Los Chicos – Rockpile of Shit

Los Chicos_RingMasterReview

There are few rock ‘n’ roll parties as thrilling and irresistible as those provided by Spanish rockers Los Chicos, an experience they offer once again with new album Rockpile of Shit. Offering fourteen tracks which embrace everything from garage to pub rock, punk to funkily soulful shenanigans and plenty more, the release is a feast of boisterously rousing rock ‘n’ roll and a delicious echo of the Madrid quintets’ inimitable live show.

Formed in 2000, Los Chicos have released a quartet of increasing acclaim grabbing albums before Rockpile of Shit, the previous trio of Launching Rockets (2007), We Sound Amazing But We Look Like Shit (2009), and In the Age of Stupidity (2013) released, as the band’s new encounter this time in conjunction with Folc Records, on the always impressing Dirty Water Records. Live the band has ignited stages alongside the likes of Mudhoney, Southern Culture on the Skids, King Khan, The Sonics, Johnny Casino, Soundtrack of our Lives, Redd Kross, Cosmic Psychos, Spencer P Jones, The New Christs, The Young Fresh Fellows, The Meanies, Barrence Whitfield, Hi-Risers, Eddie And The Hot Rods, Roy Loney, and many others and toured across the globe, hitting Australian four times. Now they are ready to set a new stomp in motion across the world with Rockpile of Shit, a one hard to resist slab of fiercely flavoursome rock ‘n’ roll.

Feet and hips are soon as on board with band and album as ears when opener A Kingdom Of Coolness starts things off. Choppy beats and riffs soon tempt as grooves and vocals steer the course of the punk infused encounter. With its seeds seemingly in sixties garage rock and seventies punk, the track carries a great feel of old UK band The Cortinas to it as it emerges an undemanding yet seriously inescapable incitement to body and appetite as virulently infectious as it is commandingly rousing.

The same qualities fuel the following Rockanrolla, its own raw rock qualities making a potent temptation around the inviting tones of vocalist Rafa Suñén. Again the guitars of Gerardo Urchaga and Antonio Urchaga nag and jangle with remorseless enterprise and persuasion, bringing an Eddie And The Hot Rods hue to its boisterous catchiness before the even more virulent charms of I Don’t Wanna Learn Anymore steps forward. The swinging bassline of Guillermo Casanova makes for a powerful lure as the crisp beats of Ral García back up its invitation; they in turn matched in old school revelry by the guitars but with a modern spice which is inimitably Los Chicos.

FDW003_RingMasterReviewThe funky R&B of Older And Better has feet taking to the floor from its first rhythmic beckon, backed perfectly by the sizzling flames of sax which grace the outstanding encounter. With a hint of King Salami and the Cumberland Three to it, the song is mouth-watering devilry laying an early claim to best track on the album but soon rivalled by its Department S spiced title track. It too infests body and soul, bringing each alive and indeed eager vocal participation with its and the bands creative festivity.

Last Day Here offers a fiercer snarl while feasting on a fifties rockabilly inspiration. Equally though, it has a power pop vibrancy which lights up another impossible to escape chorus, voice and hips puppets to its manipulative magnetism. With discord flirting with the guitars and a Devo-esque quaintness emerging, the track epitomises the album; a seemingly simply flavoured proposition soon showing itself bursting with bold adventure and diversity.

The country/cow punk romp of Responsibility Ville hits the spot with ease next whilst More Beer is a melodic jangle sparking thoughts of countrymen The Pulsebeats as it too grips an already greedy appetite for release and sound. The wonderful relentless beats of García, as throughout the album, enslave ears and spirit alone, guitars and vocals playing with its conquest in an array of styles and devilish ways, Miami Beach soon employing its own surf hued punk ‘n’ roll web ensuring there is no respite for the listener’s  body and enjoyment.

Through The Ramones meets The Members like Mommy’s On MDMA and the country punk of Little Man, there is no lessening in bouncing songs and bodies while Night Ride adds its own individual twist on the country rock scent. All three leave a big smile on the face, though each is eclipsed by the scuzzier funk ‘n’ roll of I Know I Don’t Know and finally the hypnotic shuffle of closing track Toga Land. The pair ensures that physical and emotional involvement is at its most eager as the album comes to a mighty conclusion, an event leading only to a hard deny urge to press play and start all over again.

A great many already know of the rock ‘n’ roll majesty spun by Los Chicos, and with Rockpile Of Shit we can be safe in suggesting so will a great many more. This is one party everyone should gate crash.

Rockpile Of Shit is out now via Dirty Water Records/ Folc Records @ http://www.dirtywaterrecords.co.uk/shop/#!/~/category/id=2801529&offset=0&sort=addedTimeDesc and http://folcrecords.tictail.com/product/fdw003-los-chicos-rockpile-of-shit-preventa-disponible-en-mayo

https://www.facebook.com/LOS-CHICOS-42339317978

Pete RingMaster 30/06/2016

Copyright RingMaster: MyFreeCopyright

Oh! Gunquit – Eat Yuppies and Dance

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Time to meet your new favourite band and album, and the beginning of frequent visits to hospital A&E because of the twisted rhythmic effect on the body and the deranged dance-floor tempting offered. The culprits are UK provocateurs Oh! Gunquit and debut album Eat Yuppies and Dance. With more agitated rhythms than found in a Cardiothoracic unit entangled in a web of virulent contagion built on salacious grooves and naughtily flirtatious temptation, the band’s sound is pure irrepressible addiction. Hints of their devilish practices have been unveiled for quite a while by singles, videos, and an acclaimed live presence, but with Eat Yuppies and Dance, the London based quintet has just infected the world with their finest moment yet.

With a sound presumably self-tagged as rumble-bop trash freak-a-billy, and you have to say it fits perfectly, Oh! Gunquit has its seeds in a meeting between neighbours Tina Swasey and Simon Wild at a North London vinyl-only sweaty cellar club DJ night. Apparently from an energetic pogo competition the pair decided to form a band based on their mutual love of wild garage punk, exotica, raw rhythm ’n’ blues, and surf-trash. This was 2011 and since then the band they subsequently formed has become an eagerly devoured proposition across shows and festivals which have seen them playing with the likes of Black Lips producer King Khan with his Shrines, Fat White Family, Public Service Broadcasting, Andrew Weatherall, and Keb Darge amongst many. One gig even saw Adam Ant make a “crazed” impromptu stage invasion whilst radio has been just as hungry for their songs. This has all been backed by a pair of limited edition and self-released seven inch vinyl singles and tantalising videos to match. Now with Dirty Water Records, the band has uncaged their greatest bait of sound and devilment yet to seduce and enslave towns, nations, and the world.

Front Cover 2 flat (1)     With a line-up completed by Kieran, VV, and Alex, Oh! Gunquit equip Eat Yuppies and Dance with a torrential revelry which can fall into anything from psyche rock and pop to garage and punk rock, and on again to rockabilly and surf rock and that is still only part of the full musical stomp which starts with opener Sinkhole. The resonating slightly tinny beats which accost and incite ears from the first breath of the song are the sign of things to come, their anthemic lure having one single aim with their actions, to ignite body and emotions. Vocals jump in swiftly with the same impact before the song slips into a sultry groove woven caress of surf temptation over a vivacious garage rock canvas. The voice of Denver bred Tina brings an enticing tang to the exploit as does the acidic kiss of guitar enterprise which flames across the encounter, everything combining for a potent and lively start to the album.

It is an opening quickly over shadowed by the brilliant Head Bites Tail, an exhausting tapestry of dark pop and fiery rock ‘n’ roll best described as The B-52s meets The Cramps whilst being filtered through the warped funk voracity of Rip Rig & Panic. Brass seduces with unbridled toxicity across the song whilst rhythmically it is as busy and inescapable as the first seconds after doors open on a Black Friday high street sale. The vocals are equally as volatile and excitable in quite simply one quite exhilarating proposition.

Sixties beat lined and blues hued Caves strolls in next, its suggestive swagger as tempting as anything cast by your favourite temptress. Once more there is a great tinge of B-52s to the exceptional enslavement but to that there are additional essences of garage punk bands like The Orson Family, the bluesy seducing of a My Baby, and the garage pop escapade of The 5.6.7.8’s in the mix. The song is pure aural sex but as becomes a habit with Eat Yuppies and Dance as soon as you think the band has hit a pinnacle they come up with an even more deviously addicted treat, in this case Bad, Bad, Milk. Vocally and musically insatiable, the track is sheer addiction from the first flying syllable and rhythmic swipe to its final infection loaded spark. Everything from the chin down is in rapid union with the merciless stomp, every beat, groove, and flame of brass simply Class ‘A’ addictiveness to which vocals and melodically mischievous hooks are the ringleaders.

     The fuzzy sax hazed, seventies psyche pop dance of Hope In Hell provides another new colour to the diversity of the album, before Pony Boy brings a rockabilly/fifties rock ‘n’ roll tenacity to its garage punk shuffle to ignite ears all over again. Think Imelda May meets The Horse Party and you get a whisper of its epidemic of sound and persuasion, again Eat Yuppies and Dance stretching its creative landscape.

Into The Woods visits a bluesy backwater scenery in the imagination next, rock ‘n’ roll keys a la Fats Domino, luring excitedly from within the sweltering but inviting climate of the song. A great merger of fifties and modern rock pop, the song flirts and dances with ears and emotions until making way for bubbly rock ‘n’ roll of I Need Help Now. As its predecessor, the song casts a spell on body and vocal chords whilst creating a new twist of dark pop adventure within ears and album, at times skipping along like a predatory version of The Shangri-Las in a fiery entanglement with Cradle.

All the big irresistible rhythms and anarchic incitements are out for Voodoo Meatshake, their rabid seducing matched by brass and vocals which in turn are bound by searing grooves and a suggestive stroking by keys. It is an explosion of lustful sounds and rousing energies, one of those feel good assaults on the senses which have you exhausted and bloated with pleasure. The same applies to closing song Lights Out; a rhythm ‘n’ blues romp leaping around fondling the passions like a mix of The Revillos and King Salami and the Cumberland 3. It is a glorious slice of sonic diablerie, a mouth-watering hex on feet and passions bringing the similarly sorcerous Eat Yuppies and Dance to a dramatic and thrilling end.

There is no remedy to the potency and create toxins of Oh! Gunquit’s sound, just more lust emerging with every listen of their brilliant first album.

Eat Yuppies and Dance is available now via Dirty Water Records @ http://www.dirtywaterrecords.co.uk/shop/#!/Oh-Gunquit-Eat-Yuppies-and-Dance-CD/p/47051183/category=2749844 and https://ohgunquit.bandcamp.com/album/eat-yuppies-and-dance

https://www.facebook.com/ohgunquit/

RingMaster 02/05/2015

Copyright RingMaster: MyFreeCopyright

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