Battalion Zośka – Self Titled

Like all instinctive punk fans seventies punk and eighties hardcore will always fuel the passions no matter what major moments which have and will continue to follow that defining moment in time. There is no doubting that it is the same for Philadelphia hailing Battalion Zośka; all the evidence raising and roaring aggressive irritation within the band’s self-titled debut album. But there is no mistaking that its 13 slices of sonic and defiant belligerence are far more than echoes of inspirations and other’s glories. The album is a fresh breath and striking protagonist embracing the seeds which fired up us all decades past.

Formed in 2018, Battalion Zośka features members of hardcore punk outfits Violent Society and Combat Crisis and their sound provides a politically charged trespass as aggressively catchy as it is emotionally dissonant. Rhythms unapologetically bite as riffs harass and curse alongside similarly tetchy vocals, the hooks and enterprise conjured just as fractious and irresistible within one magnificent, rousing debut.

The quintet of Pat, Jim, Johnny, Jonas, and Milo set down the tone and character of the album from its first breath, opener A Country Divided rhythmically teasing attention before being entwined in alluring wires of guitar. The song soon hits its stride, threat and disobedience lining every note and subsequent syllable as inbred catchiness equally shapes its rousing incitement. With a great whiff of Angelic Upstarts meets The Lurkers to it and featuring the first of two guest appearance from Black Flag/ Misfits guitarist Dez Cadena, the track lone tells you all you need to know about the band’s sound and album, both swiftly compelling assaults.

Arm Everyone follows bringing an even thicker dissent and trespass to the senses; its hardcore breeding hungry and ill-tempered in its uprising while the album’s title track thrusts forward with rampant muscle and uncompromising resistance as an Exploited meets UK Subs hued subversion arouses. It is fair to say that together the three tracks had ears and appetite enslaved but the third truly sealed the deal.

Next up, Heather was no light weight in that union either, its strands of melodic wiring a delicious itch in the rich infectious nagging of the track. The song brings another guest to the release in the ever potent craft of Neil Newton, the Angelic Upstarts guitarist also giving fiercer flaming to Moral Coward two encounters later, that song a dirtily cantankerous seventies ripe invasion. In between the equally outstanding Island of the Lost Souls stamped its commanding authority on ears, every rhythmic swing an enticing bitch slap and chord a caustic tempting as it builds towards a chorus which just had body and throat bounding forward.

The subsequent assails of Oi! By Numbers and Sold & Bought did nothing to lessen the album’s grip; the first, an undisguised attack within a familiar yet unique sonic pillory with its successor a virulent Crisis-esque transgression. Each simply pummelled the spot before being rapaciously matched by the esurient assault and arousing of 80’s Kid, the song sharing the second ear grabbing appearance of Cadena.

A pop punk essence helps blossom even greater temptation within Once Again, its untamed Vibrators meets Adicts breeding an anthemic tonic for the spirit while the equally galvanic rallying of No More and Scum of the Streets with its feral indeed predacious stalking and sonic hounding only accentuated the impressive and inspiring body and disagreement of the album.

Completed by the carousing punk ‘n’ roll of The Beer Song, the Battalion Zośka album is simply punk rock at its most honest, uncomplicated yet imaginatively bred best. Expect to hear a lot more of the band as once its full-length stirs up a punk uprising of attention and lusty support they will have little choice but to submit to demand.

The Battalion Zośka album is released this June via Violated Records; available at http://www.violatedrecords.com/ and https://battalionzoska.bandcamp.com/album/battalion-zo-ka

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Pete RingMaster 03/06/2019

Copyright RingMaster: MyFreeCopyright

Kneel – Interstice

Open mouthed, bewitched and gasping for breath is not a regular occurrence despite having the honour to hear so many impressive and thrilling encounters at The RR but that is exactly how Interstice from Kneel left us. It is an album which devoured attention as it engulfed the senses, a cauldron of sound and craft which preys on ears and imagination like few others.

Kneel is the solo project of Pedro Mau (ex-Kneeldown, Wells Valley) and Interstice a collection of creative traps written between 2011 and 2013 and now re-released in 2019 through Pulmonary Records. Offering nine maelstroms of hardcore, mathcore, and thrash metal, though that truly only suggests at the full body and diversity of the album, Interstice is as fresh, adventurous, and unique as anything heard in recent times or is likely to be embraced this year. Upon the release, Mau is joined by vocalist Filipe Correia (Wells Valley, Concealment) but everything else about the album is all its Portuguese creator; an artist leaving no stone of unpredictability unturned and layer of creative risk unexplored.

As the album’s opening track swiftly reveals, Mau’s songs are as virulently infectious as they are almost barbarously bold and unconcerned with expected structures and boundaries. Murmurs immediately exploded on the senses, rhythms plundering their welcome with almost toxic prowess as guitars uncaged their own caustic squall. Already though there is an instinctive swing to it all, an inviting lure which only blossoms further as nagging grooves and prowling beats greet the calmer twist of the track just as Correia’s feral tones erupt. Magnetism lines every moment, attention and appetite soon gripped by the drama and enterprise making up the track’s numerous and connected snares. Equally quickly it proves hard to offer up a reference to give a clear clue to the sounds conjured by Mau, but in some ways the likes of Meshuggah, Converge, Daughters, The Dillinger Escape Plan, and Coilguns make good hints to the fascination of Kneel.

The outstanding start is easily backed by Amend, its initial surge hardcore shaped but again soon the kaleidoscopic prowess of the project’s sound unravels as too the senses before its inspiring trespass. Wires of guitar swarm around rhythmic predation and already subservient ears; the track only increasing its slavery as its body writhes with fresh and unique spirals of textures and sound, a sonic vortex just as vibrant and viral within the barbarous assault of Occlusion. Straightaway it violently ravages, never diluting its marauding as it breaks through new nagging enterprise and imagination harassing ideation; Correia equally as uncompromising and compelling within the vicious tempest.

Lessening stalks and ransacks the senses next, Mau’s infernal grooves proving irresistible and melodic dissonance corrosive around rabidly biting rhythms while the two minutes of Absence simply haunts the imagination from its increasingly darkening void. The track allows a long needed breath to be taken, at least for its first half as it subsequently erupts with its own sonic cancer before Cloak dances on expectations with its quick footed dynamics and rapier like incursions. As within every track though, nothing can be taken for granted, its body an edacious helix of imagination and craft.

Both Debris with its flesh snagging jaw and jagged textures and the creative tyranny of Thrall simply gripped and squeezed greater eager attention upon Interstice, each an inescapable maze of skill and nonconformity which if we admit they did not quite match up to their predecessors tells how stunning those earlier tracks.

The album closes up with Sovereignty, a slab of cacophonous rock ‘n’ roll cast upon another hungrily engrossing emprise of convulsing textures, lustful craft, and rapturous imagination. Interstice is a rhapsody of sound, certainly one as vicious and fearsome as it is enthralling but a challenge which takes the listener to new brave and exciting places.

Interstice is out now via Pulmonary Records @ https://pulmonaryrecords.bandcamp.com/album/interstice

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Pete RingMaster 01/06/2019

Copyright RingMaster: MyFreeCopyright

Eat Dirt – Death Is Death

Emerging in 2016, it is fair to say that UK punks Eat Dirt had us fully aroused within a year through their uncompromising exploits within a self-titled debut EP. Annoyingly a subsequent EP managed to evade us but now the band’s first album has descended on our radar and once more their particular riot, defiance, and anger has us fired up.

Death Is Death is an uncompromising roar of dissent fuelled hardcore lined punk rock; an angry trespass bursting with the frustration and ire not forgetting punk goodness which marked that first encounter with Eat Dirt. Yet it has its own character of sound and flavour, one the band admits is inspired by the “Epitaph Records 1990s roster and the Tony Hawks Pro Skater soundtrack.” Across its fourteen swift assaults on ears and its predominant themes of death, the album bites and incites as it violently stirs and infectiously arouses; numerous textures and styles keenly embraced in its punk bred ferocity. It makes for a release which is quickly recognisably Eat Dirt but with an element of unpredictability which keeps you on your toes and the band as one of British punk’s compelling protagonists.

With only a few of its tracks reaching the two minute mark, Death Is Death swooped by in no time but provided twenty five minutes or so of undiluted vitriolic pleasure starting with opener Make Peace.  Instantly a crazed infection loaded hook gripped ears with rhythms soon bitch slapping the senses as vocals hollered with equally contagious enterprise and aggression. Instantly with an Eat Dirt song you realise there are no frills involved, no tricks or deceits, just passion and aggression from a true punk heart but it does not mean they lack the cutest hooks or devious enterprise; the album’s first fury soaked incursion outstanding proof.

Almost before the listener can take a second breath, the brilliant starter shoots off and Worms Of The Earth bursts in. Its machine gun rally of rhythms splintering bone as guitars wire their incendiary intent around the fragments; the song quickly unleashing its own feral demands and ferocity. A whiff of Gallows and early Bronx infests the tempest, manipulative antics just as prevalent as the assault rivals its predecessor in firing up its victim before the multi-flavoured Come And See steps forward to tease with a lone guitar lure. Appetite for its coaxing is soon rewarded by a senses stalking wall of sound and vocal causticity, the track continuing to hound ears rather than savage them to fine effect.

Moribund swings its fists next but every raging blow is wrapped in melodic almost pop punk incited catchiness while the album’s title track revs up its engines to prowl and ravage ears with its punk metal/hardcore inflamed hostility straight after. Anthemic in its rancour and inventively crafted hook equipped design, there was no escaping breeding a lusty appetite, one just as easily held by the following pair of Punk Rock Con and Dog. The first is a punk ‘n’ roll assail of riffs and rhythms, each as barbarous as the next as they stirred up emotions and participation while its successor picked at the remains left by the first with rapacious rhythmic teeth and sonic toxicity around vocal dissonance, melody nurtured hooks only accentuating the reed sparking punishment.

The opening rhythmic shuffle of Night Terrors quickly foraged under the skin as the album continued to impress, the song swiftly building on its infestation with its virulent swing and punk clamour; The Beast emulating its prowess with its own contagion loaded collusion of punk and rock ‘n’ roll exploits before Bones uncaged scars and venom within its similarly involving punk contamination. All three left greed for more in their wake even if maybe they did not quite inflame the senses as numerous predecessors within Death Is Death.

The album’s final quartet of tracks ensured its stirring standards were just as high and potent, Out of The Fire rampaging with almost salacious hostility and emotive discord with Ballad in turn spurting tension through its creative nostrils as jarring rhythms align with harmonic lures and almost carnal enterprise.

As the physical punk ‘n’ roll carousing and vocal inciting of Spend Your Life and the cunningly infectious Pull Out brought it to a thrilling close, the final track especially irresistible, Death Is Death simply demanded and got the quick decision to go all over again. It is one of those albums which proved really hard to tear oneself away from; Eat Dirt once more proving themselves as one formidable and fiercely enjoyable lawless uproar.

Death Is Death is out June 2nd via Bearded Punk Records; available @ https://eatdirt.bigcartel.com/product/death-is-death-pre-order

 

http://www.listentoeatdirt.com   https://www.facebook.com/eatdirtpunk/

Pete RingMaster 01/06/2019

Copyright RingMaster: MyFreeCopyright

Parasitic Twins/ The Carnival Rejects – The Parasitic Rejects EP

The Parasitic Rejects EP sees the coming together of two of the UK’s most striking ear shredding prospects in a compelling trespass of a split release. On one side preying on the senses is York hailing crust/hardcore punks The Carnival Rejects and on the other the doom punk ferocity that is Parasitic Twins. Together they create a feral proposition as fierce and intimidating as it is captivatingly thrilling.

Consisting of guitarist/vocalist Jamie Robertson, bassist/vocalist James Briggs, and drummer Fi Rowntree, The Carnival Rejects offer up three punk intrusions for their part in The Parasitic Rejects EP. Disengage is first, its gentle melodic lead deceitfully concealing the antagonistically contagious punk flurry to follow. Happily grabbing a pop punk catchiness to its irritable breast, the song romps and stomps as it shares a skilfully woven holler of melodic and sonic tempestuousness.

Seize Control is their second incitement and immediately worms under the skin with its contagious belligerence and rousing incitement where biting beats unite with grumbling bass as the guitar wraps its caustic yet magnetic wires around the senses, vocals only accentuating the song’s virulence.

The Carnival Rejects finish their contribution with To The Bone, two minutes of feral punk rock with a potent Angelic Upstarts meets Discharge snarl to its causticity.  United, all three tracks prove punk rock is as irritable and rousing as ever, a declaration just as ripe across the trio of intrusions alongside them.

Still reaping attention and acclaim through their debut EP of less than a year ago, All That’s Left To Do Now Is Sleep With Each Other, Hull’s Parasitic Twins reinforce their reputation as one fearsome and captivating proposition with their part in the EP. The duo of vocalist/guitarist Max Watt and drummer Dom Smith unleash senses molesting swarms of doom, punk, and grindcore manipulated into singular uncompromising furies. The first on the EP rises up as Autopsy, the track immediately scalding ears before its inherent rock ‘n’ roll instincts infiltrate its equally blossoming sonic toxicity. Vocals similarly share no respect whilst inciting ears and appetite, metal bred throes adding to its salacious predatory prowl.

Feel Nothing similarly devoured and sparked the senses, rhythms pummelling with determined predation as raw grooves entangle song and listener alike. As its predecessor there is something akin to a corroded blend of Napalm Death and Pig Destroyer to the track though this only seems to inspire its own individual dissonance.

The pair completes their contribution with a cover of the Babylon Zoo classic, Spaceman. Released a handful of weeks back as a single with all proceeds donated to The Campaign Against Living Miserably (CALM), the track finds itself dirt clad and infested with the cacophonous tension and disharmony which marked their well-received EP. Even so it manages to retain its catchiness even as it despoils the senses to bring one very easy to recommend release to a rousing close.

The Parasitic Rejects EP is out in association with Man Demolish Records @ https://mandemolishrecords.bandcamp.com/album/the-parasitic-rejects

https://www.facebook.com/thecarnivalrejects/   https://www.facebook.com/ParasiticTwinsBand/

Pete RingMaster 30/05/2019

Copyright RingMaster: MyFreeCopyright

Come Out Fighting – Soundtrack To A Shipwreck

With creative lungs bellowing out ear grabbing hardcore fired punk rock, US outfit Come Out Fighting has just unleashed a new single which simply insists on, no demands attention. Soundtrack To A Shipwreck is a two track offering which equally makes a compelling raucous excuse to check out the band’s forthcoming new album, a release which if this teaser is a potent sign could very well thrust the Detroit quintet towards far broader recognition.

Containing ex-members of Tommy Gunn and current members of The Purps, Aggro Or Die and Saint Ridley, Come Out Fighting are not exactly new to keen praise and support across a trio of rousing albums and a powerful live presence. With a sound inspired by the likes of The Purps, Aggro Or Die and Saint Ridley, they have become a vital proposition within their local scene and further afield adventures. As suggested by their latest release, their music is not commandingly unique yet the two tracks making up Soundtrack To A Shipwreck, both taken from the impending Any Port In A Storm, are drenched in a fresh and voracious character which leaves a vast many other similarly cast encounters pale in comparison.

Soundtrack To A Shipwreck is a song which immediately gripped ears with an urgent but controlled trespass, classic rock hues lining its insistence before the band’s punk instincts drive the track’s rapacious incitement. Raw throated and melodically spun vocals unite in its irritable declaration, the scowling exasperation of vocalist Nick Rudowyj nicely contrasted by clean tones as the guitar of Brian Stewart spins its own broadly emoted sonic web. Underpinned by the bold senses harassing exploits of bassist Dan Bruce and drummer Casey Husted, the track easily got under the skin as it inspired mutual discontent on the world.

As striking and enjoyable as it is, the song was quickly eclipsed by its companion, Blackout. Taunting more pop punk essences into its own individual tempest, the song surged from the speakers with physical and emotional voracity. Hooks and grooves are quickly embroiled in its ravenous attack, their virulent catchiness eagerly lining the antagonistic leanings of the excellent encounter; a blend just as potent and infectious within the vocal incursion of the song. With an appetite firing bassline and eager punk rock ferocity to its infection, it was a quick submission sought and found by the track as equally a need to check out the soon to descend album.

As suggested there is plenty familiar in flavouring to the two songs but for the main just recognisable invitations into the individual escapades of Come Out Fighting; exploits we can only recommend.

https://comeoutfightingdetroit.com/    https://www.facebook.com/ComeOutFightingDetroit/

Pete RingMaster 17/05/2019

Copyright RingMaster: MyFreeCopyright

Push! – Dark Dive

Exploring music is the most rewarding adventure but equally a truly frustrating one when discovering a band or sound which has been around for a fair if not long time but only now coming to personal attention. Portuguese hardcore outfit Push! is one such proposition; a band which has been viciously roaring away for a handful of years and drawing potent acclaim along the way but only crossing our radar now with new album Dark Dive, a rousing beast of sonic ferocity and unbridled rage.

Hailing from Lisbon, Push! has forged a strong reputation and lured rich praise from their live presence alone which over time has seen them share stages with the likes of  Madball, Strife, Backtrack, Brutality Will Prevail, Sworn Enemy, Devil In Me, and For The Glory as well as play several major festivals in Portugal. 2014 saw the release of debut album Breathe In The Future Breathe Out The Past, a release making a strong introduction to the young band and laying the seeds for its stronger well-received voracious successor, This Is Cruel. This Is Life. two years later. Now the Stu Mckay (Malevolence, Brutality Will Prevail) mastered Dark Dive sees the band’s sound and songwriting at a whole new maturity, prowess, and indeed ferocity as greater and richer metal, groove and thrash amongst them, and punk flavours infest their hardcore instincts.

A compelling Intro sees the album rising to its predacious feet, the instrumental an untamed yet controlled, indeed devious web of grooves and riffs leading listener into the waiting scourge of Free At Last. Instantly the irascible throat of vocalist Nuno Cruz unleashes its ire whilst heading the equally choleric strains and riffs of the united guitars of Ricardo Servo and Roberto Cebolas. Just as swiftly an infectious strain of intent grips sound and emotion, a riling up of both which got under the skin with viral efficiency and trespass.

The great start is quickly backed up by Denial And Envy, a track led through ears by the senses clipping beats of Ricardo Aleixo before unleashing a tide of sonic and emotional irritability. Imaginative hooks and grooves line the cantankerous sounds exploring the speakers, Push! already showing themselves as dab and imaginative hands at spinning the most devious and persuasive kind, while gang and individual vocals only incited keener attention as the bass of André Paiva enticingly groans and menacingly growls alongside it all.

Through the album’s resourcefully fractious title track and the following carnivorous prowl of Pitfall, the increasingly addictive Dark Dive reveals greater unpredictability and invention. Both tracks are as feral as they are imaginatively and zealously grumpy, neither sharing a moment which does not keep you on your toes, nothing  expected or uneventful shared before a breath is allowed through Left With Memories, an instrumental thick in intrigue and intimation woven by guitars.

Paiva’s bass provides a bestial lure to the following With Love; classic metal flavours wrapping the instant predatory tone and motion of the song before all traits expand in a cross-grained punk metal incursion. In some ways it is not as immediate a real temptation as others around it but in just as many it is one of the most magnetic moments within Dark Dive. It then makes way for the senses stalking exploits of Cuffed To Yourself, a voracious pursuit of the senses and appetite which in turn departs to allow the similarly predatory touch and inclinations of Ground Floor to bare irresistible enterprise.

It is hard to honestly pick out a true favourite from the eleven tracks making up Dark Dive such the prowess and devious antics of all but next up Keep Silent offers plenty to be considered with regularity, the track a barbarous but anthemic call impossible to ignore specially when it too turns to hounding the listener like a bloodthirsty beast.

The album closes up with Procrastinate, a final slice of ruthless incitement and emotive ire unafraid to embrace old school metal wiring, thrash rapacity, and punk causticity to its hardcore raging. It is a potent end to a simply outstanding release from Push!, the kind of record to thrust the band into much bigger spotlights we expect and hope; Dark Dive certainly deserves that success.

Dark Dive is out now; available @ https://pushhc.bigcartel.com/ and https://pushhc.bandcamp.com/album/dark-dive

 

https://www.facebook.com/pushhc/

Pete RingMaster 08/03/2019

Copyright RingMaster: MyFreeCopyright

Sofy Major – Total Dump

Sofy Major is a leviathan of sound and trespass which persistently erupts from a noise fuelled creative lair with releases which for us have pretty much left contemporaries in their tempest and turbulence. Three previous albums have as good as decimated the prowess and adventure of other ear rewarding encounters around at the time and with Total Dump, the French trio has done it again Their new full-length is in many ways their most accessible and flirtatious offering yet but equally their most voracious and imposing not forgetting irresistible slab of noise and hardcore infested, metal lined rock ‘n’ roll.

The successor to the outstanding Waste of 2015, which itself eclipsed the thrilling Idolize unleashed two years earlier, the Dave Curran (UNSANE, Big Business) produced Total Dump is a contagion of abusive yet flirtatious noise and bruising but virulently captivating force and imagination. It is predatory irritable rock ‘n’ roll from start to finish with an eager taste in contagious and invasive enterprise. Opening up with its title track, the album immediately reveals its bestial side, the track prowling the senses with the carnivorous claws of Mathieu Moulin’s bass locked onto the senses as his more welcoming vocals align with the raw flames and tendrils of Thomas Dantil’s guitar. It is a preying of ears and imagination which never diminishes in threat and temptation however it evolves, a trespass driven by the menacing swings of drummer Mathieu Desternes that equally escalate in infernal virulence and captivation as individual and united enterprise breeds fresh twists and sonic commination.

The compelling start is only accentuated, indeed built upon by next up Giant Car Crash; a collision with the senses which had us bouncing as much as cowering before its flirtatious and barbarous intent. Voraciously feral and inhumanly infectious, the track devoured body and passions with unquenchable hunger leading to lustful responses before Cream It uncages its rapacious crawl to trespass the senses and melodic irreverence to seduce an already greedy appetite. The kind of proposition which offers a warm welcome whilst ruining the foundations to your sanity, the glorious track is a manipulative mix of viral noise with an appetite for clamorous untamed pop.

As the ravenously viral rock punk ‘n roll throes of Strike and the post punk embracing devilry of The Jerk infested and seduced ears with unruly dexterity, Total Dump just stretched its landscape of esurient intent and fevered invention. Both tracks are as mercilessly catchy as they are unapologetically invasive, that greater accessibility to the band’s sound in full bloom just as much its acclaimed creative villainy is merciless, and traits just as thrilling within next up Shinny Happy Asshole, a venomously swinging, deviously contagious but inescapably corruptive slice of unscrupulous enterprise.

Through the slow hunt of the senses that is Franck Butthole; a cancer of sound which just ignites the imagination, and the unbroken antics of Tumor O Rama it is impossible to say attention and pleasure wavered, the total opposite in truth up against their combined sonic punk infection fuelled scourges while Kerosine Mike n turn just trapped and enslaved with ursine-esque power and intimidation whilst brewing up its own melodically toxic strain of bewitching rock ‘n’ roll.

Completed by the senses ravishing, violently bouncing exploits of Panamarama, it one the album’s most magnificent moments, and the sonically consumptive, caustically alluring tempest of The Longest Yard, there was and is no diminishing of the ardour we bred and hold for Total Dump. Without any doubt despite the glories of the past, it provides the greatest, most thrilling time with Sofy Major yet but also is set to send a shiver through the world of noise in any form as those within wonder how they can compete with its voracious triumph.

Total Dump is out now via Deadlight Records on CD and Antena/Corpse Flower on Vinyl.

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

Pete RingMaster 30/01/2019

Copyright RingMaster: MyFreeCopyright