Popes Of Chillitown – Work Hard, Play Hard, See You In The Graveyard

Releases which have us throwing feet, hips, and bodies around in an uninhibited frenzy are just as boisterously devoured here as those provoking thoughts and imagination into the same eager exploits. Work Hard, Play Hard, See You In The Graveyard, the new album from UK outfit Popes Of Chillitown is one such example, an encounter which stirs up every aspect of the human spirit across thirteen slices of what for the moment we will simply call ska punk but is so much more. The band and release swiftly had the body bouncing, energies uncaged, and mind feeding off its insightful social and personal lyrical intimation. It is one of those unforgettable, deviously manipulative propositions which will surely set Popes Of Chillitown on the way to being a household name far beyond the ska and punk scene.

From London, Popes Of Chillitown has already bred and nurtured a fine reputation across two albums and a live presence which has had venues and bodies bouncing, as the album now, with lustful participation. 2013 saw the release of their pledge-funded debut album A Word To The Wise, a keenly embraced encounter eclipsed by its even more eagerly received successor To The Moon two years later. Since that first offering, the sextet has further lit up the live scene, from the Capital bursting across the UK and into Europe sharing stages with the likes of Reel Big Fish, The Selecter, The Skints, Imperial Leisure, [Spunge], Mouthwash, The Snare and many more along the way.

As Work Hard, Play Hard, See You In The Graveyard swiftly reveals, the band’s sound has an irresistibility which borders on the viral. It is a fusion of upbeat ska, punk, 2-tone, dub, drum & bass, reggae, indie with plenty more flavoursome spices working away in the mix; a rousing incitement which never flirts with the predictable and across the new album, easily the band’s finest moment yet, persistently has body, imagination, and spirit bounding.

Straight away as intrigue coaxes ears there is a sense of drama and mischief at play which swiftly sparks opener Prang into life, the track springing along with wilful exuberance. The guitar of Tom Penn winds around ears from an already persuasive hook spraying stroll while the rhythmic prowess of bassist Arvin Bancil and drummer Jack Ashley gets under the skin in no time. Matt Conner’s rousing vocals are just as effective, listener participation we found inevitable and can keen testify to. The track is superb, its twist into discord and off kilter imagination icing on the stomp.

The flames of trombonist Ieuan Williams and saxophonist Jon Pryce open up the following Get Off/Get On, lighting the way to another persuasive saunter ridden by the increasingly captivating vocals of Conner. There is a touch of [Spunge] meets King Prawn to the track, a tasty flavouring quickly ignited by the band’s own raucously individual enterprise.

Fair to say Work Hard, Play Hard, See You In The Graveyard already had its temptation racing through our veins in two songs but raised the temperature of its persuasion even more with next up Vexed. Cored by a hook which had ears and appetite dangling like a fish on a rod as well as a glorious teasing yet taunting grumble of a bassline, the track instantly took the album’s seductive clamour to another level. Brewing an addictive roar something akin to The Mighty Mighty Bosstones meets Capdown with the rawer edge of The Hostiles, the track simply and quickly had us enslaved and adding our less able attributes.

The equally outstanding No Manners In Ireland is next, the song a web of twists and turns littered with creative hooks and melodic lures which seduce like sonic sirens. Guitars and vocals dance on the swagger of the rhythms, their dark lined joy seared with the soulful flames of brass as the song evolves in form and imagination across four minutes plus of pure magnetism. Its glory is matched by that of the far briefer but just as riveting Graveyard. A dub infested mix of Skindred and again King Prawn, the slither of a track just ignited the senses before Upside Down got the body rocking and rolling with its almost salacious bounce and antics.

Across the fiery ska fuelled punk ‘n’ roll of The Last Elephant and the swinging holler of Mr. Piotr, physical reaction is inescapable as thoughts invest in more of the band’s lyrical inference, both tracks cauldrons of drama and physical manipulation so easy to devour while the likes of What A Guy and Inner Peace add yet more variety and adventure to the album’s beauty. The first erupts from a haunting melancholic sigh into another inescapable to resist canter, voice and hips soon embroiled in its creative romp before its companion smoulders seductively on the senses with its less boisterous but just as tenacious reflection. From guitars to rhythms, brass to voice, the song serenades and seduces; volatility in its heart adding greater depth to its inventive cry and increasingly rising temperature and intensity.

Take Control is punk rock blessed with the ear clipping tenacity of ska; a rousing trespass of an incitement under a sweltering climate of suggestion cast by sax and trombone. Unsurprisingly again indulgence in its swing is unavoidable, a lack of discipline thankfully the whole of Work Hard, Play Hard, See You In The Graveyard exploits.

The album closes up with firstly the melodically shimmering Lego Prisoners, a track resembling what you might imagine emerging from the essences of Ruts DC, The Skints, and a calm Random Hand being locked in together, and lastly Culpa and its reggae brewed saunter where grooves and beats overwhelm restraints even before voice and hooks sink their temptation into ears.

It all makes for one deliciously riveting and rousing adventure going by the name of Work Hard, Play Hard, See You In The Graveyard. Popes Of Chillitown has been firing up the ska and punk scene pretty much from their first days but are now ready to be spoken in the same breath as those bands which immediately come to mind as inspirations to the across the array of styles the Londoners skilfully embrace and employ in their own adventure. After Work Hard, Play Hard, See You In The Graveyard they might just be the first name to lips.

Work Hard, Play Hard, See You In The Graveyard is out now on 12inch vinyl, CD and Digital Download @ https://popesofchillitown.bandcamp.com/album/work-hard-play-hard-see-you-in-the-graveyard

 

Upcoming Popes Of Chillitown tour dates:

MAY 27 – BOURNEMOUTH Cursus Festival

JUN 02 – NOTTINGHAM The Maze

JUN 09 – CHEPSTOW Balter Festival

AUG 04 – BLACKPOOL Rebellion Festival

AUG 09 – NEWCASTLE Trillians*

AUG 10 – GLASGOW Audio*

AUG 11 – LONDON Underworld*

AUG 12 – WINCHESTER Boomtown Fair

*w/ Fishbone

http://www.popesofchillitown.com/   https://www.facebook.com/PopesOfChillitown    https://twitter.com/popesofctown

Pete RingMaster 18/05/2018

Copyright RingMaster: MyFreeCopyright

Johnny Kowalski and the Sexy Weirdos – European English

Photo Credit: Kat Bennett

Like for everyone, there are a few bands which spark a moment of pure excitement when news of a new release is in the air and for us one is Johnny Kowalski and the Sexy Weirdos. Reasons why can be found in previous album Kill The Beast alone, “a wonderful deranged waltz of unpredictable adventure” but it has to be said are even more imposingly obvious within its successor European English. The album boisterously lives up to its name from start to finish, offering a skilfully crafted diverse and bold bedlam of continental flavourings within an eccentricity of sound which only we Brits can imagine. The result, a carnival of irresistible punk ‘n’ folk ‘n’ roll which has body and spirit relentlessly bouncing.

After the release of their outstanding last album, Johnny Kowalski and The Sexy Weirdos descended on Europe on a five week tour which saw the band “almost fighting children in Paris, a 14 hour van journey from Orleans to the French Mediterranean, and having bought cannabis from a police officer, the band squatted in a football club near Milan.” That was followed up by a weekend of spontaneous gigs with antifascists in Verona and dates in Trieste, Slovenia and Austria before arriving in Josefov where the majority of the new album was written, the band inspired by the Austro-Hungarian fortress town sparsely populated by Romani gypsies and its artists. Whatever the town had, it has bred a new wind in the rousing imagination bred exploits of the band and a sound which has always been original but has found true uniqueness within European English.

Welcoming the guest talents of Tamar ‘Juggernaut’ Bedward [Malarkey], Katie Stevens [Bonfire Radicals], Smut Rahkra [The Tenbags] and Anne Marie Allen across the release, the Birmingham based quintet open up the album with Megahorse. Instantly the bow of violinist John-Joe Murray is enticingly scything across strings into the imagination as Johnny Kowalski’s distinctive tones stroll, the darker tones of his guitar and Chris Yates’ bass lurking alongside as beats jab and tempt. It is a seriously inviting prelude to a lively gypsy folk romp driven by the flirtatious rhythms of drummer Matthew Osborne and the percussive tenacity of Illias Lintzos. This in turn leads to an evolving landscape of inventive sound and unpredictability never giving the body a moment to relax or attention to wander.

It is a forcibly excitable and thrilling start swiftly matched by the creative drama of Relative Rudeboy. Like a punk infused fusion of Mano Negra and Les Négresses Vertes with the grumpy rascality of the bass at its core, the song soon has hips swinging and emotions growling in league with its own attitude fuelled multi-flavoured stroll. There is no escaping its addictiveness or physical manipulation of body and spirit, the brass craft of Katie Stevens fuelling the fires, a tempting just as potent within the Balkan swing of next up Serbian Rhumba. It is a sultry flirtation on the ear, an evocative serenade with instinctive catchiness around the punk scented delivery of Kowalski.

The Sicilian Stallion is a celebratory canter mixing Celtic and Romany spices with Latin breeding in its instrumental celebration; quite simply two minutes plus of instinctive pleasure before Minor Calamities courts its own equally rich persuasion with a dark rhumba of musical and rhythmic theatre. As the tracks before it, another individual hue to the whole creative canvas of European English grabs ears and appetite; its body and tone a darker, more intense but no less infectious proposition.

In pretty much nothing but emerging favourites, Didn’t Find The Money puts its imaginative head above the firing line with compelling devilment and creative mischief. With the body instantly popping to its rapacious exploits, vocal chords swiftly locked in its virulent chorus, the song strolls along with a punk meets folk meets indie rock swagger, all unleashed with flirtatious dexterity.

The quite stunning Raggadub follows; its adventure a web of styles and sounds within a dub bred echo of invention. At times it vibrates with ripples of Ruts DC, in other moments flirts with Morcheeba-esque seductions, or snarls with King Prawn punkiness as a host of vocalists join the rapacious party; all the time increasing its hold on ears and lustful satisfaction.

The instrumental dance of Matthew Matthew provides a robust adventure of sound and international flavours, a piece which manages to simultaneously be fiery and smoulderingly seductive as rhythms cast a kinetic incitement, before Juniper brings a quite delicious recipe of temptation which teases and taunts like a blend of The Specials, Gogol Bordello, and Russkaja.

Its inescapable tempestuous virulence is followed by the instrumental elegance and grace of closing track Chinese Icicles. A melodic bloom in an initial alluring calm, the piece builds into a robustly dynamic yet still radiantly melodic saunter through scenic suggestion and oriental hues with rock edginess for company.  Eventually Kowalski’s vocals join the adventure bringing another breeze of boisterous and rowdy enterprise to the compelling end of one mighty release.

As we said earlier, every upcoming Johnny Kowalski and the Sexy Weirdos encounter brings an elevated anticipation which European English rewards tenfold. It has the body bouncing and spirit racing; what more would you want?

European English is available now @ https://sexyweirdos.bandcamp.com/album/european-english

European English Upcoming Tour Dates

21/10/17 – The Earl [Worcester]

28/10/17 – Vegan Fair [Wolverhampton]

04/11/17 – Karns Bar [Hinckley]

17/11/17 – Cafe Rene [Gloucester]

01/12/17 – Rumpus [London]

23/12/17 – Secret Location [Birmingham]

https://www.facebook.com/sexyweirdos/

Pete RingMaster 10/10/2017

Copyright RingMaster: MyFreeCopyright

 

 

The Hostiles – Last Call

The Hostiles Promo Shot_RingMasterReview

Giving the most glorious workout to swinging hips and inexhaustible feet, as well as instinctive pleasure, Scottish Ska-punks The Hostiles recently released new album Last Call. It offers thirteen tracks of melody thick, brass clad, and feverishly delivered punk ‘n’ roll as raw and snarling as they are inescapably irresistible.

Formed in 2001, The Hostiles began with brothers Josh (guitar/vocals), and Chris Barron (bass/vocals). Growing up in the US, the pair was seduced by the sounds of west coast ska and the likes of Reel Big Fish, NOFX, and No Doubt. In their teens, the pair moved to Scotland, soon discovering the rawer energy and sounds of bands such as Capdown, Lightyear, and King Prawn. Linking up with Callum Douglas (drums) and Steve Bruce (trombone), The Hostiles was soon rousing the local live scene with in time Joe Stainke (trombone) completing the current line-up. Quickly renowned for their energetic live performances, the band’s reputation swiftly grew and spread, helped in turn by the release of debut album Always Looking Forward in 2009. Proceeding to share stages with bands such as Reel Big Fish, Less Than Jake, Zebrahead, The Mad Caddies, Strike Anywhere, and many more, The Hostiles followed up their attention luring first album with the Late Nights… And Early Hours EP in 2012 and the single/video For A Good Time Call 07946058526 two years later.

Now it is Last Call drawing attention and from its first minute arousing body and spirit. From the opening intro, the album leaps upon the listener with opener Ed Knows. An attitude laden bassline stalks the initial vocal draw, both leading into a fiery lure of guitar and rapier like swings from Douglas. Quickly as the trombones share their melodic flames, the track is a contagious blaze of infectious sound with a funk infused swing and punk ingrained fuel to its roar. There is little time before the listener is adding their full contribution in voice and movement, a success matched in the following Inconsiderate. A lighter stomp of a song with Hammond flavoured keys courting its instantly open catchiness, it carries a familiar air which only adds to its thrilling appeal.

The Hostiles Cover Artwork_RingMasterReviewThe band’s inspirations are never far from the surface at times, the second song evidence but spices used to shape songs which undoubtedly have The Hostiles character, as shown again in the prowling You Liar. Swaggering alone with mischief in its creative glands, the song is confrontational but an epidemic  of big hooks and intimidating attitude, and quite superb. It reveals the great mix of pop honed and punk rock driven sounds which have sparked the band’s passions over time, all woven into another distinctive proposition before things calm a touch with I’ll Assume. It is just a touch too as the song soon shows its teeth and melodic prowess in a King Prawn like canter with exotic melodies and moody basslines entangling the ever potent vocals and swathes of mariachi hued trombone.

Both Night Out with its dirty tone and ridiculously infectious enterprise and its successor Wish You All The Best has body and soul leaping. The first is ska punk at its most creatively virulent and indeed addictive while the second is a boisterous romp shaped with smart hooks and persuasive melodies as well cast in imaginative drama coloured by rock guitar and theatrical brass.

The album continues to keep the listener on their toes with a broad grin on their face as the punk brawl of Spend My Life, the gentler sway of So, I Wonder, and the blazing exploits of Late Nights come, go, and leave ears and appetite aroused. The third of the trio especially adds another pinnacle to Last Call, all offering undeniable reasons to embrace The Hostiles adventure, with To Err Is Human providing another major highlight. The band’s latest single, it also has a hint of Mariachi El Bronx to its melodic and trombone nurtured side, a great flavour mixing with heavier punk rock attitude.

Released From Captivity uncages another addictive tempting, guitars and bass alone creating a web of hooks which snare body and heart with ease. Familiar essences come to the surface of the song but flavours simply used to shade its own individual devilment before the closing pair of encounters starting with Nobody Else. The song does not make the same impact as others within Last Call, yet has mutual participation with ease so does little wrong before the album’s title track brings it all to a cantankerous close. It is a ska infested hardcore brawl of a proposal, vocals a throated scraping challenge as brass bring a tonic to the imposingly grouchy touch of guitar and rhythms.

It makes for an unexpected and pleasing end to a release which sees ears and fingers itching to go again within seconds of its close. There are a few rather special ska flavoured punksters around right now and as proven by Last Call, The Hostiles stand by their side.

Last Call is out now on Bubble Tea Records @ http://thehostiles.bandcamp.com/

https://www.facebook.com/thehostiles/   http://www.thehostiles.co.uk/

Pete RingMaster 05/08/2016

Copyright RingMaster: MyFreeCopyright

Counting Coins – All That I Need

CC_RingMaster Review

It has been a hectic year so far for UK rockers Counting Coins; live shows and tours across the UK and Europe a source of great attention and praise for the band as well as recent single Don’t Look Down, and it continues with the unveiling of its successor. The second single taken from the Hull based quintet’s forthcoming album, All That I Need bobs along on ska bred riffs and devilish rhythms bound in spicy melodies that incite ears and imagination as potently as the equally effective vocal and lyrical incitement. It is one of those invitations impossible to refuse as it gives body and lust a rousing run out; simply one endearing and energetic romp of premeditated goodness.

artwork_RingMaster Review     Formed in 2009, Counting Coins has grown a seriously anthemic fusion of ska, gypsy punk, swing, and hip-hop over the years. From their first pair of EPs, Take the Ride and Reach for the Sky in 2010 and 2013 respectively, the band has shown a creative tenacity that wakes up the instinct to romp and stomp. Their live presence has only increased their reputation, the sharing of stages with bands such as Random Hand, Sonic Boom 6, The New Town Kings, The Talks, Jaya the Cat, Babar Luck (ex-King Prawn), The King Blues, The JB Conspiracy, and Neville Staple adding to an increasingly acclaimed reputation. A few weeks back Don’t Look Down had bodies of fans and media jumping around physically and in praise, a repeated success well within the creative grasp of All That I Need.

Opening on a lone and instantly enticing guitar, the bass soon adding its exploits, the track is quickly swinging along with a melodic smile and rhythmic temptation. The vocals of Harry Burnby just as swiftly bring another strain of infectious enterprise, his bouncy delivery matching that of strings plucked by Matty Dennison and Rob Green. In full stroll, like The Beat meets Reel Big Fish but with more variety to its hues, All That I Need swaggers with joyful tenacity as flames from trumpeter Will Chalk blaze over the throaty lure of bass and the keen swipes of drummer Sam Burnham.

It is an easy going proposal offered by the song but a virulently captivating one which has feet jumping, vocal chords exercised, and emotions flying with the outstanding encounter. The last Counting Coins single meant that interest of the band’s new album was thick and now with All That I Need doing the tempting, and with a great video in tow, anticipation is full and a touch impatient.

All That I Need is available from November 23rd across a global range of digital platforms including iTunes, Spotify, Amazon Music and Deezer.

https://www.facebook.com/CountingCoins   https://twitter.com/counting_coins

Pete RingMaster 23/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Counting Coins – Don’t Look Down

CC_RingMaster Review

Here is another band we could kick ourselves for not discovering before now, well we will once we stop bouncing to their glorious new single. They are Counting Coins, a UK band which in one breath you might call ska, in another gypsy punk, in another…well you get the idea, and their new release is Don’t Look Down, a song destined to turn venues, festivals, and the world into a heaving mass of bodies.

cover_RingMaster Review   The Hull hailing Counting Coins formed in 2009 and it seems took little time in exciting crowds locally before drawing broader attention through debut EP Take the Ride in 2010. With its successor, the Reach for the Sky EP three years later even more successful, the band were soon and hungrily since, lighting up venues across the UK and into Europe, sharing stages with the likes of Random Hand, Sonic Boom 6, The New Town Kings, The Talks, Jaya the Cat, Babar Luck (ex-King Prawn), The King Blues, The JB Conspiracy, and Neville Staple along the way. Equally performances at festivals such as Boomtown, Rebellion, Tramlines, Galtres, and Freedom Festival have only drawn acclaim and seen the band’s reputation gain momentum. With new single Don’t Look Down constantly in our ears alongside a retrospective investigation of Counting Coins, it is easy to see and hear why the quintet of vocalist Harry Burnby, guitarist/bassist Matty Dennison, bassist/guitarist Rob Green, drummer Sam Burnham, and trumpeter Will Chalk are so lustfully supported.

As mentioned at the top, the band’s sound is a weave of styles; ska, punk, gypsy, and hip hop aligned and entangling in Don’t Look Down alone. A brief rally of beats introduces the magnetic flames of brass, they enticing choppy riffs, a pulsating bassline, and the resourceful and magnetic lures of Burnby, his voice just as eagerly backed across the band. The ska swagger of the song is pure temptation, feet and hips soon in tandem, vocal chords a swift addition too. Around them though, the song seamlessly slips in flames of reggae, ska gypsy, and more, it all managing to collude to breed a swing like dynamism. With elements of dub and folk, tango and waltz, and at one point we swear steam punk, the track just continues to roll and twist like a melodic acrobat as it takes the listener and passions on a heady and exhausting ride.

Single of the year contenders is a list longer than a queue on Black Friday and now it is one song richer, an incitement which has more or less jumped the line to stand to the fore of 2015 essential treats.

Don’t Look Down is out now as a digital download on All Our Own Records.

https://www.facebook.com/CountingCoins  https://twitter.com/counting_coins

Pete RingMaster 02/10/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Hub City Stompers – Caedes Sudor Fermentum: The Best of Dirty Jersey Years

hubcitystompers_RingMaster Review

It never takes much of a reason to get our stomp on here, any excuse to fling limbs and energy around like a headless chicken devoured. One band which has perpetually been a spark is Hub City Stompers but in collecting a horde of their horniest ska bred tunes for their latest album, the band has set the fuse to global skanking like no other.

     Caedes Sudor Fermentum: The Best of Dirty Jersey Years is an irresistible bundle of songs personally chosen by band founder Rev Sinister and taken from previous releases Dirty Jersey, Blood Sweat & Beers, and Mass Appeal. It is also offers a long awaited outing on vinyl from the band, its songs re-mastered by David Perez of Memphis Street Studios for the format.

For those new to Hub City Stompers, the band was as mentioned, formed by Rev Sinister, the former vocalist for NJ Ska band Inspecter 7. When that band went into a kind of hibernation around 2001, Sinister searched out to like-minded musicians and by the following year, Hub City Stompers, with a line-up consisting of ex-members of bands such as Inspecter 7, Bigger Thomas, Professor Plum, Predator Dub Assassins, Bomb Town, and The Heavy Beat, was unleashing irrepressible creative romps. Infusing essences from styles such as reggae, punk, oi!, and hardcore amongst a few others into an array of ska flavours from the 60’s through to the 80’s, the band quickly bred a unique voice to their music which took little time in awakening greedy appetites, as shown by the success of 2004 debut album Blood Sweat and Beers and the Mass Appeal EP a year later. Both the Dirty Jersey and Ska Ska Black Sheep full-lengths of 2006 and 2009 followed suit before the band took a year out on hiatus as Rev Sinister members returned to help revive Inspecter 7. Last year though saw the frontman quit the band and return to Hub City Stompers, bringing it back to raucous new life as evidenced by their last album Life After Death which came out last December. It was of course a heftily welcomed return with their new compilation alone holding all the reasons as to why.

HCS Cover low_RingMaster ReviewThe twelve-track escapade opens with the epic sounds of Wtfiu, ears instantly under a cascade of roving rhythms and sultry brass whilst keys seduce and romance the imagination. Soon into a trampoline like gait, every beat and riff a bold bounce, the track is quickly the puppeteer to the body and soul of the listener, its contagion and energy aural addiction and merciless incitement. Uncaging a scuzzy intensity in its climax, the glorious opener sets release and ‘victim’ off in insatiable style before Bumbl-B is allowed to swarm over ears with its choppy stride and infesting key bred melodies. Vocals snarl and invite whilst the bassline coring it all, is heavy nectar, just two aspects colluding to stir up air around and the passions of all in close proximity in an encounter reminding of the UK’s own King Prawn at times.

Both the smooth skinned, Scarlet & The Harlots meets The Beat like Skinhead Boi and the ska ‘n’ roll canter Johnny Date Rape, captivate with their individual swaggers, both enticing as masterfully through the voice of Jenny Whiskey as they do with their ever tenacious weave of sounds whilst Chatterbox swings with reggae hips as the flirtatious clipping of the guitar aligns with hypnotic beats and another juicily moody bassline. Again the two tone elegance of The Beat comes to mind as the song seduces feet and sparks thick attention but once more Hub City Stompers employ all spices in their own renowned inventive and hungry adventure.

Trojan Night lifts bodies and dance-floors with its insatiable infection of sound and revelry next, early Specials a scent within its romping body, whilst a great Hub City Stompers infested version of The Cure’s Boys Don’t Cry hits the passions in the form of Skins Don’t Cry which hounds and brawls with ears; its punk toned sound and words twisted with Hub City Stompers warm irreverence.

A sixties smooch comes with the lively dance of Leave Me the F**k Alone after that thrilling pair, its own body a mischievous and flirty tempting sure to ignite everything from toes to voice in all to fall under its spell. Another exciting physical workout is guaranteed by band and song, a promise pretty much applying to all songs on teh album let us be honest, the following I’ve Got a Boot even in its belligerent and rawer ramble, a tonic to enliven the body, its relaxed and resourceful hooks and boozy brass lures especially intoxicating.

The magnetic punk irritability of F**k You, You’re Irish hits the spot with ease, its Dropkick Murphys like bar-room tromp a grin inciter matched in fun and unique persuasion by the jazz lined, blues charmed Little Julie Swatstika before the album is closed off by Mass Appeal and one last undiluted swing of sound and energy.

     Caedes Sudor Fermentum: The Best of the Dirty Jersey Years  is the cream of Hub City Stompers in the ears and thoughts of the band. Sometimes it is easy to forget the power of a band in consistency and evolving adventure over time and a good Best Of as here, can bring that home. This is simply a brilliant compilation which excites whilst igniting even greater and eager anticipation of the band’s exploits ahead.

Caedes Sudor Fermentum: The Best of Dirty Jersey Years is available from September 30th as a co-release between Rebel Sound on 150x White Riot Vinyl, Crowd Control Media on 150x Clear Vinyl, and Not Dead Records on 150x Green Goblin Vinyl, each colour exclusive to the individual label with 50x Classic Black Vinyl versions also available.

https://www.facebook.com/hubcitystompers

Pete RingMaster 30/09/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Grassroutes – Subliminal

Grassroutes pic 2

Breathless and basking in a ska shaped incitement which never tires however it comes, we eagerly suggest checking out the new single from UK rockers Grassroutes. Drawing on the ska/ indie fusion which goes to good use by numerous bands, the Leamington Spa quintet give it their own unique flavouring and rampancy to leave ears excited and knees buckling under the weight of the enthusiasm it inspires. Subliminal is a devilment, an insatiable persuasion which if you have a penchant for ska and the likes of Madness, The Vox Dolomites , and The Talks all rolled up into one new adventure, the closest we can come up with to describe their sound, then Grassroutes is for you.

There is plenty more to the Grassroutes sound to that suggested above of course, one additional spicing maybe coming from the Jamaican descent of vocalist/rhythm guitarist Jay Hall and certainly through his reggae inspirations. Linking up with lead guitarist Ben Knight, a long time school friend, the pair started indie rock band The Royal Players. It was the seed and gateway to the emergence of Grassroutes, with line-up changes over the years subsequently bringing bassist Justin Bygrave, keyboardist/guitarist Levi Washington, and drummer Jimmy Barnwell into the band’s fold. Year and a half on from its start, the band is still earning a potent reputation for their live performances and now working on their debut album, to which Subliminal is a teaser Grassroutes - Subliminalalready brewing up impatient anticipation in some quarters.

The first breath of the song brings an earthy bassline and charming melodies cast by guitars and keys. It is a catchy entrance enhanced further by the slightly gravelly tones of Hall and an increasingly stronger swing to the song which infects bass, riffs, and keys alike with every second. An anthemic chorus with full band vocal participation sparks another wave of rich pleasure; its punk lined revelry flirted with by great Mike Barson like mischievous and infectious keys. It all combines for slavery of feet and emotions. A bustling riot and temptation of sound is never an offering to turn away, but especially in a track like this where from its infectious and relatively restrained moments, it ignites with increasing virulence on its way to an exhilarating climax.

Listening to Subliminal again and again, a whisper of King Prawn shows itself within the single, a scent which can only ever be a good thing at any time though again like all colouring it only adds to a proposition which is solely Grassroutes. The single is primed to set the year alight, to bring the summer in early though thoughts and emotions are left with just one thing to say…bring on the album.

Subliminal is available from Feb 9th.

https://www.facebook.com/grassroutesband

RingMaster 03/02/2015

Copyright RingMaster: MyFreeCopyright

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