Valensole – Where We Should Be

valensole-promo-shotSum 41, Green Day, Nirvana; all bands which have been an influence in an eclectic bunch on the Southampton trio. All are flavours easy to understand being used but for us just as potent, maybe even more so, are references to others such as Psychedelic Furs, Reuben, and Pennywise

The debut EP from British punksters Valensole has been recommended as for fans of the likes of Sum 41, Green Day, Nirvana; all bands which have been an influence in an eclectic bunch on the Southampton trio. All are flavours easy to understand being used but for us just as potent, maybe even more so, are references to others such as Psychedelic Furs, Reuben, and Pennywise. What it shows is that there are many rich essences in a sound which still is finding its feet and ultimate identity on the evidence of the band’s debut EP, Where We Should Be but a mix and imagination of sound which also ensures that their introduction is an impressive and thickly enjoyable one.

Embracing the punk DIY ethic, Valensole have unleashed their first self-released outing alone, vocalist/guitarist and primary songwriter Elliott Jones taking on mixing duties. The result is a raw and pleasingly dirty affair which it is easy to imagine captures the band’s live presence much more than most encounters do their creators. It leaps from the blocks in potent style with opener Staple Waster. Spicy riffs collude with concussive beats initially, their slim but irresistible bait the intro into a muggy affair of fuzzy riffs and biting rhythms. Jones soon gets involved vocally, that Psychedelic Furs spicing arising as his tones remind of Richard Butler from said outfit with a whiff of Billy Idol too. The track continues to impose and tease with attitude and flirtatious hooks; boisterous punk rock invading and pleasing ears and a quickly forming appetite for the Valensole sound.

valensole-cover-artworkSum 41, Green Day, Nirvana; all bands which have been an influence in an eclectic bunch on the Southampton trio. All are flavours easy to understand being used but for us just as potent, maybe even more so, are references to others such as Psychedelic Furs, Reuben, and PennywiseDon’t Follow Me leaps in next, its body and character just as aggressively relishing the trespassing of the senses. Managing to prowl around at the same time as devouring them with rapacious energy, the song snarls and growls with the hooks of lead guitarist Nick Jones inescapable and the bass taunts of Dave Parker gripping, his backing vocals to Jones just as persuasive.

An immediately tempting hook spears next up Believe, its salacious tease erupting amidst another scuzzy wash of sound and vocals with a tinge of The Heartbreakers to it. Rolling, rumbling beats are just as virulent in the fiercely infectious slice of rough ‘n’ ready pop punk quickly followed by the band’s new single and EP title track. Where We Should Be taps into an early Generation X scented countenance, riffs and rhythms a magnetically caustic and intrusive yet seductive trespass in a boisterous song quickly involving the listener.

Completed by the enjoyably abrasive and just as often melodically tempered Inside Out, a concluding slab of easy to devour rock ‘n’ roll, Where We Should Be only leaves a want and hunger for more. It is soaked in strength of potential matching its already very agreeable attributes, a mix providing a great first contact with Valensole and intrigue loaded anticipation for their subsequent growth and releases.

The Where We Should Be EP is released through all stores on March 3rd.

https://www.facebook.com/valensoleband/   https://twitter.com/valensole_band  https://www.instagram.com/valensole_band/

Pete RingMaster 02/03/2017

Copyright RingMaster: MyFreeCopyright

Born To Destruct – Devasteight With Destruction

BTD_RingMasterReview

There are many forces of nature, especially within punk rock and a few which really relish turning the world upside down whilst offering rich rewards for those in the way of their tempest. Destruction rock ‘n’ rollers Born To Destruct are one, a UK band which unleashes their own individual form of punk and uncompromising heavy rock in a confrontational fury of anthemic hell-raising which rouses the spirit as it bruises the senses.

Hailing from Cambridge, Born To Destruct stomped into the punk scene in 2007; formed by one of the forces of seventies punk, vocalist/guitarist Woodstock PunkRock who was returning after a decade away from performing and playing. Originally female fronted, the band soon made a potent mark live and with their contagious punk rock sound across many well-received releases. With vocalist Kat Destruct leaving to study at university, 2010 saw Woodstock take over lead vocals and a new version of Born to Destruct emerge. Further successful releases followed to back their ever potent live presence which brings us up to the now and the band’s storming new album Devasteight With Destruction. Released on the persistently impressing STP Records, the album is fifteen tracks of gloriously invasive rock ‘n’ roll to get shirty alongside, to rampage with, and to get inescapably addicted to.

Devasteight With Destruction opens with its title track, immediately laying down a grouchy lure of riffs which just as swiftly blossom into an addictive coaxing where grooves and rhythms collude to tempt and invade ears within the tow of a deliciously carnal toned bass line. Once in full cantankerous flow, the track shows itself a web of heavy and hard rock infused with punk seeded predation. It is a gripping start with the bass of Stu Spider Fingers continuing to seduce an already awoken and keen appetite as the brawly vocals of Woodstock prowl and growl.

art_RingMasterReviewThe excellent start and flavouring carries on into the raucous and cranky charge of Eufuckinphoric, where initially choppy riffs funnel into ears this time around as Woodstock adds bearish vocal weight and coaxing. The riffs and hooks of Paul Moose and guitarist Daiv Tap bite and serrate the senses with sonic hostility all the while too whilst the rhythms of drummer Jack Destruct swing with contempt. It is a unity which should send you running but instead simply whips up an impossible to resist call to arms.

All The Gear But No Idea has a slightly mellower air next, well more melodic anyway with its Generation X like spicing to grooves and an accompanying infectiousness. Around them the song barracks and presses all the right buttons in antagonistic pleasure before Lets Get Rowdy obviously does what it says on its tin. There is a touch of Crashed Out meets 4 Past Midnight to the song as well as another dose of unstoppable virulence to its seventies spiced punk ‘n’ roll uproar.

Across the hard meets punk rock blaze of Do You Wanna Know, with its great line in nagging hooks, and the thumping incitement of Release The Beasts, the album turns the screw on ears and the passions. It is always hard to say no to instinct raising, vociferous rock ‘n’ roll and both songs have it in thick abundance, the second with an extra pleasing slither of classic rock to it also. Smile comes similarly equipped, though truthfully that applies to all songs within the album. It is arguably more formula in presence than the encounters around it yet shares only the strongest persuasion and the enticement of eager participation.

The surly roistering of Sixty Seconds is next to step up, the minute long clamour leaving ears almost punch drunk from its zealous revelry whilst We Bring The Noise, as expected, again lives up to its name in physical and impassioned kind. Actually the track probably does not devour ears as forcibly expected but no complaints as it leads another moment of chest thumping enjoyment before Get Your Head In The Game becomes the inspirational ringleader to further lusty involvement, especially through its addictive chorus and vocal bellow.

You can almost feel the roar of the crowd as What A Bastard unfurls its magnetic defiance and muscular intimidation next; from title alone easy to sense becoming a fan favourite. Of course its particular brand of ear pleasing obstreperous rock does it no harm in inciting keen emotions either, a success more than echoed by the outstanding We Love It quickly after. Swinging in on a caped crusader-esque groove, in no time the track is a snarling torrent of riffs and tenacious rhythms laying the groundwork for the equally testy and rousing vocals. In your face rock ‘n’ roll does not get much better than this, though it can get matched as shown by Today, a song emerging as a personal favourite. There is a great contagious scent of The Vibrators to track, additional magnetism to its hook lined slab of near perfect punk rock. Some songs just hit the sweet spot, Today does dead centre.

The album concludes with the rollicking stomp of I’m Too Rock N Roll and finally the raw and irresistible anthem that is Destruct For You. Both tracks epitomise the tenacity and rampageous potency of Born To Destruct’s heady rock ‘n’ roll and equally the unstoppable addictiveness of the band’s album.

Though some tracks of course rise to loftier heights than others, from its first moment Devasteight With Destruction is one robustly imposing and exhilarating brawl very easy to get greedy for. Admittedly we have not come across the band’s previous offerings yet but if Devasteight With Destruction is not one of their finest moments yet, hard to believe it will not be, we have missed some other major treats.

Devasteight With Destruction is released March 17th via STP Records @ http://www.stprecords.co.uk/page4.htm

https://www.facebook.com/BORN-TO-DESTRUCT-246990948165

Born To Destruct embarks on the RELEASE THE BEASTS – ALBUM LAUNCH TOUR in March alongside Spunk Volcano & The Eruptions and Skurvi.

Dates are…

Sat Mar 12th – Abertillery – Dolls House

Fri Mar 18th – Cambridge – Corner House

Sat Mar 19th – Brighton – Prince Albert

Fri Mar 25th – Rotherham – Bridge Inn

Sat Mar 26th – Gateshead – The Black Bull

Sun Apr 2nd – Nottingham – The Maze

Fri Apr 8th – Birmingham – Flapper

Sat Apr 9th – Lancaster – The Yorkshire House

Pete RingMaster 01/03/2016

Copyright RingMaster: MyFreeCopyright

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

Lucifer Star Machine – Eat Dust

Pic by Dirk Behlau

Pic by Dirk Behlau

It is easy to note many musical highlights for 2015, some individual to taste and some generally acclaimed. One was certainly the way the year went out with a bang with some of its most impressive and exciting encounters coming in its final weeks, indeed days. Amongst them was Eat Dust, the new single from heavy rockers Lucifer Star Machine, the long awaited next roar from the band following the release of the acclaimed album Rock’n’Roll Martyrs back in 2013. The two track incitement shows the band is just as sonically dirty, creatively belligerent, and voraciously uncompromising as ever, and still one of the most appetising punk ‘n’ roll rumbles to come out of the UK in recent years.

Formed in London in 2002, Lucifer Star Machine quickly and has continually made their mark with releases and as a live incitement. 2004 saw the release of debut single Death Baby, a roar produced by Rat Scabies of The Damned, followed by a pair of albums in Fire In Your Hole of 2005 and Street Value Zero four years later which only increased the band’s reputation. On stage too, the quintet has consistently earned acclaim and support, touring and playing in over ten countries along the way. It was with the release of Rock’n’Roll Martyrs on I Sold My Soul Media, after band founder leader/vocalist Tor Abyss had returned back to his homeland of Germany, that broader and stronger spotlights caught on to the bruising and rousing sounds of the band. Recorded with producer Andy Brook, the album drew strong acclaim and keen attention; success the Hamburg based Lucifer Star Machine, with a new line-up, is ready to ignite again, starting with Eat Dust.

artwork_RingMaster Review     Eat Dust quickly grumbles with bass and riffs; simultaneously stirring with attitude as an aggressive intent is accentuated by the brewing anthemic antisocial heart of the song. The bass of Alex Low End continues to growl, its rumble pierced by the scything beats of drummer TJ Riot as Abyss shares his cantankerous confrontation. In no time the guitars of Doc Loocke and Fritzkrieg are entwining and searing things with spicy grooves and sonic flames respectively, the pair casting a bluesy punk ‘n’ roll web around raw riffs and thumping rhythms. Like Turbonegro meets Dead Kennedys meets Grumpynators, the track brawls with the senses to addictive effect.

Accompanying the track is B-side Stabbing Romance, a track cut from the same aggravated cloth with its own intrusion of contagious hooks and abrasive enterprise building to another irresistible chorus to get quickly involved in. There is a lighter Generation X/ early Misfits essence to the thumping devilry working away on ears and emotions in a no holds barred rocker to rigorously scowl and punch air to.

Lucifer Star Machine has a sound which is unafraid to openly use its inspirations whilst creating its own character and the two songs making up Eat Dust are no exception. That character though has an individuality which steps out and grabs attention by the throat. The result might not be something major in originality but in pleasure and incitement it irrepressibly earns big plaudits.

Eat Dust is out now as Ltd Ed 7″ vinyl and digital download via Wolverine Records.

http://www.luciferstarmachine.com/   https://www.facebook.com/luciferstarmachine

Pete RingMaster 04/01/2016

Copyright RingMaster: MyFreeCopyright

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

James Stevenson – Everything’s Getting Closer To Being Over

JS

With a long list of notable and successful musical exploits on his CV, guitarist James Stevenson finally uncages his debut solo album, Everything’s Getting Closer To Being Over and a richly pleasing sultry slice of blues bred rock it proves to be. Hailing from London, the man has enhanced and fired up more bands, tours, and records than runs made by English batsmen this winter, but it is surprising in many ways that it is only now that his first full-length has emerged to make a persuasion, something it does with skilful ease.

Stevenson first made his mark when joining UK punks Chelsea in 1977, his addition to the band not the last time he would be called and thrust into the deep end when joining outfits over the years. Picking out some highlights on his long resume, Stevenson from playing on the band’s first two albums, numerous singles, and undertaking many tours around the UK and Europe, moved to featuring on Charlie Harper of the UK Subs first solo single Barmy London Army before joining Generation X. This was a short lived time as Idol a few months after quit the band to start his own solo career in the US. Stevenson then played in the emerging Kim Wilde’s backing band and formed Hot Club with ex-Pistol/Rich Kid Glen Matlock and ex Deaf School / Original Mirrors singer Steve Allen. Already we are missing out plenty of other projects and artists the guitarist was involved with to this point and will continue to as further choice moments in his career saw him after the band’s split joining Gene Loves Jezebel in 1985 to replace the band’s guitarist who had a nervous breakdown as their first US tour was underway. Filling in at the eleventh hour, Stevenson joined the band permanently at the end of the tour playing and helping write subsequent albums such as Discover, The House Of Dolls which contained The Motion Of Love, the band’s biggest UK hit, and Kiss Of Life which was released after the twins Jay and Michael Aston fell out and the latter departed the band. With the world of GLJ rumbling on with releases and messy disputes between the twins to simplify things, Stevenson also played with The Cult on their 1994 world tour, The Alarm on shows and recordings, on Gene October’s solo album which he also produced, and was part of the reforming of Chelsea.  This is just the surface of all the work Stevenson has been involved in over the years leading up to and around Everything’s Getting Closer To Being Over, shows and tours with The Cult, GLJ and The International Swingers which also features vocalist Gary Twinn (Supernaut), bassist Glen Matlock, and drummer Clem Burke (Blondie, Slinky Vagabond, Magic Christian), on-going adventures.

Stevenson’s album confirms and builds on the promise of the The Shape Of Things To Come EP which came out earlier this year, opening track Suzi’s Problem an immediate heat of tempting melodic flames and sizzling persuasion. The gentle blues rock swagger which drives its breath is a compelling enticement soon flourishing to greater effect with smouldering vocals and harmonies alongside shimmering expressive keys. The potent guitar style of Stevenson shines within the evocative textures woven to add to the impressive and riveting start, an introduction which is gently anthemic and magnetically absorbing.

The following Go Mister! takes things up another plateau, the initial guitar bred bait and coaxing vocals harmonies provided as across the whole album by The Sexpistilettos, a shadowy radiance. There is a definite gothic rock air to the song, a blend of Sisters Of Mercy/March Violets seduction with a punkier intent fused into a stirring melodic rock allurement. The song is a masterful and irresistible encounter which lingers and almost alone provides the album with a potential heady stature amongst the year’s wealth of rock albums.

Both the blues rich Twilight Riders with its great heavy nagging riffs and melodic passion, and the slowly burning Come On People stroke the imagination, the second finding a funk bred lilt to its tempting which is accentuated in Give It Up, a track which shuffles and dances with the emotions through agitated rhythms and exotic melodic enterprise from keys and guitar, not forgetting the ever mesmeric harmonies. Though the songs along with the emotive Why Am I Still Waiting For You and the equally evocative Been A Long Time Now, fail to find the heights of the opening few songs they leave a healthy appetite eager to feast on the album time and time again.

Another major highlight comes in the sinewed shape of Naturally Wired, a track sculpted with a deliciously growling bass and fiery sonic endeavour cast into a thrilling dark and absorbing stretch of intensive rock ‘n’ roll. There is also an air of hard and glam rock wrapping the grooves and glowing keys which only ignites the passions further as the heat of the track sizzles the air.

Completed by the gentle temptations of the title track and the acoustic led Been A Long Time Now, two songs which again give imagination and hunger enough to find strong satisfaction within, Everything’s Getting Closer To Being Over is a thoroughly enjoyable presence for ears and thoughts. To be fussy the vocals of Stevenson do not always manage to rival the sounds and there is a bigger leap between the pinnacles of the album and the other still magnetic tracks than one would wish, but the enjoyment it offers is full and long term. It may have taken time to get there but James Stevenson has made his debut album one to enthuse over and recommend wholeheartedly.

http://www.jamesstevenson.info/

8/10

RingMaster 10/12/2013

Copyright RingMaster: MyFreeCopyright

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Lucifer Star Machine – Rock’n’Roll Martyrs

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lsm- pic by-tinakorhonen

Caked in the filth of life and the passion of instinctive rebellion, Rock ‘n’ Roll Martyrs the new album from UK antagonists Lucifer Star Machine is quite simply unbridled, uncompromising punk n roll. From first violent note and lashing syllable through to its last vicious squall on the ear, the twelve track assault is nothing less than dirty hunger driven confrontation, but a fusion of punk and heavy to hard rock which leaves satisfaction greedy and thrills a plenty. With their third album the band is presenting the sound and merciless energy they are renowned for but have taken it up many levels of contagion and impacting persuasion to unleash their most potent and enjoyable moment yet.

Hailing from London, Lucifer Star Machine has left a legacy of destructive pleasure in their wake from live performances and releases. From intimate sweat drenched halls to festival stages across over ten countries the quintet has challenged and ignited audiences alongside the major names of punk rock whilst from debut album Fire In Your Hole in 2005 and its successor Street Value Zero four years later the band has marked out a portion of genre territory for their furious sounds. Released via I Sold My Soul Media and recorded with producer Andy Brook, Rock’n’Roll Martyrs stirs up the air, senses, and appetite with a blaze of corruptive addictive sounds which plays like the anarchist offspring from a union between Generation X, Turbonegro, and  old school Misfits. It is arguably the most accessible album the band has unveiled and certainly the most unforgettable and incendiary.

The riot begins with Hold Me Down, a fire which offloads a crucial groove spiked with intensive hooks from its opening breath. Often leading and never far from the surface of the song, the lure is as insatiable as it is addictive and twists lustfully around the ear as riffs and rhythms flail the atmosphere and tight sonic melody soaked invitations spark into an anthemic chorus and group calls which further capture the imagination. It is a magnetic tempest of a start which breeds real hunger for what is to follow, especially with the charge and inventive flames sculpted by guitarists Dave Malice and Laughing Boy Fernandes.

The following Sulphur & Speed starts with a healthy glam rock teasing which would not be out of place in the seventies but soon chews it1235933_717631201587116_811714221_n up and transforms it with a Misfits/Danzig like intimidation. The vocals of band founder Tor Abyss snarl with contempt and force whilst his clean delivery only adds to a great alluring presence. The merger of all that melodic swagger and feisty intensive rhythmic, riff, and vocal abrasion leaves a potent persuasion which has feet and throat in unison more often than not.

Through the old school bred Hammer Me Dead with a more caustic hardcore delivery from Abyss raging over the excellent cantankerous rhythmic testing of new drummer Txutxo Krueger (formerly of Last Resort and Total Chaos), and the irrepressible fist pumping anthem Death Or Jail, the album continues to ignite the passions and an instinctive fight within thoughts whilst the initially Clash like For Reasons Unknown, where the bass of Crusty Chlamydia coaxes in the imagination with ease, explodes another level of satisfaction and temptation upon Rock’n’Roll Martyrs. Evolving into a virulently catchy and dramatic treat, the song has elements of The Damned and New York Dolls to its stomp adding further adventure and variety to the album and pleasure.

Both Poison Arrows and Dead And Gone leave a pleasing taste on the palate, if without managing to reach the heights of the previous tracks. The first has a more restrained and poised gait though it does not lose any energy and impact in relation to its predecessors whilst its successor is a undefined smog of garage rock with a scuzz lining that intrigues and satisfies yet like the song before lies pale against the stronger elements of the release. Dark Water also lacks the spark which made the first half of the album so magnificently imposing and commanding but nevertheless has attention and appetite eager to consume and join its mission to provide honest ear barracking rock ‘n’ roll.

The malevolent Cancer Daddy pushes things back towards the thrilling peaks of the album, the song another breath stealing storm of anthemic bait and enterprise making way for the sinister charms of The Curse. It is a more than decent encounter which makes a good appetiser for the tempestuous excellence of Rotten To The Core, a furnace of middle finger attitude and punk confrontation which in its one minute twenty lays waste to the senses and emotions showing the emerging young punk bands how it is done. Explosive and bloody-minded, the track is another pinnacle to the album.

The closing I Hate You Forever leaves one final punk infested fight upon the ear, the Sex Pistols tinted riffs and hooks wrapped in a hard rock assault with rapacious sinews. It is a strong end but does not steal memories from the song before and earlier triumphs ultimately. Lucifer Star Machine offers punk ‘n’ roll at its dirtiest accomplished and weighty best, and Rock’n’Roll Martyrs their pugnacious call to arms.

http://www.luciferstarmachine.com/

8.5/10

RingMaster 27/09/2013

Copyright RingMaster: MyFreeCopyright

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The Caskeeteers : Go Cadaver, GO !

The Casketeers

Every now and then we look back at an album which readers may have missed but certainly deserves a look at as we search out the beating heart of the underground in all its shades. Such is the case with Go Cadaver, GO ! from US ghouls The Caskeeteers, a riotous brawl of an album which brings mischief, antagonism, and unbridled revelry from the land of the dead.

Formed in 1998 by upright bassist and vocalist Ritchie Dead, the band from Salem, Oregon has brought a scourge of psychobilly and horror punk to the breathing and expired earning hungry acclaim and decomposed lust through their impressive live performances and previous releases Dead Things and Tales From The Casketeers. The band has ‘buried numerous members’ as line-up changes added to the mayhem but with guitarist Gorey Hackerman and drummer Brian Terrible alongside Ritchie Dead, The Casketeers has hit their finest glory to date with the Psycho A Go Go Records released Go Cadaver, GO !

The album opens up its tomb of gore first with Carnival of Souls, an initial church organ beckoning and vocal revelation coaxing the ear into a stroll of bass persuasion, fiery guitar sonics and punchy rhythms. The brief welcome is soon a stomp of greedy riffs, eager beats, and inciting slap bass provocation. It is a keen and easy going track which though it falls short of igniting major sparks inside makes for a more than decent start with its scorching solo, boisterous vocals and harmonies, and rampant breath.

To be fair it is because of the quality of the rest of the album that the song and arguably a couple of other tracks pale slightly in comparison but that is the price to pay when including tracks like Wreck-n-Roll on your release. Sparking the ear with deep throaty bass plucking and a squall of vocal raucousness, the song swaggers with steaming blues guitar teasing and a resonating pulse which paws and coats the senses with expert temptation. Imagine Stray Cats and The Ramones in collusion with Johnny Burnette and you have this flaming uproar.

Tracks like Haunted Forever with its Generation X like rebellion and the seductive beat shuffle Killing Me Killing You continue the increasing strength of the album, a release which just gets better the further in to its shadowed depths you go.  The carnivorously strutting From Flesh To Bone as it sends the ear and passions into an excitable frenzy is a prime example whilst the following title track is like that boisterous best friend which with anthemic egging on leads you into a bruising errant display of behaviour.

The final four songs find album and band at its best, King Of Zombies leading the aural and passionate devilment. With a virulent contagion and sultry mid-song seducing, the song is psychobilly to commit adultery over, a delicious unquenchable lust with rewards that leave the heart breathless. From the throaty glories of the upright bass, the snapping rhythmic provocation, and the feverish guitar taunting in the song and album overall, The Casketeers is a primal inducement set free.

Among the Living is the most ravishing slab of excellence on Go Cadaver, GO !, the leading bass slaps and brewing sonic restlessness irresistible, a reaction which intensifies once the song spreads its muscles and devious addiction forming charms. Like all the tracks it is an immediate anthem for the instincts and soul which leads into unsolicited rapture and furious deeds of desecration, mentally and emotionally.

With the mutually scheming No Remorse, its dominant bass lick, barbed hooks, and cunning rhythms greedy and unrestrained, and the closing furore Sore Loser finishing off what is fully thrilling and invigorating release, Go Cadaver, GO ! is an unapologetic romp of death driven rock n roll. The album with extra whispers of the likes of Misfits and Volbeat to those flavours already mentioned, is one of those treats you instinctively return to and inspires eager hope that we see The Casketeers returning with more grave borne sounds soon.

https://www.facebook.com/pages/The-Casketeers/169521496422613

http://psychoagogorecords.com

7.5/10

RingMaster 27/02/2013

Copyright RingMaster: MyFreeCopyright

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The Objex – Reservations for Debauchery

Rattled, battered and thoroughly yet pleasingly wasted is how one feels after sweltering in the full blistering punk rock force of Reservations for Debauchery from Las Vegas based band The Objex. If you thought punk rock had seen better days then get your eager mitts on this unapologetic orgasm of uncontrollable punk intensity and attitude thrust through the ear via vital and eager riffs wrapped in pulsating sexual energy. 2011 saw original punk show its heart is still beating loudly with the likes of UK’s The Duel and US band Cute Lepers releasing albums of stunning quality and enjoyment, to which we can add Reservations for Debauchery. Whereas the British band came from the safety pin cutting edge of the likes of X-Ray Spex and Vice Squad, The Objex take pop hook laden sounds reminiscent of the likes of Generation X and Vibrators and forge them with a rock powered intensity. They are an irresistible blend of The Plasmatics, Mongrel, and The Distillers yet completely distinctive and totally exhilarating.

Formed around 2006, The Objex was the creation of drummer Joe Perv and front woman Felony Melony whom he had enlisted to front his band The Pervs on the remaining dates of a tour it was on. After the tour the duo decided to carry on working together forming The Objex, the name coming from a conversation about Melony’s breasts involving The Briefs member Daniel J. Travanti. April of the same year saw the joining of guitarist Jim Nasty and the element that really completed the band as a force, his style a perfect fit. A 5 song demo Bound And Gagged followed alongside a bounty of shows and tours as the band built an eager and rapidly growing fan base with their dynamic sounds.

Preceding the unleashing of debut album Attack Of The Objex in 2007 to ever increasing acclaim and demand, the band added the bass skills of Aly 2X, a musician who self proclaimed she was the “best damn bass player with a vagina that you will ever see”. The album’s response led a year of highlights including notable appearances at the SXSW music festival, The Afro Punk music festival in Brooklyn, NY, plus support slots touring with Demob, Gold Blade and The UK Subs in the UK. The following year the band began working on new material though it too saw the departure of Joe Perv due to creative differences. Taking months finding the right replacement the twilight months saw the addition of drummer Chile and the band ready to use 2009 for writing and working on preparation for follow-up album Reservations for Debauchery and shows. The band entered the studio in 2010 with producer Jason Tanzer of Dust Tree Production Studios and work on the album began, boosted by the winning of the Vegas Rocks Award for Best Punk Rock Band and signing a contract with European based independent label, Crownn Recording Group for the global release of the album, which was unveiled early the next year.

Obviously concerned for the moral welfare of the vulnerable amongst us, The Objex start the album with a public warning of the corruption ahead in the brief song ‘Fingered’. Once out of the way the band go hell for leather to assault, violate and most of all pleasure the senses. ‘RSVP’ swaggers in on a rock riff that squeezes the ear before exploding into a combative declaration and defiance. The guitars whip up a frenzy whilst a deep poking bassline veins throughout. Melony instantly shows she is one formidable vocalist, an eager extrovert without losing the anger and intensity all punk should come with, nothing lightweight about her or the band. Sounding like a cross between Brody Dalle and Wendy O Williams with a touch of Joan Jett she commands songs and attention with the openness to allow everyone in the band to shine.

Every song is deeply impressive and beyond satisfaction though there are some tracks that just edge others though it really is by slim margins. ‘Social Disease’ attacks with bitterness and venom leading one to know you would not piss off this lady intentionally. With a siren like riff the track leaps upon and dances within the ear leaving no response possible but to physically respond in kind. This is matched by the equally addictive ‘Toxic Waste Girl’, again linchpinned by a mesmeric hook it has a slightly more melodic wrap though still as excitable and relentless as anywhere on the album.

Getn Back’ grabs hold with mischievous intent to do damage whilst exciting at the same time. Complete with a riff that chips away at the senses incessantly the song just epitomises what the album and band is about and the quality of all its parts. The rhythms of Chile demand attention and the array of riffs that probe tease and linger from Jim Nasty fight for the same piece of the listener. All elements of the band want and deserve focus but it is all in a unity with the others, the production showing all off without threatening the unity of band and songs, and for the record Aly 2X certainly supports her claim with some of the most delicious basslines anywhere, male or female.

If pushed best song on the album is probably ‘Squeeze’, favourite anyway. As the album is as a whole, the track is relentless high octane punk flowing with acidic melodies and pulse racing energy. Melony stamps herself as one of the most exciting and accomplished vocalist, though as the album pushes its charms into the face the Mohican clad new Queen of Punk proves that everywhere.

It is rare to come across an album where you cannot find any real fault but it truly is the case with Reservations for Debauchery, tracks like the glorious ‘Retribution’ and ‘Criminal State’ just as worthy of the words and impressive reaction given elsewhere. The Objex has given one punk album you definitely should not be without; this is a release the word ‘essential’ was created for.

https://www.facebook.com/objexlv

RingMaster 12/01/2012

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