Hot Sauce Pony – Burnt Ends

With the debut album from Hot Sauce Pony prowling anticipation, the UK outfit unleash its first lure in the shape of the carnally seductive Burnt Ends. The track is a ravenous teaser of that forthcoming self-titled offering, a song which has calm, beauty, and ruin colluding for a frustratingly but imperiously short one minute plus.

Formed in 201, the London band consists of vocalist Caroline Gilchrist, guitarist Ross Davies, bassist Stephen Gilchrist, and drummer Anna Dodridge. Their sound is a unique fusion of noise and punk rock with grunge, post punk, and hardcore hues. They call it Avant Hard; we call it in regards to the new single feral sensuality. The track and the upcoming Steve Albini (Pixies, Nirvana, PJ Harvey) album follow a first single in Fenced In which aroused rich attention and intrigue. Burnt Ends more than builds on its ear grabbing success and thick potency with a moment where extremes unite to devour the senses with beauty and ruin.

From its first breath Burnt Ends had us licking lips, the charred growl of the bass a bestial temptation matched by the just as roasted snarl of the guitar. Swiftly the melodic siren tempting of Caroline’s vocals drew ears deeper into the cremated offering, the slow manipulative swing of Anna’s beats just as irresistible. Like a fusion of Horse Party, Morass Of Molasses, and Mudhoney with a whiff of Young Marble Giants yet firmly individual, the track just got under the skin and into the psyche as hips continued to sway to its primal groove.

Such the pleasure, it really does frustrate when the track stops suddenly and without warning barely a clutch of seconds past its first minute. It leaves nagging, teasing fingers though as its elements continued to echo in thoughts long after departure.

Leave them wanting more is the key to success some say, and without doubt the hunger for the band’s eponymous debut album is on the point of rabidity thanks to Burnt Ends.

Burnt Ends is released June 22nd via Brixton Hillbilly. The band also has first single Fenced In available as a free download  @ https://soundcloud.com/brixton-hillbilly/fenced-in-by-hot-sauce-pony

Upcoming Hot Sauce Pony live dates:

23rd June Club 85, HITCHIN

30th June Betsy Trotswood, LONDON

16th August – HY-Brazil, BRISTOL

https://www.facebook.com/hotsaucepony/

Pete RingMaster 20/05/2018

Copyright RingMaster: MyFreeCopyright

Ragweed – Breathing Holes

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/

https://www.facebook.com/ragweedragweed   https://twitter.com/ragweedrock

Pete RingMaster 18/05/2018

Copyright RingMaster: MyFreeCopyright

Gravves – Oh, The Joy

One of last year’s highlights was undoubtedly the broader introduction of UK noise punks Gravves through debut EP Rattle. Now the band is ready to whip up even greater fuss and raucousness with its successor whose title pretty much sums up reactions to it, Oh, The Joy.

The North Wales hailing outfit create a cacophony of sound and enterprise littered with devious hooks and senses harrying rhythms. It is borne of a fusion of punk, noise, and alternative rock, the lustier ingredients of each uniting in a bold and often caustic roar as virulently infectious as it is eagerly abrasive. If Rattle highlighted its instinctive persuasion, Oh, The Joy rams it down eagerly welcoming throats with even greater relish and ferocity.

The trio of bassist/vocalist Adam Hughes, guitarist/vocalist David Thomas, and drummer Tom Williams swiftly blast ears with the Michael Whalley (Kong, Bipolar Sunshine) recorded EP through opener Power Bomb Baby, each of the three bombarding the senses with raw energy and zeal. William’s beats take no prisoners whilst guitar and bass harry and taunt with rapacity as vocals blaze.  As imposing a trespass as it is, the track is fuelled by infectious rock ‘n’ roll, sweeping the listener up in its tenacious garage punk/noise rock lures and energy.

The track continues the character and intent which made the band’s first EP so irresistible yet already there is a richer craft and individuality to the band’s sound which continues into next up Monster Truck. The second track also thrusts its rhythmic aggression and vocal abrasion immediately through ears but soon shows a more controlled if still devious attack with skin burrowing hooks and an irritably grumbling bassline; attitude simultaneously fuelling the heart of the outstanding song in word and sound.

From a scuzzy wind This is Bliss springs an indie meets garage punk incitement which had the body rocking with swift submission, Gravves tempering its punk causticity and elevating their cunning imagination for virulent hooks and invasive swings. Like a mix of the St Pierre Snake Invasion and The Eighties Matchbox B-Line Disaster, the track quickly had juices running as too did successor Sinister Surf. Emulating its title in flavour and noir lit breath, the track simply haunts as it prowls the senses, seducing and invading with sublime ease and touch even as its tantalising grooves erupt with caustic emotion and intensity.

Hello Sailor bawls and stomps with its own particular virulence next, manipulative hooks and rhythms controlling instincts and limbs like a dictator as guitars spread melodic corrosion across their invasion. The surf rock scent of the previous track is still lapping over things but from a more early Horrors like distillery and it works a glorious treat.

Bringing things to a close, L is for Loser roars with sonic severity veined with a tangle of inescapable hooks and severely magnetic grooves; a track unleashing its full weight on the senses with fury and relish.

It is a fine end to another encounter with Gravves which left us breathless and greedy for much more. It has built upon the strong qualities of the first EP with hunger and imagination whilst still hinting the journey for the band’s sound is far from over. As the new encounter says, Oh, The Joy!

Oh, The Joy is out now through Loner Noise Records and available @ https://gravvesgravves.bandcamp.com/album/oh-the-joy

Upcoming live shows:

06 May 2018 – Liverpool UK, Sound City

10 May 2018 – Wrexham UK, Focus Wales Festival

11 May 2018 – Preston UK, The Ferret

12 May 2018 – Wrexham UK, Focus Wales Festival

26 May 2018 – Llanidloes UK, Kingsfest

27 May 2018 – Birmingham UK, Die Das Der

https://www.facebook.com/gravvesgravvesgravves/   https://twitter.com/gravvesgravves

Pete RingMaster 02/05/2018

Copyright RingMaster: MyFreeCopyright

Starsha Lee – Post-God Metaphysics

You venture into the dark dusty corners of a previously unexplored attic and within find the predictable, almost dauntingly alluring yet sinister looking dolls house long told tales and visually evocative movies often portray. You peer through its small enticing windows and wonder what goes on within their plastic panes, what adventures play out within the surrounding walls in the darkness. The imagination conjures, thoughts tease…then as their distinct sounds search out both from speakers below, the possibility is obvious; they just might house the unique world of Starsha Lee.

Not that the sound of Starsha Lee is nursery room fit, unless it is those lurking within the distorted lines between reality and nightmares. As in evidence within the band’s debut album, Post-God Metaphysics, it is a rapacious psyche trespassing endeavour spawning songs borne of discontented snarls with characters bred in demon haunted mania. It is also one fiercely addictive treat which may find itself a challenge too far for some but fingered our passions from start to finish within an album that just demands attention.

Though undoubtedly highly individual, the Starsha Lee sound also has a side to it which is akin to a fusion of the rebellious punk rock of In Evil Hour, the noise bred catchiness of Melt Banana, and the mischievous alternative rock of Daisy Chainsaw. The latter is no surprise as they and Starsha Lee are inflamed by the distinct senses scathing, spirit rousing guitar enterprise of Crispin Gray, also formerly of Queen Adreena, and Dogbones. Beside him, the quartet consists of the rhythmic adventure of Lenny Verallis (Dumbjaw/You) and, headed by the vocal devilment and lyrical incitement of Portuguese singer/ visual artist Sofia de Oliveira Martins. Epitomising the uniqueness of the band tenfold, she can best be described as having the vocal prowess of Lene Lovich twisted and distorted through the hands of Jigsaw as the juices of KatieJane Garside (Daisy Chainsaw/Ruby Throat) and Dawn Lintern (Das Fluff) are squeezed into their high pitched results. It all adds up to anarchic beauty in a release which had us drooling with lust rather quickly.

Post-God Metaphysics opens up with Love Is Superficial and immediately Gray is teasing ears with sonic intrigue, coaxing them and the imagination with infectious rhythms in close quarters. As swiftly the richly enticing tones of Martins flirt and dance on the blossoming landscape of the song, it all as infectious as it is musically and emotionally predacious. The track is superb and just the beginning of one exhilarating creative emprise.

The punk rock throes of People Are Horrible follows, its rhythmic raps and sonic writhing spinning a web of stop go virility entangled with Martin’s vocal rascality. In its far too short a stomp, the song, as all, embraces an array of flavours in one devious recipe, all spicing up ears and an already greedy appetite here for the album’s loco lined exploits.

With the guitar again laying the first line of bait, next up Holy Hatred seduces and feverishly ignites within its opening breaths; growing from a gentle caress into a metal infused blaze of incendiary rock ‘n’ roll with venom in its voice and sounds before Life Is Suicidal shares its own sonic pyre with virulent contagion to its bold vocal blend and bounce. The nihilistic tone of word and heart floods the proposal, another constant menacing allure across the album, and bonds perfectly with the raucous bounce and captivating discord conjured.

Post Modern is an electric scowl, the guitar almost grimacing with acidity as Martin’s skilfully and heartily delivered intimation are again aligned to the harmonic breath of Gray’s backing vocals. Verallis and Zahra-Hall stamp rhythmic authority on the temptation, working on hips and neck muscles as the song serenades with open causticity while within the more hard rock nurtured Used To The Bruise, their rhythmic arousal comes wrapped in melancholic harmonics and emotive suggestion. Both tracks simply captivate with ease, the latter an inescapable lure to participation before Even God Doesn’t Know Your Name ensnares the senses with its addiction sharing punk ‘n’ roll canter. With a Cauldronated like hue to its tenacious body as Martins vocally writhes around, the song matches, at times eclipses, the temptation of its predecessors as another major highlight within the album drew further lust.

Through the scuzzy climes of Sterile Girl and the similarly raw discordance of Uncle Nietzsche, Starsha Lee just increase their grip; the first with a gentle twist and the excellent latter with a tug like one induced within an inflamed sexual endeavour. It stomps through ears with a hunger which veers on the rabid but with a controlled predatory nature matched in the following swagger lined march of Glass Diamonds. Its Marilyn Manson-esque swing underpins a senses scorching flame of sonic toxicity, an aural drug which   bewitches and bewilders with craft and imagination.

Laugh Of God and (I Am) High And Divine bring things to a close, the first a cauldron of punk, metal, and garage rock which scars and seduces by the second, Martins once again a vocal Harley Quinn centre stage. Though not quite living up to other songs, it simply grabbed eager attention but was in turn overshadowed by the closing track’s acerbic croon. A song epitomising every aspect of the Starsha Lee sound if without continuing the line of springing essential hooks on the imagination, it brings Post-God Metaphysics to a glorious conclusion.

It is fair to say that Crispin Gray has been behind and involved in numerous bands which have unerringly hit the spot and instincts of us and a horde of others, but few if any striking dead centre the same way Starsha Lee has with Post-God Metaphysics.

Post-God Metaphysics is out now on digital download, streaming, CD and vinyl via Syndicol Music; available @ https://www.syndicolmusic.com/store

http://starshalee.wixsite.com/starsha-lee    https://www.facebook.com/OFFICIALStarshaLee/

Pete RingMaster 27/03/2018

Copyright RingMaster: MyFreeCopyright

The Twindows – Valkyrie 2.0

For most, musical bliss can come in various shapes and styles; creative adventures which just connect with personal instincts and tastes. It is fair to say that for us it recently came all rolled up in one hungrily tempting proposal going by the names of The Twindows and their debut album Valkyrie 2.0.

Hailing out of Philadelphia, The Twindows breed a rapacious sound which infuses essences of everything from noise and indie rock to metal and grunge to a punk across the decades borne heart. It is a bold and boisterous web of temptation as virulently infectious as it is ferociously imaginative and led by a voice truly we could listen to all day long. Vocalist/guitarist Aster Grimm has one of the most devilishly tempting voices and just as magnetically matched by the creative antics of guitarist Kyle Anderson, bassist Caleb Banas, and drummer Oskar Daoud across Valkyrie 2.0. Together they have nurtured a release which teases, seduces, and arouses across eleven lust inducing slices of musical diablerie.

It begins with Like My Music; raw and salacious pop infested punk rock roaring from aggravation with Damned like hooks and rhythmic rapacity to the fore. Grimm blossoms in the centre, her tones stirring song and attention further as for one minute and three quarters the track provides the album with one irresistible start.

The following Mosquito / Thick Skin swings in on a blend of grunge nurtured rock ‘n’ roll upon a ska seeded bounce. Fiercer textures with metallic toning soon sizzle and sear around the tenacious attack of Grimm, the track’s noise punk instincts just as vocal before it passed thick attention and an already keen appetite over to Forgiven. Instantly it entangles ears in rhythmic espionage; boisterously coaxing beats and a glorious bass grumble getting under the skin as guitars weave a sonic web around Grimm’s similarly magnetic lures. Something akin to Throwing Muses embroiled in the punk ‘n’ roll of Spinnerette and in turn fused with devilment of Die So Fluid, the track is sheer captivation; one as seductive as it is predacious and all feral temptation.

Dig Tree comes next, the track a bewitching slice of punk pop initially, nostalgically recalling bands such as The Chefs and 4 Non Blondes. It floats across the senses but has a sonic causticity which just adds to the song’s bait again headed by Grimm’s engagingly manipulative presence. Whilst adding a new hue to the album broadening adventure, the song has feet and hips involved just as easily as rock ‘n’ roll instincts.

That variety of flavouring across the release is encouraged again by next up Ska Death (Ska Death Lounge Death Ska), an unstoppable incursion of ska/noise punk which had the body eagerly bobbing along before expelling a hellacious sonic gas of aural volatility, a tempest returning with greater dexterity after the song relaxed again into its lively bounce, and with bolder imagination as sax flames sear the riveting bedlam. Imagine Animal Alpha infused by the spirit of The Jellycats and the punk revelry of The Mo-Dettes and you come close to the song’s infectious alchemy.

The Twindows let their punk instincts run riot in Reversals next, the track an insatiable rock ‘n’ roll charge with noise bred vapours crossing a kaleidoscope of twists and turns while Pulp within a similar but even more corrosive landscape leaps around with kinetic intensity and agility. All the while though as rhythms dance, sonic spices and melodic adventure simmers and rise up to temper and challenge the tempestuous nature of the track.

The inescapably catchy punk ‘n’ roll of Instigator unerringly worms into the psyche within seconds straight after, the song like a mix of The Kut and Daisy Chainsaw but as everywhere uniquely Twindows; a trait just as potently shown by the grunge rock of The Industry. Admittedly, the song did not quite hit the spot as those tracks around it within Valkyrie 2.0 but only added to the fun before The Pixies endowed Sleepycore had us licking our lips once more. With its almost somnolent swing and Grimm’s vocal bewitchment, the outstanding track simply transfixed, even more so when it’s deceitful gait unveiled a furious if still controlled intent.

Bringing things to a close Wire Mother surrounds its energetic croon with abrasive psych and indie punk imagination, the song another as unpredictable in sound and imagination as it is irresistible in persuasion. It provides a provocative and rousing conclusion to an album which just lit the fires of personal tastes while offering something completely fresh to ponder, taste, and devour.

We have nothing more to add except go and have a nibble yourselves.

Valkyrie 2.0 is out now and available @ https://thetwindows.bandcamp.com/album/valkyrie-20

https://www.facebook.com/thetwindowsmusic/

Pete RingMaster 21/03/2018

Copyright RingMaster: MyFreeCopyright

 

Noseholes – Danger Dance

If you are looking to have your imagination twisted into torturous shapes matching those drawn from the body, then checking out the twisted disco of German outfit Noseholes is a must. The ticket to its no wave/post punk/noise rock devilry comes with debut album Danger Dance, an encounter living up to its title in deed and temptation.

The Hamburg hailing quartet of Henk Haiti, Steve Somalia, ZooSea Cide, and TH have already been teasing and tempting through a host of well-received tracks which now collude with equally as compelling adventures within the band’s first full-length. Danger Dance opens up with its title track, a flirtatious bassline leading the coaxing as beats stroll alongside. Soon an equally seductive melody escapes the guitar, the combination reminding of the Au Pairs even as vocals spring their web of temptation and intrigue. The suggestive spice of keys and the alternating female and male vocals all add to the captivating drama relentlessly driven by addiction stirring rhythms

A just as potent rhythmic lure fuels the following post punk shuffle of Lush Box. Spirals of guitar and flames of sax latch onto the swagger of beats and bass; the song’s jazz bred discord and post punk dance bouncing around like a Delta 5 meets Blood Red Shoes tango before Styling shares its own riveting devilment with a similar but quickly individual template of flavours. To be honest the rhythmic heart of the first trio had us trapped hook, line and sinker, all the other psyche infesting imagination icing on their inimitable cake with only the briefness of each song a frustration, a common niggle across the album.

Yelzins Affair makes a more tempered start but one with intrigue and noir lit shadows in its breath and sound from the off. Creating a tapestry of creative languages and suggestion over rapacious rhythmic pulses and lean but potent melodic tendrils the song is a mysterious fascination allowing a breath for the body and adventure for thoughts.

Tenacious endeavour and energy breaks again in Ex Driver, a track which in its sonic webbing has a definite early XTC deviousness, while Bed Smoker bounds in on a boisterous rhythmic skip and melodic manipulation which has the body and imagination eagerly bouncing like a four year old. Both are manna to any post punk/noise pop bred appetite while the closing Aspirin Nation is pure joy to jazz infested noise rock mania. Its acidic instrumental dissonance and rhythmic pounce is captivation enough but add the Essential Logic-esque squirts of sax and again attention was lustful.

Danger Dance teased, taunted, and pleasured pretty much our every personal want from music; it may very well do the same for yours. Only one way to find out…

Danger Dance is out now through ChuChuRecords / Harbinger Sound; available @ https://noseholes.bandcamp.com/releases

https://www.facebook.com/pg/NoseholesBand/

Pete RingMaster 27/02/2018

Copyright RingMaster: MyFreeCopyright

Easter Teeth – Truckstop Fear

Within numerous instinctively magnetic musical lures for us is the temptation of rock ‘n’ roll duos. The past few years has unearthed a host of exciting and stirring propositions across an array of styles and adding to that seemingly ever expanding list is California’s Easter Teeth. Comprising of the Eymann brothers, Josh on vocals/drums and Tim on vocals/bass/keys, the band creates a predacious mix of punk infused post punk and noise rock and as proven by latest album Truckstop Fear, a blend which is quite irresistible.

Growing up listening to their mother’s array of cassette tapes including James Brown, Sam & Dave, and The Rascals while riding in back of the family station wagon, the siblings bring those spices with their subsequent discovery and love of punk, hardcore, and math rock into their own sound. It is as funky as it is irritable, as soulful as it is agitated and with its slim but rich body of rhythmic trespass and vocal energy a real fresh DIY breath in the world of noise.

Truckstop Fear is the successor to 2013 debut album Being Alone With Your Thoughts is for Inmates, the two full-lengths surrounding a split 7” EP with Moral Monsters in 2015 and two track single Shake Hands with Danger released early 2017. Within mere seconds the latest album grips ears and attention as opener Honey from the Carcass whips ears with Josh’s crispy beats, the bass a waiting hum as shouts and hits break into a hectic shuffle. Swiftly hips swing to the track’s funkiness, the senses cowering before its raw edge and scything beats; it all a corrosive temptation coloured by the electrified fuzz of keys. As the music, the vocal union of the siblings is bold and instinctive, a direct incitement hard to turn down.

The following Baby’s Got Cold Feet casts a minefield of shuddering beats as a groove woven bassline strolls with grumbling dexterity within the melodic flourish of keys. Like a scowling tango built on the attributes of Pigbag and Swell Maps, the song hits the spot with increasing addictiveness though it is soon eclipsed by the caustic Art Attacks meets mclusky tango of Play the Harp, Throw the Spear. It is a rabid trespass but with a restraint which only escalates its impact before the album’s title track raises the ante yet again. It too has the scent of numerous decades of rock ‘n’ roll in its uncompromising proposal shaped by the imposing skeletal steel frame set by Josh. Hooks and catchy enterprise erupt across its barbarous stroll, a blend of contrasts just as potent within the pair’s infectious vocal insurgency.

As the previous songs, each in turn built upon and outshone by the next, Good Intentions Paving Co. soon steals the limelight, its kinetic saunter an irresistible collusion between bass and drums enhanced by the ever rousing union of voice and Tim’s squirts of mania lined keys. The track is noise at its most majestic, and demonic, a virulent tirade of manipulative rock ‘n’ roll with a chorus only the deaf could resist joining.

Sit Down Party has its own breed of addictiveness, a fevered but again skilfully controlled incursion of sound and enterprise bearing hues of bands such as Pere Ubu, The Mae Shi, and Big Black in its design. What grabs ears though is something unique to Easter Teeth, an individual character of sound confirmed once again within the rhythmically viral, sonically lusty Inspiration Indiana and the senses stalking Just Curves, a track with something of The Mekons to it.

The album ends with Pick a Puppy, a piece of poppy noise punk with volatility in its heart and virulent dance. It is a superb end to a release which sparked a lustful appetite and hunger here for the band’s sound. At times the best rock ‘n’ roll comes raw, undiluted, and with a tart almost acrimonious flavouring; the evidence there within the wonderful wickedness that is Truck Stop Fear.

Truck Stop Fear is available on ZAP! Records @ https://easterteeth.bandcamp.com/

https://www.facebook.com/easterteeth

Pete RingMaster 09/01/2018

Copyright RingMaster: MyFreeCopyright