BarCreeps – The Hour Between Dog And Wolf

Dog and Wolf_RingMasterReview

As to who BarCreeps are is a mystery and will remain so with the UK based band presenting themselves anonymously; set to represented by a generic ‘BarCreep’ in a challenge to “the current fragmentation of music into ‘writer/programmer’ and ‘celebrity personality as singer’ and [their]feeling that this process is syphoning the artistry out of culture.” What is no secret going by debut single The Hour Between Dog And Wolf though, is that the band creates one seriously enjoyable and raw punk rock incitement.

Roaring out of London, BarCreeps is said to consist of a quartet of members from all over the world united by a love of record labels such as Fat Wreck, Epitaph, Touch and Go, Jade Tree, and Dischord. Their individual histories seem to include bassist Railgrind formerly being in The Pipettes who toured the world with the likes of Amy Winehouse and The Beastie Boys. As for vocalist Bannister and fellow guitarist Hendricks, they “started the Hong Kong loft show scene” and shared a stage with Fugazi whilst the former has also been in The Young Playthings whilst the latter put on ‘Refugee Rock’ last year, where the Wedding Present headlined a gig that helped raise over £3,000 for the immigrants in the Calais jungle. With a line-up completed by drummer Campari, who played in Italian band Cream Pie as well as Italy’s premier Ramones tribute act, BarCreeps is a proposition that has a lively background but revealing little about themselves at the same time.

Bands should always let their sound do the talking of course, and BarCreeps certainly do that in The Hour Between Dog And Wolf. Their first single opens on a group howl and proceeds to entwine ears in catchy tendrils of guitar and ripe hooks framed by heftily landing rhythms. The equally raw and dirty tones of Bannister add a further easy to take up invitation to a caustic slice of joy which, with its uncomplicated yet potent melodic hardcore scented roar, becomes increasingly magnetic as it breeds a NOFX meets Propagandhi like rousing of ears and attention.

It is only one song heard so far, so too early to say how unique the band’s sound is though The Hour Between Dog And Wolf suggests that such an essence is still in the brewing stage. Fair to say though, that the single hits all the right spots with its uncompromising and highly satisfying punk rock and in return we eagerly await the band’s next offering.

The Hour Between Dog And Wolf is released April 15th on BCHR Records.

Upcoming Live BarCreeps Dates:

April 23rd – The Barfly Camden, London

May 14th – The Queen’s Arms, Reading

August 27th – Sea Change Festival, Totnes

https://www.facebook.com/BarCreeps   https://twitter.com/barcreepsband

Pete RingMaster 15/04/2016

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Petrol Girls – Some Thing EP

PG_RingMaster Review

Originally formed for an international women’s day gig in 2013, feminist post-hardcore band, Petrol Girls have proved to be one fiery roar within British punk ‘n’ roll. Their attitude loaded, defiance fuelled sound has ignited many a venue across the UK and Europe as well as an ever increasing horde of eager ears, a success bound to be accelerated by the release of the Some Thing EP.

Inspired by the likes of Refused, White Lung, Bikini Kill, Fugazi, RVIVR, Propagandhi, At The Drive-In, and War On Woman, Petrol Girls create a ferocious brew of punk rock unafraid to embrace other spices. Certainly the six tracks making up Some Thing have varying echoes of those influences but equally there is a coincidental eighties punk/post punk essence which lures thoughts of bands like Au-Pairs, The Molesters, and Vice Squad. Lyrically too, the South East London hailing quartet pulls no punches in exploring and challenging sexism and other themes such as politics, alienation, the migrant crisis, and mental health. It all unites for one stirring and invigorating incitement and an EP which attacks, inspires, and rouses body and thoughts from start to finish.

PetrolGirls_SomeThing_Cover_RingMaster ReviewProduced by the band and Marta Salogni at Strongroom Studios, London, Some Thing embraces ears with fiery directness straight away through Slug. The guitars of Ren Aldridge and Joe York dance as they sizzle on the senses whilst the jabbing pokes of drummer Zock reveal a swing and relish which only sparks stronger involvement in the swiftly contagious and dramatic encounter. The darker prowling tone of Liepa Kuraite’s bass adds weight to the thick lure of the song too, a tempting enhanced further by the potent vocals and expression of Aldridge backed as potently by York and Kuraite.

The strong start kicks up another gear with Protagonist where short spicy grooves aligned to piercing sonic and rhythmic hooks instantly prey on ears and imagination. As in the first, a contagious energy and flirtation is a persistent beckoning, this time within a hardcore ire that has a Red Tape meets Billy Talent feel to it before an X-Ray Spex meets The Raincoats like confrontation shows through to stir up song and enjoyment even more.

Separated strolls in next, its mellower melodic landscape courting a catchiness which combined hints at the earlier mentioned band Au-Pairs. Expectantly, it too has a raw snarl and antagonistic nature which perfectly tempers and works with the calmer but no less imposing punk ‘n’ roll revelry, but as great as it is, the track is totally eclipsed by the outstanding Restless. The best track on the EP, it is a scathing sonic tempest which seduces as it wrong foots, sudden slips into warm caresses and virulent old school punk devilment complete with addictive hooks and abrasive intensity an inescapable enslavement. At certain points, the song has thoughts wondering if this is what The Slits would sound like if starting out now, but ultimately and once more the striking provocateur is distinctly Petrol Girls.

The predatory enticement and belligerent roar of System comes next, band and song creating infectious and intimidating emotive contumacy before Disgrace brings the EP to a close with its even more cantankerous proposal. Again as wilful and rebellious as both are, there is an underlying catchiness which has the body as hooked as ears and mind.

Petrol Girls is maybe a band on the outskirts of recognition, or was as that is surely going to change if the Some Thing EP gets its persuasive way.

The Some Thing EP is available on CD, Digital Download, and three-track 7” Vinyl featuring the first trio of songs above now via Bomber Music @ http://www.petrolgirls.bandcamp.com/

https://www.facebook.com/Petrolgirls

Pete RingMaster 20/02/2016

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The Twin Dracula – Hell Hath All Fury

 

Hell Hath All Fury_RingMaster ReviewAs they started the year, UK rockers The Twin Dracula end it with a ferocious slab of noise bred, punk fuelled rock ‘n’ roll. This time it is courtesy of new EP Hell Hath All Fury, four tracks which tenaciously roar and aggressively tempt as they remind all what an exciting and sadly still majorly unrecognised band they are.

Formed in 2012, the quartet took little time in arousing attention and eager appetites for their raw rock incitement through a fierce live presence and debut EP Introducing. Its success and potential was equalled and built upon by its successor TTD​/​GFY, and both in turn surpassed in sound and invention by the Death Is Our Client EP which was unleashed at the beginning of 2015. With bands such as Kid Dynamite, Wipers, Rocket From The Crypt, Propagandhi, and The Bronx potent inspirations, the encounter showed a new adventure and mature imagination brewing within The Twin Dracula songwriting and sound, one in full cry now through Hell Hath All Fury.

The EP opens up with Catholic Discipline, a seriously swift incitement which more is an introduction to the release than an individual statement, though to be fair its predatory stalking of the senses and vocal ire more than wakes an ever ready appetite for The Twin Dracula fury. The sonic wind buffets ears for a breeze over a minute before flowing straight into the quickly thrilling tempest of Liars. The track begins offloading jabbing beats from its first breath as a storm of dirty riffs blows, that the vehicle for seriously tantalising grooves and a volatile rhythmic incitement. In turn this draws in a great the blend of enraged punk vocals and a gripping web of hooks and grooves to get greedy over. The band’s sound has never seen a lacking of such attributes but here the tapestry is more creatively involved and imaginative than ever as the band entwines a broad array of noise and rock ‘n’ roll bred flavours.

From one impressive track to another as the metallic hues closing off the second track is superbly contrasted by the more punk pop/alternative rock welcome of Alura. Without defusing that potent tempting, band and track soon weave in fiercer and more aggressively tenacious elements into the infection; their punk ‘n’ roll again taking on an almost kaleidoscopic quality in its impassioned and compelling storm.

   You’ll Never Defeat The Cobras arrives to complete the EP; it another track which evolves and dances around with persistently rapid infusions of new ideation and flavours ranging from metal and melodic rock to hardcore, noise, and punk rock. The track is irresistible, its sinews veering on the barbarous at times and melodic adventure perpetually seductive as it caresses and sears ears, whilst rhythms and vocals, in their own individual ways, entrance with anthemic prowess. It is a mighty end to Hell Hath All Fury, a dramatic and thrilling finish to an equally scintillating incitement.

The Twin Dracula just gets better and better, release by release. Time for all to get bitten we suggest.

The Hell Hath All Fury EP is available now @ http://www.thetwindracula.com/

https://www.facebook.com/TheTwinDracula   https://twitter.com/thetwindracula

Pete RingMaster 22/11/2015

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The Decline – Resister

The decline_RingMaster Review

Third album in and Australian skate punksters, The Decline, continue to offer contagion fuelled stomps that simply rouse up the spirit. Resister is packed to the rafters with imagination crafted and wholly magnetic propositions, tracks which only want to offer a good time whilst uncaging a lyrical substance easy to get involved with. Pop/skate punk boundaries are certainly not worried too forcibly by the thirteen track adventure but any resistance to its unstoppable virulence is swiftly dead in its invigorating waters.

Formed in 2006, the Perth hailing quartet made its first strong attention grabbing mark with debut album I’m Not Gonna Lie to You in 2010, an encounter straight away pushing the band towards international awareness. Its acclaimed successor of the following year, Are You Going To Eat That, helped spark the opportunity for The Decline to undertake a headlining tour of Europe as well as a Japanese tour with Israeli pop-punkers Useless ID and So-Cal 90’s super band Implants. Across the years the band has continued to share stages with the likes of Descendents, Unwritten Law, Frenzal Rhomb, Propagandhi, Bodyjar, Bouncing Souls, Anti-Flag, Lagwagon, No Use For A Name, No Fun At All, Guttermouth, and The Flatliners, they amongst a great many others. 2014 saw the release of the crowd-funded Can I Borrow A Feeling EP as well as another hectic tour schedule whilst after a line-up shuffle earlier this year, The Decline set about recording Resister, its immediate unveiling coming just before the band hits the festivals Punk Rock Holiday in Slovenia, Munich’s Free and Easy Fest, and Rebellion, the latter one part of a UK tour running through August. With further global shows in the offing too, Resister provides the most potent incentive to check the band out and make this a summer of insatiable romping.

Resister Artwork_RingMaster ReviewThe release opens with New Again, a short, punchy encounter which quickly sets the creative scene for the album. Jangling melodies flirt with muscular rhythms whilst the potent vocals of guitarists Pat Decline and Ben Elliott unite and entwine across the tenacious start to the album. There are no surprises but plenty of fiercely flavoursome sounds setting up ears and appetite for the following Giving Up is a Gateway Drug, the first single from Resister. With the thumping beats of Harry steering the song into view, his drums a blur of activity, the song twists and turns with emotion and energy. Every second is a tempestuous and easy persuasion for ears, vocals again slightly outshining the sounds, but all aspects crafted with inventive and unpredictable elements.

As strong as its start is, Resister kicks up another gear or two from I Don’t Believe onwards. Featuring guest vocals from Cameron Baines of Bodyjar, the third track boldly enters on rolling anthemic rhythms, they in turn laced with sonic spicing from the guitars before it all colludes in one seriously infectious incitement. A whiff of older schooled punk embraces poppier exploits resulting in a rigorous and pungent anthem swinging punches at the music scene and stirring up new hunger for the release. It is an appetite fed just as healthily and fully by Almost Never Met You, a song littered with tangy riffs, sparkling hooks, and the ever impressing vocal combination. The throaty bass twang of Ray Ray as good as steals the show but is matched all the way by the spices just mentioned and a Green Day meets Bodyjar essence coating the excellent encounter.

Both The Blurst of Times and You Call This A Holiday? keep the album’s new levels roaring in ears and thoughts, the first with fiery atmosphere and attitude to body and voice, and the second through its seamless and magnetic passage from a riveting acoustic/vocal lure into another throttle to the floor ball of creative and physical energy. Each, but especially the former, has an air of The Living End to the full-blooded tempting whilst Camberwell Street straight after, explodes with a richer hardcore but melody drenched escapade. It does not quite live up to its predecessors, but again with skilled endeavour and ideation spicing every aspect the song, hits the spot nicely before making way for the similarly successful Broken Bones.

The thickly pleasing Wrecking Ball fires up the passions, even with its opening barbershop skit. Subsequently into an unbridled bellow of aggression and explosive energy, the track is an easy persuasion of rippling rhythms, inescapable hooks, and more potent vocal combinations. But as good as it is though, it gets over shadowed by the outstanding You’re Not The Waitress, another pop infused punk tempest which is pure contagion.

The thirty second Little Voices is more of the same, revealing a similarity to the previous track and others around it without losing its individual potency during a short tenure of ears. It stirs the emotions nicely which Underworld Tour takes on a thrilling ride straight after with its NOFX/Motion City Soundtrack/ Set Your Goals like fusion of sound and imagination. Again rousing is the best word to describe its heavy satisfaction breeding character as it leaves the listener on a high ready for the closing catchy onslaught of Start Again. The song sums up The Decline sound perfectly, melodically hot, energetically sizzling, and creatively lively in a gripping finish to a fine album.

As suggested earlier, major surprises come in rare batches across Resister yet few moments truly feed expectations and every song is a galvanic exploit hard to turn away from. That certainly works for us!

Resister is available now through Pee Records (Australia) @ https://peerecords.bandcamp.com/album/resister, Bird Attack (USA) @ https://birdattackrecords.bandcamp.com/album/resister-4, and Cargo Records (Europe/UK).

The Decline UK tour dates:

Sat 8th – The Maze, Nottingham

Sun 9th – Rebellion Festival, Blackpool

Mon 10th – New Cross Inn, London w/ MDC (Millions of Dead Cops)

Wed 12th – Brudenell, Leeds w/ MDC (Millions of Dead Cops)

Thu 13th – The Hope And Ruin, Brighton

Fri 14th – Owl Sanctuary, Norwich w/War On Women

Sat 15th – Nice N Sleazy, Glasgow

Sun 16th – Exchange, Bristol w/ Teenage Bottlerocket

Mon 17th – The Fighting Cocks, Kingston

https://www.facebook.com/TheDeclineMusic   http://www.thedeclinemusic.com/

RingMaster 03/08/2015

Copyright RingMaster: MyFreeCopyright

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

 

The Twin Dracula – Death Is Our Client

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Bred from a punk rock seeding, the sound of UK rockers The Twin Dracula just seems to get broader and more flavoursome with every release and that is without losing the snarl and aggressive passion which marked out their first offering just over eighteen month ago. The band recently unleashed third EP Death Is Our Client and it is not too far from the mark to say that British punk ‘n’ roll has rarely sounded as creatively expansive and violently imposing as the tracks which ignite the excellent encounter.

Formed in 2012, the British quartet grabbed, like a great many, our attention with their debut release, which was simply called Introducing when released in 2013. It was a raw roar of hardcore causticity rich in potential and strong on antagonistic craft. Its successor TTD​/​GFY not only reinforced that first potent impression and appetite for the band’s sound, but showed new adventure and invention which Death Is Our Client has taken to new impressive pastures. Sculpted on the inspirations of bands such as Kid Dynamite, Wipers, Rocket From The Crypt, Propagandhi, and The Bronx, the band’s music is a brawling contagion which takes no prisoners yet treats them like guests once ears and attention have been enslaving, offering always and especially on the new encounter something seriously special.

First track Nom De Plume is simply a ravishing sonic blaze of temptation from its first breath, guitars abrasing ears with addictive riffing punctured by just as forceful beats. It is soon in full a0584789698_2swing though with grooves and hooks as virulent And potent as the inviting scrub of guitar energy around them. Once vocals bring a flame of melodic toxicity into the picture, energy rises to a high and attitude becomes confrontational but still the song is nothing less than contagious provocation. That Rocket From The Crypt spicing is a loud whisper in the song but equally a breeze of Ghost of a Thousand and Reuben like fury is adding its potency to the riotous blaze of sound and intensity.

It is a commanding and breath-taking start swiftly emulated and surpassed by the infectiousness and hostility of rebellious Occultimate Warrior. Again a ridiculously compelling and nastily catchy offering from its opening second, the track also explores a web of addictive hooks and anthemic ferocity vocally and sonically. It all combines to cast the most antagonistic and irresistible seduction which leaves ears smarting and emotions lustful. Hardcore punk comes in varying shapes and colours as more imaginative bands emerge to charge its boundaries, and on the evidence of this song alone, but backed rigorously by its companions, The Twin Dracula is there to the fore leading this fresh investment in the scene.

The closing Newtown Jazz Revival is almost funky in comparison to its predecessor, opening with the darkest and most delicious bassline heard for a while. Its lure is courted by abrasing riffs and jabbing beats which soon expel their fullest weight and tenacity to add to an already captivating persuasion. The song proves to be a mellower encounter than the other two songs on the EP, vocally cleaner harmonic vocals aligning to warm melodic acidity and endeavour. It does not stop the song growling with a grouchy breath and provocative nature though as the band unveils yet another adventurous twist and aspect to their gripping sound.

Introducing had us excited and its successor even more thrilled, but Death Is Our Client feels like a whole new ball game in so many ways, which leaves anticipation for what comes next from the band and acclaim upon them brimming.

Death Is Our Client is available now on CD through Crucial Taunt @ http://www.crucialtaunt.bigcartel.com/product/the-twin-dracula-death-is-our-client-cd and digitally @ http://thetwindracula.bandcamp.com/album/death-is-our-client

https://www.facebook.com/TheTwinDracula

RingMaster 22/01/2015

Copyright RingMaster: MyFreeCopyright

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The Twin Dracula – Introducing

TTD

Making their entrance with a rather tasty and raucous release, UK punk rockers The Twin Dracula instantly set themselves as a band rich in potential and strong on antagonistic craft. Their debut EP, Introducing is a brawl of contagious enterprise and belligerent passion cast within a hardcore animosity. It is an aggressive and confronting encounter but also one unafraid to throw in a captivating hook or rhythmic seduction and a host of melodic creativity which only accentuates and compliments the riotous heart of the songs. The EP is maybe not quite stretching borders or sculpting new heights but certainly is providing a potent breath and promising fire to thrust the band firmly on the punk rock radar.

Formed in 2012, the quartet takes inspirations from the likes of Kid Dynamite, Propagandhi, and The Bronx into a proposition coverwhich grabs attention with ease. Comprised of four eager and bold tracks with a raw energy and similarly uncompromising intent, Introducing takes mere moments to enclose the ears in an intimidating and fully persuasive encounter. Opener Check Mate is choice punk rock from start to finish; it’s first touch a rapping of rhythms and last a lingering toxicity which draws you back time and time again. It takes mere seconds for the track to hit full stride, riffs and rhythms stomping with attitude and intensity whilst the vocals scowl and challenge thoughts with a semi clean scowl of a delivery enjoyably reinforced by group shouts and barracking. The rhythmic core is a constant temptation throughout the song and keeps the pressure going perfectly even when the song impressively dips into a restrained and melodic detour before returning with nostrils flaring for an anthemic finale. It is a striking and thrilling start to the release and as a first engagement with the band, a song drenched in promise providing unbridled satisfaction.

The following Guts has a heavier imposing intensity and gait compared to its predecessor, one skirted by a sonic enterprise which lights its darkest corners. The almost lumbering entrance holds a menace to temper the melodic design searing its edges and combined the elements give the song an intriguing lure, especially when the sounds come to a halt and an excellent expressive lone vocal expels the first calls of the narrative which in turn coaxes out a fiery return of striding riffs and imaginative flames framed in a rampant rhythmic temptation. It is a smouldering slice of rich enticement which shows a depth to the band’s songwriting and their ability to stretch it further again with sound and imagination.

The next up All The Fours brings an immediate swagger and enticement to its initial scrub of riffs to confirm the potential and quality shown in its predecessor. The addictive tone and jagged edge of the guitar brings thoughts of Rocket From The Crypt to mind whilst the subsequent abrasive and compelling fury has the marks of fellow emerging Brits Dead Retinas to its caustic presence. Like the opener the track is an addictive anthem of rhythmic pugnacity and sonic rascality forged into an infectious charge which stirs up the senses and passions with aggressive revelry. A punk stomp with muscular heavy rock intensity, it is a formidable incitement to again easily hang the passions upon.

The closing Woodley Swine is a hardcore bred slice of punk ferocity, a direct and scathing lashing of sound and vocal hostility which without matching earlier heights riles up the emotions and imagination in strong and hoarsely rowdy style. It is a fine conclusion to an excellent debut from The Twin Dracula; Introducing the first impressive step of a band with the fire and potential to make a deep mark certainly on the evidence of this entrance.

http://thetwindracula.bandcamp.com/

http://www.thetwindracula.com

8.5/10

RingMaster 17/12/2013

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The Break Out – New Barbarians EP

The Break Out Press Photo

What can we tell you about UK Hardcore band The Break Out…well not much really except they are a quintet from Bristol which formed in 2011 taking influences from the likes of The Bronx, The Ghost Of A Thousand, Propagandhi , The (International) Noise Conspiracy, and The Computers into their own intent, and most importantly recently released their second EP, the ferocious and uncompromising New Barbarians.

Bristol is a hot bed of talent right now, the wealth of diverse and impressive bands coming from there and surrounding areas never seeming to end, and you can add this bruising encounter of a band to the list. Following their self-titled EP of last year, New Barbarians is a brawl which though like most releases is not flawless it seeps potent promise and rich satisfaction from every track and confrontational sound. The five tracks making up the release take no prisoners especially in the vocal department but offer a fire of passion and invention which is impossible to pass over or not enthuse about.

The EP opens with the instantly abrasive Black Eyes, a fusion of punk and hardcore which grazes the senses through the vocals of Rich Thomas ably aided by another of the band. Around them though the guitars offer a restrained but potent groove within the acidic riffing, both Nath Fiction and Craig Wilkes taking little time to develop adventure to their attack and imagination to the off shooting flames they unveil. It is nevertheless a riot which demands and commands attention, the bass of Mikey Emson purring throatily from within the harsh energy and the rhythms of drummer Tom Vincer slapping the ear with the craft and spite of a middleweight. Across its length there is plenty to intrigue and keep attention enthralled even if it may take a few plays to discover all.

The following Beggars On A Golden Throne unloads a strong rock groove inspiring the slabs of riffs to join it before combining both for another appealing and accomplished rage of rock ‘n’ roll. As with the first it is fair to say there are no elements which call out with the most potent of persuasions but together combine to create a riveting and incendiary confrontation leaving no one short on satisfaction.

The title track rounds up the senses and emotions with a rally of beckoning drum instructions before the guitars and bass add their lures to the emerging tempest which is in no rush to show its full declaration, but when it does it is an excellent blues veined punk rampage. As on all songs there is never a moment where things are left without a drenching of imagination and aggressive energy ensuring the seeds of hunger for the band are sonically watered from start to finish again though their call is not always initially loud. The best track on the EP, it shows that though arguably The Break Out still have yet to define a unique voice in the genre they are not far away.

With You Wouldn’t Catch Han Solo In A Fucking Call Centre continuing the impressive presence of band and release there is to temper things just a touch of a yearning for some more variety to the vocals, especially with this song the only one to try and expand that area a little to show the others up in that area. Thomas squalls impressively but across all songs it is an exhausting wash without any diversity which for many could deflect from the creative enterprise going on musically. It is a small niggle though to be honest and this track alone triggers the unreserved intent to keep the EP on regular rotation.

The closing Good News For The Modern Man leaves things on a high if without finding the same heights as its predecessors, though once more the guitars bring a weave of adventurous and flaming rock before the ear. If looking for an emerging still evolving fresh voice to your hardcore needs, than the New Barbarians EP is well worth a visit. The Break Out is not there yet with an individual stance but our money is on that happening in the near future.

https://www.facebook.com/TheBreakOutOfficial

7.5/10

RingMaster 06/06/2013

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