Pretty Pistol – Welcome to the Dead Club

How to describe the new EP from UK garage punks Pretty Pistol; well feral certainly fits, sonically clamorous and tenacious too but suiting it most is simply that Welcome to the Dead Club is rather damn good. Offering four virulent slices of punk fuelled noise, the release is another of the year’s special moments so far more than worth a few minutes of your time.

Formed five years after the initial chance meeting in 2010 at a Hole gig by vocalist Laura Le Rox and drummer Emma Waller, Pretty Pistol’s line-up is completed by guitarists Rich Cooper and Billy Larsen. Described as “Sitting somewhere between Gallows, Be Your Own Pet, Milk Teeth and The Kills”, a pretty suitable intimation, the South London quartet has made a potent mark on the capital’s live scene, sharing stages with the likes of Penetration, KidBrother, Drones, and Crazytown. Recorded with producer John Mitchell (Architects, Enter Shikari, You Me At Six), Welcome to the Dead Club is their inescapable jab at bigger attention, a raucous swipe not easy to see being ignored.

As opener Cry Wolf explodes on the senses, instantly there is no escaping the rapacious presence of band and song, and indeed the magnetic tones of Le Rox. Her attack is as urgent as the sounds around her with a hint of ‘desperation’ to its lilt though really it is just an earnest bred eagerness to stir things up, again just as the individual garage punk sound Pretty Pistol unleash. Riffs and rhythms collude in devious persuasion, getting under the skin as forcibly as the flying hooks and that glorious verbal trespass. There is a touch of Asylums to the track too which only adds to its virulently striking presence and to be honest if the goodness stopped right there we would still be urging attention the EPs way.

It is not an alone treat though as the following Drive Me To The Dogs quickly reveals. The gnarly stride of bass makes an immediate lure, post punk spun tendrils a swift second as the track infests ears. Its melodic and catchy chorus tempers the trespass a touch but only backing up its infectiousness before the cycle enticingly repeats. Waller’s beats land with purpose and anthemic prowess as the guitars entangle ears with sonic toxicity while Le Rox backed by one of the guys, is an insurgent siren you are not sure whether to embrace or fear.

Another appetising bassline lures Hurricane into view; its bait immediately followed by an ear worm of a hook and in turn a blast of voice and attitude. For no obvious reason but strongly we were reminded of Red Tape as the track continues to blossom in enterprise and temptation every twist and turn making a keener captivation in another rousing if too short a gem within the EP.

The release concludes with the equally compelling No Guts (This Is Glory), a web of swiping beats, belligerent bassline and devilish sonic enticement bound in the vocal carousing of Le Rox. Cannily fingering the imagination whilst heartily firing up the senses and spirit, the song completes a fiercely and irresistibly exhilarating proposition.

Living up to the band’s name, Welcome to the Dead Club is a threat lined, danger fuelled beauty and Pretty Pistol a band we expect to make a continuing if not major impact on the British punk, indeed rock scene.

Welcome to the Dead Club is out now through SaySomething Records @ https://www.prettypistol.co.uk/store/welcome-dead-club-cd

https://www.prettypistol.co.uk/    https://www.facebook.com/pg/prettypistoluk    https://www.twitter.com/prettypistoluk

Pete RingMaster 20/04/2018

Copyright RingMaster: MyFreeCopyright

Bad Mary – Glitter Bomb

These past three years has seen a greedily enjoyable annual expulsion of attitude and fun in the shape of a new EP from US rockers Bad Mary. This year’s riot comes in the shape of Glitter Bomb, an upcoming six track stomp of punk ‘n’ roll which knows all the right spots to tease, seduce, and turn into feverish submission.

Straightaway we can announce Glitter Bomb to be the Long Island, New York based quartet’s most infectious and belligerent offering yet embracing an array of styles and creative devilry which just sets the imagination and appetite aflame. Equally it is their most accomplished outing yet basking in another fresh step in maturity in writing and its realisation as well as even bolder adventure. Like the illegitimate offspring of an illicit affair between The Ramones and No Doubt as The Objex share their riotous juices, to simplify the bold confrontation, Bad Mary and Glitter Bomb explode on the senses with unbridled and fiercely enjoyable mischief.

The beginnings of Bad Mary came in 2009 with Hofstra University professor and guitarist David Henderson linking up with students for a covers band; something he regularly did. That year’s line-up included vocalist Amanda Mac and bassist/vocalist Mike Staub. As personnel changed the three remained with the current line-up eventually completed with the addition of Amanda’s father Bill Mac on drums. The quartet then began writing their own songs from 2012 with debut release Better Days drawing swift praise the following year.  The band has simply gone from strength to strength in all ways ever since, an ascent potently marked by their previous two EPs in the 2015 Killing Dinosaurs and last year’s We Could Have Saved the World. Both established the foursome as one of the truly exciting propositions on the pop/punk ‘n’ roll scene, a declaration confirmed and pushed forcibly on by Glitter Bomb.

Recorded with Brian Crowe at Kreischer Mansion Studios, their new release opens up with Motor Mouth needing little time to have the body bouncing and instincts to rock uncaged. Commandingly infectious from the off as riffs and rhythms frame the potent vocal presence and hooks of Amanda, the song is a punk rock bred pop infested persuasion soaked in attitude and rascality. There is nothing majorly remarkable about the track yet every second is instinctive temptation laying the grounds for a lusty adventure continued by next up Still Love Me. The outstanding second song swiftly shows more of the magnetically powerful tones of Amanda, her alluring roar superbly backed by those of Mike as riffs and hooks dance within the early No Doubt/hard rock spiced punk stroll. As its predecessor, the song infests ears and imagination with viral like efficiency, raising the temperature and involvement of the listener by the second while a roving bassline is the icing on the contagious cake.

The EP’s title track brings a riveting surge of raw rock ‘n’ roll which is something akin to Penetration meets Sharkmuffin before Hybrid Moments delves into Misfits like territory with its devious antics. Both tracks leave a grin on the face and lustful energy in the body and passions, the second of the pair especially appealing with the vocal union of Mike and Amanda. Their triumphs are soon more than matched by the hungry punk ‘n’ roll call of Soul Mate, a song oozing with the band’s organic creative attitude and an infectious virulence most bands can only dream of.

The EP concludes with Japan, an irresistible collusion of Ramones inspired riffs and Plastic Letters era Blondie pop contagion twisted with Bad Mary’s own individual devilry for a storming end to the band’s finest moment to date. Glitter Bomb is insatiable pop, irritable punk rock, and ferocious rock ‘n’ roll rolled into a proposal which quite simply is the business.

Glitter Bomb is out September 29th with pre-ordering available now @ https://badmary.com/shop/

https://badmary.com    https://www.facebook.com/badmaryband   https://twitter.com/BadMaryBand

Pete RingMaster 01/09/2017

Copyright RingMaster: MyFreeCopyright

Miss Chain and the Broken Heels – Uh Uh/Standing the Night

MC&TBH_RingMasterReview

Breeding some tasty Americana/country-esque flavouring in their garage pop sound, Italian outfit Miss Chain and the Broken Heels recently ended 2016 in fine style with latest double A-sided single Uh Uh/Standing the Night. It was a year seeing the band stepping out from a quiet time after the release of second album The Dawn and extensive touring in 2015 as members pursued solo careers, built a studio, and just simply took a breather. Now they are ready to go again and after some shows earlier this year set about getting body and spirit dancing with their new two-track offering.

br-88-front-cover-1_RingMasterReviewUh Uh instantly bounds in, its initial lively melody carrying an appealing tang as boisterous rhythms flirt and entice. That countrified scent swiftly lines the infectious proposal, its body stirring up an appetite for fifties rockabilly and sixties power pop while entangling it in modern imagination and boldness. Flirtatious and mischievous in energy and sound, the song is web like in its lure, vocalist Astrid Dante charm and enticement before the similarly infectious lure and imagination of her and Disaster Silva’s guitars.

Bringing a calmer, though no more reserved proposal, Standing the Night swings seductive prowess around ears from its first melodic breath. The welcoming rhythms of bassist Franz Barcella and drummer Miracle Johnny alone ensure feet and hips are involved while the beckoning tones of Dante and surrounding harmonies brag ears and imagination as freely. There is a Pauline Murray (Penetration, The Invisible Girls) air to Dante’s voice and with its country spicing the song reminds a little of Fool, The Only Ones track the English vocalist featured on.

Produced by Brown Barcella, Uh Uh/Standing the Night is an irresistible ‘return’ of Miss Chain and the Broken Heels and an enjoyable appetiser ahead of a third album currently in the works.

Uh Uh/Standing the Night is out now via Bachelor @ https://misschainandthebrokenheels.bandcamp.com/

https://www.facebook.com/misschainandthebrokenheels

Pete RingMaster 17/01/2017

Copyright RingMaster: MyFreeCopyright

Healthy Junkies – Box of Chaos

HJ_RingMaster Review

It was September 2013 when we last had Healthy Junkies igniting ears with a release; that being their impressive second album The Lost Refuge. One of our parting lines then was that the UK had “come of age and you only sense they will get better.” It was partly right as the London quartet has only gone from strength to strength on the live scene and now with third album Box of Chaos. Their coming of age back then though might have been a touch premature for the riveting and dynamic fourteen track punk ‘n’ roll stomp from the band firmly outshines its acclaimed predecessor.

Emerging from a meeting between founders, guitarist Phil Honey-Jones and Paris hailing vocalist Nina Courson at the venue Punk in Soho in 2009 and their creative bonding over mutual loves and influences, melodic punks Healthy Junkies took little time to start leaving their stamp on the UK punk and rock scene. Making their live debut at an all-day punk festival in Brighton in 2010, the band has become a rousing roar around the UK moving into Europe and one of London’s most exciting and prominent live attractions with their self-hosted monthly night at The Unicorn in Camden a regular treat. Debut album Sick Note awoke a broader attention on the band when released, a success forcibly backed up by The Lost Refuge. Throughout the time line-up changes have only seemed to refuel the band at various times too, the latest coming since the recording of Box of Chaos with bassist Ivan Baragone replacing the departed Dave Renegade alongside Courson, Honey Jones, and drummer Tony Alda.

HJ(1)_RingMaster ReviewWhilst The Lost Refuge was a rousing tempest in ears from the first roar, Box of Chaos takes its time to build and entice even greater greedier reactions. Certainly its first play and touch is a potent lure but each listen reveals greater depths and imagination at the heart of the release which only adds to its strength and drama. There is also seemingly richer old school punk and rock ‘n’ roll hues this time around, essences no doubt bred from inspirations to Honey-Jones and Courson such as Sonic Youth, Hole, Sex Pistols, Bauhaus, Siouxsie and the Banshees, Iggy and the Stooges, and David Bowie. One band which our thoughts most leaned to as a reference across the new album though is Penetration; a similarly evocative nature and tone to the great County Durham band spicing the band’s adventurous sound from the off with both Nice n Sleazy and its successor Never Want It Again. The opener emerges on a sonic shimmer with waiting riffs quickly stirring into predatory life as ears continue to be enveloped in that initial mist. Rhythms are soon just as pressing as Coulson’s magnetic voice seduces, her tones a smouldering caress within the rising fiery heat of the song. It is an increasingly virulent protagonist grabbing swift involvement of the listener, setting them up for more riotous stroll of Never Want It Again. It is a tenacious canter though superbly twisted with ska/like asides as rhythms and vocals flirtatiously swing with mischievous intent within the otherwise busy attitude loaded rock ‘n’ roll of the song.

Danny Trash keeps the potent start to the album in top gear, its catchy canter and haunted atmosphere soon enslaving hips and imagination respectively. As expected and already shown, Health Junkies produce choruses and anthemic moments which are inescapable; voice and body soon on board with a track which is a maze of evocative sounds, pungent emotion, and creatively boisterous exploits.

The following Hypocrite is the opposite but just as glorious, its punk rock fury offering one minute fifteen seconds of cantankerous rock ‘n’ roll with raw riffs and repetitious brawling spawned from delicious old school incitement before I Don’t Give a Damn springs with a similar aggressive heart into ears. It is soon casting another prowling proposal with addictive hooks and gripping rhythms; both swift slavery as the guitars weave a melodically provocative narrative for thoughts to get wound up in as successfully as the body is lost to the anthemic prowess of the encounter.

The more hard rock meets punk ‘n’ roll tempting of Je Suis Free is an inviting and again contagious defiance next whilst Watch Out has a blues rock lining to its infection loaded, roister fuelled smoulder. Both tracks lead the listener into energetic and galvanic ways before Rebellion, with presumably Honey-Jones standing toe to toe with Courson in duet, stirring up another urge to take a stand and lose inhibitions in voice and deed. The track is Healthy Junkies at their rock ‘n’ roll best, direct, lyrically potent, yet igniting the want to fling the body around.

The confrontational rock pop enticement of Just a Fool steps up next, it too quickly sparking total involvement before the outstanding creative theatre of Runaway Devil infests ears and psyche. There is no escaping a Siouxsie and the Banshees air to the song, keys running their melodic fingers over the senses as Courson’s ethereal tones enchant seductively around the darker touch of rhythms. In short time the track is soon a fiercely bubbling and intimidating tempting, reminding of fellow Londoners The Duel, but still with that early coaxing a rich lure.

There are numerous peaks in the landscape of the album, that one pinnacle almost matched by the dirtier rock ‘n’ roll of Hustle Street straight after and indeed the twin tempting of the melodically mesmeric Captive with its dub shimmer and the robust swagger of Don’t Give Up where scything beats, bass rumbling, and scuzzy riffery crowd around the ever alluring tones of Courson. Reggae seeded turns and again dub spiced inventiveness only increases its grip on ears and appetite, Ruts DC like imagination leaving satisfaction bulging.

Closing with D7, another spellbinding mix of evocative calms, atmospheric haunting, and vocal seducing in a case of antagonistically anthemic rebel-rousing, Box of Chaos is a thrilling blaze for the ears and manna for the spirit from a band looking at their most successful and surely acclaimed loaded year yet.

Box of Chaos is released February via STP Records.

http://www.healthyjunkies.co.uk   https://www.facebook.com/healthyjunkiesband/   https://twitter.com/HealthyJunkies

9/10

Pete RingMaster 01/02/2016

Copyright RingMaster: MyFreeCopyright

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

St. Aria – August 21 EP

St.Aria

Last year, like for a great many, attention was pricked by We claim this aria, the debut EP from Swedish band St. Aria. It was a potent and potential laden offering which at times strikingly sparkled and in other moments simply provided an enjoyable proposition without lighting fires. It did though ignite an appetite for the band’s inventive ideas and the next stage in its evolution. That next chapter has arrived with the release of the August 21 EP, an evocative and vivacious encounter building on the qualities of its predecessors and realising the previously untapped but hinted at qualities of the band’s sound. Consisting of five adventurous and lively propositions, the EP is the sunrise of a sound and band coming of age, but still with more to come and discover.

St. Aria is the creation of lyricist/composer/keyboardist Alexander Platon, a project formed in the late 2000s which after a hiatus when Platon joined The Borderline Saints, returned in 2012. Taking inspirations from the likes of Evanescence, Within Temptation and Nightwish and guided by the intent to create emotionally resounding rock ballads, the Platon linked up with vocalist Jimmy Ferhm, also of The Borderline Saints and producer Emanuel Svensson to resurrect St. Aria. Initially it was just to remake a couple of the band’s early songs but such the interest in its members and fans things evolved. We claim this aria was the debut release and saw the three enlist numerous session musicians for its creation and subsequent live appearances. The EP certainly awoke good interest but as suggested earlier everything has grown and leapt forward with August 21. Firstly St. Aria is a complete and stable quintet, Platon and Ferhm joined by Oliver Sandberg (drums), Erik Jönsson (bass, vocals), and Jacqueline Hansson (vocals), whilst musically the raw edges and arguably success tempering aspects of the previous release have been resolved and woven into songs simply revelling in melodic beauty.

St.Aria - August 21 (Cover art)   The EP opens with the spellbinding Black Rose, a song which instantly has ears and imagination involved through the evocative keys of Platon, and increasingly seduced by the siren-esque tones of Hansson emulated in potency by those of Ferhm. Rhythmically the song is reserved yet striking enough to support the expressive narrative of vocals and piano as they colour the song with feisty elegance. It is a catchy and welcoming start to the release matched by the contrasting shadow wrapped presence of Deception which follows. Led by the mellow yet angst lined tones of Ferhm, the song cradles ears and thoughts in a provocative embrace of emotional balladry. The drums of Sandberg create a brooding drama behind the core refection of voice and piano, an almost epic shadow aided by the equally haunted lure of Jönsson’s bass, whilst all combined leaves attention and pleasure easily entranced.

A great bass growl opens up Here With Me, its darker presence soon smothered by the radiant light of keys and the paired vocals of Hansson and Ferhm. The song has a much lighter smile to its tone and character than its predecessor, a hope fuelled romance flowing through the nimble fingers and invention of Platon and the increasingly enjoyable vocal union, though all attributes reach new heights in the outstanding Hopeless Case. Strings and voice align to a tantalising tinkle of keys to seduce the senses from the song’s first breath and immediately has the appetite licking lips. As it opens up its energetic embrace, a country spicing and folkish revelry joins the inescapable infectious persuasion on offer whilst the duet of voices spills melodic contagion. Thoughts are conjured up of The Only Ones single Fools which saw the band and vocalist Peter Perrett link up with Penetration’s Pauline Murray in a mouth-watering duet, and though musically different, the textures, charm, and catchy quality is similar and just as impressive on the EP’s best track.

August 21 closes New Dawn, itself on a par with the previous song through the ever reflective and impressive vocals where this time Hansson leads the temptation with her seductive delivery. Shadows are never too far from the surface in most St. Aria songs, and here bass and keys bring a complimenting emotive shade to the golden tones of melodies and harmonies, a blend emulated in the lyrical prowess of the track. It is an enthralling end to an excellent encounter in which St. Aria has breached a new plateau in songwriting and sound. The band has pushed itself and sound to fulfil early potential and more, but now with a suggestion that there is even more within them to come it is fair to say there are exciting times ahead for them and us.

The August 21 EP is available now digitally @ https://itunes.apple.com/se/album/august-21-ep/id971640265?l=en

http://www.ariamusic.se/     https://www.facebook.com/ariaswe

RingMaster 09/04/2015

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://reputationradio.yooco.org/

DRAG – Neurotica: A Compendium of Tales Regarding Body and Mind

Drag Online Promo Shot

With greater potential in its body than maybe actually exposed in its fiery riot, Neurotica: A Compendium of Tales Regarding Body and Mind the new album from UK punks DRAG, is nevertheless a rather compelling and increasingly enjoyable provocation to get teeth and thoughts into. Nine tracks of old school seeded punk with as much of a nineties twist to its predation as modern inventions, the release is an attention grabbing and imagination stirring entrance by the Midlands quartet.

Since forming, the Birmingham four-piece has earned a strong reputation through their live presence which has seen them play alongside the likes of Toyah Wilcox, SPiT LiKE THiS, Eureka Machines, Fuzzbox, Mister Joe Black, The Sex Pistols Experience, The Ramonas, and Amanda Palmer, as well as a couple of earlier EPs. Their sound as evidenced on the crowd funded Neurotica, is like a raw and antagonistic merger of Au-Pairs and L7 with just as healthy essences of In Evil Hour and Penetration. It is a mix which you expect to be explosive and for the main is within the potent album, though it does miss that key spark to set the promise openly surging through its creativity and sound truly ablaze.

With songs which look at uncompromising themes ranging from self-harm, mental health, to sexuality, Neurotica takes little time in awakening attention and appetite with the opening title track. From the initial scrub of acidic guitar punctuated by thumping beats, the song takes a swift hold and even more so when the band expel a raw and flame of attitude and sonic causticity led by vocalist Heather. The track snarls and rumbles enticingly with the bass of Matt and abrasing guitar craft of Velma crafting an infectious web framed by the punchy rhythms of drummer Andy. Littered with resourcefully catchy hooks around the appealing vocals, it is a formidable and convincing start to entwine thoughts and emotions easily.

The following Fine with its opening moody bass tempting also needs little effort to engage ears and imagination, its strong initial lure expanding into a more reserved but no less potent expanse of rapacious enterprise and contagious DRAG - Neurotica Cover Artworkprovocation. It is not a song to startle but certainly keeps the initial impact of the album high before the mighty Axewound preys on the senses. Lyrically and musically it takes no prisoners, with that earlier Au Pairs reference at its most open on both aspects, the raw and honest approach very similar to that offered a few decades ago by those fellow Brummie protagonists. The track is alive with agitated rhythms, intrigue spiced hooks, and a ferocious breath which all combines for one of the major highlights of the album pushing forward the exciting potential of the band.

Next up The Ugly romps with rhythmic bait which inspires another wash of greed to an already hungry appetite whilst the grizzled bass tone found by Matt grumbles potently within the weave of sonic and defiant endeavour. The song keeps things roaring nicely but does lack the stature and persuasion of its predecessors as does in some ways Dandy Boy, though in other aspects it stands out pleasingly. A union of acoustic guitar and the melodic tones of Heather, her voice revealing more of its strength here than at any other point of the release, the song gently caresses and provokes, keeping its poise and lure as the rest of the band bring their evocative touches to the increasingly intensive track. Keys add good expression to the song too though it also feels like there is a spark missing to really exploit its creative strength, something which applies to Neurotica as a whole.

Shock & Bad Taste with its more defined L7 lures comes next to set feet and reactions on eager edge, its riling riffs and jabbing rolling beats as inviting as the vocal belligerence and sonic entrapment colouring the richly satisfying track. It is soon left sounding a little pale though by Hell 7 (American Mary), the track a ferocious scorching of corrosive riffs and merciless rhythms from the first second which settles into a less threatening gait for a few breaths before unleashing a chorus which gnaws at the senses with anthemic mastery. Again it is fair to say that there is not much to challenge the boundaries of punk rock but plenty to give it an invigorating incitement.

The album is brought to a close by firstly the pleasing Wet with its scowling sound and challenging premise, and lastly through the predatory stalking of Dead Zebra. Both tracks ignite another wave of satisfaction if again failing to match previous heights upon the album; the forced vocal growls offered by Heather in the last of the two an element which defuses the potency of the song and leaves thoughts feeling unconvinced for the only time. Each song still leaves Neurotica: A Compendium of Tales Regarding Body and Mind on a high with that rich promise flooding both, as it does the album, to leave pleasure high and excited anticipation over DRAG ahead.

Neurotica: A Compendium of Tales Regarding Body and Mind is available now on the band’s own Sleazy Punk Records @ http://dragbirmingham.bandcamp.com/album/neurotica-a-compendium-of-tales-regarding-body-mind-2

http://www.sleazypunk.com/

8/10

RingMaster 28/07/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

 

The Objex – Super Charged Little Nova

6

Just like its title suggests, Super Charged Little Nova the new album from The Objex, is a lean, mean punk machine. A fireball of antagonism and in your face passion which explodes with incendiary intensity and belligerence across its magnetic canvas, the third album from the Sin City dwelling band confirms the raw and insatiable might of one of the genre’s most colourful protagonists aurally and visually. It is a tougher more aggressive provocation than before from the quartet, one with a hostile punch to match its breath-taking toxicity. Quite simply the eight-track release is The Objex’s finest and dirtiest rock ‘n’ roll rebellion yet.

Formed in 2006, the Felony Melony (real name Melanie Troxler) and Jim Nasty led band has provided a forceful and virulently contagious proposition since day one, their first demo Bound And Gagged waking up the local scene before debut album Attack Of The Objex in 2007 gripped further afield as it led the band to acclaimed appearances at events such as the SXSW music festival and The Afro Punk music festival as well as subsequently support slots with Demob, Goldblade, and The UK Subs on UK tours. Second album Reservation For Debauchery hit the world in 2009 earning the band even greater attention around the globe as well as awards and nominations respectively at the Vegas Rocks Award for Best Punk Rock Band 2010 and Hollywood Music Award for best alternative song 2011 and best rock song 2012.Across the years as well as sharing stages with others such as The Dwarves, The Addicts, Agent Orange, Sham 69,The Vibrators, and Guttermouth, line-up changes have crossed the band but now with a stable team of drummer Chili (Joaquin Espinosa) and bassist Ivan Del Real alongside vocalist Felony and guitarist Nasty, The Objex unleash their most aggressive and virulently demanding release yet. It is a dive into their most hostile depths though the primal rhythms and deeply barbarous hooks which marked their previous releases still seduce and rile up imagination with their toxic infections. The album is nothing less than a brawling treat for punk rock.

Super Charged Lil Nova hits hard and potently with opener Burn, its opening sonic bait the trigger for a heavy stride of intensive rhythms and scarring riffs within a metal seeded intensity. Instantly the song grips attention like a Super-Charged covermix of UK’s The Duel and Mongrel from the US, plundering ears with a throaty bass line aligned to increasingly rapier like beats as Felony roams their frame with her ever fiery and magnetic vocals. The track continues to antagonise and flirt with thoughts and passions, reinforcing their swift allegiance as the guitar of Nasty conjures wicked hooks amongst the abrasive sonic avenging to ensure even deeper satisfaction.

The excellent start is straight away matched by the predatory Crush, again a muscular urgency and a carnivorous metal based temperament leaking into the voracious punk heart of the song’s fire. Felony and Nasty cast a web of ridiculously riveting temptation with their individual assaults across the song, enticements impressively stalked by the rhythms of Chili and the bass grouchiness of Del Real. As its predecessor, the track is an eye balling aggressor which inflames and incites the emotions with sublime ease.

A spice of salaciousness hits next through the equally tempting and irritable Queen Cobra, its instant scrub of guitar the gateway to a barrage of bone shuddering beats and caustic riffs, one again lorded over by the irrepressible vocal roar of Felony. A devil bred temptress with intimately devious designs to its sound and intent, the track is a furnace of vicious sonic enslavement and merciless melodic seduction, each extreme uniting for a ridiculously addictive and rapacious trap.

The band uncage their latest single GG (Get It Done) next, an ode to punk provocateur GG Allin which maybe does not thrust as big a pair of shock loaded balls into the face as expected but provides an old school punk rabidity and motivation to greedily devour before the ferocious blaze of Grrr steams at break neck pace across the senses. As with all the songs, there is an unpolished beauty to the core and thrust of the tempest but just as irresistibly a spine of inventive barbs and melody kissed underlining grooves poison the imagination and passions with the fullest rabid charm leading to a subsequent lustful submission from the listener.

Both Milk Man with its torrential flood of senses blasting rhythms and guitar sculpted predation, and the spiteful seducing of Thanx 4 Cumming keep album and its recipient raging with unrelenting energy. Each in their individual way light a match to old school nostalgia and modern animosity, the first oozing with discord charmed harmonies within the twisted seduction of its uncompromising musical and lyrical revelry whilst its successor does not pull its forceful jabs either as it boldly stands up and bitch slaps senses and emotions. The pair are pure punk rock and prime The Objex, reaffirming that Super Charged Little Nova is at a new pinnacle of invention and sound.

The album closes with Trainwreck Suicide, a sensational pop punk predation which if you imagine a mix of Sweet and Penetration led by the hybrid of a cloned union between Suzy Quatro and Wendy O.Williams, you would not be far from guessing the quality of the glorious closing triumph.

The Objex has never been a band which has left a bland or uneventful mark on rock ‘n’ roll but without doubt with a greater maturity and stronger antagonism to their craft and open alchemy in their sound, Super Charged Little Nova places the band on a new genre inspiring plateau.

Super Charged Little Nova is available now at http://theobjex.bigcartel.com/

https://www.facebook.com/objexlv

9/10

RingMaster 03/07/2014

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