Watch Rome Burn – Vox Heretic

Seattle has been one of the most refreshing conveyor belts of musical pleasures over the decades and shows no signs of slowing down as from its dirtiest grunge punk depths it brings us the inimitable sound of Watch Rome Burn. The two brother outfit has just uncaged their new album and it has swiftly become something we for one cannot get enough of.

Last year the pair of guitarist/vocalist Drew and drummer Jestyn Cummings lured eager plaudits with Now on VHS, an attention grabbing encounter laying the seeds for the rapacious roar of its successor Vox Heretic. The new release escalates the dirty crust-esque punk aspect of its predecessor but equally embroils itself in the grunge and alternative rock side of that first proposition but drawing on the rawest breath and predacious intent of both to leave the former laying in its dust.

Vox Heretic immediately had ears and imagination hooked as a sonic drawl brought opener Consumed into view. Its broiled shimmer in turn triggered a rhythmic prowl aligned to an equally skulking vocal prowess, all the time that sonic dissonance pulsating. Never particularly deviating from its initial intent but rich in intimation, the track is superb; pure creative devilry setting up the promise and adventure of things to come.

The following Thief is soon into its carnal swing, its unapologetically raw air and flesh instantly magnetic and bawling away with proto punk causticity. As with the first, there is an inherent catchiness which had the body bouncing even when tempered by the song’s feral garage rock belligerence. Abrasive and bracing, the track just hit the spot as too unerringly did next up Motley. Like a mix of a proto punk Queens Of the Stone Age meets the hungry rock ‘n’ roll of The Sea, the song is another predatory trespass which simply aroused body and spirit.

On The March flares up with an industrial hue next but is soon into a rock ‘n’ roll stride with Jestyn’s rhythms manipulating song and listener as Drew further incites both with his electric intrusion and vocal dexterity. Imagine a punk ‘n’ roll Therapy? and you get a whiff of the outstanding stomp.

The duo showed they can glow with undiluted melodic enterprise too, though Crystallized straight after equally has a fried haze to its coruscating glow while with Be What You Want they caused inescapable addiction. Its caped crusader tinted swing instantly got under the skin, vocal enticement adding to the potency as similarly the wired almost uptight grooves which escape the strings of Drew’s guitar.

The release is brought to a delicious close by firstly War Blues, a track surely bred from illicit blues stills hidden in the shadows of the band’s home city. Its melodic liquor is intoxicating punk blues soaked in the contagion which flavours every track within Vox Heretic; a blend which had the body worked like a puppet before things are finally concluded by the melodic seduction of Up Here. Uncluttered but as rich in flavour as you would wish, the song is a captivating sundown on the album, a final surf kissed glow and sigh which only lures ears right back into the release.

Vox Heretic is Watch Rome Burn knocking on major attention, a door which surely cannot stay closed much longer against the indisputable roar and often corrosive but ever alluring raw charm of their sound.

Vox Heretic is out now and available @ https://watchromeburn.bandcamp.com/releases

https://www.facebook.com/jointheburnlegion/

 Pete RingMaster 22/09/2018

Copyright RingMaster: MyFreeCopyright

Teksti-TV 666 – Aidattu Tulevaisuus

Hailing from Finland, Teksti-TV 666 creates a sound which is quite simply a web of entrapment, every strand bred from an individual flavour but all colluding in a compelling and inescapably contagious proposition called Aidattu Tulevaisuus. Simultaneously, the album is as punk and garage rock as it is shoegaze, metal, and psych rock bred with plenty more ingredients involved. Yet tagging it is easy, pure temptation.

The Facebook page for Teksti-TV 666 lists band members at eight, the press release for the their new encounter says six; a line-up which consists of four sometimes five electric guitars. Whoever is involved, how many strings are manipulated, what is easy to establish is that the band knows how to get under the skin with songs which dance with the imagination whilst toying with the senses. As evidenced by Aidattu Tulevaisuus, each track springs a multi-layered incitement whether a sonic roar or a calm bred intimation and all evolving in the ear with deception, craft, and imagination.

Aidattu Tulevaisuus opens with Turbo-Mondeo, the song emerging like sonic steam from a hidden pipe; coming closer until in engulfs the senses and that swiftly enterprising bond of guitars begin weaving their captivating tapestry. It is an assault though which is a blend of mellow and forcefulness, brewing a more volatile state as vocals and harmonies entice with a raw siren-esque hue. Already the variation in flavour and texture is uncaged, the track unveiling its tempestuousness in between unpredictable serenity for a perpetually infectious trespass.

The album’s track follows and immediately winds something akin to My Bloody Valentine, The Jesus and Mary Chain, and a punk nurtured Asylums round ears. That inherent catchiness surging through the first track is as hungry in the second, as too another entanglement of styles within a mercurial climate of intensity and creative rabidity before Rauhankone in turn spreads post punk toxins. Chilled and chilling with its industrial lining, the track saunters along like a garage punk honed Leitmotiv merged with a noise pop engaged Sex Gang Children; again a rich and intricately built palette of hues embroiled in its inimitable and unique contagion.

Serverny swings in next on a Nintendo core deceit, a devious lure soon unleashing a sonic turbulence which in turn breeds its own drone cast contagion. Its incessant nagging is tempered by ever warm vocals tones and the surf sighs of a guitar but always there boasting its own cyclonic lure. It’s repetitious but never predictable invention, qualities matched within closing track Katko. From its first breath, the song is a thrilling trespass with its eager groove and crisply landing beats, the brooding throb of bass just as enjoyably niggly and irresistible within the rousingly hypnotic post punk/ noise/psych rock integrated majesty.

It is all superb stuff, every track an inescapable joy which will, given the chance, surely devour vastly more than passions beyond ours. Sung in the language of their homeland we cannot not give a clue to the lyrical themes involved but it matters little as Aidattu Tulevaisuus is a true highlight of the year and Teksti-TV 666 a band which deserves all the attention possible.

Aidattu Tulevaisuus is out now via Svart Records.

https://www.facebook.com/tekstitv666/

Pete RingMaster 21/09/2018

Copyright RingMaster: MyFreeCopyright

Devils Teeth – Suki Yaki Hot!

Here to incite you to commit all the bad devilish habits your mother warned you not to is the debut album from Milwaukee trio Devils Teeth. It is an encounter which has inhibitions flying in the front of sensibility and fresh addictions forging new trespasses of ill intent. Quite simply it is a bad assed stomp sure to lead all into glorious rock ‘n’ roll wrong doings.

Out of an already in place friendship, the threesome of vocalist/guitarist Jon Hanusa, vocalist/bassist Eric Arsnow, and drummer Chuck Engel emerged in 2016 as Devils Teeth. By that October they were already sharing stages with the likes of Dick Dale, The Blind Shake, Local H, The Toxenes, and Left Lane Cruiser. Their sound is a diverse and unpredictable hybrid of punk and garage rock with surf and psych punk tendencies which song by song across their first album, Suki Yaki Hot!, shows that even those tags do not really tell the whole story of an inimitable feral proposition additionally “channeling inspiration from Brucesploitation and Herschall Gordon Lewis films as well as surf and psychedelic sounds from decades past.”

From its first breath intrigue accompanies Suki Yaki Hot!, the first sonic sigh of opener Diamond Rio a scheming lure but it is when the raw strokes of guitar kick in that ears and instinctive rock ‘n’ roll passions are ignited. The rhythmic trespass of Arsnow and Engel is as unapologetically contagious as the eager throes of Hanusa’s guitar, all colluding to bring the listener to their feet to induce uncompromising swings through their hips. A fusion of traditional garage rock, mutant rockabilly, and psych devilry, the track is undiluted contagion as magnetically raw as it is skilfully woven.

The Junction Street Eight Tigers follows, a track inspired by Bruce Lee’s gang when he was in Catholic school aged twelve years old. It enters on a rhythmic grumble awash with sonic shimmers, breaking into an infectious prowl built on attitude and temptation; threat and confidence lining its swagger as the heat of Caleb Westphal’s sax adds greater lures to the outstanding encounter.

The diversity in the band’s sound is in full expression by next up Death Is Nimble, the third song a mix of funk and psychedelic tendencies around an instinctive punk rock heartbeat. A noise rock breath springs up from time to time too as the sultry climate of the track smoulders like a mix of Rocket From The Crypt and The Bomboras; captivation held in its palms in swift time before eventually the dark climes of Dirty Tricks bound into view with predacious attitude and a hungry crawl to its lively swing. Echoing those earlier mentioned inspirations, not for the first or last time there is a great B-movie feel to the character of the song; dirty adventure veining and lining its every exploit.

The outstanding Party Shark Shake is next up, the song as the band’s actual name triggered by a book, no surprise here, about sharks by Susan Casey. You can almost feel the warm liquor soaked sand between the toes as the track stomps through ears, the swell of its melodic tides dragging the imagination and hips into the dangerous currents and depths below the biting dynamics of the song. Across the riveting attack, it builds up to rousing crescendos though at no moment is it anything less than an over powering incitement to body, spirit, and imagination. Imaging The Ghastly Ones and The Trashmen in collusion with The Damned and The Revillos and you get a whiff of the album’s greatest moment.

Every one of its ten propositions is a momentous moment within Suki Yaki Hot! to be fair though as proven by the slow slung psychotic swagger that is Understanding The Hands Of A Killer. Its swing is pure devilry accentuated by the flames of sax and the vocal rapacity of Hanusa and Eric Arsnow amidst the cries of victims while its successor, Jet Jaguar is the spark to lust fuelled movements from body and vocal chords where never being a puppet has been so much fun and exhausting.

Who’s Laughing Now? is just as deviously compelling, rhythms and guitar weaving an inescapable hook rich trap infested with the similarly and ever potent vocal incitement of the band. It was another which grabbed a loftier foot hold in the unrelenting peaks of rousing pleasures in the album’s stirring landscape continued by the grappling holds and rhythmic attack of Sakuraba, a song bred from the inspiration of the Japanese MMA fighter and wrestler.

The album is concluded by People Of Earth, calm in relation to its predecessors but a menace lined psych punk croon with mayhem in its genes and contagion in its relentless rhythmic persuasion and raw sonic toxins. It is a superb final shanghai into slavery by the Devils Teeth sound and imagination; a devious machination for salacious times and unbridled pleasure, both the rewards for letting Suki Yaki Hot! infest ears and attention.

Among some real undiluted pleasures this year, the Devils Teeth debut is there at the head of the field.

Suki Yaki Hot! is released August 24th via Triple Eye Industries; available @ https://devilsteeth.bandcamp.com/

https://www.facebook.com/devilsteeth/

Pete RingMaster24/08/2018

Copyright RingMaster: MyFreeCopyright

Wood Chickens – Must Die

Pic Courtesy of Madylen Photography

True uniqueness is a rarity in modern times though you can certainly get very individual takes on the familiar to feed the insatiable appetite for something new. It is fair to say that Wood Chickens have a handle on the former more than most, their sound within new EP, Must Die, a sonic scourge which simultaneously defies the breeding bearing its rapacious presence. It makes for a hellacious infestation of noise which had ears joyous and the imagination spiralling.

Hailing from Madison, Wisconsin, Wood Chickens descends on the senses through the scurrilous antics and prowess of Alex Wiley Coyote, Griff Chickens, and Justin J. Johnson. Their new EP is our introduction to the trio but hindsight has found that across a host of releases their sound has boldly evolved from its country/cowpunk breeding. Must Die is their most extreme offering yet; a cauldron of feral noise and imagination gloriously spoiled with the toxins of punk and metal as well as psych and noise rock.

Five tracks barely touching five minutes in length, the EP immediately has ears cowering and thoughts disoriented with Sados. Its corrupted entrance eventually bursts into a rabid onslaught as guitars and rhythms join vocals in scarring the senses. It is a maelstrom of dissonance yet has an instinctive undercurrent of catchiness bred from its punk natured seeding.

We Skate in Boots swings in next, psych sighs accompanying its brewing contagion loaded garage punk tainted punk ‘n’ roll. Primal and anthemic, the track roars and incites participation as easily as it savages the senses surging through ears with rabidity to the fore before Return of Skunk Ape unleashes its own untamed caustic virulence across 46 seconds of subversive temptation and creative devilry embracing similar choleric hues to its predecessor.

The EP closes up with the psychotic animus that is Y2k Pt. 2, undiluted ravenous noise and intent corroding the speakers, though there is also an untitled unannounced track after that which is, well just bewildering and indeed magnetic.

There has been little if anything which comes close to the sound and invention of Must Die, indeed it seems nothing in the Wood Chickens discography previously like it either. If it is a new turn in the band’s music we for one will be overjoyed though their previous encounters are nothing to ignore, and if just a one off certainly something to be greedily devoured by all with an appetite for the contagion of noise.

Must Die is out now via Crush Grove Records; available digitally and on cassette @ https://crushgroverecords.bandcamp.com/album/must-die

https://www.facebook.com/woodchickensband/   https://woodchickens.bandcamp.com/

 Pete RingMaster 14/08/2018

Copyright RingMaster: MyFreeCopyright

Artificially Yours – The Merger

Ravenously invasive, teasingly seductive, and verging on the creatively psychotic, The Merger EP is the new three-track offering from British trio Artificially Yours. It is a release which has been eagerly anticipated, especially since the Essex outfit’s recent link up with 1-2-3-4 Records; one which rewards that intrigue with a ferociously compelling dissonance fuelled adventure.

Created by vocalist Chat soon after the demise of his previous project which hailed its departure supporting Killing Joke, Artificially Yours has grown from an initial solo project to the three pronged attack of its founder and the electronic prowess of Grumb and Ad. Their sound is a rabid eddy of noise and imagination; post and garage punk thickly lining its distortion fuelled space rock with the rabid tendencies of many more rich flavours involved. Aligned to a lyrical and vocal trespass invading and echoing the growing dystopian landscape and the controlling selfish hands shaping it, it all makes for a proposition which makes you pay attention and question the world, one’s own thoughts, and indeed the magnetic almost feral incitement the band offers.

The Merger opens with its title track, a senses suffocating smog of sound as corrosively apocalyptic as it is coarsely captivating. Sonic winds buffet ears and imagination as rhythms swing, Chat’s vocals with their invasive threat and echo equally as magnetic within the inventive maelstrom. Swiftly it is an infectious affair and as quickly a debilitating irruption but one with imaginative control to its visceral tempest and raw temptation. Though having its rabid claws in ears and appetite almost straight away, it grew its addictive persuasion by the listen; a transgression on the ‘coffee cup capitulation’ steering modern society , as declared by the band, which just gets under the skin and into the psyche.

The following Terror Town matches its predecessor’s stirring heights with its own fully individual character and prowess. Slowly stirring its body into action, the song slips into a magnetic stroll with a somnambulistic air where post punk seeds and electronic intimation collude. Akin to a fusion of the infectious prowess of Tones On Tails and the carnal dexterity of Big Black wrapped in the wiry strands of The Jesus And Mary Chain, the seductive track is swift and ever increasing intoxication; its own intemperance exposed in great woozy bursts of keys within the vocally dark, rhythmically moody exposé.

Final track, Tree, uncages its own uniquely carnal proposal, one as virulently catchy as it is unapologetically frictious. Its psych rock breeding is smothered in unruly noise and enterprise though neither can diffuse its infectious swing with a definite touch of T-Rex meets Joy Division to its nature and tenacity. Adding yet another distinct eclectic shade to the EP, it makes for a glorious end to one striking release.

Formed last year, Artificially Yours has already been stirring up keen attention and can now expect tides more through The Merger. If the world is going down, it could not wish for a better soundtrack with just a glimpse of a survival plan.

The Merger EP is released August 24th via 1-2-3-4 Records.

Upcoming Live Dates:

WED 29th AUG – OLD BLUE LAST, Shoreditch

THURS 13th SEPT – THE VICTORIA, Dalston

 https://www.facebook.com/artificiallyyours99/

Pete RingMaster 12/08/2018

Copyright RingMaster: MyFreeCopyright

The Lightness Of Being – Diversions

Called Diversions, the new EP from UK rockers The Lightness Of Being is just that, a diversion from the bland and predictable in sound and life and one ear thoroughly compelling distraction it is too. Formed in 2010, the London hailing outfit has already uncaged a pair of attention stoking EPs to date but are surely poised to flare up on far bigger and broader radars with their new offering.

Inspirations are said to come from the likes of Queens Of The Stone Age, Mastodon, and Deftones but the three tracks within Diversions show they are influences immersed in the quartet’s own and still growing character of sound. Each song is individual to another and all cruising along the fine line between seduction and predation with relish and imagination.

The EP opens with Bottomfeeder and immediately nags ears with a line of controlled but lustful riffs punctured by just as eager beats. The vocals of guitarist/keyboardist Gabriel Lim rise up within the quickly delicious bait bringing with him menace and intimation which subsequently inspires a ferocious squall; it’s settling back down the spark to repeat the delicious cycle. Fresh drama blossoms by the minute though, new instinctive strains of rapacious enterprise as dark and threatening as it is captivating. There is also a touch of early Therapy? to the song which only adds to its striking presence and persuasion.

Cave follows, a song openly embracing that Deftones inspiration. Its atmospheric caresses provide a mellow sigh to complement the similarly calm tones of Lim, the guitar of Sam West a radiant shimmer alongside as the mist of keys is slowly walked through by the sombre but magnetic stroll of Chris French’s bass. With the crisp beats of Sergiusz Brudek adding their inviting touch it is an infectious calm yet there is a sense of disturbance glimpsed in its depths, one which brews and festers until erupting in an immersive wash of volatility and sonic intensity. We cannot say that the song sparked the same richness of reaction and pleasure as its companions just due to personal tastes but there is no denying that it had ears gripped and appetite feasting before drifting away.

Closing song Refute took our favourite title, its blend of voracious punk ‘n’ roll and dark rock with grungier/alternative rock devilment quickly getting under the skin to incite and manipulate rock ‘n’ roll instincts. A host of flavours make up its swinging escapade, each a fiercely flavoursome spice aligning it’s almost garage punk instincts; just a shame it only lasts two minutes plus but a brief time which had us bouncing and growling.

There is plenty seemingly familiar about the sound of The Lightness Of Being but nothing less than fresh and individual to the band all the same. It is a great mix which makes Diversions a rich listen and the band ones to keep under close scrutiny.

Diversions is released 1st June.

http://thelightnessofbeing.co.uk/   https://www.facebook.com/TheLightnessOfBeing   https://twitter.com/TLOBmusic

Pete RingMaster 29/05/2018

Copyright RingMaster: MyFreeCopyright

Sendwood – Fist Leaf

“Forget about it; let the two of us be a band!”

That was the beginning of French outfit Sendwood; a declaration roared when guitarist/vocalist Kriss Wood (ex-The Real Mc Coy) and drummer/vocalist Alex Mc Wood (Harmonic Generator) found themselves alone in rehearsal without any sign of their band mates. It is a spontaneity and defiance which equally fuels their music and a debut album which just makes you want to get involved.

From the first breath of Fist Leaf, there is a sense that anything could happen, that the pair themselves did not have a firm grip on where their imagination at the time of recording would take them or want to place one. The result a collection of songs which explode like a sonic scatter bomb on ears with the intent of fun, mischief, and rock ‘n’ roll. Last year saw the release of the duo’s first EP, Log Face, a potent introduction to their feral blend of blues, metal, punk, and rock which is off the leash within Fist Leaf.

The first of three tantalising instrumentals starts the album off, Riffocephalus Minus a lure of crisp magnetic beats and meaty riffs swiftly bursting into a fiery proposition, though just as quickly that in turn slips into a harmonica led flirtation before evolving once again. It is a sign of things to come, of the unpredictable devilish antics on offer.

Demon immediately bursts from its predecessor; rapacious riffs and grooves colluding with more of Mc Wood’s rousing swings to grab ears and appetite. It is rock ‘n’ roll to the core, a ferocious slab of infectious enticement easy to roar along to as also the following Needle. Gnarly riffs hit the spot straightaway, beats and vocals taunting as they bait lustier attention, the song uncaging a wild incitement of garage punk ‘n’ roll again needing just a mass of seconds to get under the skin as untamed stoner lit grooves entwine.

Then the virulent catchiness of Leash consumed ears, its grungy stroll and contagious swing an insatiable persuasion with, as in all tracks, imagination rousing detours of varying potency along the way, next up Gotham proving the point. The second of the two is an asylum of wiry grooves and nagging riffs driven by rhythmic manipulation and a vocal unity which share lyrics which may not be the most inventive in the city but has you hollering along with matching energy.

Riffocephalus Medius is a scuzzy slice of sound and temptation, a brief but potent piece of enticement setting up the snarling presence of Penny, a song as seductive as it is unbroken. As so many within Fist Leaf it just pulled ears into eager attention and pleasure in tandem with an increasingly greedier appetite for the album and its hungry sounds. Gun is no different, the track a compelling trespass of concussive yet well-balanced rock ‘n’ roll simultaneously chewing upon and caressing the senses.

The album concludes with firstly the viral exploits of Ber, a track which as the album is maybe not looking to breed uniqueness but is as fresh and as hungry to arouse as anything around. It is followed by final instrumental, Riffocephalus Rex; a piece of captivation which is deceptively calm but with a carnival in its heart which subsequently erupts into a dirty clamour before easing into its cycle all over again.

Both make for a superb end to a thoroughly enjoyable encounter. Rock ‘n’ roll should be fun yet imposing, flirtatious but aggressive and Fist Leaf, indeed Sendwood pretty much tick all the boxes.

Fist Leaf is out now across most online stores.

https://www.facebook.com/sendwoodwtf/

Pete RingMaster 22/05/2018

Copyright RingMaster: MyFreeCopyright