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

The Filthy Tongues – Back to Hell

Two years ago Scottish band, The Filthy Tongues released a debut album which quite simply blew us away. It was a striking and increasingly haunting incitement of “caliginous flavours and textures.” Such its gothic beauty and immersive intimation we wondered if the trio had already laid down their finest moment and would struggle to match let alone eclipse its majesty again. Oh fool us! The band has just unveiled its successor in Back To Hell, a web of instinctive drama and invasive magnetism which puts its predecessor and pretty much most things this year to date in the shade.

Edinburgh hailing, The Filthy Tongues consists of vocalist/guitarist Martin Metcalfe, bassist Fin Wilson, and drummer Derek Kelly; the three previously members of Goodbye Mr Mackenzie and Angelfish alongside Shirley Manson. After the demise of those bands, all ventured into different projects, musical and not, before Wilson and Metcalfe came together as acoustic duo The Filthy Tongues, named from a phrase from a Goodbye Mr. Mackenzie song. This project subsequently evolved, the three gents back creating together and vocalist Stacey Chavis joining what would become Isobel Gowdie & the Filthy Tongues (to become Isa & the Filthy Tongues). Moving on, the band became three again and The Filthy Tongues with the startling Jacob’s Ladder the irresistible wake-up call to their presence and dark world. That first album was a tapestry of sound and styles; everything from dark rock, garage punk, surf, dark folk and post punk aligned to plenty other rich flavours as the band created almost salacious realms of seductive craft and gothically shadowed deeds. Back To Hell is more of the same yet a whole new landscape of manipulative imagination, riveting sound, and lyrical weaving.

As its predecessor, Back To Hell ventures through the dark claustrophobic underbelly of the Old Town in Edinburgh yet equally it incites the imagination to broaden its landscape and conjuring. It opens up with the addiction sparking Come on Home, a track instantly sharing an electric mist of intrigue and dark suggestion before springing an infection fuelled stroll stalked by the vocal prowess of Metcalfe. Like the sounds, his voice has a dirt clad texture, a gravelly tone which just draws you into the narrative and atmosphere of the developing aural theatre. Keys similarly bring a teasing suggestion to the mix as rhythms and guitars openly simmer. Swiftly hips were swaying to its call, head rocking to its swing and voice aiding the wonderfully tainted harmonies. The band’s new single, it is just superb, that haunting quality in their music already seducing via keys and voice as guitars weave and rhythms coax.

It is an outstanding start reinforced by the senses transfixing tale of The Ghost of Rab McVie. Strings and their electronic counterparts quickly infest the imagination, the first from the suggestive touch and craft of Susannah Clark. Metcalfe is soon within their descriptive midst, voice similarly nurturing thoughts as the song leads the listener into its melancholic heart. There is a beauty to it though which just seduces ears and imagination but with an earthiness keeping the dark surroundings fully in view before the album’s title track provides the gateway into a nefarious journey. Feeling like being trapped in a Celtic Wickerman driven nightmare, the song simultaneously overwhelms, indeed suffocates, and seduces all with increasing intensity. It is quite superb with the craft of Clark simply irresistible.

Mother’s got a Knife follows, its animated shuffle also getting under the skin within the first dance of enterprise before slipping into a smouldering glide; repeating the captivating cycle in swift time. Like a mercurial fusion of Th’ Legendary Shack Shakers, The Bad Seeds, and Wall Of Voodoo with a Josef K lining, the track was another which seduced and enslaved with ridiculous ease such its masterful imagination and virulent breath.

Next up Leper Town was just as persuasive, its pop infested rock ‘n’ roll reminding of a few  in some small ways but as ever, so unique to The Filthy Tongues as it had body and thoughts bouncing and appetite for their invention greedy. That individuality is never absent from a song as proven once more by Carlos the Jackal, menace and tenebrific elegance soaking its predacious yet infectious prowl while Who are you? is the band’s creative theatre at its most compelling and beguiling. It too has a threat in its air and beauty in its dark drawl; addiction for its creative alchemy once more inescapable.

The album goes out on the mesmeric croon of Take it, a song with a whisper of U2 meets Helldorado about it and a dirty laced grace which just fascinates as layers of sound seduce. It oozes beauty, loneliness, and temptation; a crepuscular radiance of sound and emotion which steals attention from the real world.

It is a glorious end to another extraordinary encounter with The Filthy Tongues. Their Jacob’s Ladder was one of the essential releases two years ago, Back to Hell is THE most vital release of this so far and hard to see being eclipsed too often over the months ahead.

Back to Hell is released May 25th through Neon Tetra / Blokshok Records.

http://www.filthytongues.com/   https://www.facebook.com/The-Filthy-Tongues-144934250476/   https://twitter.com/filthytongues

Pete RingMaster 21/05/2018

Copyright RingMaster: MyFreeCopyright

Gravves – Oh, The Joy

One of last year’s highlights was undoubtedly the broader introduction of UK noise punks Gravves through debut EP Rattle. Now the band is ready to whip up even greater fuss and raucousness with its successor whose title pretty much sums up reactions to it, Oh, The Joy.

The North Wales hailing outfit create a cacophony of sound and enterprise littered with devious hooks and senses harrying rhythms. It is borne of a fusion of punk, noise, and alternative rock, the lustier ingredients of each uniting in a bold and often caustic roar as virulently infectious as it is eagerly abrasive. If Rattle highlighted its instinctive persuasion, Oh, The Joy rams it down eagerly welcoming throats with even greater relish and ferocity.

The trio of bassist/vocalist Adam Hughes, guitarist/vocalist David Thomas, and drummer Tom Williams swiftly blast ears with the Michael Whalley (Kong, Bipolar Sunshine) recorded EP through opener Power Bomb Baby, each of the three bombarding the senses with raw energy and zeal. William’s beats take no prisoners whilst guitar and bass harry and taunt with rapacity as vocals blaze.  As imposing a trespass as it is, the track is fuelled by infectious rock ‘n’ roll, sweeping the listener up in its tenacious garage punk/noise rock lures and energy.

The track continues the character and intent which made the band’s first EP so irresistible yet already there is a richer craft and individuality to the band’s sound which continues into next up Monster Truck. The second track also thrusts its rhythmic aggression and vocal abrasion immediately through ears but soon shows a more controlled if still devious attack with skin burrowing hooks and an irritably grumbling bassline; attitude simultaneously fuelling the heart of the outstanding song in word and sound.

From a scuzzy wind This is Bliss springs an indie meets garage punk incitement which had the body rocking with swift submission, Gravves tempering its punk causticity and elevating their cunning imagination for virulent hooks and invasive swings. Like a mix of the St Pierre Snake Invasion and The Eighties Matchbox B-Line Disaster, the track quickly had juices running as too did successor Sinister Surf. Emulating its title in flavour and noir lit breath, the track simply haunts as it prowls the senses, seducing and invading with sublime ease and touch even as its tantalising grooves erupt with caustic emotion and intensity.

Hello Sailor bawls and stomps with its own particular virulence next, manipulative hooks and rhythms controlling instincts and limbs like a dictator as guitars spread melodic corrosion across their invasion. The surf rock scent of the previous track is still lapping over things but from a more early Horrors like distillery and it works a glorious treat.

Bringing things to a close, L is for Loser roars with sonic severity veined with a tangle of inescapable hooks and severely magnetic grooves; a track unleashing its full weight on the senses with fury and relish.

It is a fine end to another encounter with Gravves which left us breathless and greedy for much more. It has built upon the strong qualities of the first EP with hunger and imagination whilst still hinting the journey for the band’s sound is far from over. As the new encounter says, Oh, The Joy!

Oh, The Joy is out now through Loner Noise Records and available @ https://gravvesgravves.bandcamp.com/album/oh-the-joy

Upcoming live shows:

06 May 2018 – Liverpool UK, Sound City

10 May 2018 – Wrexham UK, Focus Wales Festival

11 May 2018 – Preston UK, The Ferret

12 May 2018 – Wrexham UK, Focus Wales Festival

26 May 2018 – Llanidloes UK, Kingsfest

27 May 2018 – Birmingham UK, Die Das Der

https://www.facebook.com/gravvesgravvesgravves/   https://twitter.com/gravvesgravves

Pete RingMaster 02/05/2018

Copyright RingMaster: MyFreeCopyright

Gogo Loco – The GoGo Loco Twist EP

First the bad news, The Mobbs are no more. The UK band released some of the real treats we have had the pleasure to cover on the site and will be sorely missed. As with all things though there is a silver lining, in this case a trashy garage rock ‘n’ roll one as from the ashes of one great band rises another in the shape of Gogo Loco. Learning of one outfit’s demise through an email from drummer Cheadle and the introduction of another in his new project alongside fellow Mobb, vocalist/guitarist Joe B. Humbled, quick sadness was replaced by eager intrigue across a handful of lines; interest soon emerging as fresh lustful attention once the swinging throes of The GoGo Loco Twist EP infested ears.

Now reinventing their names as Cheadle GoGo and Joe Loco, the Northampton hailing duo have similarly evolved their sound. Certainly within the four songs making up their debut release there is a healthy Mobbs garage punk scent to things but one immersed in a new r&b and blues infused trash encrusted garage rock ‘n’ roll devilry. Something akin to a fusion of The Stargazers, Ronnie Cook & The Gaylads, and The Trashmen with that inimitable Mobbs touch, Gogo Loco provide something as distinct and as unique as you would wish.

It all begins with the EP’s title track. The GoGo Loco Twist needs mere seconds to have the body writhing and feet greedily shifting, its initial tendril of guitar winding around ears and burrowing under the skin before the swinging rhythms of Cheadle and the guest piano antics of Jon Martin, who also produced the EP, get involved. Like King Salami and The Cumberland 3 engulfed in the spirit of Chubby Checker after being infested with garage punk mischief, the song romps and stomps from start to finish inspiring the same in the listener. A virus to any rock ‘n’ roll dance floor, it pleasures and exhausts with glee.

There is no time to take a breath as the following Rattle Your Mind leaps on ears and body next, its crusty blues lining and fevered rock ‘n’ roll inescapable incitement driven by the energy and passion of its creators. As all tracks within the release, it is a short, sharp, and magnetic trespass manipulating body and spirit with ease; next up Go Loco proving the pointy as it insists the listener lives up to its title. Clunky yet fluid riffs welcome in infectious rhythms and in turn just as persuasive vocals, a mix again needing less than a handful of seconds to have the body bouncing.  Actually the song never quite bursts into the kind of frenzy its title suggests though its boisterousness increases by the chord but with a control which manages to forcibly increase the virulence in song and victim alike.

The closing Evil Woman is salacious rock ‘n roll with pouting hooks and rhythmic writhing, like a meeting between MFC Chicken and Sonny Burgess as imagined by Gogo Loco and far too easy and tasty to consume to be good for you. Like all tracks within The GoGo Loco Twist, there is a sense of being devilishly naughty and just a little dirty as you thrown yourself into its wonderful DIY temptation of sound and intent, but at the same time the feeling of not caring fuelling the fun.

Long live The Mobbs is a cry we will always offer up but alongside we roar Viva Gogo Loco as the potential of another new lust for us, and we expect a great many others, rises up.

The GoGo Loco Twist EP is out now and available as a free download @ https://gogoloco.bandcamp.com/album/the-gogo-loco-twist

http://www.gogoloco.uk/   https://www.facebook.com/gogolocouk/

Pete RingMaster 24/04/2018

Copyright RingMaster: MyFreeCopyright

Pretty Pistol – Welcome to the Dead Club

How to describe the new EP from UK garage punks Pretty Pistol; well feral certainly fits, sonically clamorous and tenacious too but suiting it most is simply that Welcome to the Dead Club is rather damn good. Offering four virulent slices of punk fuelled noise, the release is another of the year’s special moments so far more than worth a few minutes of your time.

Formed five years after the initial chance meeting in 2010 at a Hole gig by vocalist Laura Le Rox and drummer Emma Waller, Pretty Pistol’s line-up is completed by guitarists Rich Cooper and Billy Larsen. Described as “Sitting somewhere between Gallows, Be Your Own Pet, Milk Teeth and The Kills”, a pretty suitable intimation, the South London quartet has made a potent mark on the capital’s live scene, sharing stages with the likes of Penetration, KidBrother, Drones, and Crazytown. Recorded with producer John Mitchell (Architects, Enter Shikari, You Me At Six), Welcome to the Dead Club is their inescapable jab at bigger attention, a raucous swipe not easy to see being ignored.

As opener Cry Wolf explodes on the senses, instantly there is no escaping the rapacious presence of band and song, and indeed the magnetic tones of Le Rox. Her attack is as urgent as the sounds around her with a hint of ‘desperation’ to its lilt though really it is just an earnest bred eagerness to stir things up, again just as the individual garage punk sound Pretty Pistol unleash. Riffs and rhythms collude in devious persuasion, getting under the skin as forcibly as the flying hooks and that glorious verbal trespass. There is a touch of Asylums to the track too which only adds to its virulently striking presence and to be honest if the goodness stopped right there we would still be urging attention the EPs way.

It is not an alone treat though as the following Drive Me To The Dogs quickly reveals. The gnarly stride of bass makes an immediate lure, post punk spun tendrils a swift second as the track infests ears. Its melodic and catchy chorus tempers the trespass a touch but only backing up its infectiousness before the cycle enticingly repeats. Waller’s beats land with purpose and anthemic prowess as the guitars entangle ears with sonic toxicity while Le Rox backed by one of the guys, is an insurgent siren you are not sure whether to embrace or fear.

Another appetising bassline lures Hurricane into view; its bait immediately followed by an ear worm of a hook and in turn a blast of voice and attitude. For no obvious reason but strongly we were reminded of Red Tape as the track continues to blossom in enterprise and temptation every twist and turn making a keener captivation in another rousing if too short a gem within the EP.

The release concludes with the equally compelling No Guts (This Is Glory), a web of swiping beats, belligerent bassline and devilish sonic enticement bound in the vocal carousing of Le Rox. Cannily fingering the imagination whilst heartily firing up the senses and spirit, the song completes a fiercely and irresistibly exhilarating proposition.

Living up to the band’s name, Welcome to the Dead Club is a threat lined, danger fuelled beauty and Pretty Pistol a band we expect to make a continuing if not major impact on the British punk, indeed rock scene.

Welcome to the Dead Club is out now through SaySomething Records @ https://www.prettypistol.co.uk/store/welcome-dead-club-cd

https://www.prettypistol.co.uk/    https://www.facebook.com/pg/prettypistoluk    https://www.twitter.com/prettypistoluk

Pete RingMaster 20/04/2018

Copyright RingMaster: MyFreeCopyright

Nosebleed – Scratching Circles On The Dancefloor

The last four years has seen British trio, Nosebleed establish and declare their voracious presence on the UK live scene; time which equally has seen their sound honed and reputation built, it all leading up to the moment they launch themselves at nationwide recognition. That time is now with the release of their debut album, Scratching Circles On The Dancefloor. It is a brief but relentless stomp of garage punk nurtured devilry allowing no time for a breath but giving a wealth of insatiable moments to breed instinctive lust for.

Thirteen virulent songs over twenty and a small handful of minutes, Scratching Circles On The Dancefloor flies from the speakers flinging song to song hooks like confetti and springing inventive twists like a mad professor. It is a rock ‘n’ roll dervish but with a devious control and scheme which sees feet, hips, and the imagination merciless to its manipulation.

Recorded live across one weekend alongside producer Andy Hawkins (Hawk Eyes, The Pigeon Detectives), Scratching Circles on the Dancefloor sets its intent with its first lungful of breaths. The initial guitar lure of opener I’m Okay wags an inviting finger before being quickly joined by hungry rhythms and the vocal mischief of guitarist Eliott Verity and bassist Ben Hannah. For fifty odd seconds the song rigorously hops around, Dicky Riddims’ beats setting the tone for the punk infested romp.

As the excellent start lays its last jab, its successor I’m Shaking is in the starting blocks, loco grooves teasing away as the track bursts into manic life. As rhythms pounce and hooks infest, the song sinks its mania into the imagination like a fusion of King salami and The Mobbs; teasing and fingering the psyche with its viral appetite and character. Superb does not quite cut its magnificence; a height of bliss eagerly backed by the addictive antics of Time And Time Again which quickly entangles the listener in its swinging grooves and excitable rhythms.

The voracious design of the album simply continues with the next pair of Wrong and Start Again. Not for the first or last time across the album, there is a whiff of seventies punk band The Cortinas especially in the first of these two with its sharp almost spiky hooks and instinctive catchiness while the second uncages a riot of bullish rock ‘n’ roll as punk as it is fifties scented honed into another irresistible and individual Nosebleed infestation.

As soon as the rhythmic rumble of Everybody breaks the momentary silence between songs, body and greed was sparked here; the track trapping an easy submission with its web of grooves and hooks let alone vocal incitement while Slow Down does the complete opposite as it had hips swinging and limbs flying with its dirt stained rock ‘n’ roll. Both tracks not only get under the skin but deep into the blood taking over spirit and soul simultaneously yet still get outshone by Scratching Circles. Like a puppeteer, the song dictated movement and energy; its Stones kissed heat and tenacious enterprise delicious spice in its creative irritancy and riveting manipulation.

Can’t Stay Here harasses like a child which will not take no for an answer to what it wants, the song bouncing around with its eyes firmly on the prize before Psycho grabs best track honours with its psychobilly hued rascality. Like the bad kid your mother warned you to stay away from, the track leads to wicked habits and salacious antics and boy does it reward for going astray.

A sixties garage rock hue lines the attitude soaked Kick Me When I’m Down next; swinging grooves and agitated rhythms gripping attention from its first touch, flames of melodic seduction from the guitar adding to its rich lure while I Can’t Tell You Anything creates a maze of hooks and grooves impossible to escape from, not that you will want to; an intent which is seeded in the album’s first note and only intensified thereon in.

It all comes to a close with What You Have Done, a ravenous collusion of grumbling filth lined bass, intrusive beats, and predacious riffs all linked by the band’s persistently anthemic vocals. It too has rockabilly/psychobilly infested fuel to its roar as well as a mouth-watering Misfits seeded glaze bringing the album to a close in majestic but certainly rampantly salacious style.

There are encounters which just inflame the individual instincts of us all, Scratching Circles On The Dancefloor is one for us, a release leading us to drooling ardour. We will not be alone as quite simply the album is a garage punk classic, indeed a rock ‘n’ roll masterclass from a band surely about to take national attention by the scruff of its neck.

Scratching Circles On The Dancefloor is out now through TNS Records and available @ https://tnsrecords.bandcamp.com/album/scratching-circles-on-the-dancefloor

https://www.facebook.com/nosebleedband/

Pete RingMaster 11/04/2018

Copyright RingMaster: MyFreeCopyright