Cléo – Pinball Machine

A song which leaps through ears with all the energy and excitement of a carnival, Pinball Machine is one of those singles which simply gets under the skin. The new release from rock popper Cléo, the track with its tenacious punk like character and full on fun attitude is not necessarily a brand new adventure for the pop world but certainly makes for an enjoyable and captivating escapade.

Cléo is a Brazilian bred singer/songwriter/ actress/dancer who now resides in London. The list of inspirations on her creativity and music is long and includes the likes of Madonna, Cyndi Lauper, No Doubt, Pat Benatar, Britney Spears, Spice Girls, Green Day, Foo Fighters, and Linkin Park. These are flavours at times openly colouring her shapely sound but equally, and certainly with Pinball Machine, Cléo has her own rich vein of distinctive creativity lighting up her music too. 2013 saw the release of the extremely well-received Unlucky Girl EP, an encounter converting more fans, media, and pre-assuming critics to the visually and aurally vibrant presence of Cléo. Now Pinball Machine is poised to stir up ears and attention once again and such its charismatic and mischievous enterprise, it is hard to imagine it luring a new rush of interest.

Cléo is the initial temptation in the single, her raucous call the spark to short choppy riffs, jabbing beats, and a thickly provocative bassline. It is a potent coaxing with a great almost predatory nature to it, an edge leading ears and appetite into the swiftly looming frisky chorus where harmony soaked vocals and melodies bounce with energetic eagerness.

As it continues to flirt with its more shadowy side as well as magnetic festivity there is that constant, almost Gwen Stefani like, familiarity to the song yet tempering that, Pinball Machine offers subtle twists of attitude and latent aggression which turns the offering into something personal and invitingly individual to Cléo. Quite simply Pinball Machine is a persistently alluring proposition from a lady we can expect to hear much more of in the future.

Pinball Machine is available now @ https://itunes.apple.com/gb/album/pinball-machine-single/id959356901#

http://www.cleospage.com/

RingMaster 01/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

 

 

This Legend – It’s In The Streets

With the pedigree of its members, expectations for the debut album from This Legend were demanding but also wanting to be seriously surprised. After a strong but underwhelming start, the LA quartet not only fed all wants whilst utilising familiar pop punk ingredients in a series of relentlessly contagious encounters, but sculpted a continuous adventure of unique and gripping twists across the release. The result is an album which, like an old friend instinctively and continually ignites the sweet spot of desires of the genre whilst creating brand new and captivating temptations. It’s In The Streets is a gem of a proposition which does surprise and find its own character but also provides that recognisable essence which turns every song into an instantaneously bordering on anthemic lure.

Formed by ex- Yellowcard members Longineu Parsons III (drums) and Ben Harper (guitar), the former leaving the band earlier this year and reuniting with his friend who left their former outfit nine years earlier, This Legend was soon bulging with experience and talent as the pair brought in vocalist/guitarist Chris Castillo (Stanley and the Search), and bassist Steven Neufeld (Hey Mike!) to complete the line-up. Signing with Cyber Tracks, an LA based record label owned by El Hefe (of NOFX) and his wife Jen Abeyta, the band soon set about recording their debut with producer Sam Pura (The Story So Far, State Champs). In what has already been a busy year for the new band, This Legend now unveil its opening shot and you can only surmised that the attention and workload is only going to get more hectic as its virulent charms spreads their pleasure.

As mentioned the album did not exactly blow ears and thoughts away at first though opener Lyrics With My Pen certainly strides in on a rhythmic temptation which instantly grips attention. It is a dramatic start which loses its potency as the song relaxes into an accomplished and confident stroll of warm riffs and spicy hooks stroked by the excellent vocals of Castillo. The track does little wrong to be fair but equally just provides what so many other genre offerings seem to, something enjoyable and engaging but nothing out of the ordinary, even with the impressive craft of Parsons III pounding away throughout. Subsequently though the track turns out to be an appetiser for greater things which are hinted at by the following Feeling Like I Should and fully triggered from Holiday From Crazy onwards. The first of the pair is a warm and radiant persuasion, a lively croon where vocals and guitar provide a colourful emotive portrait from which the chorus finds a rich infection to spark the imagination. It is the little twists of chords and hooks though which intrigue and ignite the song; elements explored even more from hereon in as its successor takes over. The third song flies at ears with melodies and rhythms pumped and creative tenacity aflame. There is a spicy mix of early Green Day and Simple Plan to the song but the rich hues of sonic adventure and rhythmic drama are the riveting and ear exciting endeavour which makes a great song into something special.

The album’s title track with its emotive depth and vocal expression thrills next, rhythms intimidating bait within the rawer but no less seductive landscape of the energetic and controlled blaze. Again there is a dramatic edge to vocals and sound which elevates every syllable and note into something unpredictable, fresh, and exhilarating; the track a swift peak emulating its predecessor but in turn matched and exceeded by the volatile stomp that is My City. Wonderfully exhausting and inescapably contagious, the track is a highly charged punk antagonist flooded with fiery melodic hooks and teases within another knee weakening, passions lighting rhythmic assault. To seal its dominance on the album, it also provides a mouth-watering change of gait and hook clad predation, a twist which actually rings a bell of undefined influences but puts the icing on a flavoursome chunk of pop punk.

     Skin & Bones comes next and provides an impassioned stroll within bracing riff laced scenery speared by again perfectly barbed hooks, Castillo especially impressive and engrossing vocally, whilst Life Pushes Hard dances with ears through tangy melodies over a feisty shuffle of rhythms and bass temptation. Both tracks keep ears and appetite greedy, the first especially raising a new hunger before the pair of I Deserve Better and Moving On add their creative spoils to the feverish revelry. The first of the two excels with its spiky riffs and wiry grooves and the second through its tantalising weave of emotive melodies and vocal reflection. Though it lacks the extra something to flirt with the passions, the song’s fresh enterprise and skilled structure only leaves satisfaction grinning.

A highly agreeable if safe offering comes next with Regrets, a song which does not venture too far from pop punk limits, unlike other songs on the album, but with vocals and rhythms especially finding essences of the distinct hues veining previous songs it unreservedly pleases before the urgently catchy Get Fast takes over to cast its own feet inciting contagion. Its rawer tone makes a tasty complement to the breezier breath of the previous song and sets up the aural theatre of final track Josh Lights A Fire perfectly, the closing song if not quite in sound definitely having that dramatic essence which Fall Out Boy embrace.

The song is a terrific end to an excellent encounter, a release which stands fully alone from the past adventures of This Legend’s personnel. Actually It’s In The Streets suggests that the band has the potential to eclipse their band’s previous endeavours, time will tell but more treats like this will go down nicely.

It’s In The Streets is available now via Cyber Tracks @ http://www.cyber-tracks.com/store/

http://thislegend.com

RingMaster 20/11/2014

Copyright RingMaster: MyFreeCopyright

 

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Gorilla Punch Radio – Self Titled

Embracing a wealth of rock spices and varied flavours, Gorilla Punch Radio on the evidence of their self-titled debut album, tries and succeeds in making every song a slice of impacting revelry whether they are crooning the emotions or making irresistible incitements to feet. Offering ten tracks which leave lingering impressions with their tenaciously crafted and presented exploits, band and album makes for one attention grabbing, ear pleasing introduction.

Hailing from Leeds, the quartet of vocalist James, guitarist Boothy, bassist Sam, and drummer Paul, from the little you can find out about the band online, formed the band at least three years ago and have certainly honed their sound over time to a thoroughly magnetic proposition. Taking inspirations from the likes of Kasabian, Red Hot Chili Peppers, Foo Fighters, Coldplay, James Brown, Radiohead, Green Day, Muse, Nirvana, and Michael Jackson and more, many which can be heard as spices within the album, Gorilla Punch Radio parade a maturity of musicianship and songwriting which suggests experience and definitely imagination is ripe in the band.

The album opens with the single Bragging Rights, a storming stomp of a song which alone has sparked an eager interest in the band. Fiery riffs warm ears right away before the equally appealing vocals join firm rhythms in building up an attention awakening start to the song. In full swagger, the track finds a blues breath to its melodic endeavour and garage rock urgency to its stride, infecting the imagination and emotions like a horny mix of The Stones and The Killers. It is a richly contagious start to the album ensuring appetite and satisfaction is at a high ready for the following adventures.

Pick Yourself Up, the second single from the album, comes next and instantly swings a mellow tone over the senses, acoustic enticing and again the impressive vocals of James caressing ears with reflective expression. The song soon lifts its feet for the feistier engagement of the chorus whilst the earthy yet elegant croon of the song continues to embrace thoughts. The song is a gripping proposition which gains strength with every listen, much like the album. With bulging beats and group harmonies pushing its climax to greater potency, the excellent track makes way for the melodic rock stroll of I’ve Got Your Back. Though the song does not quite match its predecessors in presence and magnetism, it is a lively proposition blessed with a jazz funk jangle and sultry flames of guitar but it is it’s the rousing quality which the band instil in all their tracks, even the ballads, which steals the imagination.

Starting with a burst of sixties garage rock, thoughts of The Monkees swiftly hinting, Burn this City to the Ground erupts in a blaze of raw rock ‘n’ roll with hooks and riffs creating a scintillating tapestry. The track stands like a union between the more mod like rock of The Who and Secret Affair and the stronger blues bred enterprise of a Bad Company. The track continues to twist and turn with relish in its invention and passion in its expressive colour. The bass provides its own sublime throaty temptation whilst the magnetic guitar craft of Boothy simply ignites the track further for another major moment of the album.

Both Shadows and Follow You wind things down a little, certainly against the previous treat, but each immerses the listener into scenery of down to earth life and emotion. The first of the two glides with another impressive acoustic seduction aligned to reserved yet pungent rhythms which punctuate the evocative vocals and their lyrical narrative. There is an intimacy to the track, as many on the release, which draws in thoughts and connections. The second of the pair has that same charm as it bewitches from the start with a slow brooding expression and sound before erupting in a folk seeded romp which swiftly has feet and emotions waltzing with its punchy persuasion. A song which you could not dislike if you tried, it adds another string to the creative bow of Gorilla Punch Radio and texture to the album.

As does the excellent funk festivity of Tease, a sultry boogie primed for personal and dance-floor use. With a gnarly tone to the bass as flirtatious as the melodic vivacity and Red Hot Chili Peppers like rhythmic agitation, the track is an addiction waiting to prey on body and soul. It is a powerful weapon for the album emulated by the smouldering melodic flight of Breathe, its glowing melodies and enticing vocal harmonies absorbing hues in a riveting weave of emotional and sonic exploration.

The album is brought to a close by firstly the climactic power of Song for the Underdog, a track with thumping rhythms courting a compelling anthem of strenuous riffs and incendiary hooks. It is a glorious call to ears and passions, the best track on the album and incredibly virulent in every individual casting of the band’s lines as well as their combined explosive ingenuity. It epitomises the band’s songwriting, huge hooks and binding grooves locked into expressive and intricate invention. It is followed by Jane, the song another mesmeric ballad where vocals and guitar simply shine. To be honest the big sinew busting songs from the band have the edge for personal tastes but there is no escaping the elegance and beauty of their balladry or its persistent suasion.

Gorilla Punch Radio is a band you are destined to come across time and time again, as they can only get even better which is a truly exciting prospect after the impressive triumph of their album.

Gorilla Punch Radio is available now @ https://itunes.apple.com/gb/album/gorilla-punch-radio/id888458114?ls=1

https://www.facebook.com/pages/Gorilla-Punch-Radio/126158307494364?ref=h

9/10

RingMaster 28/08/2014

Copyright RingMaster: MyFreeCopyright

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Call It Off – Liars

Liars is not going to set new standards for punk rock but with its proudly romping pop punk veined with spicy essences of power pop, the latest EP from Dutch rockers Call It Off is certainly a refreshingly enjoyable encounter. It brings five easily accessible tracks to the ears, songs giving feet and voices an invigorated work out through anthemic urgency and melodic infectiousness. Liars may not drive you to a rooftop to roar about its creators, besides you will be too busy dancing, but it easily ignites an eager appetite and attention for the Eindhoven quartet.

Barely a year old, Call It Off are four musicians who unite with plenty of experience earned playing in different bands over previous years. Pulled together by a mutual love of punk rock, chatting leading to actually writing music together and subsequently the birth of the band last September, the foursome of vocalists/guitarists Maurice Bolier and Adrian DeLange, bassist Lesley Klaverdijk, and drummer Sergei Christian made their first mark with debut EP Lovers late 2013. A clean strike across the bows of attention, the release made a good base from which Liars has confidently moved the band’s songwriting and sound on. Its songs are short and punchy but come with a fluidity and swagger which capture ears and imagination like returning friends, the band’s influences an open colour across the release it is fair to say.

Those inspirations are unavoidable from the first moments of opener Famous Last Words, potent spicery of Green Day and Blink 182 a clear flavouring though there is plenty more to the songs than a cloning of past protagonists. From its first swipe of rhythms and riffs, from which a teasing melodic tendril wakes ears potently, the song strolls with melodies swinging from sturdy rhythms and jangling riffs aligned to appealing vocals. The first song also holds a rawer edge like a mix of Story Of The Year and NOFX, though this only glances over the rich melodic and sonic enterprise rippling within the highly pleasing opener.

The strong start is soon shown a pair of heels by the excellent Burning Bridges. From its first roar the song roams the awakened appetite with again jangle clad riffs and a great coaxing of power pop harmonies, the track potently contagious from its first breath. The dual vocals work even better on the second track whilst the moody bass tone delivered by Klaverdijk comes with a shadowed mischief to alone entrance the imagination. That Green Day reference is even stronger here but adds to the instant connection of the song, its simple but expressive invitation impossible to resist adding your own personal attributes, or in some of our cases, disasters to.

     Stuck With You has a slightly more reserved urgency yet still rocks like a hound in heat with infection soaked hooks and melodies. That strong whiff of Billie Joe Armstrong and co continues to brew a strong yet captivating smell whilst there are moments where the song offers small tinges of Hagfish to its sharp hooks and underlying rhythmic antagonism. As all the songs it is like an old returning friend more than a new encounter, a feeling which stops the track leaving thoughts awe struck but undoubtedly has them riveted and fully involved in its raucous revelry, a lure just as addictive in the stomp that is I Don’t Wanna. As anthemic as you can get, the track simply provokes the passions and body from start to finish, providing a punk bred festival of adrenaline and passion.

The EP closes with Call Me, a track with wandering melodic adventure and emotive textures. Driven by a spine of firm rhythms aligned to a throaty bassline, the song flirts with ears through evocative enterprise from the guitars and the fine blend of vocals as it sways and rolls across the ears with arguably a more adventurous seduction than found of the other tracks. It makes for a fine end to a thoroughly enjoyable encounter.

As mentioned, Liars is not quite a release to set punk rock on fire but it definitely nudges it firmly to the presence and rich potential of Call It Off.

The Liars EP is available now via White Russian Records @ http://callitoff.bigcartel.com/

https://www.facebook.com/callitoffNL

http://www.callitoff.nl/

8/10

RingMaster 18/07/2014

Copyright RingMaster: MyFreeCopyright

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Gaz Patterson – Dodging Bullets

Following up his impressive and thoroughly enjoyable debut album King Of You, UK one man pop punk/power pop protagonist Gaz Patterson returns with Dodging Bullets, an eleven track romp to light up ears. Bred from the same stock as its successor but showing a new strength of maturity amongst the riot of hooks and cast of melodic temptation, the new release pushes the already strong emergence of the man up numerous notches.

Hailing from Bedlington in Northumberland, Patterson again keeps within existing boundaries with Dodging Bullets. As with the last album, songs hold a familiarity which ensures they make friends long before their hearts are fully spilled. Once more it is hard to avoid making comparisons to modern Green Day and Blink 182, but at times there is a strong Ramones seeding to songs which offers a vibrant and anthemic lure. As the first album, Dodging Bullets is not without a few things which need honing, but for richly pleasing, feet grabbing pop infused punk songs, it fills all needs.

The release opens with Into The Sun and a sparkling of keys swiftly joined by hefty swipes of guitar and rhythms. It is a potent start which takes little time before settling into a wide gaited stride of thumping beats and enticing riffs speared by a similarly alluring tidy hook. The track is an anthemic beast, guitars and bass sculpting a frame for imagination and emotions to latch onto whilst the punctuation of drum swipes just intensifies the bait on offer. It is not a majorly dramatic start or song but one which hits the sweet spot persistently, especially with the tempting melodic enterprise streaming with variation from Patterson’s guitar. With the man providing every aspect of the album, it is easy to see and eagerly appreciate his skills and talent, as well as his ability to write ridiculously catchy songs.

The first track does offer the first hint of the only element which off and on just misses the mark though, the vocals. It is not Patterson’s lead attack, that only recruiting ears and attention with ease but the production around his voice which leads to questions, it bringing a hollow resonance to the delivery which does not fit easily in the arms of the sounds. It is a niggle more than an issue but something may be worth thinking about as is the additional backing vocals and harmonies behind the man which are a little hit and miss across the album and often do not need to be there such the power of his lead. Nevertheless it does not stop the opener from lighting an appetite for the album into which the following Devil Girl sparks a wave of greed. The track is a gem, vocals and riffs immediately rubbing invitingly on ears before the song bursts into a boisterous rampage. Guitars and drums lead the way with an irresistible revelry whilst the bass adds a throaty depth to the mix but it is when keys suddenly rein things in for a brief melodic breath that the songwriting of Patterson shows its growing confidence and potency.

Both Bitter Sweet and Hold On keep things rocking, the first pulling on the reins of urgency compared to the last song but still cantering with keen endeavour and tempting riffs aligned to infectious hooks whilst the second adds a caress of acoustic guitar to a key sculpted melodic swagger with appealing touches of discord. Neither matches the strength and pull of the first pair of songs but easily bind ears in an appealing and imaginative hold before the might of the title track takes over. Thrusting a flame of hard core inspired rock ‘n’ roll into power pop contagion, the track makes a gripping start with a strong coaxing which only increases as guitars slip into intriguing grooves and melodic twists whilst rhythms emerge with an unpredictable nature to make the song an enthralling and fascinating charge.

The acoustic balladry at the core of the next up Barely Believe is a decent proposition but lacks the spark of other songs, though the strings bring a great evocative croon to the song, whilst Nothing Sacred from a blaze of riffs and sonic suasion shapes another anthem of searing melodies and barbed hooks to snare thoughts and emotions. The drums roam around with agitated enterprise whilst the bass for arguably the first time finds the growl and potency which graced the first album. The vocal production does the song no favours it has to be said but cannot prevent it igniting passions with its storm of stirring sounds and impressive musicianship. As so many of the songs it is like meeting an old buddy, familiar and unsurprising but very, very welcome.

Our Movie is another which just misses heights set, but again it is that production element which defuses its sinewed driven stroll of addictive hooks and enticing riffs aligned to exhausting incendiary rhythms; a mix in a different less intensive guise which marks out the next in line, Too Far From The Truth. Featuring excellent guest backing vocals from Sam Gibson and a great sultry twang to the melodic persuasion of the guitar, the song is a striking and increasingly virulent slice of potent pop rock. Of all the songs on the album, it is the one which from a strong start just seems to get better and linger longer; simply a vivacious song to heat up the summer.

The album closes with firstly the senses cradling Promises Into Yesterday with its emotive weave of acoustic guitar and shadowed basslines within a heated web of guitar passion and synth expression, and lastly We Are We Are. The closer is the anthem of the album, vocals immediately filling ears and imagination before a gentle but energetic shuffle of devilish rhythms, roving basslines, and melodic toxicity combine for a richly pleasing conclusion.

     Dodging Bullets probably does not realise all of the potential found in Patterson’s first album but certainly it brings a potent evolution of plenty that was offered there whilst adding further exciting twists and promise to the mix. For imaginative but enjoyably undemanding pop punk, Patterson and his album is a recommended romp.

Dodging Bullets is out on the 1^st July.

http://gazpatterson.bandcamp.com

https://www.facebook.com/GazPattersonMusic

8/10

RingMaster 27/06/2014

Copyright RingMaster: MyFreeCopyright

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Dirt Box Disco – Bloonz

Holly Monroe Photography

With more individual anthems than the amount likely to be heard at the upcoming Commonwealth Games, UK punk rockers Dirt Box Disco are poised to unleash their new album Bloonz. By now with their third album you could be tempted to think that the Burton-on-Trent quintet might have matured and grown up into a big boys sound but thankfully the band has refused to be swayed by the sensible side, the result another immense and irrepressible riot of prime cut punk ‘n’ roll. Do not make the mistake of thinking the band has not pushed their sound and craft though, it is just their devilry and imagination which has refused to mature as confirmed by the voice of the track King Of The Castle on Bloonz. The album is their most richly flavoured and spicily inventive mischievous incitement yet, the kind of stomp infamy licks its lips over.

Formed in 2009, Dirt Box Disco has been unrelentingly climbing the ranks of punk rock since making their first startling mark with riotous live performances and the Are You Ready? EP of 2011. One of the most turbulently energetic and mercilessly fun bands on stage, their reputation and stock has risen insatiably especially over the past couple of years, aided no end by the release of their debut album Legends and its successor Peoplemadeofpaper. Both releases were deservedly soaked in acclaim and generated waves of new appetites and attention upon the band, a track from the second of the two finding itself the soundtrack to a recent big cosmetic advert. It is hard to imagine Bloonz not only emulating their success but firmly slapping the band onto the top table of European punk and rock ‘n’ roll.

As soon as the first breath of Standing In A Queue hits the ears you know you are in for another thrilling and exhausting ride with the band sound, the track frisking from the outset with the devilishly coaxing vocals of WEAB.I.AM as the urgent riffs of DANNY FINGERS and SPUNK VOLCANO lay down an irresistible instant tease. With the crisp beats of MAFF FAZZO aligned to throaty lures provided by bassist DEADBEATZ CHRIS and the whole band backing up on anthemic vocals, it is Dirt Box Disco back doing rock as only they can. That is only part of the tale though as sound wise the first signs of a flavoursome expanse is apparent, the song fusing in a virulent strain of pop punk with more than a whisper of early Green Day if given a make-over by the equally early years of The Damned to it. The track is an outstanding stomp which grips feet and nether regions in a salacious charge of energy and contagion.

The following We Are The Rejects lets rawer sinews have their moment whilst an infectious toxin permeates every note and syllable. The guitars open with a scuzz lit antagonism, slowly scowling before raising their rabidity and energy whilst creating a caustic lure with raw metallic spicery. Surging guitar squalls and adversarial rhythms drive the song forcibly across the senses and feverishly into the imagination, the expected full addictiveness of the chorus and its lighter croon unable to stop the track from being the heaviest imposing treat on the album and probably from the band ever.

Rewind And Eject takes its lead from its predecessor, again finding a more violent voice to its breath and scrub of opening guitar, an intimidation stood over by the ever rebel rousing tones of WEAB.I.AM. From its sterner start the song opens up with flowing melodies and inescapable vocal hooks, though the guitars still stalk with an acidic dispute to their sound and essence. Though not as dramatically gripping as the first two songs, it grows into another inescapable suasion before being pushed aside by the muscularly striding Bullshit. Gripped by caustic grooves which sear the senses within a cage of muscle bound rhythms and cantankerous riffs, the track forges another diverse presence, one which steps out as an accusing predator with lingering hooks and anthemic griping draping every twist of its fierce body. Providing further proof of the evolving invention of the band across the album, that intimidation is then strapped by an ingenious sonic binding, rich grooves winding tightly around the passions for Skids like tempting lining the ’77 bred core of the song.

We are only four songs in and already have experienced a quartet of individually sounding triumphs, the fifth soon stealing the show as King Of The Castle explodes in the ears. Lurching into a rumble of agitated rhythms, corralling vocals, and predatory basslines, band and song stomp and taunt with impossibly contagious exploitation of the already submissive passions. That Green Day spice is again at play but similarly you can suggest essences of Bad Religion and Turbonegro in varying degrees to the unrelenting addiction brewing rampage. With guitars blazing with craft and incendiary relish, rhythms rousing up pulse rates, and vocals charming up the defiance and immaturity in us all, the track is another glorious pinnacle of Bloonz.

Both 9 Lives and Welcome To Hell settle into easily accessible and eagerly inspiring slices of attention stealing rock ‘n’ roll. Neither set the fires burning in the belly as certainly the previous track, but both show that when Dirt Box Disco are simply roaming comfortably within their own creative walls they are still looking down on the invention and presence of most other modern punk bands. The two songs leave lips licked and greed happy, the second especially notable with its foraging of garage punk corners for a blues kissed sonic fire of appetising rioting, before the excellent pair of I Swapped My Brain and Supreme And Gobshite decide to take their hefty portion of the plaudits. The first of this two is fuelled by a mix of The Ramones and Radio Stars, an incorrigible brew obstructing any resistance of its head on riot whilst its successor latches onto a Buzzcocks bred synapse scything groove, riding it hard for a boisterous and combative bruising employing thumping rhythms and sedately savaging riffs. The most aggressive anthem on the release, the track burns and riles as it seduces, riling passions to stand up and roar their approval. It is another twist in the mouthwatering variety of the album, again a song where despite all the comparisons offered, it and all tracks are pure Dirt Box Disco.

   She Goes Out captivates the senses next with uncomplicated riffs and searing flames of melodic and vocal enterprise, all courted by sonic invention. As eager in its unbridled anthemic call as in the creative heat of its solo the song is a siren, its potent bait soon repeated in another guise by Golden Frame. Less forceful in its still merciless enticement, the song simmers and worms relentlessly under the skin. The grouchy growl of bass is the first potent trap swiftly followed by feisty riffs and tightly binding solos, all guided by the excellent legion of harmonious vocals. It all combines for aural slavery of the senses feeding an admittedly already biased appetite for the band until it breeds a new level of hunger.

The album is closed by one final brawl of sound and intent with the thrilling We’re Going Out Tonight. Punk n’ roll at its most commanding, hungry, and epidemically infectious, the track is a blistering finale and sums up the good bad things about the band. To be honest we were expecting good things from Bloonz simply on the evidence of the previous Dirt Box Disco albums but it leaves those thoughts seeming very reserved in their hopes. It is an album which just gets better and motivates greater bad habits the more you spend in its diablerie; the choice protagonist for all rockers everywhere.

Bloonz is released via STP Records on April 26^th and available @ http://www.stprecords.co.uk & dirtboxdisco.bigcartel.com

http://www.dirtboxdisco.co.uk

10/10

RingMaster 23/04/2014

Copyright RingMaster: MyFreeCopyright

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Gaz Patterson – King Of You

    Gaz Patterson will probably be a name most are unaware of at this moment in time but as debut album King Of You unleashes its enthused stomp and impressively accomplished swagger you have a niggling suspicion that this secrecy will not be a long running status for the British punkster. Creating a boisterous party of melodic and pop punk, the Bedlington, Northumberland hailing musician has made an introduction which captures the imagination. The album is not bursting with originality it has to be said but comes with vitality and a refreshing passion which only accentuates the promise bursting across the eight track storm of enterprise.

As soon as a big bass groan ignites the first seconds of opener Walking Backwards there is a sense of something potent waiting to seduce the ears, a hint soon brought into realisation as riffs flame around the ear and rhythms romp with sinews to the fore through the emerging track. As it hits its stride with the smooth tones of Patterson adding to the persuasion there is a familiarity to the song but one which only adds to the strong lure being laid before the imagination. Comparisons to the likes of Blink 182 and current Green Day have been placed upon Patterson’s sounds and as the track charges contentedly, it is easy to see why especially in regard to the former of the two.

The strong start is matched by the following Last Round, again the throaty voice of the bass standing out from the start whilst the guitar casts a skilled temptation within the pleasing encounter. Slightly more restrained but of the same breed as its predecessor, the track strolls with a purpose and appealing presence if without quite sparking a major fire for its resourceful offering. The same to some extent applies to the next up Broken Hearts On Parade, the track a brief rampant blaze of punk ‘n’ roll with a great fiery solo and combative rhythms.

Going Out My Mind is another pungent tempting of addictive hooks and magnetic melodies ridden by the easy on the ear vocals of Patterson whilst the bass provides its own irresistible vaunt to compliment the enterprise and inflate an already awakened appetite for the release. In many ways the tracks to this point have all come from the same well of textures and invention though with individual faces to their presences, but it is all shaken up pleasurably by the melancholic embrace of Elona. The slow smouldering ballad is an ambient emotive wash of acoustic guitar, softly delivered vocals, and a stringed caressing which is absorbing. With keys adding to its evocative plot, the track debatably is out of place on the album but a thrilling aside to the thrust of the album earning an acclaimed place.

The pinnacle of the album comes with the title track, the song a riff clad, rhythmic tempest of punk rock which from its first chord has mind and heart enlisted in its compelling adventure. An element of The Ramones adds its enthusiasm to the fever whilst an Offspring like bustle encourages the belligerent lyrical content, it all uniting for a thumping ride of a great punk song.

    See You In The End and Pieces Of Two complete the album in fine style, choppy riffs and cantankerous rhythms driving the first of the two directly into the senses, vocals harmonies adding to the punk pop purity whilst the closing track provides a lingering convincing of melodic rock which seals the success of the album and reaffirms the promise of the artist with another varied slice of enterprise.

     King Of You as mentioned is not going to take you down new avenues but instead explores existing ones with an energy and investigation which marks Gaz Patterson out as one to watch closely.

http://gazpatterson.bandcamp.com/album/king-of-you

https://www.facebook.com/GazPattersonMusic

7.5/10

RingMaster 04/12/2013

 

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