Creative gunslingers and seductive melodies: exploring the world of Prime

Prime has been a rising incitement of attention and pleasure within the British underground rock scene since emerging in 2014 and it is fair to say that the Nottingham outfit is only just beginning to arouse a broader and richer following and support for their multi-flavoured melody rich sound. Following the recent release of their new single and ahead of an upcoming EP we had the pleasure of finding out more about Prime with vocalist Lee Heir exploring the outfit’s origins, sound, latest single and  much more…

Hello Lee and thanks for taking time out of your day to talk with us.

My Pleasure.

Can you first introduce the band and give us some background to how it all?

The band is currently myself on vocals, Kieran Hill on lead guitar, Daniel Ison on bass guitar, and Zero on drums. We’re looking to add a bad-ass guitar player over the summer so we shall see what happens.

Some of the band are recent recruits, has that had any impact on what you are doing now, in maybe inspiring a change of style or direction?

It has… I think we were about to get a bit soft before Kieran and Zero bought so high-impact, flamboyant playing to the table. Every song-ending now sounds like it’s veering off the end of a cliff! And Dan is looking for a certain level of intricacy in the music, he wants to build quiet and loud song structures and tell a 4-5 minute song through those theories.

What inspired the band name?

I wanted something big, a bit like T.REX, as Marc Bolan was a massive influence on me starting out. I got the name from the Lee Marvin film Prime Cut – it was in the TV guide one day when I was flicking through the film listings.

Was there any specific idea behind the forming of Prime and also in what you wanted it and your sound to offer?

There were no grand plans. It originally started off as a studio project, we recorded a studio album in 2014, but I suppose it was more like a solo project as most of the guys didn’t end up playing live with us, guys like Dan Ryland, who was a very creative drummer. The lads who played on the early recordings were all great, I just wasn’t happy with the mixes of the production at times.

Do the same things still drive the band when it was fresh-faced or have they evolved over time?

Well Kieran is still fresh-faced, he’s only just turned 20! I think the lads are all the same as me: I’m driven by more musical challenges, I just wanted to make pure rock music originally, which in a way, we still do, but there’s more subtlety there now and more interesting songs.

Since your early days, how would you say your sound has evolved?

Everything is better in my eyes. Zero instantly knows where he wants to take a song as a drummer, he has such an ear for which direction he sees our songwriting. Dan, for such a cocky bastard, doesn’t rate his own abilities as highly as he should: he is an excellent songwriter. The sound was more based in garage and punk, and although I love that stuff, with the exception of The Seeds or The Clash or Gang Of Four, they were never the most musical of genres.

Across Prime it sounds like there is a wide range of inspirations so as a particular process in the songwriting emerged to generally guide the writing of songs?

No particular process, it used to be jam out in the studio, so that’s why it was maybe more punky and frenetic and less subtle. Now most songs come from me or Kieran, or sometimes me and Dan, sitting down with a pint and thinking a bit more.

Where do you, more often than not, draw the inspirations to the lyrical side of your songs?

Everyday life, concepts, theories… Chris (Munton), our original bassist said to me “I try and write songs that give people direction and some meaning”, I suppose I do that to a degree, in more of a layered, subtle – or sometimes in your face! – way.

Could you give us some background to your latest release, out soon, the Bye Bye EP.

Well Bye Bye, our latest single and video are out now online on the usual places, so we’ve decided to enhance it with some tracks recorded live at the o2 Leicester and a remix by a really good electronic artist called Roger Portas who has previously remixed Donna Summer and has a project called Video Tape Machine. The track Bye Bye originally started off as a simple demo, it just sounds like pretty fuzzy rock with my vocal quite impassioned – or unlistenable I prefer to say! – I think I’ve improved on it a little bit since thank God!

What are the themes and premise behind Bye Bye?

It’s a very confused song about a broken relationship, and how people go round in circles until they just come to a dead end and realise that they are never going to be together.

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

We haven’t recorded in over a year, but it’s always best to go with the most complete song possible and put finishing touches to it, such as finish lyrics off, or add nice guitar overdubs and backing vocals, done by Shirena Ingram, who is a lovely girl and a really nice singer. We road test everything we record live, for many months before recording. If it doesn’t go down well live it’s pretty silly recording it; although Bye Bye was a rare exception to that rule.

You mentioned tracks live at the o2… tell us about Prime live?

We go out there to entertain first and foremost, if you come watch Prime anywhere in the country, you’ll never get the same show twice. I don’t think you get that with bands like Arctic Monkeys, from what I hear they’re pretty boring live.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods? Are there the opportunities to make a mark if the drive is there for new bands?

We’ve had more interest and luck up North I would say, our sets have gone down a storm in venues like The Wardrobe in Leeds. Christian Carlisle on BBC Sheffield has played us and seems to like what we do, although certain stations in the East Midlands don’t seem to, they seem to be more interested in plucking fifteen-year-old girls from obscurity… that’s their prerogative. I’ve been a bit frustrated by certain venues when we have gone down clearly very well to bigger crowds, yet a lack of follow up is done – the system is definitely flawed at times, but we push on. Next stop is London.

How has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success or is it more that bands struggling with it are lacking the knowledge and desire to keep it working to their advantage?

I don’t see apart from the very poor royalties on streaming sites – virtually non-existent from sites like Soundcloud and Spotify – that the internet can be a bad thing. People from around the world can find out about Prime. That’s a great thing. Main problem is the lack of quality control, there’s a lot of shit content and bad music – from the kinds of bands you just mentioned -getting in the way of people finding us too.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

I’ll just say thank you for your time and thank you to your readers for supporting new or unsigned music. Without your support, new bands can’t exist, so keep doing it!

https://www.facebook.com/ukprime/    http://www.thepublichousebrand.com/prime

The RingMaster Review 13/06/2017

Copyright RingMaster: MyFreeCopyright

Three Way Plane – Your Kingdom, My Life

Way back in 2013, Greek outfit Three Way Plane got in touch and introduced us to themselves and their new EP Fire. It was a potential loaded indie/post punk infused proposition which was bitingly eclectic and imaginatively rampant suggesting that the 2004 formed band was ready to tap into attention far beyond their local success. They have not quite found that breakthrough since in a period which was assumedly busy for them but appearing quiet on the outside. Things might just be about to change though as the Athens outfit release their second album Your Kingdom, My Life and another collusion of sonic diversity and creative adventure.

Two years after forming the band released their first EP, Bright Days the first clue to the growing invention in their punk nurtured sound though it was their well-received debut album, give us something new to shout, which really stoked attention and eager support four years later; its success subsequently eclipsed by Fire. 2015 saw the band release a collection of remixes from songs out of their previous two offerings and the striking 7″inch single A Waltz For Unity & Love / New Destination. In hindsight, the latter was a definite tease of the new growth in sound and songwriting of vocalist/guitarist Stratos, bassist Giannis, and drummer Geo, who has left the band since the album’s recording; hints now impressively realised in Your Kingdom, My Life.

In some ways, the Three Way Plane sound has actually slimmed down its rich array of textures and flavours into something less overwhelming but more concentrated on its qualities, a sign of maturity easy to embrace. As opener Inner Warfare shows though it is still a web of styles and imagination which leaves predictability looking elsewhere for a home. The track initially waves a sonic lure in front of the listener, the guitar almost taunting before a couple more breaths sees rhythms strolling through ears with a knowing swagger as riffs sculpt their dance.  That first slither of post punk bait returns to tempt as the song slows a touch to welcome the expression shaped vocals of Stratos. Simultaneously Giannis’ bass grumbles with a throaty growl, riffs again casting an eager scrubbing of the senses as Geo’s beats tenaciously swing at a body and imagination swiftly hooked by the song’s mix of indie rock and punk at times reminding of UK band Houdini.

It is a superb start soon matched by the more crazed and caustic exploits of No, I’m Not Sober. Again the bass is an irresistible lure, showing more mischief than attitude this time, a matching hue directing riffs and vocals as the track swings between revelry and hostility. There is a definite feel of The Cure and their Three Imaginary Boys entrance upon the world, an additional off-kilter and magnetic discordance in tone and touch which lights ears and personal instincts. With the guest manipulation of Kostis Maloutas on the Theremin extra pleasure, the track eventually makes way for the matching excellence of A Waltz For Unity & Love. Straight away guitars entice ears, courting attention with their weave of wiry hooks and flirtatious melodies. Darker hues come into play soon after as the track hits its vigorous stride as vocals share lyrical suggestion though it is the snare of flirtatious hooks and energy which rubber stamps an already done deal between song and pleasure.

Guitars and bass again make the first flirtation with ears as Get Off Your Hands steps forward, its more shadowy nature and physical trespasses infested with fiery melodies and infectious rhythms which respectively wind through and steer the enjoyable ship. There is that post punk essence again at play but more vocal within the following Xepiasakos Theme, an instrumental cruising in on a great Gang Of Four like dexterity in its rhythmic prowess which immediately has body and spirit dancing. The piece is a touch more reserved than its predecessors but a livelier persistence impossible to refuse or let physical reactions leave alone. Musically the song also reminds of eighties bands like Leitmotiv and French outfit Modèle Martial, an array of essences cast into a sonic Three Way Plane kaleidoscope which certainly has a great spicing of nostalgia.

With a similar eighties spicing to its seduction of catchiness and challenges, Checkmate is simply infection from start to finish; guitar hooks and brooding bass lures a devious incitement infesting limb and imagination with viral expertise while the following Silent embraces the senses in a more atmospheric wash of sound though it too does not skimp on addictive snares and seriously catchy twists. That raw ethereal climate solely takes over midway though, a sonic drifting across the imagination with an underlying tempestuousness which grows as shadows blossom. Once more The Cure come to minds at certain moments, the song more reflective of their second and third album period while again creating a proposal individual to the Greek outfit.

The more caustic and volatile essences of other songs has its head for Your Life ’08, the track an abrasive slice of hardcore shaped punk but with a rhythmic agitation and tenacity which ensures an infectious bullying of ears and lively thoughts is welcomed.

The album closes with Psychic Changes, a rich trespass of vocal dissent and sonic intrigue spun with a tide of gripping hooks and predacious rhythms into a melodic labyrinth growing darker and more ravenous with every layer spun. As the previous track, it is more of a challenge than earlier propositions, more of a slow burner but ultimately emerges as one of the most striking quests from the imagination and craft of Three Way Plane.

There are times when the body really feels like a puppet to Your Kingdom, My Life, unable to escape its infection carrying incitements, and never a moment when pleasure is not the fuel of the day. Whether the album will see Three Way Plane break into international attention time will tell, it has all the attributes, but it will certainly establish the band as one of most exciting adventures waiting their moment.

Your Kingdom, My Life is out now and available @ https://threewayplane.bandcamp.com/album/your-kingdom-my-life

https://www.facebook.com/threewayplane/    https://twitter.com/threewayplane

Pete RingMaster 31/05/2017

Copyright RingMaster: MyFreeCopyright

Idles – Brutalism

Photo by Stephanie Elizabeth Third

An infestation of the senses, a raw roar on all our responsibilities, and a contagious noise fuelled trespass on everything in between, Brutalism is one of the essential incitements of not only 2017 but we would suggest the decade as a whole. The debut album from British quintet Idles rips into personal and social issues with the insatiable attitude and defiance unleashed in the late seventies, its irritable sound as much punk rock rage as it is a post punk/noise rock  enslaving of the imagination and psyche.

Each song from the Bristol five-piece of Joe Talbot, Mark Bowen, Lee Kiernan, Adam Devonshire, and Jon Beavis is a creative growl, a visceral antagonism with an infectious edge and mischief just as bruising and incisive. Dedicated in part to the loss of Talbot’s mother, who adorns the record’s cover, Brutalism is stretched with such invasive treats, from start to finish a mordant adventure, challenge, and accusation as witty as it is vicious, as devilish as it is ferocious. With Idles in the early days of an UK tour, their first album is sure to see it’s already eagerly devoured and anticipated 25 dates embraced by even greater fevered support.

Straight away band and album show uniqueness within a proposition which also swiftly inspires thoughts of bands such as The Fall, Swell Maps, and early The Horrors. There is so much more to it though as that originality shows, opener Heel_Heal cantankerously striding from an initial dispute with an intrusively nagging riff and rhythmic tenacity which alone lures keen attention as Talbot’s equally confrontational vocals snarl. Punk rock infested with crabbily textured noise, the track rumbles and grumbles; band vocals as anthemically rousing and spiteful as the general character of the outstanding starter.

Fellow Bristolians, The St Pierre Snake Invasion also come to mind with the song and successor Well Done, the second a sonically twisted and lyrically spiky shuffle making use of body and imagination like a peeved puppeteer. Its persistent jabs tenderise the senses for the scourges of sound which erupt to further scorch, Idles pressing all the right buttons for lusty reactions before uncaging the equally enslaving Mother. An irresistible bassline cores the next track, its dark tempting soon surrounded by swinging beats and scuzzy riffs, all uniting with Artery meets Gang Of Four scented tempestuousness. Again no punches in sound and word are pulled, one of numerous traits within the Idles sound which leaves there little to be taken lightly but plenty to find a seriously keen appetite for.

Date Night reveals a tango loaded with a rhythmic incitement which barely stays in the same place more than a second or two, its beats on hot coals but with a composure which aligns perfectly with the monotone growl of the bass. As guitars saunter and blaze, Talbot magnetically assaults with word and character, the volatile squall of the track then emulated in its own way by Faith In the City and its post punk ‘n’ roll causticity. A rousing irritant exposing essences hinting at bands such as again Artery and The Nightingales, submission to its lively acerbic inducement is quick and just as rapid as next up 1049 Gotho waltzes with irritated intent and pounding beats into ears and psyche. For all it and the other song’s choleric probing and inventive dexterity, sonic squeals a delight, there is a melodic lining which as subtle as it might be at times just inflames the catchiness and adventure of all escapades.

Wiry tendrils have ears encroached and alive as Divide & Conquer rises with its own particular grumble of sound, the guitars creating a web of raw enticement as bass and beats prowl with a testy air, Talbot stalking it all with his increasingly compelling tones. The increase in energy and ferociousness only adds to the captivation before Rachel Khoo and Stendahl Syndrome irascibly serenade and fractiously critiques respectively; both unloading their sonic and lyrical venom with snappy and quarrelsome devilry.

Next up Exeter has a slightly lazier gait but still imposes its punk ‘n’ roll canter with addiction forging rhythmic cunning as guitars and vocals get under the skin with their respective exploits like a Fatima Mansions/ Big Black collusion exploring creatively fresh impositions. Both tracks leave an already greedy appetite hungry for more, a lust more than fed by the kinetic stomp and sonic psychosis of Benzocaine and equally by the punk grumble and waspish word prowess of White Privilege.

Idles leave their arguably greatest moment for its final track, though each listen only elevates another moment to drool over. Slow Savage is a haunting dyspeptically lined embrace living up to its title as keys and voice fill the low-key and stark atmospheric mist hugging the imagination as a heartbeat of rhythm throbs. It is a dark, melancholic rapture violating as much as seducing the senses and a thrilling end to one exceptional release.

Being truly excited by something new or unique is a treat rarely found these days, Idles though have cracked that desire in fine style with Brutalism.

Brutalism is out now on Balley Records through iTunes and other stores.

Upcoming Dates on the Brutalism Tour…

March 2017

Thursday 16th – Brighton – The Prince Albert

Friday 17th – Tunbridge Wells – Forum

Saturday 18th – Bedford – Esquires

Monday 20th – Oxford – The Bullingdon

Tuesday 21st – Sheffield – The Plug

Wednesday 22nd – Newcastle Upon Tyne – Think Tank

Thursday 23rd – Aberdeen – Tunnels

Friday 24th – Dundee – Buskers

Saturday 25th – Edinburgh – Sneaky Pete’s

Monday 27th – York – The Crescent

Tuesday 28th – Hull – The Adelphi

Wednesday 29th – Nottingham – The Bodega

Thursday 30th – Liverpool – O2 Academy 2

Friday 31st – Wakefield – Unity Hall

April 2017

Monday 3rd – Stoke-On-Trent – The Sugarmill

Tuesday 4th – Preston – Guildhall

Wednesday 5th – Cardiff – Clwb Ifor Bach

http://www.idlesband.com/   https://www.facebook.com/idlesband    https://twitter.com/idlesband

Pete RingMaster 14/03/2017

Copyright RingMaster: MyFreeCopyright

Stoor – Self Titled

stoorJosef K meeting Wall Of Voodoo at the behest of Dead Kennedys with the rhythmic virulence and discord of The Fire Engines

No idea what is in the water over at Stereogram Recordings but this past twelve months has seen the label release a clutch of albums that simply ignite ears and connect with the imagination like no others. Amongst them have been encounters with bands such as St. Christopher Medal, The Filthy Tongues, and The Eastern Swell. Now adding to that adventurous collection of treats is the self-titled debut album from Dundee based outfit Stoor, a release which just might be the most impressive and ridiculously addictive of the lot.

The Stereogram Recordings offering is actually a full re-release of the band’s first album which was self-released on vinyl last year but sure to be the first real engagement for a great many with a quartet which rose up back in the first breaths of the nineties. Musically Stoor seem to embrace post punk/new wave sounds found in the couple of decades before their emergence, and though it is bordering on impossible to pin down their sound imagine Josef K meeting Wall Of Voodoo at the behest of Dead Kennedys with the rhythmic virulence and discord of The Fire Engines and the warped imagination of Pere Ubu in close attendance.

Centred around the off kilter invention of bassist/vocalist Stef Murray, drummer Scott McKinlay, and guitarist Ross Matheson with guitarist Davie Youngblood completing the current line-up, Stoor get straight into ears and psyche with album opener Secret World Of Cement. It is an instrumental which gets right into our already existing passion for post punk devilry, sparking the imagination with its cinematic urban soundscape. Hips and feet are swiftly indulging in its virulent Fire Engines hued strains as hooks and melodies tease and tantalise within something wonderfully akin to the most addictive sixties TV theme tunes.

It is a wonderful start quickly matched up by Liberator, a track just as rapid in its persuasion as spicy lures of guitar link up with the tenacious rhythmic bait laid down by McKinlay. The vocal tones of Murray attract like a mix of Jello Biafra and Pere Ubu’s Dave Thomas, expelling their earnest cries from within another seriously catchy stretch of invention before the brilliant Aye, No raises the ante. A fiercely seductive bass line invades first, strolling from the initial clash of sound to be quickly joined by equally salacious guitar hooks following the same route as Murray’s grooving. Like a pied piper the union draws the listener into an explosive crescendo, riffs and rhythms colliding before the temptation begins all over again with even greater strands of delicious discord involved. All the time Murray places a potent vocal grip on an already eager appetite, backed by the band within what is one gloriously repetitive and enthralling swagger of a song.

art_RingMasterReviewInfect Me steps forward next to keep the enslaving of ears tight, its Gang Of Four like rhythmic escapade chaining attention alone, the brooding basslines and stabs of guitar extra chains to trap attention and ardour. Bursts of raw rock ‘n’ roll only adds to the magnetism as too the distinctive and increasingly flavoursome vocals of Murray, here finding a Stan Ridgway flavour to his excellent theatre of voice. Between them Murray and McKinlay rhythmically have the passions chained up like Houdini, though no escape is possible especially as Matheson and Youngblood create a web of melodic intrigue and deranged drama.

Through the heavier almost muggy escape of Devil Rides Out, a song with a touch of Scars meets again Pere Ubu to it, and the pulsating psych rock infested instrumental of March Of The Molluscs, the album adds further diversity and creative theatre to escalate an already established habituation to its additive prowess, backing their success up with the punk rock of Frack where thoughts of bands like Swell Maps and television Personalities are sparked, though, as constantly across the release, Stoor conjure up proposals unique to their own senses entangling invention.

The calmer saunter of Open The Box comes next, its character a more stable affair but prone to Devo-esque twists and turns before making way to allow the psychedelically spiced Hold That Thought to serenade ears. To its warmer and gentler nature though, there is an underlying tempestuousness which channels its energy into a swinging post punk canter a la The Three Johns.

The bands new single Witchfinder General has ears and lust over excited next, its rhythmic romp alone an unshakeable grip with Murray’s bass swing a predacious seduction reinforced by the tangy weave of guitar and the eager dance of the vocals. Dark and mischievous, compelling and shadowy, the track is superb, a certain doorway into the album come its release though fair to say any track is a suitable invitation.

Going out as it came in with a mouth-watering, imagination stoking instrumental going by the name of Sure Beats Me, a piece which plays like B-52s engaged in carnal knowledge with The Shadows, the album leaves only an urgent urge to dive right back into its body of fun.

Stoor may have been around for a fair few years now but this is the moment they should be enveloped by the biggest spotlights, courtesy of an encounter which has to be considered as an album of the year contender.

Stoor the album is released October 28th on Stereogram Recordings digitally and on CD with the single Witchfinder General out on October 21st.

STOOR are supporting Brix Smith & The Extricated on Sunday 30th October 2016 and The Membranes on Friday 27th January 2017, both nights at Beat Generator in Dundee.

https://www.facebook.com/stoormusic/   http://www.stereogramrecordings.co.uk/artists/stoor/

Pete RingMaster 19/10/2016

Copyright RingMaster: MyFreeCopyright

Frau Pouch – Biscuit Beard

fp_RingMasterReview

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

Slow Riot – Trophy Wife

Photo by Steve Gullick Photography

Photo by Steve Gullick Photography

Earning thick acclaim and attention with their Cathedral EP, Irish trio Slow Riot are now poised to release their new single and a fresh inventive colour to their already magnetic sound. Their previous release and singles worn an open post punk inspiration drawing likenesses to bands such as Gang of Four, Television, and Wire, as well as a shoegaze scented melodic charm. Though Trophy Wife is still embracing such seeds, it swiftly shows a new adventure of swinging rhythms and imagination tantalising hooks with a vivacity to match that of the driving energy fuelling its body. The result is a compelling affair which still springs from an eighties spawned heart but with the tenacious urgency of the now.

art_RingMasterReviewFormed in 2013, Slow Riot consists of vocalist/bassist Niall Clancy, drummer Paul Cosgrave, and guitarist Aaron Duff. 2015 saw the band release their first pair of singles in City Of Culture and Demons, two intrigue sparking songs which made a bigger impact as part of the attention grabbing Cathedral EP last October. The time between its release and the new single has seen a new twist and exploration in the band’s sound which Trophy Wife is already showing as being a great fresh step.

As the last EP, the single was recorded with Kevin Vanbergen (The Pixies, The Maccabees, Dinosaur Pile-Up, The La’s, Biffy Clyro) at Brighton’s Park Studios and quickly gets to work persuading and exciting ears with its initial surge of beefy rhythms and sonic incitement. Guitars spring a melodic web from there as the bass invitingly prowls, the first cradling the warm tones of Clancy and his harmonic delivery. Almost straight away, that previous post punk spicing emerges as a more new wave hued character, nudging thoughts of bands like B-Movie and Modern English whilst the pounding drive of the song and its intensive undercurrent of virulence offers a Doves meets Editors like tempting.

The track is a vivacious captivation accompanied by B-side Awake For Days; a more laid back proposition revealing another shade in the new palette of enterprise used by Slow Riot in songwriting and sound. Though hopes are that the band do not entirely free themselves of the darker post punk hues found in their debut EP, there is no denying that Trophy Wife offers something just as exciting and easy to find a healthy appetite for.

Trophy Wife is out on April 15th via Straight Lines Are Fine @ http://www.thegenepool.co.uk/artists/SLOW+RIOT.htm

Upcoming live dates:

18/04 – Opium Rooms, Dublin w/ Mission Of Burma

23/04 – Kasbah Social Club, Limerick

25/04 – The Waiting Room, London (free show)

https://www.facebook.com/slowriot.theband   https://www.instagram.com/slowriot.theband/   https://twitter.com/Slow_Riot_Band

Pete RingMaster 14/04/2016

Copyright RingMaster: MyFreeCopyright

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

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/