For some reason we always feel we need a hot intensive shower after listening to UK outfit Ragweed and their greedily rapacious sound. It is possible because from the release of their debut album Parerga in 2014 it has increasingly proved itself to be a raw and dirty infestation of punk fuelled noise which trespasses every pore. Last year’s single Silver Spoons revealed a fresh essence and new evolution to their music which the ear bending, senses exhausting Breathing Holes EP, now voraciously continues.
The new encounter is not so much a mixed bag of temptation but definitely one which has numerous angles and hues to its character of which some needed little time to ignite an already in place appetite for the band’s sound while others hankered after much more attention to pretty much just as successfully persuade. Silver Spoons hit the spot right away and with increasing rigour play by play, Breathing Holes across five rousing hollers emulates its success at times but also offers up other moments which take their to work towards the same persuasion.
The trio of vocalist/guitarist Tom Adamson, bassist Callum Regelous-Cooke, and drummer Josh Pingram have linked up again with Alan Douches (Motorhead, Cancer Bats, Every Time I Die, and Screaming Females) for the mastering of the new EP, its release coming once more through Milky Bomb Records. Straight away it imposes its presence on ears, the opening heavy almost sludgy touch of first track Cansema infesting the senses before it relaxes for a grungier cry which in turns leads to an eruption to noise rock intensity. It is a cycle which repeats, magnetic in its evolution and intriguing in where it will subsequently lead which turns out to be a groove woven stroll of heavy rock ‘n’ roll.
It is an opening enticement which nags away with increasing temptation play by play and is followed by the more immediately persuasive Backbite. A tenacious mix of punk and noise rock, the track is a magnetic clamour with catchiness in its foundations and a rousing holler in its breath. Reminding of Bristol band, The St Pierre Snake Invasion at times, the song had us stomping and bawling in no time, responses just as eager for next up Thought This Through. Almost corrosively raw yet with an infectious quality which lines every twist and turn, the track grabs appetite and participation with quick ease, its punk ‘n’ roll bellow and body trespassing swagger inescapable.
Down the Drain is Ragweed at their punk best and unashamedly devious as hooks and riffs niggle and invade like a filth coated virus as the song brawls with the senses before Up ‘n’ Under brings the release to a close with its groove clad grumble. Again there is a coincidental hue of the previously mentioned Bristolians to the song which adds to the track’s organic magnetism, grooves colluding with hooks and imagination for a voracious blaze of sound and intent.
There is no doubt that Breathing Holes really grows in presence and temptation across every play but has plenty to inspire such attention from the off. We personally have found it very easy to nurture an appetite for Ragweed and their sound through their previous records and with a growing greed which the new EP has only encouraged again.
Breathing Holes is available now via Milky Bomb Records @ https://ragweed-milkybomb.bandcamp.com/
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Pete RingMaster 18/05/2018
Copyright RingMaster: MyFreeCopyright
The single across its three parts is a tenacious and flirtatious blend of rock, punk, noise, and raw pop; tracks still embracing the heavy almost imposing essences of the band’s earlier releases but with a virulence and catchiness which really and lustily gets under the skin and into the limbs. Lead song, Silver Spoon instantly thrusts its muscular fingers upon the senses, predacious scythes of guitar drenched in sonic filth and so inviting especially once springing a groove woven swagger with rapaciously coaxing rhythms. The song’s swing is matched in the vocals, their boisterous energy as anthemic as the sound around them and just as mischievous. Holding essences something akin to Foo Fighters meets The St Pierre Snake Invasion within its unique character the track is immense, only escalating its instinctive catchiness and creative devilment twist by turn, note by note.
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 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.
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.
