Ben Wood and The Bad Ideas – Cora Cora Cora

Feb16

You will forgive us, like the band we hope, for bringing this single to your attention a little late but it is a must for all those with a bold adventure in their indie rock hearts and rapacious fever in their indie pop instincts. The track is Cora Cora Cora and it comes from UK outfit Ben Wood and The Bad Ideas, and the first song in a planned project which if all prove as striking will make 2020 a highly busy and successful time for the UK band.

January saw the launching of a 12 month campaign which will see the London based band release a single per month for that period, songs set to feature guest performances from the likes of drummer Nick Maybury (Juliette Lewis & The Licks/ Scott Weiland Band) and prog pioneer Billy Ritchie (Clouds/ The 123) on keys alongside lead vocalist/guitarist Wood, lead guitarist Andy Duke (Flesh Tetris), bassist Ed Sonsino, and drummer Clive Bissell.

Cora Cora Cora as mentioned is their first offering and sees the legendary Dave Barbarossa (Adam & The Ants/ Bow Wow Wow) featuring on drums. Fair to say the track immediately gripped ears with its almost sinister melodic lure which emerged from the initial blast of rhythmic temptation. That fruitful hook continues to wind across the song, increasing its intoxication as Woods potent tones swing on the creative threads of the band led by Duke’s ever magnetic craft.

It is a captivating encounter which is only grips tighter with its post punk seeded shadows and rhythmic nagging and erupts to greater heights with its enlivened chorus and increasingly virulent sound.

The track is superb and a thrilling introduction to the band’s proposed endeavour so go grab now before its greedily anticipated successor is uncaged. Ben Wood & The Bad Ideas are out to grab your ears and attention and already it is easy to feel it could be a done deal.

Cora Cora Cora is available now via Back2Forward Records.

https://www.facebook.com/BenWoodTheBadIdeas/

Pete RingMaster 16/02/2020

Beat Hotel – Self Titled EP

Feb16

photo by DC Cane

UK outfit Beat Hotel is not a proposition which invites regular reservations into its indie rock exploits but when they do the creative service and fun has proven an on-going pleasure. Their occasional coming together has now brought us a self-titled EP and a collection of songs which had us increasingly and firmly hooked.

Formed around 1988 by bassist/vocalist Arash Torabi (The June Brides, The Distractions, The Granite Shore) and vocalist/guitarist/producer Paul Pascoe (Mudlow, Palm Springs, Perfect English Weather) after the pair met at a gig by The Jasmine Minks, it was not until 2013 that the outfit released any records. It was the double A-side 7″ Best of Our Years / The Fire featuring Jasmine Minks frontman Jim Shepherd which made that first impact. Since then the band has seen its line-up completed by drummer Dave Morgan (The Loft, The Weather Prophets) and guitarist/vocalist Stephen Brett (Mojo Fins).

Their new EP also sees the strings and keys enterprise of Frank Sweeney (The June Brides, Magic City Trio) guesting, and is a release said to be inspired by the body of sound released by Creation Records over time, a flavouring easy to sense within songs which still share their own individual character and temptation. They are tracks which explore “love and near-death and confronting the very worst aspects of ourselves, facing down those inner demons, the fears that haunt us and our deepest, darkest secrets,” and just as potently are six encounters which incited eager pleasure.

The EP opens up with Feel It and immediately its organic catchiness descends as guitars and rhythms erupt. Its stroll is bound in infection, the fuzziness of guitars a great union with the cleaner cut melody of the vocals as a rich wiry hook lays a magnetic thread throughout the song. Darker shadows and drama only add to its richness and temptation of its nineties toned saunter

It is a great start more than matched by recent single Bury It Deep. From its thickly alluring start, the track swings with enticement and melodic coaxing, a Lloyd Cole and the Commotions tinted breath wrapping its natural infectiousness and melodic prowess. A psych rock wine adds to the intoxication of the EP’s best moment, Pascoe and Brett weaving a compelling tapestry of tempting with their guitars across just as enticing rhythms.

Featuring James Thomas on drums, Low Slung Loser follows springing a more feral rock aptitude upon quickly embracing ears. Indie and blues tinted psych rock also collude in its prowling enticement, a whiff of Primal Scream meets The Jesus and Mary Chain adding to its fascination before the band provide a great cover of The Wishing Stones song Beat Girl. Though it maybe pales against the band’s own songs, the song beguiled with its melodic hug from a subdued but catchy gait as strings like keys effortlessly seduce.

Daddy, I Drown is next up, its initial almost Cure like invitation enough to entangle ears and attention before increasing its creative hook and melodic radiance with each enterprising minute. Another major moment within the release, vocals as heavily persuasive as the craft of each member, the track lingered well after is departure though final song Heat Light Fire proved a strong distraction for its three and a half minutes plus.

The closer eases as it slowly unwinds its invitation, guitars and keys a mesmeric blossoming which brings a darker intensity and drama with its rise. Bordering on the tempestuous without ever erupting in real turbulence, the song is a striking and gripping end to an EP just as potent in grabbing attention.

We may not have Beat Hotel around that often to book time with but when they are this release is prime example as to why so many book an extensive stay in their company.

The Beat Hotel is out now on 12″ vinyl and digitally via Occultation Recordings; available @ https://beathotel2.bandcamp.com/album/beat-hotel

https://www.facebook.com/Beat-Hotel-107226936009024/ https://twitter.com/paulbeat70

Pete RingMaster 16/02/2020

Engine Summer – Back-Street Boys

Jan31

Suckers for idiosyncratic hooks, irregular rhythms, and drone back grooves which nag their way into the psyche, it was inevitable that the new EP from Chicago hailing trio, Engine Summer, would have us dangling from its aberrant antics and warped imagination like a dysfunctional puppet and lusting after every second time and time again. Back-Street Boys is manna to the anomalous freak in us all; a collection of tracks seeded in the deviancy, irreverence, and contagion of the finest post punk, psych rock, and indie eccentricity known to man but a gathering breeding the kind of uniqueness which keeps us lustfully lost in the grip of music.

Consisting of Jeremy, Benny, and Ry, Engine Summer formed in late 2016 and quickly made a potent mark on the Chicago live before venturing further afield with two tours of the East Coast. Sharing stages with the likes of for Ra Ra Riot, Bodega, Acquaintances, and Baked along the way and a pair of EPs as well as their debut album has only cemented their reputation for creating apologetically catchy but maverick songs which linger long after their arrival. Back-Street Boys is the successor to their acclaimed Indiana EP, one “piggybacking off” their 2019 Dion Lunadon of A Place to Bury Strangers mastered predecessor to breach a whole new plateau of Engine Summer pleasure.

Their new offering is bookended by the band’s previously released singles, Carol’s Dead and Night School, an entrance and departure which is worth the effort of digging into Back-Street Boys alone. The first of the two more taunts than invites attention with its initial resonating throb of bass and lure dangling guitar but with the same impossible to ignore intrigue at its core. As tenacious beats increasingly swung their manipulative bait and the band’s twitchy vocals united in a just as lively and devilish static dance on the ears, the track enslaved as it stomped around with irresistible dynamics and attitude. Teasing with essences reminding of bands such as Gang Of Four, Artery, and The Fall across its more forceful individuality, the song is glorious and one of the best tracks of the past decade.

Night School similarly proved why its great success as a single, its stroll less boisterous but just as persuasive as nagging chords and persistent rhythms aligned to orchestrate instinctive movement and further hunger for their atypical exploits, Each are feasts for any with a post punk and krautrock nurtured appetite and fair to say that in between, the two tracks the enticement proved just as addictive and galvanic.

Suds follows the EP’s first track, quickly laying out its own web of spiky hooks around motion chivvying rhythms. Like a hybrid birth in a contorted fusion of The Fire Engines, Swell Maps, and We Are The Physics, it like its predecessor had us wrapped around its sonic finger before Under the Sea leapt in with an indie pop dance within a psych punk cage of compulsion to equal have us drooling.

Groovin’ on 63rd marries the renegade of eighties post punk with a similarly aged new wave devilment before embroiling it in the band’s freak bred imagination, a garage punk breath only adding to its funky disposition while Likes saunters along with a meandering Melvins-esque smile to effortlessly worm under the same skin its predecessor had already breached.

Completing the line-up is Spice Boys, a psych pop serenade as sublimely infectiously in its harmonic charm as it is in its darkly contrasting rhythmic canter. Adding yet another shade of imagination and flavouring to the release, the track seduced as it coerced; its intoxication epitomizing the fascination and distinctive enterprise which makes Engine Summer one seriously hypnotic band and the Back-Street Boys EP their finest moment yet.

Back-Street Boys is available now @ https://enginesummer.bandcamp.com/album/back-street-boys

https://www.enginesummer.com/ https://www.facebook.com/enginesummer/

Pete RingMaster 27/01/2020

Waco – Human Magic

Jan29

With requests for its attention coming from various directions including one from an old friend of The RR in the band’s very own Welshy who previously swung the sticks in one of our all-time fav bands, Top Buzzer, we just had to take a gander at the new album from UK outfit Waco. It is a move which brought immediate rewards and pleasure, both increasing by the listen so much so that we just had to introduce you to Human Magic and its riot of anarchic punk infested rock ‘n’ roll.

From song to song, Waco reveals a sound which rebels against expectations and wanders into an imagination which is as feral as the sounds it produces yet comes with a prowess and mischief as skilfully woven as it is organically bred. Describing the band’s sound is easy for a minute or two but soon deviates from any suggestion offered within the next but maybe imagine a fusion of Rocket from the Crypt, Jaya The Cat, and Japanese Fighting Fish and you get an on-going clue to the character of it and in turn debut album Human Magic.

Providing songs “laced with metaphysics, conspiracy theories and spirituality”, 2014 founded London hailing Waco consists of the inimitable lead vocals of guitarist Jak, the hook laded exploits of fellow guitarist Tom, and the addiction crowding endeavour of bassist James around the ever manipulate and bold rhythms of Welshy. Human Magic also features the just as fertile enterprise of former bassist Chris who sadly passed away late 2018 and was an integral part of attention and plaudit grabbing EPs the band released over the years.

Human Magic opens up with The Jersey Devil and immediately had intrigue hooked as a spicy sax rose up around the bold tones of Jak, a lure instantly erupting in a bold and rousing stomp. There is a vein of seventies pop punk come power pop to the track too which escalates its infectious deeds, Welshy’s beats landing with an eagerness only echoed in that contagion and the enterprise around them.

It is a spirit rousing start quickly backed up by the just as devilish Levenshulme Lover, a slice of indie rock meets pop punk that revels in the raw breath and mischievous nature of both. Rhythms again had the body pumped as vocals engaged with the song’s own holler; a touch of Buster Shuffle like revelry joining a bluesy finale to give greater dexterity to the song before N15 saunters in with a summery glow and instinctive catchiness swiftly emphasized by Tom’s melodic touch. Again a sax shares richly flavoursome flames to emulate the heat of the guitar while the union of vocals across the band and more accentuates the radiance of the song.

The album’s title track is a brief cosmic glide, a golden instrumental sunset before the senses bouncing, spirit rousing holler of Anthony. Firm heady beats lead the second track’s entrance, splashes of guitar igniting the air as the bass tenaciously growls and strolls through song and ears alike. Jak’s vocals match the sounds around them in hooks and almost rapacious tempting, everything aligning to provide a thumping virulent rock ‘n’ roll roar with that previously mentioned Rocket From The Crypt like essence icing on the raucous cake.

Next up Daydream has a touch of Flogging Molly playing Elvis Costello to its balladry, a piano shaping its emotive hug before things increasingly grow rowdy with Jak sharing his inimitable expression and presence in its midst while My Brother, We’ll Rise Again surrounds ears in a dark rock embrace hinting of bands such as The Filthy Tongues or The Ugly Kings in its short sultry and soulful croon. Both only further stretch the varied sound and landscape of the album, an endeavour further pushed by the indie pop rock contagion of The Valleys.

As the psych rock scented Smalltown Goths tempts and in turn rocks ears with its own dose of infection and Six Feet Under straight after serenades the same welcoming guests with its country folk lined dance, it is fair to say that Human Magic slipped deeper under the skin, then burrowing just a layer or two further as By My Side serenaded with its lively pop drama and glorious mix of vocals and definitely more so through the boisterous antics of Catbrain. The latter is superb stealing favourite song honours from the moment Welshy’s deviously addictive beats burst from a concussive entrance to infest feet and musical instincts with guitars spinning a web of matching temptation around Jak’s and the band’s devilish vocals and intent.

Completed by Tomorrow’s Gorgeous Globe and its magnetic poetry, Human Magic more than lives up to its suggestive name and all the reasons from many as to why we should have checked it out. To be honest all leasing words only touched on the magnificence of the album and we can only add our own summons to theirs for you to share real attention its way.

Human Magic is out now via Standby Records.

http://www.wacoband.co.uk/ https://www.facebook.com/Wacouk/ https://twitter.com/wacobanduk

Pete RingMaster 27/01/2020

Morning Bells – Fall From The Velvet Sky

Jan7

photo by Susan Sage

From its evocative title to the intimacy of its heart bred lyrics alone, the new EP from US indie rock outfit Morning Bells makes for a richly alluring proposition and bound in just as provocative and arousing sounds Fall From The Velvet Sky quite simply proved one richly compelling encounter.

Hailing from Raleigh in N. Carolina, Morning Bells began with the creative union of drummer Bryan Fransman and long-time friend, vocalist Ric Denton. Swiftly the emerging band grew as bassist Laura Weislo was enlisted by the duo with in time guitarist Emory Ball and keyboardist Peele Wimberley completing the quintet. Their sound is said to embrace inspirations ranging from Johnny Marr, Television, and The Gun Club to The Smiths, Yo La Tengo, David Sylvian, and Talk Talk alongside for us upon their first EP a certain R.E.M. scenting.

In saying that, the opening track of Fall From The Velvet Sky has a thick dark creative breath which reminds of Scottish band, The Filthy Tongues. The initial melodic glisten of Ghost Story is soon descended upon by emotive shadows, keys and rhythms united in their gothic intimation even before Denton shares his equally suggestive tones. The psych rock breath of those keys continues to light the haunting embrace of the song, its reflective stroll a prowling instigator on ears and imagination.

The track is superb remaining our favourite moment within Fall From The Velvet Sky with relative ease though its companions like the following Through The Dark are no less potent in their captivation and creative incitement. As its predecessor, the EP’s second track immediately enticed keen attention with its first melodic touch, guitar and keys swiftly engaging the senses before the shadowy lure of rhythms and Denton’s ever magnetic tones and words escalate the enticement. The bewitching serenade of the song simply had us hooked before The Truth Is matched its success with its own absorbing temptation. Pop and rock traits entangle within the captivation woven and addiction bred, thick fascination spawned in the web of sound and voice.

Next up, The Night You Touched My Hand shares an eighties indie pop seduction in its melodies and nineties rock rapacity, a fusion further invigorated by volatile urgency and touches with the result another track which just got under the skin and had us hooked and involved in swift time.

The EP concludes with Tonight; a track which maybe did not quite match up to its companions yet had ears eagerly held and our pleasure in full flow as Fall From The Velvet Sky completed its beguiling adventure. It is a release which quickly and increasingly impressed and aroused, thoughts soon relishing the band’s own imagination us eager anticipation blossomed for the next fresh creative resonance from Morning Bells.

Fall From The Velvet Sky is out now; available @ https://morningbellsband.bandcamp.com/album/fall-from-the-velvet-sky

https://www.morningbellsband.com/ https://www.facebook.com/morningbellsband https://twitter.com/morningbells2

Pete RingMaster 04/01/2020

Mr Ted – El Dirty Sex

Nov19

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

https://www.facebook.com/MrTedLives/ https://www.instagram.com/mrtedlives/ https://twitter.com/mrtedlives

Pete RingMaster 19/11/2019

Caustic Minds – Black Oil For A Soul

Jul29

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/

https://www.facebook.com/causticminds/

Pete RingMaster 29/07/2019