Combomatix – Chinese Songs For Bad Boys

Combomatix_RingMasterReview

We have it on good authority that there is a very healthy and thriving garage rock scene in Rennes; the city already the hottest place in France right now for the genre’s raw rock ‘n’ roll. If Chinese Songs For Bad Boys is anything to go by, we can only take such claims as a potent and truthful description of things there right now. The new album from Combomatix, it is an exhilarating and galvanic ten track roar of rousing incitement which is deliciously raw, at times primal, and persistently a volcanic consumption of the senses. It leaves exhaustion and ripe pleasure in its wake with a body littered with inescapable imagination sculpted hooks and fuelled by an impassioned energy which soaks every bold note and snarling syllable.

Formed in 2008, Combomatix is the creative union of Charmes Samson and Ian Carnage. Since exploding forward, the pair has become one of France’s very best garage punk propositions. A clutch of EPs and a self-titled debut album have made potent marks on attention and appetites as too a live presence which is used to eager plaudits. Now with the keyboard devilry of Laure adding to the spicy, volatile fun of Chinese Songs For Bad Boys, Combomatix and their voracious sound is ready to stir up a far bigger landscape with their ravenously devilish rock ‘n’ roll.

The album opens on the electronic horn of Intro, a dark herald for the devilment to follow starting with Another Shakin. Instantly beats and riffs unite in a feisty shuffle; an uninhibited flinging of sound quickly joined by just as grainy and attitude loaded vocals. The great Hammond-esque tone of the keys emerges from within the persistent blues scented rock ‘n’ roll nagging with a touch of Stones like suggestiveness, their invitation simply adding to the rest of the lures expelled by song and band.

ChineseSongForBadBoys_RingMasterReviewA great full start is quickly eclipsed by the sultry surf rock spiced throes of Chinese Thought. It has a slightly eccentric character which blossoms under the imaginative enterprise of keys and guitar before throwing a surprise and twisting into a dirty garage rock bred stomp. Hazy and very agreeably grimy in its tone and textures, the track is a bracing contagion immediately surpassed by the glorious devilry of Wet Bones. Just as raw and insatiable, the track is a tempest of rhythms and irritable vocals amidst another fiercely enticing sonic web bringing a In The Whale/ Love Buzzard like infestation of ears and spirit. There is something about rock ‘n’ roll duos (at times trios in this case) which without fuss get to the core of their sound and the instincts of the listener; they just strap on and swing from the passions, and it is no better epitomised than by this rousing incitement.

If there is a prize for most addictive and virulent hook on the album, it gets given to the irrepressible asset of I’m On It. At the track’s heart, it is a delicious badgering of the senses by the guitar, its controlled but undeterred picking at ears and appetite matched by less vocal but just as flavoursome bass bait. The accompanying swagger is just as irresistible whilst sonic detours only add greater fuel, along with the raspy vocals, to one fiercely flirtatious temptation.

Never Cut The Wire has feet and hips moving with eager energy next, courtesy of its rapacious garage punk endeavours as the surf seeded coaxing of keys gets to grips with the imagination before Take A Ride offers a voraciously catchy slice of blues lined garage rock pop with frenetic beats and rebellious riffs. The magnetic tendril of melodic acidity is the icing on its slight Mobbs like romp and a kinetic persuasion more than matched by the incendiary Guinea Pig. Rhythms need barely seconds to have energetic involvement on board whilst riffs and hooks collude to enslave hips and limbs as forcibly as it has emotions and a greedy lust in tow.

The song is manna for physical and emotional lust; a quality pushed further by the tenacious sonic niggling and fevered resourcefulness of I Got Pills. You will need meds to recover from its psych rock meets noise/garage punk sorcery, either to relax after it commands your body like a puppeteer or to overcome its sinister psychosis that, admittedly very welcomingly, gets right under the skin.

The album closes with the psychedelically off-kilter and salacious shenanigans of I’ll Make You Mad; a track born of a kaleidoscope of funk tainted garage and rock ‘n roll seeded flavours with an expressive sixties/seventies flavoured dressing. Arguably the most involved and adventurous song on the album, it is a mighty conclusion and another major highlight within only lofty thrills across Chinese Songs For Bad Boys.

It took little time for Combomatix to become firm favourites and in turn provide a truly refreshing and galvanic moment for 2016. Fun and exhaustion, what could be better!

Chinese Songs For Bad Boys is out digitally and on Limited edition 12”vinyl now through Howlin Banana Records and Retard Records and also @ https://howlinbananarecords.bandcamp.com/album/chinese-songs-for-bad-boys

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Pete RingMaster 16/03/2016

Copyright RingMaster: MyFreeCopyright

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Virgin Kids – Greasewheel

VK_RingMasterReview

Having more than teased with their self-titled EP in the November 2014, UK garage rockers Virgin Kids have unleashed their full sonic flirtation with debut album Greasewheel. Breeding their off kilter rock ‘n’ roll from an entangling of garage and post punk with psych and fiery pop rock, the London based trio cast an intoxicating enticement posing as an album which swiftly arouses the spirit and colludes with the imagination.

Formed as a bedroom project by Asher Preston, Virgin Kids fully emerged as a band late 2014 with childhood friend Paul Rosser and ex-Fawn Spots drummer Sean Hughes alongside the band’s frontman. Since then and the release of the aforementioned EP, the threesome has gained a potent live reputation, an adventure which has seen them share stages with the likes of whilst Jacuzzi Boys, The Coathangers, Kim and The Created, and Dirty Fences amongst others to date. Numerous comments about the band on stage talks of a “fevered intensity”, an element Virgin Kids has seemingly tried and for the main succeeded in now representing across Greasewheel.

The album opens with Bruised Knees, a kinetic jangle of guitar and contagious vocal urging from the first second. In no time, the song climbs over the senses, dark rhythms mixing with a fuzzy entrapment of ears in something which provokes thoughts of The Sonics, early Horrors, and The Hives in devilish union. A lively spark for the spirit, the track provides a great start to the revelry of the album, quickly backed by the more reserved but no less magnetic Cracks In A Colour. The band’s new single, it immediately swings with a graceful gait infused with appealing bass cast shadows. Soon that sixties seeded enterprise becomes a busier eruption of sound and energy, returning to the song’s initial melodic and controlled romancing before alternating between the two from thereon in.

art_RingMasterReviewFrom one pinnacle to another as My Alone stands tall from the off with its own individual sonic flirtation and seduction of ears. Like The Dickies meets Love Buzzard meets Asylums with a touch of Buzzcocks to its hooks and melodic grooves, the song is a glorious blaze of garage rock/pop, with a virulent harmonic invitation as inescapable as the anthemic rhythmic tenacity the track rolls along on before Never Nude slips in with a healthy whiff of seventies punk to its Thee Exciters/The Fleshtones like scent.

Both tracks on their own make Greasewheel an epic must listen, and are powerfully backed by the chaotic punk ‘n’ roll of Crook and the acidic Horrors-esque smooching of Shrink. The first of the two is another high point, its scuzzy heart and raw crescendos delicious tempering and companion to addictive grooves and melody sculpted hooks. Its successor proceeds to writhe with sonic temptation from its first breath, mellowing out into a psych pop seducing seemingly brewed from a blending of shoegaze and psychedelic pop. Equally there is a darker lining to the track which emerges more as it develops and spins a tangy web of guitar crafted suggestiveness littered with heavier rhythmic trespasses.

After the melodic lure of Shrink Wrap, a very brief epilogue like follow-up to its predecessor carrying a Teardrop Explodes air to it, the album concludes with the feisty pop jangle of Be Your Friend. Whipping up energy in body and voice to unite with its own, the song is an irresistible close to a similarly thrilling release. Greasewheel builds on the dramatic introduction of Virgin Kids’ first EP whilst creating its own unique character of sound and potential for bigger and creatively rowdier things to come. We for one cannot wait for their fruition over future releases whilst being a perpetual companion for this treat of a proposition.

Greasewheel is out now on cd, vinyl, and digitally through Fluffer Records in the UK and Burger Records in the US.

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Pete RingMaster 14/03/2016

Copyright RingMaster: MyFreeCopyright

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Love Buzzard – Antifistamines

LB_RingMaster Review

A riotous stomp embracing rock ‘n’ roll over the decades within its psyche punk /garage rock bred escapades, the debut album from UK duo Love Buzzard is lo-fi, high grade devilry to get lustfully involved with. Antifistamines sizzles on the senses, creating a mischievous and increasingly incendiary introduction to the pair of vocalist/guitarist Kevin Lennon and drummer Al Brown (the man behind Fluffer Records). Love Buzzard has a sound living up to its name too, music which insatiably seduces whilst stalking and preying on the carcass of the senses.

From around the release of first 7”double A-sided single Everything About You / Caught in The Deed in 2013, Love Buzzard has played over 150 gigs around the UK single, sharing stages with the likes of Cerebral Ballzy, Slaves, and God Damn along the way. The end of 2014 saw the release of a five-track self-titled EP on Brown’s Fluffer Records, a fiery encounter raising potent anticipation for the band’s first full-length. Released last year digitally and on CD, Antifistamines recently had its rousing body unveiled on special edition vinyl via legendary punk label 1-2-3-4 Records, the home of The Buzzcocks, Arrows Of Love, and Bad For Lazarus. Quite simply it is a raw and ravenous slab of rock ‘n’ roll with a broad brush of variety that is sure to fire up the energies of punks, rockers, bluesmen, and post-punksters alike.

The album starts with a bang courtesy of Cash; the pounding beats of Brown descending on ears from the first second as the spicy grooves of Lennon fizz and fiercely shimmer on the senses soon after. Hooks are as vibrant as the overall swing of the song too, its garage rock tenacity like a mix of Eighties Matchbox B-line Disaster and US duo In The Whale and as tasty as that mix suggests. An all-out assault unafraid to relax into momentary blues seeded seducing, the stunning opener leaves exhaustion and rich pleasure in its wake before the even more muscular Headrush snarls and barges into view. It too has the instinctive virulence of pure rock ‘n’ roll aligned to a just as contagious metallic intensity, not forgetting Cramps-esque mayhem.

art_RingMaster ReviewThrough the stoner laced fire of Beams and the dark seduction of Creep And Crawl, band and album has the body increasingly bouncing. The first is an agitated ball of steamy grooves whilst its successor dips into its passion for the blues to uncage another ravenous haze of tangy rock rabidity, though its own boisterous exuberance is eclipsed by that of the psychobilly/garage punk infestation of the psyche that is Passion. As the opening track it breaches a plateau that all tracks seriously worry, staking its claim as one of the major pinnacles of Antifistamines. Its success is matched by the equally psychotic and irresistible Superglue where Lennon and Brown create a jungle of temptation with their searing grooves and anthemic beats respectively; the former subsequently unleashing his ever magnetic vocal energy and persuasion to seal the deal between sound and ears.

Recently released as a video to tease attention and ears into the album, Wild blazes away next. It is a muggy and inflamed embrace of garage rock, a captivation which singes the senses whilst stirring up the imagination with gentle melodies and emotive lures within an otherwise ferocious climate. For personal tastes, the song does not make the same impact as the tracks around it but certainly keeps an eager appetite fulfilled before the schizo shuffle of Give It Some Range and the surf rock romancing of Heaven’s Got An Electric Fence again has body and passion leaping around without inhibition. The two alone are glorious examples of the diversity and creative adventure in the album, a bold resourcefulness which never breaks the kindred spirit flowing through the album.

Origins is another slow burner compared to others for these ears but easy to devour with its toxic grooving whilst the album’s title track badgers and nags like a middleweight boxer, Brown taking jabs as Lennon’s guitar and vocals flirt and dance around. The latter of the pair especially rouses the spirit with its Fat Dukes Of Fuck meets Hasil Adkins like revelry and is quickly emulated in feverish kind by Lines and its catchy merger of blues and fifties rock ‘n’ roll before Tower entwines some southern goodness into its adrenaline fuelled punk ‘n’ roll stomping. The track is a mouth-watering end to the album though the vinyl version has another five slices of rousing goodness.

The first is the cavernously raw Oh and garage punk at its most deviously addictive. Its inescapable slavery is followed by the wiry charms and thick belligerence of the outstanding Caught In The Deed and in turn the psychobilly sultriness of Rule This Town. These three alone are worth the purchase of the vinyl version, even if already owning one of the other options, but add a deranged and masterful cover of the Gang Of Four track Guns Before Butter and it is a no brainer. The duo takes a classic and turns it into another, retaining the cold air and rhythmic hypnotism of the original whilst igniting a tempest of energy and psychosis to bask in. Make You Mine is the final bonus song, a twenty second sing-a-long which simply leaves ears and mood on a high.

In a time of impressive rock duos, Love Buzzard installs themselves as one of the most exciting and addictive through Antifistamines. Rock ‘n’ roll is meant to be raw, impassioned, and bred to lead all into bad habits. Their album has all that and plenty more, and believe us when we say Love Buzzard has only just started.

Antifistamines is out now digitally and on Cd @ https://lovebuzzard.bandcamp.com/ and on fluorescent green vinyl via 1-2-3-4 Records @ http://www.1234records.com/#!blank/ez8yd/e3b62f39-bef9-c7ac-6707-f65fd40866a2

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Pete RingMaster 23/02/2016

Copyright RingMaster: MyFreeCopyright

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