Twelve Boar – No Forgiveness

We have no idea why they expanded the moniker from XII Boar to Twelve Boar but it has coincided with a whole new thrust of mischief and variety in the British heavy rockers sound as in mouth-watering evidence on new album No Forgiveness. The trio from Aldershot still conjure up and unleashed tides of southern fried grooves, thumping rhythms, and ravenous riffs, traits they have become acclaimed for but it all comes with a new carefree fun and adventure. Let us be clear, the band has never been anything other than the rich source of both across a host of songs and releases but No Forgiveness more than most raises the middle finger in a motion beckoning all to come in and join their riotous party.

Since the release of debut EP, Split Tongue, Cloven Hoof back in 2012, Twelve Boar has made an inescapable impact on the UK rock scene. Its well-received, attention grabbing success was just the teaser for the plaudits which eagerly gathered around the uncaging of debut album Pitworthy in 2015 and the even more acclaimed Beyond The Valley of The Triclops last year. Each backed up a live presence and reputation which has equally only grown year on year until it is fair to say that the threesome of vocalist/guitarist Tommy Hardrocks, bassist Adam Thomas, and drummer Dave Wilbraham is now regarded by a great many as one of the most essential roars on the UK scene. There still maybe a few yet to discover the instinctive stomp of Twelve Boar but only something No Forgiveness will soon sort out.

Beyond The Valley of The Triclops certainly hinted at the multi-flavoured evolution of the Twelve Boar sound but No Forgiveness gives it to you unbridled and face on, so much so that the first listen, whilst stirring up the passions, has us questioning whether we missed the dirtier thunderous trespasses of times past. The second listen then revealed that nothing has changed, the band still brewing a sound caked in rock ‘n’ roll soil which leaves the body exhausted and shaking from the onslaught but with a fresh toxin of fun involved, and the third listen…that is when the lust breaks out.

Recorded with producer Chris Fielding, No Forgiveness goes straight for ears with spice loaded grooves and ear rapping beats as Steppin’ Up gets things rolling. The gravelly tones of Hardrocks stand astride the tendrils of guitar, riding the grooves as bass and beats throb and land with a brooding intent.  A slab of muscular rock ‘n’ roll the band is certainly renowned for it then throws an unexpected twist in its midst as it slips into a mellow intoxication of melody and clean vocals though the moment is just the teaser to a waiting lustily fiery stroll. It is a great start to the release but soon overshadowed time and time again starting with Golden Goose. The second track instantly shows attitude in its riffs which continues to colour its character even as rap metal flavoured vocals dance devilishly on the emerging encounter. From thereon in heavy rock ‘n’ roll and that nu-metal toned adventure collude and interact enticing further whiffs of extreme metal and desert rock into the mix.

The Curtain Call swaggers in next with hooks lining every swing of its rhythmic hips and sultry grooves. Sabbath-esque riffs are openly embraced by the band then infested with their own devilment as rhythms harry the senses throughout, often dancing like a dervish as another dose of great diversity grabs the vocals. The track is glorious, Twelve Boar at the inimitable best and swiftly matched by the album’s southern bred title track. An acoustic strum is joined by vibrating beats as Hardrocks growls, the song sauntering along with accusation on its breath. In time everything finds a new tenacity and muscle, the encounter grabbing hips and appetite like a fine, throat burning bourbon.

Stealing the best song plaudits, Elders From The Deep dives in next, the track filthy rock ‘n’ roll stomping like Motorhead meeting Gene Vincent as The Cramps bring their salacious garage rock antics to the fun. The track is irresistible, a sinful slice of addictiveness which truly had this appetite drooling long before it had to make way for the blues rock romping of Snake On A Lead. As its predecessor, the song just hits the spot with flirtatious grooves and bone rattling rhythms, it knowing all the right buttons to push to have the body bouncing and a lively spirit fuelling keen physical involvement.

The crawling almost predatory opening prowl of All the Heavy Griftin’ instantly whets the appetite but it is just the prelude to another stonking rock ‘n’ roll canter impossible not to get infested by. If you had any doubts that Twelve Boar know how to rock until the sweat flows like a river and fingers bleed, than this virulently contagious track alone will wipe them away.

The brief sweltering climate of instrumental Panama lures ears into the landscape you can imagine the waiting final track Hellspeed Truckin’ would be rolling down. In the closer tarmac punishing riffs and air cutting rhythms shape the adventure, the bass a hypnotic driver with vocals holding the wheel. As grooves sear the scenery raw adrenaline flows through sound and voice, the track in top gear never flirting with the brakes until the body lies prostrate in its dust.

Wrapped in the striking artwork of Rahadil Hermana, No Forgiveness is quite simply one of the major treats of the year. It is relentlessly energetic, hungry, and fun from a band driven by those self-same attributes as well as an instinct and the craft to turn it all into one rousing experience. XII or Twelve Boar, they are still helping drive the UK heavy rock scene from the frontline.

No Forgiveness is out now and available @ https://xiiboar.bandcamp.com/ or http://xiiboar.bigcartel.com

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Pete RingMaster 15/09/2017

Copyright RingMaster: MyFreeCopyright

Goblin King – Blood, Drugs & Death n Roll EP

Set to send a bruising shockwave through British punk ‘n’ roll is Goblin King, a London hailing Death N’ Roll quartet primed to release their debut EP. Offering five ravenously dirty and intrusive slabs of heavy rabid trespassing, Blood, Drugs & Death n Roll is a primal cauldron of metal, rock, and punk; everything which makes for a great rock ‘n’ roll fury and battering.

Founded earlier this year, the foursome of King, Beast, Jester, and Sin have taken little time to make a thick impression with a sound said to draw on the inspirations of Entombed, Motorhead, Amen, GG Allin, Cancer Bats and more. It is a ferocious affair, on the evidence of their first EP, as ready to have you swinging from the light fixings as savage the senses you were born with; simply raw rock ‘n’ roll in glorious rampage.

The EP opens up with its title track, Blood, Drugs & Death n Roll an infestation of scavenging riffs and nasty rhythms careering through ears with an appetite for mayhem. Their animosity though springs a swiftly addictive groove and an infectious swagger matched in the gruff vocal style and energy of King. Hooks are as prevalent as filth sharing riffs, thrash and punk uniting in a contagious animus hell bent on having the listener stomping around with middle fingers raised. Those Amen and Motorhead influences are especially vocal but immersed in an insatiable tide of character and tenacity all of Goblin King making, a rich flavouring equally flooding the following, just as superb second track.

Titled Goblin King, it is the kind of anthem no defences work against; an incitement from its first breath which has body and spirit eagerly embroiled. Riffs and rhythms swiftly confront and infest, vocals soon adding their bullying tactics until it all erupts in a chorus only the deaf could escape being hooked on. It is a chorus taking a breath at its final throes giving greater clarity to one glorious bassline and tone which spines the whole tempestuous contagion. Some tracks are instinctively manna to ears and the passions, this lustfully one for us though hunger is left dissatisfied at its departure after barely three minutes.

The opening pair gives the rest of the tracks a hard task to match their united triumph but the likes of 667 and Eye Of The Storm make a potent rolled up fist of it. The first is a ‘milder’ proposal in relation to the scourges before it but still has an attitude and hefty swipe to its presence which has you warily launching your participation and an unpredictability which wrong-foots and sparks the imagination at certain moments. Its spicy assault reveals a far broader landscape to the Goblin King sound and writing than its predecessors, one equally as refreshing and it is intriguing for an adventure the second of the two also embraces in its multi-flavoured, metal infused punk rock charge if not quite to the same boldness. With the guitar a flamethrower of melodic craft and rhythms an incessant examination of the senses, the track is inescapable virulence.

Death Sti-XXX brings things to an antagonistic close, crawling all over the listener with irritability and creative spite; a discontent breeding another addictive groove, spikily grabbing hooks, and anthemic incitement. Admittedly, initially the song did not make the same strong impression as its companions but over time had body and appetite seduced just as tightly.

Blood, Drugs & Death n Roll is pretty much a physical interpretation of its title; an affair basking in its grubbiness and relishing its prowess of igniting the energy and spirit of those it preys upon. It may be greedy but we so want more of Goblin King and are already finding it hard to patiently wait.

Blood, Drugs & Death n Roll is released August 10th digitally and on CD @ https://goblinkingofficial.bandcamp.com/

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Pete RingMaster 02/08/2017

Copyright RingMaster: MyFreeCopyright

Spunk Volcano & The Eruptions – Not Wired Up Right

Always a dirtily feisty and rousing mix of punk and raw rock ‘n’ roll, we can announce that Spunk Volcano & The Eruptions has managed to breed an even more ravenously incendiary fusion of both within their new and third album Not Wired Up Right, a proposal living up to its title in character and intent whilst stomping around like a bull elephant in heat.

Having set their 2017 off in fine style with the aggressively raucous Ram Raid EP, Spunk Volcano and co devilishly finger  its raw virulence and fresh whiff of bruising rock ‘n’ roll to a new aroused state within Not Wired Up Right. It has been a riotous clutch of years since Dirt Box Disco guitarist/co-songwriter Spunk unleashed his own project with the aid of drummer Maff Fazzo, bassist Deadbeatz Chris, and guitarist Ste Lingard; a time kicked off in striking style with a self-titled EP and an insatiable persuasion only perpetuated by debut album Injection that first year, 2014, its successor Shit Generation two years later and the aforementioned Ram Raid EP a few months back. Each release has had the body stomping and a defiance driven attitude roaring; a triumph unsurprisingly just as rampantly repeated with Not Wired Up Right.

With its current line-up completed by guitarist Tom ‘G Force’ Batterbee and newest addition in lead guitarist Stu Page alongside vocalist SV, and fellow DBD members Maff Fazzo and Deadbeatz Chris, the band gets straight down to it with contagious antagonism and bare arsed rock ‘n’ roll through the album’s opener and title track. Not Wired Up Right instantly preys on ears with its corrosive metal bred riffs, a hungry tide of guitar soon driven on by the senses battering swings of Fazzo as SV unashamedly roars. It is a minute and a touch of hook lined punk manna, a storm of balls swinging rock ‘n’ roll swiftly backed in listener manipulation by Nobhead. With a title like this you just know at some point you will be bellowing in zeal fuelled unison with the song and that point comes within thirty seconds of a vocal and riff set up breeding eager anticipation for that incoming moment. The infectious lure of Chris’ bass courts the unspectacular but seriously compelling riffs of Batterbee in the meantime; together laying down the landscape over which the melodic scythes of Page lure and of course the moment to leap on board with vocal energy to match that of SV erupts.

The following Shutdown offers its own collusion of punk and metal lined rock ‘n’ roll next; prowling riffs and biting rhythms a predacious incitement matched in success and intrusive magnetism by a litter of hooks and vocal unity. Standing at the fore SV is the trigger, his tones a belligerent yet welcoming cause to get on board with whilst the bass simply seduces the appetite with its devious groove. The track rocks the joint with ease, bodies and speakers rocking just as tenaciously through the more corrosive presence of Gatecrash and in turn by the seriously irresistible of Fuck This For A Game Of Soldiers. The first of the two lacks some of the sparks of its predecessor, such the former’s inventive bent, but still has full command of again throat and physical participation with its dirty punk ‘n’ roll while the second simply snarls and invades the senses with its primal hearted, melodically catchy antics. Initially a predator in sound and invention, it evolves into another SV anthem which chews up the listener whilst stirring them into an outpouring of unbridled energy. Not Wired Up Right features a special guest in Ginger Wildheart on guitar and backing vocals on three tracks and it would be no surprise if this superb dirt-fest of a romp was not one of them such its unsterilized gutter nurtured rock ’n’ roll.

Next up, Your The Bastard has the same kind of seeding in its punk clamour, a Motorhead meets Grumpynators fuelling which makes its minute and a handful of seconds irrepressible and irresistible before Out Of The Blue reveals to its inescapable tempting a poppier nature contaminated with the band’s ear grabbing stag rock ‘n’ roll. Across all tracks Page adds a broader styled enterprise ranging from melodic metal, punk rock, and of various rock ‘n’ roll seeding but here afforded a clarity which really shines alongside the band’s infection loaded harmonies and chorus. His presence has certainly brought a new fresh air of flavouring to the band’s sound without defusing its distinctive character and presence, Dementia Hurricane another prize example within the release; an encounter which if you are not boldly hollering with its chorus by its second round, deafness of worse may have descended.

Smack In The Teeth is just the same, an eye balling prospect of getting battered which of course the senses do with the rhythmic antipathy and caustic riffery backing up SV’s threat. You can just imagine venues chasing fear into surrounding streets as band and fans inevitably vocally unite in the song’s virulent incitement live.

The album concludes with two of its major highlights amongst nothing but peaks. First up steps Knuckledusters & Scars with an initial surge of rancorous riffs and stabbing beats which alone ignites the passions; metal, heavy rock, and rapacious punk rock soon entangling in its delicious steely tempest with emotional rabidity and primal imagination just as prevalent in its gloriously uncompromising yet still ridiculously catchy howl. Somehow though it still gets eclipsed by the simply captivating Purely Medicinal, a song brilliant in its resourceful simplicity, inspired in its captivating croon as SV opens up heart and suggestion within a subdued but oh so potent web of sound.

It is a final two minutes epitomising the creative strength, new adventure, and instinctive epidemic like catchiness of the band’s sound. Sometimes when review after review of a band’s releases carry nothing other than drooling praise you almost set out to look for faults. Spunk Volcano & The Eruptions relish that challenge and from the first seconds never allow anything other than ardour to once again arise with us.

There are two bands which are making British punk n roll the most exciting it has been in a long time, maybe ever been, and both embrace the headstrong creative instincts of Spunk Volcano and indeed Maff Fazzo and Deadbeatz Chris. Enough said!

Upcoming live dates:

Sun August 6th – Blackpool – Winter Gardens (Rebellion Festival)

Sat August 19th – Cambridge – BOAT HOUSE

Sat September 30th – Northumbria Students’ Union (NE Calling)

Sat December 23rd – Manchester – Star & Garter (STP Xmas Show)

Fri December 29th – Birmingham – Venue TBC

 

Not Wired Up Right is released August 3rd on STP Records; for more info

http://www.spunkvolcano.co.uk    https://www.facebook.com/pg/spunkvolcano/   https://twitter.com/SpunkVolcano

Pete RingMaster 01/08/2017

Copyright RingMaster: MyFreeCopyright

One Last Shot – Even Cowboys Have Sundays

Pretty much three years after impressing with their debut EP, French rockers One Last Shot have unleashed their first album to once again have ears and plaudits aroused by their dirt encrusted sound. Even Cowboys Have Sundays is a roar of thrash nurtured ferocity and sonic southern rock liquor but an incitement as punk as it is metal as it is unbridled rock ‘n’ roll.

With their musical instincts and passions raised on nineties thrash metal, the Paris quintet soon stirred local support after emerging with a sound soon drawing comparisons to the likes of Lynyrd Skynyrd, Motörhead, and Guns N’ Roses. It was the First Gear EP in 2014 which sparked broader attention at home and further afield; its bold character and bruising sound as contagious as it was aggressive. Even Cowboys Have Sundays follows in the same vein; bringing a host of flavours, familiar yet forcibly fresh, in a strain of rock ‘n’ roll self-termed as dust metal. Equally though, the album reveals a richer vein of individualism in sound and imaginative songwriting as maturity and adventure collude in a clutch of tracks which feel like old friends in some ways but a voracious new adventure in many more aspects.

Opening with The Gambler, One Last Shot swiftly has appetite and imagination caught, its opening sultry lure of guitar an intoxication soon swallowed by a wall of wiry riffs and robust rhythms. Yet there is a control to the assault which seamlessly embraces more of a prowling than demanding gait as vocals add their own raw but captivating texture to the mix. An unpredictable nature to its overall attack is just as appetising though the song never releases its full aggressive venom, preferring to seduce with melodic and sonic enterprise with its own persuasive toxicity.

One Last Shot – Even Cowboys Have Sundays

A great start is quickly matched and pushed on by One Night Stand, a blaze of classic rock and punk ‘n’ roll with a touch of UK band The Senton Bombs to its irritable contagion. As with its predecessor, and indeed most tracks, involving the listener in body and voice is swift; the encounter another lustfully catchy proposal with a slew of rapacious hooks and swinging energy across its dirty holler before Embrace The Fire draws on old school rock ‘n’ roll for its particular rousing romp. Like a blend of Volbeat and Grumpynators, the song harasses and seduces the instincts to beat one’s rock ‘n’ roll chest; the senses entangled in the melodic rapacity of the guitars as bass and drums drive things with matching zeal. The track is superb, rock from the fifties through to modern day seemingly bullied into one compelling stomp.

The variety of sound and ideation within the album is already apparent by the fourth song and continued as Thou Shall Be Drunk creates a proposition part melodic metal and part grunge punk, all with a nineties toning while Join The Club offers a merger of punk metal and sinuous heavy rock. Both songs are twisted and moulded into seriously enticing temptations with the first especially anthemic and irresistible.

The excellent Hell Mariachi (A Mexican Interlude) takes the imagination into the heart of the desert heat, the two sides of The Bronx mixed with East Coast trash for another mouth-watering and seriously compelling exploit within Even Cowboys Have Sundays; that new maturity and bold imagination within One Last Shot united in an eager charge.

That thrash breeding within the band is in full voracity within Live Fast And Die Young and indeed It’s All About Speed straight after. The first of the two is a chug fest of nagging riffs bound in lustful grooves as vocals, single and mob handed, arouse the spirit even further with an anthemic roar as lustful and unapologetic as the sounds around them. With the guitars weaving a glorious web of melodic dexterity, the song simply rocks before its successor uncages its grubby rock ‘n’ roll to continue the manipulation of the listener’s body and spirit; the track a potent persuasion  even if missing some of the vital and unique sparks of earlier tracks.

Closing up with the fiery fusion of predatory metal and imposing heavy rock of We Don’t Call 911 and lastly the groove entangled bellow of I Feel Alright, the song a tenacious web of resourceful and eventful enterprise, Even Cowboys Have Sundays leaves the spirit alive and just a little over excited. The album is a charge of commanding adventure built with recognisable and original textures and bound in a fresh and striking imagination. Their First Gear EP, stirred up a form appetite for their sound, now the album has unlocked a lust which will surely infest many others and deservedly install One Last Shot as someone to heartily recommend to all.

Even Cowboys Have Sundays is out now via JFF Records and available @ https://onelastshotofficial.bandcamp.com/album/even-cowboys-have-sundays

http://olsband.com/    https://www.facebook.com/onelastshotofficial    https://twitter.com/OLSBANDOFFICIAL

Pete RingMaster 20/06/2017

Copyright RingMaster: MyFreeCopyright

Running Death – DressAge

The new album from German thrashers Running Death is one of those encounters you just cannot help going back to and with increasing zeal. Inspirations to the band include the likes of Megadeth, Testament, and Annihilator, traits audible within DressAge but their sound has much more in its armoury ranging from eighties heavy metal and rock to similar era speed metal.  It all comes in varying degrees within a certain thrash bred stomp and all colluding in one virulently infectious and catchy slab of muscular rock ‘n’ roll.

The band’s debut album of 2015, Overdrive, ensured the Bavarian are no strangers to eager praise or a host to new waves of fans and things can only escalate with the release of DressAge.  The album wears a grin on its creative face from its first breath and carries a mischief which gives its tracks a real feel of aggressive fun. It opens up with Courageous Minds, a track swiftly involving the listener in its lively gait and nature as rhythms thump and dance upon the senses whilst the guitars of Daniel Baar and vocalist Simon Bihlmayer spin a web of enticement. It is not long before the track is rigorously strolling through ears, the beats of Jakob Weikmann swiping as the voice of Bihlmayer growls in a quickly engaging affair which if not quite gripping the imagination as firmly as subsequent tracks certainly gets things off to a rather pleasing start.

Dressage is next, surrounding ears with an almost predatory web of textures cored by the throaty bait of Andrej Ramich’s bass. The anthemically driving rhythms of Weikmann quickly have the instincts to stomp hooked, the song taking mere moments more to eclipse its predecessor and really get the album rocking. Baar’s melodic enterprise is technically and sonically impressive and never diluting the natural roar and flow of the thrash fuelled encounter before a gasp of time brings the matching strengths and incitement of Delusive Silence upon an appetite already beginning to get a touch greedy for what is on offer.  Fusing a great mix of melodic warmth and metal irritability, the track only blossoms its weave of adventure and varied sounds keeping expectations wrong-footed and the imagination hooked.

Next up Heroes Of The Hour wraps ears in a wiry weave of melody and creative snares before revealing a more predator side through jabbing beats and antagonistic bass. They are in turn aligned to swinging grooves, a revelry soon infesting the aggressive and infectious tendencies of the song as another highlight is crafted before Duty Of Beauty bounces upon ears with a catchiness which borders on poppy. Those eighties influences spice all tracks and certainly impregnate the boisterous rock ‘n’ roll of the fifth song which also has a touch of Danish rockers Grumpynators to it.

Through the bulging contagion and biceps of the Motorhead scented Numbers and the motorbilly fuelled Beneath The Surface, fresh heights are continued and pushed, both outstanding tracks as compelling in tone and character as they are in individual craft while Anthem of Madness has neck muscles working and the body romping with its voracious instrumental theatre.

The album closes with the pair of Safety Second and Refuse To Kill, the first a fiery ballad which haunts and snarls in equal measure as guitars conjure a tapestry of evocative suggestion around just as strong vocal expression. It is a song which simmers upon the passions compared to other tracks but rapidly grows to be just as persuasive with each rerun of building body of energy and adventure. Its successor has a darker edge to its air, a song close to stalking ears as it fills them with rapacious rock ‘n’ roll cored by the most crotchety slice of thrash metal upon the album.

Cloaked in the fine work of Mexican graphic artist Joel Sánchez Rosales, DressAge is a proposition which merges something familiar with something forcibly fresh, the outcome a record which inspires only enjoyment and an eager energy to get involved. We will not say it will be a regular album of the year nomination but it will be one metal roar we will be keenly joined in love for.

DressAge is out May 26th via Punishment 18 Records and @ https://runningdeath.bandcamp.com/

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Pete RingMaster 25/05/2017

Copyright RingMaster: MyFreeCopyright

Grumpynators – City Of Sin

People talk of “the difficult second album”, especially after a debut which leaves a trail of lustful fans and critical acclaim in its wake, something the first from Danish band Grumpynators certainly did. If it has been a tough period for the Copenhagen quartet it does not show within City Of Sin, their second album a seriously rousing and accomplished slab of muscular rock ‘n’ roll, or as the band calls it motorbilly. As impressive as Wonderland was, its successor outshines it in every way, from songwriting to sound, energy to contagion; it is a mouth-watering and exhilarating incitement leaving a deep and greedy hunger for more.

Formed in 2011, Grumpynators’ ever escalating reputation and rock ‘n’ roll prowess has been unmissable from day one, the band tearing up venues at a rate of knots while their first two EPs were no slouches in waking up ears beyond their already eagerly receptive homeland. It was Wonderland which truly caught broad attention though, something City Of Sin can and will only open the floodgates for. Grumpynators’ sound sits somewhere between metal and hard rock, psycho/rockabilly and punk; distinctive from day one it has only honed a uniqueness which fuels the beauty and triumph of City Of Sin today. Quite simply rock ‘n’ roll is the best way to describe it; the most arousing, devilishly aggressive, and irresistible kind making their new album essential stomping.

Produced by the renowned Jacob Hansen and featuring Volbeat guitarist Rob Caggiano, City Of Sin has ears and admittedly an already eager appetite because of past successes reeling from its first breath as opener Tears Of Whiskey bursts upon the senses. Straight away the driving beats of Per Fisker whip up hungry energy, the slapping incitement of Jakob Oelund’s double bass just as insatiable and matched by riffs and inflamed grooves. Feet and spirit are a quick submission to the bait; Grumpynators continuing to grip both with their Motorhead meets Volbeat scented charge led by the inciting vocal growl of Emil Oelund.

It is an outstanding start still managing to be eclipsed by the following pair of roars. First up is Hotel 2nd Age which needs barely seconds to hook allegiance with its initial melodic line. Christian Noergaard is a master at spinning the most addictive hook lined lures and webs, they often seemingly simple but always honed to instinctive temptation as here. As the initial tendril continues to wind around ears, a just as potent rally from Per joins in, riffs gathering behind before initiating one boisterous canter. If that was not enough to tempt the devil, Jakob uncages a deliciously throbbing bassline, raw seduction which is unrelenting from hereon in to add to the virulent and bold tango. With each hook seeming to intensify in taunting the passions as exotic hues tease from within Christian’s enterprise as Emil’s vocals and riffs further stir things up, the track is just glorious and quickly matched by its successor.

New praise gathering single Take The Last Dance With Me launches at ears with a zeal and energy again impossible not to be caught up in, riffs and rhythms colluding in tenacity as they lead to a chorus which simply demands participation. A song to ensure blossoming romances within any mosh pit it stomps and pumps its sinews like The Pirates meeting Misfits in many ways, but as all stands as something uniquely Grumpynators while preying on the weakness for heart bred rock ‘n’ roll.

Things relax a touch as the swinging throes of Then We Cried takes over, sharing its regrets and wishes borne from lost love. Jakob alone has the body bouncing, the heart yearning with the melancholic melody as Emil’s words which court self-reflection. As inherently and persuasively catchy as anything on the release; it’s tempting is full and multi-faceted ensuring thick involvement of the listener though that last lure applies to all songs as proven straight after again by Pretty Little Devil. Musically as tempting and darkly seductive as the temptress at its heart, the song croons and roars with that bass again instant slavery from within nothing but addictive temptation.

Through the heavy metal toned Far Away with its exhausting sonic gasoline and the rockabilly swinging Now I Know, the album shows even more of the diversity and adventure flowing through the Grumpynators release and imagination. The irresistible sing-a-long potency of the latter is just as persuasive in the psychobilly hued Fame, a spellbinding proposal with something of The Peacocks and Danzig about it, and indeed within St. Elvis Day after that; a song which you would expect is pure rock ‘n’ roll, a multi-flavoured romping stomping celebration.

The album’s title track sets another vertigo inducing peak in the lofty landscape of City Of Sin, the track managing to be the dirtiest most insatiably infectious slice of rock possible, almost poppy in its vocal chords stoking chorus. With rhythms relentlessly probing and sparking movement as Emil roars, the track is a bone shaking, spirit infesting uproar.

The album concludes with firstly the punk ‘n’ roll stand of We Are The Outcasts, anthemic defiance to hook and unite personal grievances with, and lastly the horror punk lit, blood strewn warning of Werewolf; together a thrilling end to an exceptional creative howl.

After Wonderland we will admit we wondered if Grumpynators could better it. Little did we know; better it? They have smashed it.

City Of Sin is released March 24th through Mighty Music.

Upcoming Live shows

24/3 Drafthouse, Hamburg (DE)

25/3 High Voltage, Copenhagen (DK).

7/4 Tante Olga, Randers (DK)

8/4 Paletten, Viborg (DK)

22/4 Sønderborghus, Sønderborg (DK)

http://www.grumpynators.dk/   https://www.facebook.com/grumpynators

Pete RingMaster 17/03/2017

Copyright RingMaster: MyFreeCopyright

Spunk Volcano & The Eruptions – Ram Raid

As if the early excitement of 2017 could not get better with the release of the new Dirt Box Disco album, it undoubtedly did with news of a new EP from DBD guitarist and his cohorts, Spunk Volcano & The Eruptions. It was a year ago that the band released their acclaimed second album Shit Generation, though it seems only a couple of months back thanks to its constant airing in the offices. It and the band’s punk rock rebel rousing firmly set the band not only as a wholly different proposition to Spunk’s ‘day job’ but on the British punk scene full stop. Ram Raid cements that uniqueness whilst revealing the most aggressively raucous and virulently dirty sound from the band yet.

Ram Raid also sees new guitarist Stu Page alongside lead vocalist Spunk, fellow guitarist Tom ‘G Force’ Batterbee, bassist Deadbeatz Chris, and drummer Maff Fazzo, the latter pair also part of the DBD devilry. With the band in the midst of a run of live stomps sure to confirm the band’s reputation as one breath-taking and bruising live proposal, Ram Raid simply brings a fresh incitement and spark to the UK punk scene.

Its title track opens things up, almost stalking the listener from its first breath as its predatory riffs and imposing rhythms prowl the senses. Having sized things up it bursts into a muscular stroll with Black Flag like animosity and the infectious aggression of The Damned.  As already established over previous releases though, SV & The Eruptions embroil ears and imagination in their own unique exploits, an enslaving rather than inviting chorus demanding participation as riffs and rhythms trespass and punish the senses respectively. It is one thrilling encounter, an outstanding start to the EP which already has itself and listener all fired up.

There is no moment to calm down either as the belligerent punk rock of Stop Looking At Your Phone roars in ears, its antagonistic charge and dispute irresistible. It is a wall of sound and protestation, a torrent of violent riffs and equally uncompromising rhythms driven by the vocal antipathy of Spunk and the band. At barely a breath over a minute in length, the song is like being given the juiciest steak and only allowed one bite before it is whipped away, but what a mouthful it is.

Hanging Round The Shops is a collusion of punk and hard rock with a metallic lining and just as vociferously seductive and uncompromising as those before it.  It also has a pop punk devilry to its swinging grooves and lusty chorus; body and throat swiftly enjoying subservient participation before sharing just as much zeal with the contagion fuelled clamour of I Think Her Name Was Tracey?

The two tracks alone, but just like the EP, have something for all rock ‘n’ roll fans; whether of bands like Dead Kennedys, The Ramones or UK Subs, Turbonegro or Motorhead, indeed even New York Dolls to Gene Vincent there is plenty to relish. Ultimately it is punk rock at its voraciously ballsy best as proven one final time by EP closer Snap Backbone, a seriously catchy and tenacious slab of hook lined rip-roaring enticement.

Though only five songs running at twelve minutes, Ram Raid is the band’s most stirring and rabid yet rounded creative howl yet putting so many others and their offerings firmly in the shade.

The Ram Raid EP is out through STP Records on March 31st with pre-ordering available @ http://www.stprecords.co.uk/page3.htm

Upcoming Live Shows:

Fri March 31st – Rotherham – Cutlers Arms

Sat April 1st – Uttoxeter – The Old Star

Fri April 28th – Gateshead – Black Bull

Sat April 29th – Glasgow – O2ABC (Scotland Calling)

Sun April 30th – Wakefield – Warehouse 23

Sat July 1st – London – Tufnel Park Dome (Wonkfest)

Fri July 28th – Derby – Hairy Dog

Sun July 30th – Manchester – Star and Garter (Rebellion Warm Up)

??? August 3-6th – Blackpool – Rebellion Festival (day tbc)

Sat August 19th – Cambridge – Portland Arms

Sat September 30th – Northumbria Students’ Union (NE Calling)

Sat December 23rd – Manchester – Star & Garter (STP Xmas Show)

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Pete RingMaster 16/03/2017

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