The Dahmers – Down In The Basement

For any sporting or physically demanding endeavour it is advisable to go into some sort of training. With music it is not a requirement that is until you come up against the new album from Swedish rock ‘n’ horror fiends, The Dahmers. The band has just released Down In The Basement, a beast of a record bursting with eighteen tracks of rock ‘n’ roll fever as ferociously energetic as it is virally infectious. From its first heartbeat to its last the bands third full-length is an insatiable incitement keeping the body rigorously and eagerly bouncing.  It is relentless, exhausting, and pure pleasure from start to finish.

Bromölla hailing, the Dahmers has been no strangers to keen attention having released a pair of ear enticing albums in Demons (2015) and In the Dead of Night (2017). Each has shown and evolved a sound which is bred on a patchwork of numerous flavours ranging from garage and classic punk to vintage rock ’n’ roll, sixties pop and garage rock. Each of those releases certainly pleased ears but have now been imply blown out of the crypt by the simply irresistible and irrepressible Down In The Basement.

With a mass of tracks the size Down In The Basement offers you would expect a few fillers here and there but they are conspicuous by their absence; from the opening surge of Blood On My Hands the album a full-on meal of prime cuts. The first track bursts into life on a tide of voice and guitar bred persuasion, straight away twisting and turning like a dervish whilst unleashing a wave of catchy mischief. The vocals of Christoffer Karlsson lead the way in manipulation but more than matched by his and fellow guitarist Josef Underdal’s devious hooks and the rhythmic salaciousness of bassist Tobias Augustsson and drummer Karl-Oskar Hansson. Something akin to The Hives meets Asylums the track simply stomped into ears and the passions setting the album off on a mighty course.

The following Murder Ride is just as reckless and tenacious in its own punk infused charge, sending insistent grooves and rapacious hooks through ears with a fifties rock ‘n’ roll meets seventies punk irreverence before Street Of the Dead brings its garage rock/indie pop boisterous to the already devilish party. More reserved than its predecessors but just as equipped with ripe catchiness, the song had the body fully employed in no time.

Across the classic hard rock tinted antics of Down On My Knees and the corrupted boogie woogie nurtured devilment of The Ripper new flavours and rascality sweeps across Down In The Basement, The Dahmers already revealing their most diverse web of sound which Hit ‘N’ Run exploits for its contagion loaded adrenaline fuelled punk ‘n’ roll romp. All three tracks infested body and spirit with ease, the latter mercilessly before Howling merged the rock ‘n’ roll decades with its nefarious holler for a matching success.

As suggested the album is a perpetual rush of treats which simply continue with the revengeful punk ‘n’ roll of I Spit On Your Grave and the fiendish infestation of Demon Night. Both had the body twisting like a possessed soul, their pop seeded rascality pure manipulation and inescapable corruption in the outstanding second of the pair.

Classic rock gets a nudge within next up Creepiest Creep, another track with hooks and grooves which worm under the skin like invaders into a six foot buried offering while Reoccurring Dreams is just a punk rock scourge of temptation draped with surf molestation. Both make a play for best track honours though already the list is a fair size and only about to grow as Without a Face declares its option through a sixties pop ‘n’ rock spiced saunter abound with rousing vocals and rhythms heated with fiery melodic flames.

The cinematic breath of Kiss of Dario has the imagination as busy as ever, Man Obsessed straight after sparking grinning lips as it flirts with Blondie for its prime hook as it teases an already lustful appetite for the album. Even so both are outshone by the voracious rock ‘n’ roll rascality of No One and a quite glorious cover of the Devo masterpiece, Social Fools. Both tracks show The Dahmers at their most irresistible, the first a prize roar of their untamed imagination and boldness, its successor of their inimitable punk ‘n’ roll enterprise which did not improve on an existing gem but certainly re-energised its might.

The final pair of November with its deceptively calm sixties hued, pop coated calm and dark instrumental The End brings the album to a magnetic close. The last track is another moment of cinematic intimation, an industrial creased piece which replaced a bouncing body with an imagination conjuring suggestiveness to keenly intrigue.

Down In The Basement is a momentous offering from a band due bigger and broader attention; it is not just us saying that but a collection of tracks which demand your soul.

Down In The Basement is out now via Lövely Records across most online stores.

Upcoming Live Dates:

02/11 – Skövde In Rock Fest   Skövde, SWE

03/11 – Halloween Meltdown   Eskilstuna, SWE

04/11 – Kulsturkvarteret   Kristianstad, SWE

15/11 – Cinema   Aalst, BEL*

16/11 – Dusseldorf   Ratinger Hof, GER*

17/11 – Eindhoven   Helldorado, NL*

* Supporting The Dwarves

https://www.facebook.com/Dahmers/

Pete RingMaster 26/10/2018

Copyright RingMaster: MyFreeCopyright

The Senton Bombs – Outsiders

It is fair to say that any news of something new from UK rockers The Senton Bombs has us licking our lips in anticipation. Four spirit rousing previous albums among just as potent singles and EPs has fuelled that reaction with each encounter building on the exploits of its predecessor and pushing the Blackpool hailing quartet to the mass recognition and attention we with so many feel they deserve. The band’s impending fifth and new album, Outsiders, continues that trend sparking excitement in appetite at the prospect of something special whilst taking the band’s songwriting and sound to another level of prowess and adventure.

Perpetually varied and flavoursome in its styles and character, the band’s rock ‘n’ roll has eagerly evolved and grown up across their albums. With every offering The Senton Bombs has pushed it and themselves to new areas and adventures but all the time reinforcing the recognisable individuality of their music. With Outsiders, the band has aligned their ever ready punk ‘n’ roll instincts with southern and classic rock scented endeavour on the hard rock side of their sound; the result, a rousing and raucous collection of multi-flavoured and variously delivered anthems as familiar to the band as they are unique.

The album erupts into life with its title track, Outsiders entering upon punchy rhythms and sonic stabs as the ever enticing vocals of bassist Joey Class open up their declaration. With attitude and defiance at its core in sound and word, the track prowls with a swinging hard rock swagger lit by the flames and enterprise of guitarists Damien Kage and Johnny Gibbons. The throaty throb of Class’ bass resonates throughout, adding a darker threat to it all as the bold swings of drummer Scott Mason descend. It is a controlled but dynamic start to the release, an ear and attention grabbing statement of intent swiftly backed and built upon.

The band’s new single, Who We Are, does both with relish and tenacity straight away. The devilishly earthy stroll of the bass instantly had imagination and appetite hooked, its inescapable lure aligned to the perpetually lively dynamics of Mason’s rhythms. Both continue to arouse and manipulate as guitars and vocals join the song’s incendiary holler; a union brewing a delicious slab of punk ‘n’ roll as virulently catchy as it is rapaciously invasive.

From one major highlight of the release to another as Violet Black follows unleashing its own rock ‘n’ roll trespass. With each album Class has developed his vocal presence, almost developing a two sided proposition. Here he returns to the grainy delivery which partly trademarked the band’s sound from day one and is always a welcome essence to their creative diversity. The track itself is a boisterous slice of punk rock with a blues rock lining and hard rock virility.

If the previous track is headstrong, I Am Ablaze is an insatiable hell-raiser of sound and rowdiness; an anthem epitomising the band’s live sound as much as its rebel rousing heart. Raw and feral yet skilfully woven to create a hellacious roar the track is superb; The Senton Bombs at their rabidly infectious best leaving next up Reckless Youth a tall order to match. That it does though by revelling in the calmer side of the band’s attack, growing from a melodic shimmer into a contagious stroll led by the inspiring swings of Mason. Reflecting on times past as youths into the seeds of the band stirring things up today, the song is a bold smoulder compared to the fires that are its companions but just as magnetic and riveting

Across the irresistible country blues rock scented saunter and vivacious swing of Bury The Hatchet and the mellow southern surf kissed croon of Remind Me Of The Moon, the album simply blossoms in its variety of sound and imagination while Dead Revolution immediately had body and spirit addicted to its Misfits laced  darkly hued rock ‘n’ roll. As ever hooks escape the band with instinctive agility, riffs and rhythms offering their own spiky bait to get hung up on as vocals lead the way. Similarly the individual craft of Kage and Gibbons masterfully gets under the skin alongside the equally devious antics of Mason and Class’ bass.

Video is a track which would fit as perfectly within the confines of previous encounters such as Chapter Zero and Mass Vendetta; a trademark rather than formula Senton Bombs song easy to devour greedily before Under Offer hits the spot dead centre with its fifties scented modern punk infused rock ‘n’ roll. Reminding of another band deserving mass attention in Canadian outfit The Black Frame Spectacle, the track is a stomping viral temptation.

Wake The Maker brings the album to a close with its classic/hard rock melody shaped howl and though it did not personally excite as those before it, the song is a richly satisfying conclusion to an album which we can only suggest is the finest offering from The Senton Bombs yet.

Global attention is long overdue for the band we strongly suggest but maybe about to be seriously poked by Outsiders, a release and title which sums up the band’s sound and presence within rock ‘n’ roll and the individuality which will always make them stand out and excite.

Outsiders is released November 5th via Regolith Records.

https://www.sentonbombs.com/   https://www.facebook.com/thesentonbombs   https://twitter.com/thesentonbombs

Pete RingMaster 16/10/2018

Copyright RingMaster: MyFreeCopyright

Rolled Up Sleeves – Pointless

Pointless is the debut EP from Danish outfit Rolled Up Sleeves and is being recommended to fans of bands such as The Strokes and Arctic Monkeys. Whilst you can understand the comparison to some degree it does cover the real to the imitable breath and individual prowess of the quartet’s sound. Creating rock ‘n’ roll bred on the instincts of punk, garage, and more old school rock, the band unleashes a rousing roar which certainly within Pointless is eagerly contagious.

Hailing from Århus, Rolled Up Sleeves is a young band in presence and individual ages consisting of Christian Askehave, Magnus Krag Nielsen, Oliver Alexander Landgren, and Søren Schroll Rasmussen. Apparently they have been kicking up some real attention in their homeland and it is easy to hear why through their new four track release. Receiving its international release through Mighty Music, Pointless immediately gets down to business with opener Happy And Alone. Straight away beats rap at the senses, stabs of guitar swiftly joining their baiting presence with spicy grooves in close quarter. Once hitting its infectious stride, the track stomps along with attitude in vocals and swagger as hooks work their devious intent. It has a bit of an old friend feel to its character but the song is as fresh as anything heard this year and all addictive contagion to our ears with a bit of a Escobar meets The Senton Bombs scent added pleasure.

The rousing start is only continued by next up Junkie In Disguise. Its opening lure, a single seductive guitar invitation ensures intrigue was rife, the subsequent burst of sound feeding that interest whilst sparking greater urgency in track and reaction. Of all four songs, the second is easiest to recognise those earlier mentioned references within but again individuality is soon riding high amongst its boisterous rock ‘n’ roll. Bold and tenacious with a great raw edge to its sonic and melodic enterprise, the track equally hit the spot before Sell My Soul revels in the band’s calmer side. From vocals to melodic shimmer, the song is sheer temptation; sultry and suggestive at every turn with a low key but inescapable catchiness in its presence and somnambulistic sway.  Yet there is a fire in its belly which catches flame from time to time, heat which gives even greater temptation to song and ears.

The EP’s title track closes the encounter up, Pointless a muscular attitude loaded offering alive with tenacious grooves and invasive hooks amongst biting beats. The dirty grumble of the bass is just as enticing as the lustily roaring vocals; a combined web of enterprise creating one rousing roar ending one thickly satisfying release.

It might be fair to say that Rolled Up Sleeves have yet to breed major uniqueness in their sound but again we can only say that it is as fresh and exciting as anything around right now; Pointless the proof.

The Pointless EP is out now via Mighty Music.

https://www.facebook.com/RolledUpSleevesMusic/

Pete RingMaster 22/09/2018

Copyright RingMaster: MyFreeCopyright

The Primals – All Love Is True Love

The outcome of a collision between the raw essences of crust lined garage punk and pop infused grunge accosted by noise baiting metal, All Love Is True Love is the fierce new album from LA based rockers The Primals. Though it bears hungry ferocity it is equally as infectious and catchy as it is invasive; it all making for one of the year’s most irresistible debuts.

The Primals is a trio made up of Darkest Hour vocalist/guitarist John Henry, former Dead To Fall member in bassist Chad Fjerstad, and drummer Andrew Black who previously was part of The Explosion, and Title Tracks. Exploits within those outfits has meant anticipation once The Primals’ first release was announced has been keen among a great many and we can say that though there have been a fair few introductions this year which have simply ignited attention and excitement with plaudits in close quarter, All Love Is True Love is ahead of most of the field.

Produced by John Reis (Rocket From The Crypt, Drive Like Jehu, Hot Snakes), All Love Is True Love immediately descends on ears with Hello Cruel World. Instantly a guitar gnaws on the senses, in turn triggering a caustic wave of noise as contagious as it is a visceral trespass. Even in its carnal insurgence there is an instant catchiness of pop sensibility which surges through the confrontation, vocals riding that temptation with a melodic snarl. Similarly soliciting is the predacious quality the band’s sound carries, one which permeates the whole album to compelling effect.

It is an outstanding rousing start as potently backed by the relatively gentler antics of Dead Predators. A web of noise fuelled clamour, earthy bass led swing, and sonic enterprise, the track quickly beguiles and tempts hips and imagination into an animated collusion before Another World To Call Your Own launches its own untamed will upon the listener. Across the three tracks alone there is no escaping a strong whiff of bands such as Nirvana and The Pixies, a breeze teasing throughout the release yet already there is a distinct character and presence which is all Primals as epitomised by their latest single which is next up.

Pity City saunters in on a rhythmic swing; flames of guitar crossing its lure as the melodic calm of vocals add infectious charm. The track simply becomes an insistent radiance spilling invitation where contrasting textures unite in imagination; a pop song in its rawest most accessible state before Fortune & Sons shares its punk ‘n’ roll animation with rapacious relish. It too has an inherent infectiousness which borders the viral and an equally belligerent breath which growls discontent as easily as it brews seduction.

Next up The Wayward Impaler is untamed pop rock which similarly melodically tempts as it shares sonic agitation while It’s Personal saunters in straight after with a heavy drawl and shadowed intentions before unveiling its own pop natured virulence within those persistent trespasses. Both tracks swiftly get under the skin, the latter especially laying a mighty hand on best track honours before Together Whatever has its say with its Sonics-esque, old school punk holler. Rhythms stomp and guitars abrase as the track incited body and the passion, another slice of quick addiction with a potent claim on the top dog title.

The album concludes with firstly the slow crawl of Save Me, Baby; a plaintively melancholic croon with rhythmic tempestuousness and lively pop rock animation, and through the rousing grunge punk ferocity of I’m Coming Home. The final track is pure threat and seduction, each in equal measure invading the senses in a “we are united, love you all and fuck the world” like declaration.

It is a stirring and tremendous finale to an album which has all the elements and deeds to re-invigorate already hungry or alternatively any stale appetites for rock music. It is a gem, simple as.

All Love Is True Love is out now via Southern Lord and available @ https://theprimalssl.bandcamp.com/releases

https://www.facebook.com/ThePrimalsLA

Pete RingMaster 24/09/2018

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

Eureka California – Roadrunners

With their 2016 album Versus one of our favourite encounters in recent times, there is always certain anticipation here when the name Eureka California crops up. What that album maybe lacked in uniqueness it more than made up in imagination and individual enterprise. Now its successor Roadrunners has arrived to explore real originality in sound whilst accentuating the band’s instinctive rock ‘n’ roll clamour and rumble amidst fresh intricacy of invention.

Consisting of the vocal and jangling sonic rapacity of Jake Ward and the rhythmic manipulation of Marie A. Uhler, Eureka California has become one of rock’s keenly embraced propositions over the decade and a year since first emerging from Athens, Georgia. Across their three previous albums, the duo’s garage rock/pop has evolved with their craft and experiences. Last year saw the release of the Wigwam EP, a proposal which blended a new rawness with the punk like aggression of Versus. It also suggested a greater subtlety and technicality to their writing and sound which has now been given its head within Roadrunners. That raw edge of the EP is less pronounced but still an ear grabbing texture in the band’s new release. It all makes for a proposition which maybe took longer to take to, compared to its predecessor, as its layers were explored but emerged as Eureka California’s finest moment yet.

Fourteen songs rich, Roadrunners begins with MKUltra and instantly a cloud of inviting jangle surrounds ears as rhythms build their own potent tempting. Once hitting its calm but clamorous stride, the vocals of Ward erupt with matching appetite and dexterity to the sounds around them. Like a garage bred dissonance fuelled Beach Boys, the track dances in ears to give the release an immediate high point.

The following Perfect Grammar is similarly bred and woven but with a raw angst and air which sears the senses as it seduces them. Uhler’s beats inspire a simultaneous swing to the track which has feet dancing to its mix of the wild and composed before Threads steps forward to forge a new high within Roadrunners. From its opening hook to its swiftly advancing rhythmic flirtation, the track had us licking lips and keenly bouncing. There is a great seventies DIY indie punk lining to the track recalling the likes of Television Personalities and ‘O’ Level, which surrounds an indie pop holler forged with hooks and beats which with its portentous heart just infested instincts and imagination.

It is followed by the calmer melodic seducing of Time After Time After Time After Time. It too has an immediate and organic infectiousness which worms into the psyche before its more feral side rises up in tenacious rock ‘n roll. There is a hint of The Monochrome Set to the song at times as it matches its predecessor’s triumph, both in turn equalled by the rousing antics and rhythmic dynamics of Over It. The trio all vie for best track honours, together providing the album’s pinnacle point.

I Can’t Look In Yr Direction is next, its sonic angst matched in lyrical reflection as its mellower contemplative complaints flare up amidst searing aural flames while Howard Hughes at the Sands is an acoustic saunter with caustic eruptions. Both tracks intrigued as they captivated, neither quite emulating the glory of those before but only adding to the album’s thick lure; bait only accentuated by the short but rich rock ‘n’ roll of following instrumental Buffalo Bills 1990 – 1993.

Through the excellent post punk wired JJT and the unpredictable poppier escapade of SWDs, Eureka California continue to unfold the new invention in their writing and music. The latter is a glorious slice of hook woven pop ‘n’ roll with a Pixies tint while next up Gila Monster just seduces attention second by second from its initial guitar scratching to its summery discord. Its swing and jangle is like hay fever, persistently nagging away but in contrast only pleasurable before in turn Telephone Tone shares its own infectious warm canter with zeal lined calm.

Concluding with the masterfully flirtatious and simultaneously fiery How Long Has This Been Going On? and the Frank Black meets Pere Ubu flavoured Mexican Coke, the continuously appetising Roadrunners swarms ears with its sound and imagination. It is easily the band’s most inventive and individual proposition to date and in turn their most compelling and enjoyable; simply one of the must check out highlights of 2018.

Roadrunners is out now digitally and on CD and Ltd Edition vinyl via Happy Happy Birthday to Me Records (HHBTM); available @https://eurekacalifornia.bandcamp.com/album/roadrunners and @ http://hhbtm.com/item.php?item_id=652

http://eurekacaliforniaband.com/     https://www.facebook.com/eurekacalifornia     https://twitter.com/eurekacalifone

Pete RingMaster 26/06/2018

Copyright RingMaster: MyFreeCopyright