Mr Ted – El Dirty Sex

Amongst the mischievous and devilry loaded protagonists which help make rock ‘n’ roll so fun there is one certain rascal which is beginning to stand out more than most and that is UK outfit Mr Ted. We had a hint of their devilish manner, intent, and enterprise through a split release with Bisch Nader earlier this year on Society Of Losers and it is in full rebellious mood with debut album El Dirty Sex, again unleashed by the Liverpool label.

Consisting of Merseyside bred Peter Williamson, Mark Hughes, Phillie Collier, and Mark Charles Manning, Mr Ted create a sound embracing the best diablerie of punk and noise rock and the similarly roguish hues of grunge, alt rock, and other rapacious flavours. It emerges within El Dirty Sex as one captivatingly disobedient incitement as ridiculous in its antics as it is irresistible in its character and exploits with unbridled fun fuelling all.

Though hard to pin down with comparisons there is definitely something akin to Aussie band I Am Duckeye to the Mr Ted sound but as the album shows it develops new aspects in noise and misconduct song to song. The album opens up with Rage Quittin’, and immediately gets its bounce going as rhythms jump about with funk instincts. In no time riffs and hooks are adding their enticement with vocals matching their boisterousness yet all the while a darker, heavier edge infests the lining of the song; its doomier hue bringing thicker body to the instinctive predation of the quickly compelling encounter and its Houdini meets the previously mentioned Australians natured stomp.

It is an outstanding start to the album quickly matched by the alt rock shenanigans of The Bean Song with its animated moves and virulent hookery. Darkly hued rhythms incite and entice from the first second, guitars and vocals casting a web of temptation which effortlessly worms itself into ears and body with the inevitable involvement achieved by its monkey tricks including exploiting the equally infectious lure of The Kinks with a big grin.

The outstanding Shame is next up and similarly thrusts its inescapable hooks forward from the first breath; grooves which swing with knowing relish of their subsequent success in getting hips and lust to do their bidding. As crispy favourites fall as part of its lyrical observation, the song buried itself deep in the passions and psyche adding layers of voracious rock ‘n’ roll by each irresistible minute to seal such slavery before Sea Of Platelets shares an indie pop breeding and psyche rock shaping with matching eagerness; a touch of Television Personalities only aiding its thick persuasion.

Originally their part in that earlier mentions split release, Muscle Milk steps up next. Its lean but easily coaxing beginnings lead ears into the awaiting thick mass of dextrous sound; again grooves and rhythms inherently tempting in its rapacious but mercurial doom/sludge mixed body of contagious trespass. Still as irresistible as it was earlier this year, the track epitomises the core of a Mr Ted song and all the mischief and creative perversity found.

Through the punk ‘n’ roll ferocity of One 2 Panda, a predominantly instrumental track just as devious in its intrigue wired suggestiveness as it is predatory in its noise punk menace, and the feral contagion of the Happy Song, the album’s claws just dug deeper while Sexy Legs displayed its own funk and pop rock enterprise to take body and imagination on another energetic ride with unpredictability and misbehaviour for company.

El Dirty Sex goes out on the magnetic antics of firstly Andrew WK Party In Ireland, its title unsurprisingly giving clue to the major spice in its punk rock riot which also has a bit of Stiff Little Fingers to it with a Flogging Molly spicing breaking upon the folkish hues that emerge in the fun. Pickled Eggs and Snakes concludes the release, providing eight minutes of inimitable temptation taking essences of The Beatles, The Scaffold, Mischief Brew, and Half Man Half Biscuit in its increasingly volatile shanty. As everywhere though, it soon spreads its own unique voice and character of sound to leave us so hungry for much more.

Released in September we are a little late to the party but El Dirty Sexy has an open invitation which will never go out of date and should definitely be accepted.

El Dirty Sexy is out now via Society Of Losers Records; available @ https://mr-ted.bandcamp.com/album/el-dirty-sexy

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Pete RingMaster 19/11/2019

Copyright RingMasterReview: MyFreeCopyright

Caustic Minds – Black Oil For A Soul

With a rather potent reputation in tow courtesy of their highly energetic live performances, alternative rock outfit Caustic Minds has a certain buzz brewing up around them and one sure to be only accelerated by the recent release of the band’s debut EP. Five tracks strong, Black Oil For A Soul is quite simply an encounter which makes you just stop and pay attention.

Formed in Germany in 2007, Berlin based Caustic Minds has a background as rich as their sound. Vocalist Laura Jiménez Alvarez comes from Mexico City, while guitarist Daniel Viseras Calvache is Granada in Spain hailing. With bassist Michiel Sybers born in Antwerpen, Belgium and drummer Chris Crabtree British/German bred, it is a cosmopolitan mix as flavoursome as the blend of hard rock and indie enticement they conjure up between them. Over time the band has had references to the likes of Queens Of The Stone Age, The Dead Weather, Arctic Monkeys, and Black Sabbath shared upon their sound though for our ears Black Oil For A Soul tantalises and captivates like a hybrid fusion of Karn8 and My Baby.

Persistently compelling in its enterprise and bold in its character, the EP immediately had ears and imagination enslaved with opener Eyes On Fire. Never relinquishing its favourite track grip from its first escapade, the song instantly harries and tempts with a stalking fusion of stabbing beats and siren scythes of guitar. Instantly magnetic, the track only escalates its lures as a swagger breaks out in a sure stroll ridden by the similarly captivating tones of Alvarez. With a groove which infests hips without invitation and an instinctive roar that demands unity, the imagination soaked track easily gripped body and appetite.

Though for personal tastes the release never quite reached those major heights again, its presence and enterprise is a lofty adventure that continues to beguile, next up Baby Doll providing a fiery blaze of punk shaped rock ‘n’ roll with progressive breath to its winds as melodic seduction fuels its great unpredictability.

Similarly Destroyer teased and taunted the imagination; its immediate launch part prowl part strut and all fascination. Intoxicating in its bluesy charm and eye balling in its attitude, the temptress of a song proved another irresistible holler which never fed expectations before Blacklist brought its own beguiling lures to the party. Rising on spirals of sonic and melodic heat, the track is another which teases as it tempts. Like flames in a fire stirring thoughts and gripping attention as its spellbinding hold sprung creative shapes the song simply flirted with the imagination as vocals and individual enterprise trapped ears.

The EP closes up with Carry On, another moment within the EP that enthralled with ease as its seductive moves and shameless grooves toyed alongside the ever compelling barracuda toned bass of Sybers. As each track and the EP as a whole, the closer is all sensuous bait and steamy endeavour honed into rock ‘n’ roll that shamelessly and skilfully entices and firmly attracts.

Black Oil For A Soul more than suggests that the boisterous murmur around Caustic Minds is sound and about to boil over beyond the German borders the band is already putting under their spell and as a bonus ‘name your own price’ release on the band’s Bandcamp site, it is one encounter no one should be ignoring.

Black Oil For A Soul is available now @ https://causticminds.bandcamp.com/

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Pete RingMaster 29/07/2019

Copyright RingMaster: MyFreeCopyright

All This Huxley – Comrade II

With a new EP due for release in a few short weeks, Philadelphia based All This Huxley recently gave anticipation a potent lure to its body and heart with lead single Comrade II. A slice of calm but emotively fuelled melodic indie rock, the song nestled with ears like a familiar yet previously unknown friend, the instinct to embrace its serenade inescapable.

All This Huxley consists of multi-instrumentalists Trevor Serine, John Corcoran, Josh Mayer, and Alex Marlys. Formed by the first pair as a jazz-fusion project, the band soon gained a dedicated following with the latter two subsequently joining up in 2014 when as their bio says, All This Huxley was born and has continued to grow and flourish as their sound similarly blossomed in its eclectic and adventurous character.

As mentioned, July sees the release of the Home Stockholm EP, a release sure to beckon keen attention especially if Comrade II has its way.

The single simply caresses the senses from its first touch, guitar strokes on the imagination an alluring creative hand more than matched by the slightly darker rhythmic stroll which swiftly emerges. With vocals and melodies sharing the emotive intimation of words and heart, the track provides a warm at times almost fiery embrace with hope and melancholy hugging seductively.

A blend of indie pop, folk, and melodic rock, Comrade II is a light for ears and thoughts and a potent beacon to the potential of the Home Stockholm EP.

Comrade II is out now @ https://allthishuxley.bandcamp.com/ with Home Stockholm released July 5th.

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Pete RingMaster 04/06/2019

Copyright RingMaster: MyFreeCopyright

Bastard Disco – China Shipping

Maybe more recognised for its metal diversity and prowess, over the years we have found that the Polish independent music scene breeds some rather fine propositions within other musical flavours. The latest to come to our attention is the noise rock fuelled alternative rock of Bastard Disco and particularly their new album, China Shipping. Across nine ear grabbing tracks, the Warsaw quartet’s sophomore full-length is a magnetic affair as raw and hungry as it is melodically seductive; one of those encounters you cannot help taking real notice of.

Formed in 2015, Bastard Disco finds inspiration in the likes of Fugazi, Quicksand, Smashing Pumpkins, Sonic Youth, and The Pixies for their own individual sound. 2017 saw the well-received release of debut album Warsaw Wasted Youth via Poland’s oldest independent label, Antena Krzyku. The band has united with the label once again for China Shipping, a release swiftly engaging ears with opener Sophia. The coaxing grooves of guitarist Kamil Fejfer lay down a potent lure, the accompanying grumble of Paweł Cholewa’s bass and the swinging beats of Marek Kamiński soon eagerly accentuating the early temptation. As vocalist Yuri Kasianenko’s melodic tones join the captivation, the track almost haunts the imagination, its hooks and quickly established enterprise proving very easy to devour.

Future Crimes follows, opening with the great dirty growl of Cholewa’s bass before contrasting its grumble with the melodic jangle of guitar. As with its predecessor, familiar essences collude with bold fresh endeavour to create an individual character and presence; its melodic and harmonic boisterousness adding to that distinctiveness. There is a sonic mugginess to song and sound too which similarly just lured ears in and though maybe missing the striking hooks of the opener, the track effortlessly held court before Time Traveller offered up its own humid noise cultured breath. Something akin to Dinosaur Jr meets Big Black the song proved increasingly compelling and contagious as it nagged an already eagerly involved appetite.

Next up is Clear!, a slice of scuzzy indie rock with punk voracity to its infectious holler. Its highly potent persuasion soon matched by that crafted by the outstanding Shining Confidence. The track was pure fascination, its melodic seduction and sultry climate a mesmeric setting for the track’s devilish groove spun chorus. It is another with familiar elements but never proved anything but unique to Bastard Disco while Ministry of Self-Defence emulated that originality straight after with its own sonically dissonant bounce and confrontation. Ferocious yet melodically seductive, feral but craftily conjured, the track provides another particularly compelling highlight before Game of Patriots stole the show. Its first breaths bring the hypnotic coaxing of Kamiński’s beats, every subsequent one exposing his manipulative dexterity as the equally nefariously antics of bass and guitar just enforce the track’s virulence. Kasianenko is just as magnetic alongside their tenacious enterprise, providing further impassioned flaming to the song’s fiery eruptions.

The closing pair of Sink or Swim and B-side Son ensure China Shipping leaves as potently as it arrives, the first enjoying the union of a grumble dark rhythmic incitement and scuzz lined melodic intimation around the perpetually tempting vocals of Kasianenko. The final track is all spirited bounce and creative contagion beneath vocal and emotive energy; a rousing memorable finale to an equally stirring release rather easy to highly recommend.

China Shipping is out now via Antena Krzyku; available digitally @ https://bastarddisco.bandcamp.com/album/china-shipping and on CD/LP through http://www.antenakrzyku.pl/en/shop/bastard-disco-china-shipping-lpdownload-preorder-release-date-030519-kopia/

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 Pete RingMaster 21/05/2019

Copyright RingMaster: MyFreeCopyright

C Wired – Angel Circuit Engaged

Linking lyrical prowess and imagination with its musical rock equivalent, C Wired drew potent plaudits with eclectic debut EP, Omega, and recently repeated and out shone its adventure with successor Angel Circuit Engaged. Offering six slices of rock ‘n’ roll woven from an array of rock ‘n’ roll flavours, it is an encounter which has proven rather magnetic.

C Wired is Chuck Whyard, a singer-songwriter adept at casting potent imagery in word as in a sound embracing everything from alternative and indie rock to country and blues flavoured rock ‘n’ roll. It makes for a diverse mix and songs as proven on Omega early last year which are as individual as they are united in the C Wired touch. Since that well-received debut, Whyard has pulled in and established a hard rocking band to hit the live scene and bolster an already adventurous sound, Angel Circuit Engaged seeing the craft of guitarist/moog synthesist Addison Smith, bassist Andrew Renner, keyboardist Wil Houchens, and drummer Daniel Kelly alongside its frontman.

Angel Circuit Engaged opens up with its title track and swiftly offers up a multi-scented breeding, grooves and rhythms uniting to impose temptation. Whyard’s vocals are just as alluring as too the warm flirtatious lure of the keys, each matching the instinctive liveliness of a song just as eager in its calmer repose. Inviting from the off and more rousing with each play, and featuring Sol Philcox-Littlefield on guitar, it makes for a highly enjoyable opener.

Its success is followed by Botticelli Baby, it too making a richly enticing intrigue loaded entrance before slipping into its unpredictable stroll. As rhythms pounce and bounce, sultry streams of guitar light up the song’s suggestive body, surf rock hues adding to its already colourful fuel of styles. The track did not quite hit the spot overall as its predecessor but has moments of delicious rock ‘n’ roll in its bait and nothing less than keen imagination in its twists.

There is a great fire in the belly of next up Climb The Mountain, a fevered volatility which may not truly erupt but gives an already strong track greater drama and texture to create the EP’s best moment before Persian Woman rivals its success with a web of styles and tapestry of melodic enterprise from the ever enticing keys and inventive guitar, again provided by Philcox-Littlefield. Bolder by the moment, the song captivated with ease with Angels Are Not Afraid of the Dark sharing its own melodic and lyrical intimation soon after, both an authoritative tempting throughout the release. Another slow burner in comparison to others it effortlessly left ears richly satisfied.

The EP closes up with the excellent Little Sisters, a rocking stomping slice of rock ‘n’ roll with a penchant for pop revelry. It was a conclusion which the body effortlessly bounced to and appetite indulged in especially its fifties nurtured dynamics and mischief.

Produced by Addison Smith, Angel Circuit Engaged is our first taste of C Wired and sure not to be the last as it was rather easy to find a rather contented appetite for their sound; something we can be sure we will not be alone in.

Angel Circuit Engaged is out now across most stores.

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Pete RingMaster 02/04/2019

Copyright RingMaster: MyFreeCopyright

Jupiter in Velvet – Beautiful New Day

Six albums down and Jupiter in Velvet continues to nurture fresh ingredients in a sound which just seems to grow and evolve by the release. The US bred, UK residing singer songwriter has persistently refused to make it easy to pigeonhole his sound and Beautiful New Day, his seventh full-length, has mischievously not made it any easier. It is a rocking stomping slab of rock ‘n’ roll bred on all the rich essences of previous decades whilst casting more than a few new ones of its very own.

Jupiter in Velvet adds everything from pop and psych rock to indie and electro rock to a classic/hard rock hearted sound, one also just as adept at grabbing metal hues as it is at being a punk. The latest album certainly bears classic rock inclinations maybe more so than previous encounters but with a hunger for any flavour and style which allows the contagion within tracks to truly roar.

Beautiful New Day opens up with Heavy Like A Brick and immediately gripped ears with insurgent strikes of guitar; their guerrilla scythes nothing other than pure temptation. That nagging lure swiftly breaks into a prowling swagger loaded stroll as the richly individual tones of Jupiter add their own swinging persuasion. A track which just tempts more and more by the listen, it is a web of seventies and eighties rock and pop lined with strands of current day devilry; a proposition unapologetically infectious though that instinctive contagion reveals itself to be even more viral like numerous times more across the release.

Next up, Can’t Get It Right is one such instigator; the song a mix of Bowie-esque, INXS infected catchiness with a roar in its breath and angst in its heart. Its controlled swing simply manipulated hips whilst the guitar sparked the appetite with senses stabbing riffs and sonic flames. A feral edge to its tone and catchiness added further magnetism before Monsters took over and uncaged its predacious pop ‘n’ roll. As with most tracks there is a mix of familiarity and individual enterprise which grabs ears and attention and like each, the song springs hooks and melodic tempting with the hand of the Devil.

From one outstanding track to another as latest single Metanoia grips the imagination next. An irresistible blend of indie pop and melodic rock, the track bounces in with a bold and catchy gait but one which only builds greater manipulation of body and appetite when it unleashed a blazing romp of a chorus that is something akin to T-Rex meets The Wildhearts. Again hooks and grooves entangle to tempt and enslave as vocals add their own thick persuasion to another of the album’s finest moments.

The diversity within the Jupiter in Velvet sound is no better epitomised than within The Day I Fell From The Stars and its electro rock bred, celestially shimmering serenade. It is a thrilling Bowie scented courting though which boils as its simmers become tenacious flames of guitar and emotive intimation, a tempestuousness rising up and relaxing throughout without losing the song’s intensity and invention before fading away for the attitude lined punk ‘n’ roll of U Can’t Beat Me. There are flickers of bands such as The Motors, The Stones, and Iggy Pop to a rhythmically compelling, sonically tempting romp which as all tracks there is no option of ignoring.

Across the blues kissed, hard rock bopping Spare Me and the swarthy, humid melody woven balladry of With A Whole Lotta Heart, variety and magnetism only further blossoms. Neither song quite fired up the passions as their predecessors yet both enjoyably lingered in the memory after providing a body sparking, voice recruiting companion; a double tempting even more inescapable with the rapaciously strolling Take Control though it’s surf coloured psych rock ‘n’ roll is in turn eclipsed by teasing lures of Kiss The Flame. It is a coaxing though which almost becomes carnivorous as the track expels its untamed and hungrily magnetic clamour with eager imagination.

The album concludes with out and out rocker Fight 4 Your Life, a track which embodies the inspirations and kaleidoscope of flavours not forgetting craft and fun which makes up the Jupiter in Velvet sound.

Relentlessly rousing, Beautiful New Day is old school, new day rock ‘n’ roll which simply and eagerly feeds what we all want; something to boisterously rock out to.

Beautiful New Day is available now as a name your own price download @ https://jupiterinvelvet.bandcamp.com/album/beautiful-new-day

  

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 Pete RingMaster 20/01/2019

Copyright RingMaster: MyFreeCopyright

Gravves – Oh, The Joy

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

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

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

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

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

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

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

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

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

Upcoming live shows:

06 May 2018 – Liverpool UK, Sound City

10 May 2018 – Wrexham UK, Focus Wales Festival

11 May 2018 – Preston UK, The Ferret

12 May 2018 – Wrexham UK, Focus Wales Festival

26 May 2018 – Llanidloes UK, Kingsfest

27 May 2018 – Birmingham UK, Die Das Der

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Pete RingMaster 02/05/2018

Copyright RingMaster: MyFreeCopyright