The Men That Will Not Be Blamed For Nothing – Double Negative

The Men That Will Not Be Blamed For Nothing are indeed guilty as charged; charged by us of unleashing one of the most incorrigible, darkly mischievous, punk ‘n’ roll gems of this and many other years maybe going back to the Victorian times and arcane deeds  theming their sound and glorious new outing, Double Negative. Irresistibly addictive, deviously manipulative, the British outfit’s fourth album is a coming of age of sorts but you can be assured just the beginning of richer shenanigans as they nudge on much greater attention.

Suitably, the band was birthed in the surrounds and history of Old London Town, springing from the new friendship and creative coming together of guitarist/vocalist Andrew O’Neill (SunStarvedDay/Plague Of Zoltan) and vocalist Gerhard ‘Andy’ Heintz (Creaming Jesus). The former was breaking into a successful stand-up comedy career around the time and soon invited the latter to help write and perform some daft songs and play musical saw to enhance his act. The beginnings of The Men That Will Not Be Blamed For Nothing were sown, subsequently seeing bassist Marc Burrows (The Pittstops), also a comedian and writer, joining the band  with drummer Ben Dawson (Million Dead/ SunStarvedDay) completing the line-up. This was a decade ago and since then the quartet has seen multi-instrumentalist/drummer Jez Miller (Lords Of The New Church)replace Dawson and release three increasingly well-received albums.

Their sound began with a certain air of and was embraced by the steampunk scene but has moved away from that style in heart and music by the release as now boldly proven by Double Negative. The album is pure punk rock yet has so much more to its depths; essences of metal, noise, and rock ‘n’ roll embroiled in its inimitable holler as too a devilish air akin to bands like The Cardiacs draped in that tenebrific and so often grisly Victorian drama and the brazen but never overpowering humour expected of exponents of stand-up.

It is a perfectly balanced and rousing mix which instantly fuels album opener Supply And Demand; a Burke & Hare inspired stomp bringing the listener to their feet from its first breath. Riffs and hooks collude with an inescapable rhythmic swing, the track recalling the heart of seventies punk before spreading its own theatre of enterprise within its cadaver littered tale. It had us bouncing and vocally roaring within a few swift moments, a sign of great rock ‘n roll in anyone’s book.

The following Baby Farmer is just as virulent its temptation and effect as Amelia Dyer goes about drowning unwanted babies in the Thames. The dark nagging bassline had its claws in instincts straight away, Heintz’s vocal snarl adding to the lure as the slim but potent lure of riffs, hooks, and beats. O’Neill’s even rawer backing cries only add to the overpowering persuasion before Hidden entices the listener not only into the broader depths of the band’s sound but its arcane shadows, O’Neill performing a rite called The Bornless Ritual within the song’s infectious prowl. With threads of heavy metal and gothic/psych rock entwining its punk core, the song just enthrals as it infests.

Disease Control is next, the track sparked by “John Snow’s discovery that the Soho cholera epidemic of 1854 was waterborne”. It harries and bustles around ears, its almost carnal climate a dirty punk ‘n’ roll infestation with another hip stirring groove and rhythmic teasing while Obscene Fucking Machine simply seduces from start to finish with its Dead Kennedy’s esque grumble. A damning look at Queen Victoria’s ”big, fat fucking machine” of a son,  Prince Bertie, the track is aural addiction in the waiting with its own healthy line in punk twists and rock turns.

Through the Jack The Ripper instigated Occam’s Razor, or rather the money breeding, conspiracy guessing industry grown up in its historical wake, and the raw metal punk scourge of God Is In The Bottom Line, closer attention is only enslaved even if neither quite sparked the level of lust of their predecessors. Each though fingered the wants and desires in our punk appetites which There She Glows and its ‘romancing’ of Marie Curie further rummaged with its Steve Ignorant & Paranoid Visions meets The Ghost Of A Thousand styled boisterous croon.

The album concludes with There’s Going To Be A Revolution, the only fictional track within Double Negative yet certainly one incited by the poverty, injustices, and oppression of the modern world, of any era. It is a raw and imposing tempest of sound and discontent which rubs vociferously on the senses, gnaws on ears, and gives the album a stark and sonically rapacious curtain closer to get the teeth into.

Punk rock always need a new fresh breath to keep it ahead of the game and always seems to find it. Double Negative and The Men That Will Not Be Blamed For Nothing is the next wind to arouse and inspire even if a roar soaked in previous centuries and their nefarious adventures. We for one just cannot wait for its companion in the two album cycle started by this real gem.

Double Negative is out now on CD, Cassette, Vinyl and Digital Download via Leather Apron Records across most stores and @ https://blamedfornothing.bandcamp.com

Dates on The Men That Will Not Be Blamed For Nothing’s current UK tour:

SAT 17 MAR – York, Fulford Arms

SUN 18 MAR – Milton Keynes, Craufurd Arms

MON 19 MAR – Cardiff, Globe

TUE 20 MAR – Chester, The Live Rooms

WED 21 MAR – Leicester, The Shed

THU 22 MAR – Exeter, The Cavern

FRI 23 MAR – London, The Dome

SAT 24 MAR – Southampton, Joiners

SUN 25 MAR – Bristol, The Exchange

TUE 17 JUL – Detroit US, Motor City Steamcon

http://www.blamedfornothing.com/   https://www.facebook.com/blamedfornothing   https://twitter.com/blamed4nothing

 Pete RingMaster 14/03/2018

Copyright RingMaster: MyFreeCopyright

Brightlight City – Our Future’s Not Dead

Having impressed with debut EP, Adventures in 2015, British rockers Brightlight City now reveal the blossoming invention and increasing maturity in their sound with successor Our Future’s Not Dead. Hinted at by a pair of singles last year, the new release is evidence of a band building on an impressive start and potential with stylish adventure whilst nurturing a whole new promise for continued growth.

Surrey bred, Brightlight City weave in inspirations from the likes of Hundred Reasons, Million Dead, Yourcodenameis:milo, At the Drive-In, Biffy Clyro, and Jimmy Eat World into their sound; indeed sparking comparisons to the former and others such as Thursday and Hell Is For Heroes with their melody rich and harmonically honed songs. Equally there is a fresh and potent catchiness and steel to Our Future’s Not Dead which as suggested was first glimpsed within last year’s singles Gravity and Thieves. It is a growth in sound which has come with an increasing reputation and praise for their live shows through the quintet sharing stages with Max Raptor, Fizzy Blood, Bad Sign, and Blood Youth and playing alongside Rise Against and Millencolin at Envol et Macadam Festival in Canada in 2015as well as their own shows.

Recorded with Matt Hyde (Funeral For A Friend, Bullet For My Valentine, Slipknot), Our Future’s Not Dead is likely to spark another bout of attention and hunger for Brightlight City, setting out its persuasive strength with opener It Depends On You. Skittish beats alongside vocal and guitar offered temptation bring the song into focus; their low key yet agitated attitude soon a full roar as vocalist Jamie Giarraputo heads a web of melodic enterprise from guitarists Jonathan Staunton and Justin Giarraputo, the latter adding his own potent vocal expression to the mix. Anthemic in heart, imposing in rhythm as the hefty jabs of drummer Ben Bell court the brooding lines of bassist Tom Stock, the track roars with energy and passion.

With a mellower air Leave A Light On follows, wiry melodies swimming round a throaty bassline as emotive vocals entice with distinctive expression. Once again there is an instinctive catchiness at work, never wavering as fiery textures evolve and unite in a livelier blaze of sound and emotion. In some ways it is a less intricate proposition than its predecessor but only to its strength as each element is a flame of craft and drama before making way for Heart Stops. The third track comes coated in the infectiousness of the opener, its swinging body almost pop punk like and relentlessly coaxing listener involvement with its vocal harmonies and controlled but boisterous swing; a tenacious essence just as open in the calmer moments of a song taking best track honours.

The EP is brought to an end by Past/Future, a track epitomising the evolution in the Brightlight City sound with its rounded fusion of melody and energy amidst a new depth of contagiousness and invention. As all the songs within Our Future’s Not Dead it is a memorable and lingering encounter going to make a thoroughly enjoyable and impressing release. The Brightlight City sound has yet to become something truly unique but as the EP shows, it is well on the way and providing some rather tasty encounters along the way.

Our Future’s Not Dead is out now through Undead Collective Records.

https://www.brightlightcityofficial.co.uk/   https://www.facebook.com/brightlightcityofficial   https://twitter.com/blcband

Pete RingMaster 12/04/2017

Copyright RingMaster: MyFreeCopyright

Mannequin Death Squad – Eat Hate Regurgitate

mds_pic_RingMasterReview

After the rousing scuzz enticement of latest single KYMS, Australian duo Mannequin Death Squad uncage their debut mini-album Eat Hate Regurgitate to confirm all the mightily good things found in said single and it’s just as magnetic predecessor.

Emerging last year, Mannequin Death Squad consists of El and Dan; one girl, one boy who between them play and swap guitar and drums whilst offering their potent union of vocals. A striking presence on the Melbourne underground scene, the pair sparked attention with the single Sick earlier this year, following it up with the even more impressive and gripping KYMS a few weeks back. Both feature upon Eat Hate Regurgitate alongside a trio of new proposals which simply whip up attention and appetite for their scuzz punk devilry.

Released via the excellent UK indie Integrity Records (Million Dead, Horse Party, Valentiine), the release opens up with the raw magnetism of KYMS, a track raging “against the relentless pollution of our planet, the song inspired by a hatred of those who continue to defile and pollute the earth.” Plaintive strains of guitar make the first touch, swinging rhythms and caustic riffs the next as Dan vocally bursts into view with the warm tones of El in close attendance. It is raw and inviting, fiery and captivating, hooks and grooves a weave of temptation as the pair vocally dances around the senses. The track’s infectiousness is virulent but only part of the picture as darker shadows and textures blossom as the song progresses, its finale of an imposing and enjoyably oppressive nature breeding blues grooves and a sludgy climate before going out in a blaze of raw rock ‘n’ roll.

The impressive start is followed by Sick, a volcano of scathing pop punk with more bluesy flames in its melodic kiln as thumping and slightly predacious rhythms roam. Like a mix of My Baby, Karn8, and Valentiine, the track seizes ears and appetite swiftly, only tightening its hold midway as again the band suddenly twist into a whole new creative landscape which lifts things to another addictive level.

The muscular poppy romping of Sky comes next, its feisty canter carrying hues of bands such as Jack Killed Jill and The Melvins whilst creating its own character of unpredictability while Van Gogh snarls and aggressively bounces along before slipping into something more melodically and seductively comfortable. It is a strain of persuasion which switches between full-on assault and that bordering on salacious coaxing, casting a tempting which weakens knees in between having them feverishly stomping around. A great live air to the track only accentuates its glory, it challenging the opener for best track honours.

The album is concluded by the similarly addictive and enterprising Down, another swinging from bold energy to harmonic calm and leaving a greed for more in its wake. The track sums up everything great about Eat Hate Regurgitate and the Mannequin Death Squad sound in its four minutes plus and why so many are becoming rather excited about the twosome.

Eat Hate Regurgitate is released October 21st via Integrity Records.

https://www.facebook.com/mannequindeathsquad/   https://twitter.com/MannequinDsquad

Pete RingMaster 19/10/2016

Copyright RingMaster: MyFreeCopyright

Lady Jane’s Revenge – 1554 EP

Lady Jane's Revenge Promo Shot_RingMaster Review

There has been a buzz brewing up around UK alternative rock band Lady Jane’s Revenge for a while now and with the release of debut EP 1554, it is understandable why. It’s collection of songs make a striking impression on ears and imagination, not one to warrant calling them the next big thing but certainly plenty to spark keen interest in their progress from hereon in.

Hailing from the beauty that is Cornwall, there is a calm and freedom inspired by that part of the UK which is matched by and reflected in the sound of Lady Jane’s Revenge, even when it is roaring away in ears. The band itself began in the January of 2015, the quartet of vocalist Billy Crook, guitarist Sam Kent, bassist James Coffey, and drummer Ash Jenkin coming together through online advertisements. Comparisons in sound with the likes of Mallory Knox, YouMeAtSix, Incubus, Alkaline Trio, and Red Hot Chilli Peppers soon arose, references the band itself equally suggests as inspirations to their openly evolving and still being established sound. In short time, they became a potent and eagerly followed proposal on the live scene across the South West of England, and now Lady Jane’s Revenge is looking at stirring up broader national attention with the release of 1554.

The EP opens up with Floodgates and its initial water logged storm. The song swiftly emerges from that tempestuous climate spawned first lure; breaking from the ill-clement weather with steely riffs and swinging rhythms bred in a mix of alternative metal and punk rock. Straight away the tones of Crook are enticingly stabbing and trespassing on the more welcoming stroll of the track, though it too is ripe with intimidating textures and senses smothering shadows. At times lying somewhere between Red Hot Chili Peppers and Ill Niño and in its calmer moments finding a persuasion nearer to an Incubus or Hoobastank, the track is a thickly enticing start to 1554.

Lady Jane's Revenge Cover Artwork_RingMaster ReviewIt is more than matched by the spiky infectiousness of The Kid Within. Swinging along with attitude and spicy hooks, the song provides a captivating incitement within which vocals and anthemic calls make their similarly inviting play. It is the guitar craft of Kent and the song’s rousing hooks which ultimately steal the show though, plus a Skids like essence which simmers in the heart and enterprise of the compelling encounter. It is a success shared by the melancholic charm of Carbon, an again Red Hot Chili Peppers scented song also equipped with an emotive caress reminding of Deftones and a rousing intensity hinting at Million Dead. More of a slow burner compared to its predecessor, it grows in persuasion and stature over time whilst showing another shade to the raw and volatile rock ‘n’ roll of the band.

The melodic croon of Next Tuesday engages ears next, its emotive heart a strong hue in the fiery nature of the song. It lacks the spark of its predecessors for personal tastes but reveals more depth to the songwriting and imagination that fuels the band, as equally does the acoustic seduction of Positive Mental Attitude (PMA). Another with an Anthony Kiedis and co flavouring, the track is superb with Crook at his most potent on the EP. It is an encounter which beguiles from start to finish much as Sunny Side Up which continues the mellower side of the band’s intensity and sound. Once more guitar and voice hold ears and imagination firmly enthralled, ultimately matching the triumph of PMA before it.

Completed by a radio edit of Floodgates, the 1554 EP is a strong introduction to Lady Jane’s Revenge. It may lose its power mid-way, in relation to its excellent start and ending, but the release more than suggests Lady Jane’s Revenge as a band moving in the right direction and carrying the potential to be a dynamic part of the UK rock scene ahead.

The 1554 EP is available from 26th February through all stores.

https://www.facebook.com/ladyjanesrevenge   https://twitter.com/LJRevenge  http://www.ladyjanesrevenge.com

Pete RingMaster 24/02/2016

Copyright RingMaster: MyFreeCopyright

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

Brightlight City – Adventures EP

BrightlightCity2015

The Adventures EP is a proposition which might not be going to set the rock world ablaze but with three tracks of virulent alternative/melodic rock, the new release from Brit tunesmiths Brightlight City is still likely to be a greedily devoured feel good encounter. It is one of those incitements easy to turn to for an energetic and feistily contagious time. It is not changing the landscape of rock ‘n’ roll but definitely the release gives it a healthy dose of feisty enterprise.

The Surrey quintet began in 2014, swiftly releasing a trio of songs and embarking on mini tours across the UK. Inspirations come from the likes of Hundred Reasons, Million Dead, Foals, Yourcodenameis:milo, At the Drive-In, Refused, Biffy Clyro, and Jimmy Eat World, spices evident in the band’s debut EP Breaking Straight Lines which was recorded with producer Jason Wilson (You Me At Six, Fightstar, We Are The Ocean, Reuben) and released last October. Now the band unveils its successor, Adventures, which was also recorded with Wilson. As its title hints at, the new EP explores new aspects to the band’s sound; the band recently commenting on the release with “Adventures is an EP, as the title suggests, that takes the listener on an adventure; stories of late nights, life, death, love and society all set against the instrumental back drop of a massive alternative rock sound.”

Adventures Artwork iTunes    The release opens with new single The Finish Line, and instantly sparkling guitar bait is sunning itself in the imagination as rhythms provide a sturdy and darker company. The vocals of Jamie Giarraputo similarly are a warm and vibrant invitation, nestling perfectly in the weave of enterprise cast by guitarists Justin Giarraputo and Jono Staunton. The track strolls along with an endearing quality and a catchiness which really sparks in the addictive chorus whilst the resonating bass of Dan Stubberfield adds further potent magnetism alongside the punchy beats of Ben Bell which punctuate all the hooks and melodies with relish.

The following I’m Only Good At Adventures backs up the impressive start to the EP with its own infectious swing and dance on ears. Once more hooks and melodies seduce, though with less impacting bait than found in its predecessor. Nevertheless the song is an easy to consume and get involved with proposal of rock ‘n’ roll warming up ears and appetite for the outstanding closing track.

Reaction is superb, from its opening earthy groove and dirty riffs attention seizing bait which never loosens its grip even when slipping into a slow caress of voice and melodies. It is just the teaser though for the contagion to follow, bass and beats prowling with a glint in their eyes as guitars spin a web of imaginative melody clad temptation. Vocally Jamie Giarraputo is just as magnetic, his delivery carrying a gentle swagger to match the bass groove and sonic devilry seducing ears and imagination. Jimmy Eat World is mentioned as an inspiration and there is no escaping the similar potency of hooks and enterprise within the song to the US band’s greatest moments.

The track is irresistible and brings an excellent release to a masterful close. Listening to the Adventures EP, it does feel like Brightlight City is still searching for their truly unique sound. When it happens though and if songs carry the same qualities discovered on this new encounter, it is hard to imagine anything stopping a global success.

The Adventures EP is out digitally from May 11th and physically on the 15th May.

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

RingMaster 11/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Valentiine: Self Titled

valentiine pic

With the single Love Like having already teased and lit up our senses a few weeks back it is fair to say that anticipation for the debut album of Australian band Valentiine had a real hunger to it, especially after the unveiling of the brilliant new single Chucky in the past few days. The self-titled release has now stepped forward to not only live up to the suggestiveness of the pair of aural temptresses posing as singles but elevated the trio to one of the most thrilling and still richly promising bands to emerge this year. It is a predator of an album that toys with and manipulates the passions for a riotous and magnetic flame of bruising seduction.

Hailing from Melbourne, the threesome of Vanessa V (guitar/vocals), Erica E (bass/vocals), and Shelly K (drums/vocals) have a sound which is to simplify things a blend of garage rock and punk. Direct and emotively intrusive it also has a grunge seeded melodic fire which sears senses and thoughts whilst rhythmic badgering deviously diverts the attention. It is a sound which has a strong familiarity but equally lays a distinct hand on the passions directly bred from the band. Since forming Valentiine has not only left their homeland enamoured but persuaded fans across Europe and the UK with their powerful and contagious sounds. A successful 22 date European tour last year was followed by the band signing with UK independent, Integrity Records (Million Dead, Reuben, Katastrophy Wife), the two singles and now album a following potent step towards world domination one suspects.

Imagine a mix of The Breeders, Spinnerette, and Veruca Salt with a healthy snarl of L7 as well as a strong pop imagination, and you artworks-000050495136-39ybnn-t500x500get a strong impression of what Valentiine ignite the passions with. As mentioned it is a sound which has a welcoming familiarity but infuses it into their singular potent invention musically and lyrically. The songs hold narratives of everyday life and situations, honestly and often starkly presented with a dark mischievousness, and all veined with addiction causing hooks and infection sparking enterprise which is impossible to resist.

     Love Like opens up the encounter, the track an even paced roam through the ear with intimidation and steel to its riveting presence. Rhythmic sinews cage the senses as the guitar unleashes sonic fire, the combination gripping attention as the excellent and varied vocals of Vanessa V coax further with a mix of riled attitude and melodic seduction. It is an outstanding introduction to the album, a caustic caress seeded in fire borne intensity and a song that secures instant attraction, though it is soon surpassed by new single Chucky. Recounting the ladies own ‘morning after’ hangover blues in graphic detail, the track first teases with guitar and vocals before stomping into a fascination of bubble gum pop and shadow clad punk ‘n’ roll. It is ridiculously addictive; its easy yet perfectly honed enticement a blend of Green Day and The Shangri-Las which leads the listener into an insatiable dance of rhythmic temptation and pop punk wantonness.

Now into the stride of the release it begins to stretch out its darker tones and imaginative ingenuity, both Birthday and Finch opening new diversity to songwriting and sound. The first is a slow burner with the grunge growl of a Nirvana or Hole, its lingering and building intensity a dramatic smack across the senses, whilst the second tenderises with a sonic niggle and drum battering within restrained emotive incitement and sirenesque cheerleader like sultry harmonies. Both are again rich and drama clad musical treats though they do have to surrender to the even greater triumphs of firstly the smouldering When You Want, a track with a more than loud Pixies whisper to its inventive crawl, and secondly the venomous Hates Me. This track is pure L7 meets Puddle Of Mudd filtered through a malevolently spiced vat of spiteful punk, its bite dangerous but alluring with epidemic charm.

As the musicianship and imagination of the band conjures more insatiable devilment and virulent enticements it is impossible not to fall for the call of the album, though when it continues to offer such glories as the scintillating Never Forget You and its twisting metallic tentacles of guitar and bass entrapment, and the rapacious and brilliant Animal, submission was always a done deal.

As the variation and thrills keep coming with further major highlights coming from the Pixiesque Better For Me and the gnarly Kick It, the album stakes its claim as on of the most impressive releases this year. Every song leaves a lingering branding on the passions and thoughts whilst satisfaction and entertainment are delivered aural manner by the twelve, it has to be said, brilliant triumphs. Valentiine will be a major band, no doubts, and their debut album destined for the classic shelf.

http://www.valentiine.com/

10/10

RingMaster 22/06/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

Miniature Dinosaurs – Lemonade

Last year Scottish band Miniature Dinosaurs opened up a flood of attention their way with the mischievous and wholly infectious single Alligator. The track was strongly impressive and put all on alert for what came next from the band. August 13th sees new single Lemonade let loose to show that the success and quality of its predecessors was no flash In the pan and that the quartet from Stirling is one of the brightest sparks to have recently emerged within UK indie music.

The new track is taken from the upcoming Turn It On EP, which comes out in October alongside a second single from the release. Whereas Alligator was a greedy bundle of energy with a wicked grin upon its face, Lemonade finds the band exploring a more expressive and seductive sound though the track is no less infectious and short of a tongue in cheek breath. Their first release since signing with Integrity Records, who brought the likes of Reuben and Million Dead to the nation, it is another impressive step in the constant rise Miniature Dinosaurs has been on since their beginning. The band at their start found themselves receiving radio play months before their first ever gig and on stage has thrilled alongside the likes of Fenech-Soler, Johnny Foreigner, Twin Atlantic and Young the Giant. Singles through Electric Honey and Saraseto Records has only added fuel to their growth and as one listens to Lemonade and with the upcoming EP, it feels that the time of Miniature Dinosaurs is on the very near horizon.

The single instantly bursts in to life with a flurry of vibrant jangly guitars and firm rhythms before settling down to begin its tale of young romantic angst. The bass of Alban Dickson strolls with a moodiness adding depth to the elevated guitar play and the whispered tones of the synths from Craig Ferrie. Within the warm sounds the vocals of guitarist Barry Maclean are an expressive delight which explore each note and word he delivers with a compulsive emotive lilt. The track then brings in bursts of energetic passion where the beats of Sam Waller ensure a fuller attention from the ear so the melodic enterprise and discordant tinged surface of the guitars can play with relish. It is a glorious blend which along its length brings thoughts of bands like Associates, Orange Juice, Pulp, and Josef K to the unique sound the band conjures with ease.

Lemonade is outstanding and incites an even more elevated affection for the contagious sounds of Miniature Dinosaurs. The Turn It On EP cannot come soon enough and there is no doubt the band will become a constant on radio shows and channels with their sounds and accompanying videos of this and the forthcoming releases.

www.miniaturedinosaurs.co.uk

RingMaster 10/08/2012

Copyright RingMaster: MyFreeCopyright

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.