Party with uncomplicated sounds found in early Yeah Yeah Yeahs. All these though merely add spicery to the sound with the duo consistently sounding like The Creeping Ivies predominantly.

Completed by the scuzz ball of noise Chicken Voodoo Blues the EP released on Jet Black Records, is easily one of the best heard in a long time. The track ruptures blood vessels and ear drums with its assault of festering melodic swipes and a mighty destructive rhythmic rampage leading to climaxes as distressed and chaotic as one could pray for. It is a bedlamic end to an enormously fun release and the instigator of deep frustration that there was only a triplet of psychotic mayhem offered.

The Creeping Ivies may not be to the taste of everyone but if any of the references mentioned grab your ear than this duo will be your new musical infatuation.

Grab the EP for free at http://thecreepingivies.bandcamp.com/album/ghost-train-ep

RingMaster 07/06/2012

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Houdini/Frau Pouch: Split EP

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May 28th sees the return of an irresistible friend and the reason for a new bout of infatuated stalking. Let us elaborate. That date is when the simply stunning new split EP from UK bands Houdini and Frau Pouch is unleashed upon the world and it is destined to leave ears and hearts blistered and awash in salacious wanting. Houdini is a trio which are no strangers to RR and a band who without fail always ignites the hottest fires with their scuzz punk creations. Frau Pouch though are completely new in name and sound here and easily the sexiest and most essential conjurors of sadistic dirty post punk scratchings heard in a very long time, and the instigators of energies and wicked desires that we never knew existed.

To say the EP is impressive is an understatement, alone the duo of songs from each band would bring excitement and heaps of enthused attention but together it creates a release which shows the deep quality within UK indie music if you go beneath the artificial surface.

Houdini set a flurry of ears and emotions blazing with their brilliant second single Smokers Cough though their first release What A Fire, and its more singular punk sound was not exactly slow in announcing the promise of the band. Smokers Cough was stunning, an instant contagious pull into their inventive and addictive garage punk scuzz rock sound which still has the same magnetic power two years on. The following Deadlines EP only confirmed the acclaim their debut release deservedly earned but with the two songs on the new EP the band has brewed all their invention and ability into a blitz of garage/punk rock triumph. Don’t Look Down leaps upon the ear with vindictive riffs and intimidating rhythms, guitarist Greg Webster, drummer Tom Bonner, and bassist Giles Barrett all taunting with energy and intent whilst crafty melodies wind themselves around the senses from underneath the powerful and muscular attack. Once more the band find a chorus and line of hooks as infectious as any germ to make a mockery of what most pop punk bands come up with.

The siren pull of that song is replaced with a bristling cloud of electrified scuzz in Your Dog Is Not A Horse. With a meaner heart and darker intensity the song mugs the senses with heavy riffs and smog like energy to outstanding effect. Imagine Reuben, The Fall and first generation Faith No More and you get an idea, it is immense.

Frau Pouch is a different beast entirely though from the same overall stable as their partners in crime. Another trio in the irrepressible shape of Joe Wise (guitar/vocals), James Thompson (bass), and Suzanne Freeman (drums), the band incite all the wrong feelings and mischievous intent, and it is wonderful. The best way to describe them is as the bastard evil offspring from an illicit intrusion between The Fall and The Victorian English Gentlemens Club with some fingering from The Cramps and Turbogeist. The band thump and bruise the senses with highly charged melodies and belligerent riffs all soaked in vintage discord and infected defilement, the result pure magic. Their first song Sexy Architecture quizzes and attacks synapses with unbridled choppy serpentine riffs and insane melodic scrapings lighting them up like fireworks whilst the  vocals come over like an over exited Mark E Smith as they tease and twist the words through the ear.

Second track Sexy Mittens is even better as the band add some psyche punk to the mixture. The song prowls and sways with hypnotic posture, its energy a wanton violation upon the ear with tempestuous acidic ingenuity. Still reminding of the previously mentioned bands you can add some mesmeric noise tease from the likes of The Gaa Gaas and Engerica to the frenetic bedlam of discord. With both songs barely seeing two minutes in their binoculars it offers up the only gripe as one could listen to this for hours and not find a lull in the pleasure.

If there is only two bands you check out over the weeks ahead make it these two. Houdini and Frau Pouch have combined for one of the most stirring and invigorating, not to mention brilliant releases so far this year and most likely for the months and months ahead

http://houdinisaur.bandcamp.com/

http://www.facebook.com/FrauPouch

RingMaster 25/05/2012

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