Kid Klumsy – Singing Our Souls

When covering their last EP, Spit Your Dummy Out, we suggested that Kid Klumsy were despite being around for a few years already “ready to grab a chunk of the limelight”. That they did with that particular release which just grabbed body and spirit like a rebellious puppeteer. Now they are getting greedy and going for even bigger rewards and rightly so for new offering, Singing Our Souls, is one seriously rousing incitement of the band’s uproarious punk ‘n’ roll.

Released on the UK band’s highly anticipated appearance at this year’s Rebellion Festival, Singing Our Souls hosts another six slabs of the Coalfield outfit’s voracious rock ‘n’ roll. Mischief and defiance are as ripe as ever within their bold and tenacious bodies of punk bred sound, Kid Klumsy stamping their own inescapable individuality with increasing vigour and relish throughout another outing which just had us leaping with over enthusiastic rigour.

Straight away we were being reeled in by the devious lure of guitar as opener Mr Right Man waited to pounce and that it did with zeal as rhythms bounded in and a devilish hook colluded with similarly virulent riffs. In no time the familiar tones of WEAB, also known as the front henchman at Dirt Box Disco, were stirring up their own side of belligerence, accosting and inciting with relish. A glorious scowling bassline just completed the epidemic of temptations fuelling song and listen, gang vocal persuasions only inflaming already eager engagement in the track’s virulent antics.

Not to be outdone, Slob thrusts its body forward with matching prowess and gusto next, the guitars weaving a web of catchy endeavour as riffs and bass snarled. The immediate sing-a-long enterprise of the band grabbed instinctive involvement, the song almost preying on an inherent weakness to resist such anthemic arousal.  With muscles and catchy imagination swinging, the song devoured inhibitions before Dislexic Munkiz stormed the breathless remnants with its own rabidly catchy rock ‘n’ roll leaving exhaustion grinning from riff harried ear to ear. Ferocious in breath, devilish in touch, it just epitomises the Kid Klumsy creative audacity.

Love Is A Battery Field entangles ears next, initially with a guitar wire before breaking into an animated surge of predacious riffs and hungry rhythms, a fusion just as tenacious as fresh hooks and vocal baiting erupt around it. The bassline cast by Alistair in the midst of it all simply infested the passions being ably matched by the guitar incitement of Carl and Greg within the dynamic punches of drummer Jamie as vocals roar. Together it made for one fiercely persuasive attack though soon eclipsed by that of She’s A Fu*k. Alistair again leads the temptation, his lone hook at the start teasing eager ears before being ablaze with the fiery motivation of the guitars. With metal forged steel in its prowl and old school punk in its bearing, the track proves addition sparking rock ‘n’ roll with increasingly inventive temerity.

Maisy’s Song concludes the pleasure, its punk rock weave a swift and persistent urging on ears and body relentless in its nagging whilst relishing its success. It is a rousing end to another release from Kid Klumsy which effortlessly demanded and received unbridled attention; we sure to be merely one of a hefty crowd corrupted by its goodness upon its release, starting with those at Rebellion.

Singing Our Souls is released August 1st through STP Records. http://www.stprecords.co.uk/

Upcoming Kid Klumsy dates:

Friday July 5th – Mayhem At Micks Leicester

Saturday July 6th – Macclesfield Nags Head

Sunday July 14th – Coalville, The Vic Bikers Pub.

Friday July 19th – Leeds Brudenell (with Sham 69)

Friday July 26th – Stafford Redrum

Saturday July 27th – Sutton In Ashfield New Cross Pub

Saturday August 3rd – Carlisle The Brickyard (with The Skids, acoustic set)

Sunday August 4th – Blackpool Rebellion Festival

Friday August 30th – Basingstoke Irish Centre

Saturday August 31st – Southampton Shooting Star

Saturday September 28th – Newcastle, Northumbria Uni (North East Calling)

Saturday October 12th – Lancaster John O Gaunt.

Saturday October 26th – Manchester Ritz (with The Macc Lads)

Sunday November 3rd – Brighton The Prince Albert

Sunday November 24th – Bedford Esquires (Holy Molys)

Thursday November 28th – Nottingham Rescue Rooms

Friday December 13th – Abertillery Dolls House

Saturday December 21st – Manchester Star & Garter

Sunday December 22nd – Sheffield Corporation

Monday December 30th – Birmingham Hare n Hounds

Tuesday December 31st – Coalville The Vic – NYE Party

https://www.facebook.com/officialkidklumsy     https://kidklumsy.bandcamp.com/

Pete RingMaster 02/07/2019

Copyright RingMaster: MyFreeCopyright

dragSTER – Anti – Everything

UK punksters dragSTER pretty much hinted at themselves as being one of the country’s most irresistible snarls from day one; establishing and reinforcing that reputation and stature by each release and show. Three years after seriously stirring the punk scene with their album, Dead Punks, the Coventry quintet return with their fourth full-length, an encounter which roars that dragSTER is not only one of punk’s best antagonists but one of its essential and maybe crucial.

Anti – Everything is middle finger raised irritable, anthemically aggressive, and unapologetically rousing with the most deviously seductive web of lethal hooks and corruptive grooves within its roar. If perfection can exist, the album courts its embrace from start to finish, unleashing prize heart bred punk ‘n’ roll as invasively imaginative as it is ferociously instinctive. If its predecessor was a ‘punk classic’ in our words, Anti – Everything is rock ‘n’ roll alchemy; simply one inspiring blaze of organic punk devilry.

One Bad Cop opens things up, its initial raw breath swiftly infested with the album’s first delicious lure, a teasing hook which is emboldened as the track erupts around Fi Dragster’s ever tempting vocals. With threat to its air and stride, the track is under the skin in seconds; its tetchiness echoed in the enterprise of guitarists Diesel and Ben Kelly and equally rhythms which just incite physical confrontation.

It is an exhilarating start which still manages to be eclipsed by the outstanding Damned. Instantly its marching groove gripped already eager ears, its scuzzy bristling pure contagion loaded manna for the punk appetite. The flirtatious beats of Ryan Murphy gleefully add to the persuasion as too the dirty tempting of Tom AK’s bass which soon inspires the filthy glaze which blossoms as the song erupts without losing or defusing its crucial lures. Keys temper yet equally enhance the crotchety nature of the track; a character trait exploited by individual enterprise with it all boiling over in a mighty corruption of a chorus.

The following Burn It Clean uncages its own dispute of rousing rock ‘n’ roll to similarly irresistible effect, Fi a magnetic protagonist challenging and roaring within the track’s fractious stomp while the album’s title track in turn unleashes its own caustic holler to fire up body and attitude. Both tracks are pure manipulation, primal and designed, matching the glory of their predecessors and United Decay which erupts from its industrial bed with Kelly’s juicy groove and Diesel’s hungry riffs. With more restraint to its testy character but devious in its creative corruptions, the track is one imposingly tempting anthem though to be honest one such taunt among thirteen such compelling snares.

Through the short bruising hard rock meets garage punk holler of Spit It Out and the even briefer punk assault of Drone Pilots ears are lustfully infested, harassed and pleasured, subsequently inflamed yet again by Vultures Circle. It too reveals a fusion of varied rock ‘n’ roll flavours within its inflamed challenge, the song predacious but more a stalking of the senses than an incursion as it reveals yet another shade in the band’s broadest palette of sound yet.

It is a fresh tapestry added to as the likes of the ridiculously infectious Tokyo Joe, a slice of old school punk refreshed and re-invigorated, and Charmed To The Teeth with its similar if dirtier choleric incitement seduces body and vocal chords into vociferous participation. The latter of the pair also highlights the new adventure in the band’s songwriting and sound, twisting with unpredictable and teasing imagination.

The final trio of tracks ensure the album continues and ends on the same high nurtured so far, Dark Roulette cantankerous punk ‘n’ roll with its own line in viral hooks and melodic touchiness while Enemies just bullies and seduces eager participation with its prickly, short fuse rock ‘n roll with again a highly agreeable ’77 scent.

Broken By Design concludes the herd of viral riots, its irascible collusion of punk edginess and melodic seducing a final riveting and seriously arousing invitation to rise up; a track rich in bait and heart built with desire and instinct to stir things up. It is a striking, animated close to an album reeking craft and passion soaked in anthemic adventure.

There have been a few punk offerings which have truly inspired bands and fans alike over the past decades, Anti – Everything has just put forward its proposal to join their ranks.

Anti – Everything is out now through Louder Than War Records; available digitally, on CD and vinyl @ https://dragsteruk.bandcamp.com/album/anti-everything

http://www.dragsteronline.com/   https://www.facebook.com/dragSTERUK/    

Pete RingMaster 11/12/2018

Copyright RingMaster: MyFreeCopyright

Joecephus and The George Jonestown Massacre – Death Rattle Shake

It seems like Joey (Joecephus) Killingsworth has been dealing out potent sounds as long as The RingMaster Review has way back had music in the heart though that realisation comes with hindsight after actually being introduced to the vocalist/guitarist/songwriter through his band Joecephus and The George Jonestown Massacre; more specifically through 2010 anthem WWLD (What Would Lemmy Do), a track and chorus which still rings out in the office when faced with a dilemma. Now the band has a new slab of Joecephus led goodness out going by the name of Death Rattle Shake, a release all punk ‘n’ rollers and hard rocking, country licking, metal hugging lovers should take a moonshine soaked dance with.

Joecephus and The George Jonestown Massacre as a band rose up around 2005 though, after an EP under his own name, Killingsworth had already released a first album under the name. Performing their first show that year,  the Memphis outfit have gone on to share stages with the likes of David Allen Coe, HR of Bad Brains, Agent Orange, Jucifer, Green Jello, Unknown Hinson, Black Oak Arkansas, Jim Dickinson, Rev. Horton Heat and many more. A handful of attention and praise drawing albums have also graced and bruised the years with Hell or High Water (2010), and Arockalypse Now (2012) probably the most notable and acclaimed. Death Rattle Shake easily takes its place alongside the band’s biggest successes and as a collection of tracks we would confidently suggest is their most impressive and rousing moment yet.

With bassist Brian Costner and drummer Daryl Stephens alongside Killingsworth and featuring the organ of Gerald Stephens, Death Rattle Shake bursts into life with its title track and a slice of dirtily animated rock ‘n’ roll. With beats rapping firmly on the senses and the bass grumbling with devilish seduction, the track is soon a compelling stomp which the magnetic flirtation of keys and the grimy riffs of Killingsworth lustily align with as his vocals further incites the body romping antics the music commands.

It is an outstanding start, one of those irresistible moments we all crave for and the spark for the following diverse dance of the album starting with the blues rock saunter of Drivin Blind. Again the warm, psych lit keys of Stephens contrasts yet unites with the scuzzier tendrils of guitar rising from similarly raw sonic flames, Killingsworth like an outlaw in its midst. It is a description which and always has suited the band’s music perfectly, its character like a rock ‘n’ roll felon/bandit but  an outsider you want to run with.

The addiction sparking Terminally Hip is next swinging its angular hard rock bred hips with attitude and mischief while Karma’s A Bitch brings a cauldron of old school rock nurtured blues punk as irritable as it is boisterously animated. Both tracks incite swift involvement from body and vocal chords, firing up rock ‘n’ roll instincts as easily as Excaliber also proves itself able. Again blues and punk unite as more stoner come sludge metal hues lick away at song and ears, the track another treat even if far too short for unbridled satisfaction.

Through the psych rock seeded, R&B keyed punk ‘n’ roll of Flypaper and the cowpunk sniping of Gold Digging Whore, the album continues to broaden its flavour and magnetism, the first simply a delicious noise nurtured infestation and its successor a woozy intoxication of sour but richly appetising sonic liquor.

Though the country lined funk ‘n’ roll of Cosmic Retribution did not trigger the same greedy appetite as those before it, the track effortlessly had attention hooked as hips swayed again with that mesmeric organ of Stephens a major flirtation alongside swinging rhythms and the enterprise woven web of guitar.

From its title you will correctly guess the nature and sound of Tombstone Blues, a track which without breaking boundaries was full distraction before the album closes off with the enthralling epic stroll of Helping Hand. Though a track unsurprisingly flourishing from the open individual and united craft of its creators, it is the suggestive meander of Killingsworth’s guitar which wanders with a skilled touch and intimation across the increasingly cosmic landscape of sultry keys and boldly ambling rhythms which primarily stands out and grips the imagination.

It feels a long time since we had a Joecephus and The George Jonestown Massacre offering to chew on but well worth the wait as Death Rattle Shake is easily their best yet.

Death Rattle Shake is out now; available @ https://joecephus.bandcamp.com/album/death-rattle-shake

https://www.jk47.com/   https://www.facebook.com/Joecephus13/   https://twitter.com/joecephus13

Pete RingMaster 20/10/2018

Copyright RingMaster: MyFreeCopyright

The Senton Bombs – Outsiders

It is fair to say that any news of something new from UK rockers The Senton Bombs has us licking our lips in anticipation. Four spirit rousing previous albums among just as potent singles and EPs has fuelled that reaction with each encounter building on the exploits of its predecessor and pushing the Blackpool hailing quartet to the mass recognition and attention we with so many feel they deserve. The band’s impending fifth and new album, Outsiders, continues that trend sparking excitement in appetite at the prospect of something special whilst taking the band’s songwriting and sound to another level of prowess and adventure.

Perpetually varied and flavoursome in its styles and character, the band’s rock ‘n’ roll has eagerly evolved and grown up across their albums. With every offering The Senton Bombs has pushed it and themselves to new areas and adventures but all the time reinforcing the recognisable individuality of their music. With Outsiders, the band has aligned their ever ready punk ‘n’ roll instincts with southern and classic rock scented endeavour on the hard rock side of their sound; the result, a rousing and raucous collection of multi-flavoured and variously delivered anthems as familiar to the band as they are unique.

The album erupts into life with its title track, Outsiders entering upon punchy rhythms and sonic stabs as the ever enticing vocals of bassist Joey Class open up their declaration. With attitude and defiance at its core in sound and word, the track prowls with a swinging hard rock swagger lit by the flames and enterprise of guitarists Damien Kage and Johnny Gibbons. The throaty throb of Class’ bass resonates throughout, adding a darker threat to it all as the bold swings of drummer Scott Mason descend. It is a controlled but dynamic start to the release, an ear and attention grabbing statement of intent swiftly backed and built upon.

The band’s new single, Who We Are, does both with relish and tenacity straight away. The devilishly earthy stroll of the bass instantly had imagination and appetite hooked, its inescapable lure aligned to the perpetually lively dynamics of Mason’s rhythms. Both continue to arouse and manipulate as guitars and vocals join the song’s incendiary holler; a union brewing a delicious slab of punk ‘n’ roll as virulently catchy as it is rapaciously invasive.

From one major highlight of the release to another as Violet Black follows unleashing its own rock ‘n’ roll trespass. With each album Class has developed his vocal presence, almost developing a two sided proposition. Here he returns to the grainy delivery which partly trademarked the band’s sound from day one and is always a welcome essence to their creative diversity. The track itself is a boisterous slice of punk rock with a blues rock lining and hard rock virility.

If the previous track is headstrong, I Am Ablaze is an insatiable hell-raiser of sound and rowdiness; an anthem epitomising the band’s live sound as much as its rebel rousing heart. Raw and feral yet skilfully woven to create a hellacious roar the track is superb; The Senton Bombs at their rabidly infectious best leaving next up Reckless Youth a tall order to match. That it does though by revelling in the calmer side of the band’s attack, growing from a melodic shimmer into a contagious stroll led by the inspiring swings of Mason. Reflecting on times past as youths into the seeds of the band stirring things up today, the song is a bold smoulder compared to the fires that are its companions but just as magnetic and riveting

Across the irresistible country blues rock scented saunter and vivacious swing of Bury The Hatchet and the mellow southern surf kissed croon of Remind Me Of The Moon, the album simply blossoms in its variety of sound and imagination while Dead Revolution immediately had body and spirit addicted to its Misfits laced  darkly hued rock ‘n’ roll. As ever hooks escape the band with instinctive agility, riffs and rhythms offering their own spiky bait to get hung up on as vocals lead the way. Similarly the individual craft of Kage and Gibbons masterfully gets under the skin alongside the equally devious antics of Mason and Class’ bass.

Video is a track which would fit as perfectly within the confines of previous encounters such as Chapter Zero and Mass Vendetta; a trademark rather than formula Senton Bombs song easy to devour greedily before Under Offer hits the spot dead centre with its fifties scented modern punk infused rock ‘n’ roll. Reminding of another band deserving mass attention in Canadian outfit The Black Frame Spectacle, the track is a stomping viral temptation.

Wake The Maker brings the album to a close with its classic/hard rock melody shaped howl and though it did not personally excite as those before it, the song is a richly satisfying conclusion to an album which we can only suggest is the finest offering from The Senton Bombs yet.

Global attention is long overdue for the band we strongly suggest but maybe about to be seriously poked by Outsiders, a release and title which sums up the band’s sound and presence within rock ‘n’ roll and the individuality which will always make them stand out and excite.

Outsiders is released November 5th via Regolith Records.

https://www.sentonbombs.com/   https://www.facebook.com/thesentonbombs   https://twitter.com/thesentonbombs

Pete RingMaster 16/10/2018

Copyright RingMaster: MyFreeCopyright

Healthy Junkies – Delirious Dream

Two years on from the album Box Of Chaos outshining its impressive predecessor The Lost Refuge, which had started the trend by eclipsing the band’s debut Sick Note, UK punksters Healthy Junkies have again repeated the feat with their fourth album. Delirious Dream is a collection of tracks embracing the band’s broadest kaleidoscope of flavours yet over a punk ‘n’ roll landscape; a 15 song strong release which is for sure their finest moment to date keeping expectations clueless and the imagination enthralled.

Recorded with Brian O’Shaughnessy and mastered by Pete Maher, Delirious Dream is the songwriting and sound of the band at its boldest yet most intricately woven. With the founding duo of vocalist Nina Courson and guitarist/vocalist Phil Honey-Jones tapping into their most imaginative depths yet alongside the rhythmic prowess of bassist Dave Whitmore and drummers Pumpy and Adam Lewis, Healthy Junkies have created a new magnet of sound which needs mere seconds to demand attention through album opener When All Is Said And Done.

Instantly the track is strolling eagerly through ears with a rich melodic hook amidst eager rhythmic bait, all the while keys adding their intimation. Courson’s ever alluring vocals quickly join the mix, adding elegance and harmonic radiance to the earthier breath of the song. With drama soaking every note and syllable, theatre intensifying across the host of twists and turns making up the simply outstanding punk ‘n’ roll incitement, the track immediately sets the high creative bar and striking character of the release.

This Is Not A Suicide brings its own exceptional roar of sound and enterprise straight after. Dirtier and grumpier than its predecessor and driven by attitude fuelled riffs and senses biting rhythms, the track sets its own particular pinnacle within Delirious Dream. Nagging grooves and garage punk spicing also add their incitement to the bracing trespass before the even tempered rock ‘n’ roll of Juliet’s Call saunters in. Like a gothic rock nurtured punk inspired collusion between Siouxsie and The Banshees and In Evil Hour, the track is pure virulence.

The band embraces more hard rock like hues for next up Johnny Demented, its raw sonic haze magnetically tempered by Coulson’s angelic tones. The song did not quite raise the roof as its predecessors in appetite and the passions here yet from start to finish it is a full captivation raising the ante as its holler and breath erupt across its eventful body.

Through the infectiously tenacious croon of Some Kind Of Girl and Ghost Without A Soul with its shadow draped atmosphere, riveting sound and adventure abounds with unpredictability and rapacious enterprise while All Talk brews an emotive entanglement of old school punk and classic rock in its own individual recipe of temptation. All three tracks easily grip ears and appetite though the delicious punk instincts and pop flirtations of The Sound Of My Guitar outshine all. The track is Class-A addiction spurning late seventies kissed new wave/punk rock slavery as ripe with hooks and celebration as a festive holly bush.

The following Boy Or Girl is something akin to a meeting of early Blondie and The Photos and quite irresistible with its successor, Meet & Greet preyed on an already aroused hunger for what is on offer with its predacious escapade resembling a kind of X-Ray Spex/Spinnerette collusion as the band take a swipe at musical greed. It is simply another major highlight of the album echoed in success by the frisky indie/pop punk animation of This Condition with Honey-Jones leading and dueting on vocals.

The album’s worst track is next and These Boots Are Made For Walking is nothing less than full pleasure as Healthy Junkies make the classic their own by giving it a predatory breath as classic rock guitars blaze before James Dean rumbles with old school punk ‘n’ roll lust and uncontainable ebullience.

The album concludes with the pair of Theft and Part 2. The first is a rebel rousing protagonist vivaciously prowling the senses before breaking into a similarly ravening rock ‘n’ roll canter with erupting psych rock bred flames while the second is its dark but incandescent underworld where physical and emotion elements of the tracks shimmer, smoulder, and burn.

Together they make for a fascinating conclusion to Delirious Dream, echoing its title despite their brooding volatility and showing there is so much more to the creative palette of Healthy Junkies, one they have still yet to fully explore.

We always feel a sense of excitement when a new encounter with Healthy Junkies comes along as they have always manage to outdo themselves so far; Delirious Dream is no exception; in fact it pretty much outshines most other punk/rock nurtured offerings around this year too.

Delirious Dream is out now via Banana Castle Records/Cargo Records UK across most online stores.

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

Pete RingMaster 17/10/2018

Copyright RingMaster: MyFreeCopyright

Blast Bomb – Burn History & Live Today

The tail end of last year saw the attention seizing arrival of German outfit Blast Bomb on the punk ‘n’ roll scene with debut single Born To Lose. Offering up three ravenous slices of heavy rabid rock ‘n’ roll, the release announced the Hamburg hailing quintet as one explosive proposition. Since then the band has made a just as striking and powerful impact on the live scene, sharing stages with the likes of Honeymoon Disease, Conan, Monolord, El Colosso, and Grumpynators along the way. With their reputation seemingly growing by the week, Blast Bomb is poised to release the Burn History & Live Today; an encounter confirming them a feral trespass of sound rather easy to devour and be excited by.

Blast Bomb emerged early 2017 as a project when guitarists Torben and Klaus, bassist Kai, and drummer Tobi came together though the foursome had played together in various permutations and outfits including notably High Gain District and Skull Harvest across previous years. Swiftly they enlisted former Thirteen Shots vocalist and founder Johnny Rose and together honed a sound which is an aggressively imposing and irritable yet instinctively contagious collusion of punk and hard rock with varied metal bred essences. Born To Lose soon proved it was an ear grabbing proposal which demands attention but fair to say as potent as that release was, it has been fiercely eclipsed by Burn History & Live Today in adventure and imagination let alone raw confrontation.

Recorded by Franz Schedlbauer at No Moss Studio and across its quartet of songs lyrically inspired and linked by the emotions and desire leading to Rose’s resettlement in German from England a couple of years ago, the EP swiftly reveals bolder imagination in sound and enterprise through opener Gambler. From an initial bike throated rumble, the band’s new single swaggers in with a hungry groove and rapaciously swinging beats. That grooving continues to bait as things evolve, getting under the skin as Rose’s distinctive tones bring their equally compelling invitation to the hook loaded rock ‘n’ roll incitement. Also spilling a horror punk scent over its punk ‘n’ roll instincts, the track provides a web of old school nurtured but intrusively fresh confrontation while increasingly building on its creative hand.

The following Stray prowls ears with an almost portentous air as it makes its entrance; its threat escalating by the riff and chord as the growling bass of Kai and scything swings of Tobi bring greater imposing texture and attitude to the senses challenging encounter. Stoner spicing adds to its character, further flavouring an inescapable intensity in sound and emotion as well as another inventive aspect to the Blast Bomb sound before Burn History bounds in with devious hooks and snarling riffs amidst an eager ferociousness quickly sparking blues flamed spirals of guitar. This all springs into a spicily searing glaze of sonic liquor which subsequently triggers a repetition of the song’s opening whirl of irresistible hookery and in turn a horror punk lined stalking. With imagination and drama growing in every persuasive note and vocal twist, the track rivals the first in best song honours.

Live Today concludes the release, its gentle opening saunter easily luring the imagination, seducing as guitars and bass unite in an even tempered invitation unsurprisingly carrying an edge and suggestive volatility. That aural simmering eventually erupts in a caustic wind of sound though it is still held with a restraint which escalates the intrigue and creative nature of the song.

It is a fine end to a release which confirms Blast Bomb as one exciting prospect and though you can sense that their sound is still evolving, finding its true voice it just adds to their striking and very welcome intrusion on the punk/rock scene.

Burn History & Live Today is released via Undead Artists on November 2nd with pre-ordering available now @ https://blastbomb.bandcamp.com/releases

Upcoming live shows:

19/10 Kapovaz, Bremerhaven*

20/10 MAD Music Club, Backyard23 Social Club e.V., Hameln*

04/11 Bambi galore, Hamburg+

* with The Dukes Of Bordello + with Castle – Metal Band

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

Pete RingMaster 16/10/2018

Copyright RingMaster: MyFreeCopyright

The DeRellas – High Rise Supersize

Pic David Newbold

Paving the way to a new album later this year, UK glam punks The DeRellas have just released brand new single High Rise Supersize. Consisting of three tracks, it is a rousing slab of punk ‘n’ roll sparking sure anticipation for the band’s forthcoming full length.

With previous mini album of 2016, Freakshow, thrusting the band’s sound to a new plateau in craft, imagination, and energy, it has been easy to hope, even expect, another elevation in prowess and adventure in any successor. Eighteen or so months on, High Rise Supersize more than offers, indeed realises, plenty of the potential of such success.

Producer by ex-Vibrator, Pat Collier, High Rise Supersize is the first release to feature new vocalist/rhythm guitarist Joey DeRella and comes as the band venture across the UK on a string of live shows including playing Rebellion in August. High Rise Supersize opens with one of those hooks you just have to take a bite of, guitarist Luca DeRella luring swiftly keen attention, leading it into the waiting rhythmic incitement of bassist Timmy DeRella and drummer Billion Dollar Bish. There is boisterousness to the track which just entangles the spirit especially once Joey’s eager tones join in the rock ‘n’ roll romp. The track is DeRellas typical yet soon shows a fresh character and intent with its animated melodies and sneaky hooks. Equally there is a touch of old school punk devilment to its roar which only adds to the fun.

The lead song is accompanied by I Got Something To Say and a great cover of The Sweet classic Fox On The Run. The first similarly lays down tasty guitar bred bait to set things going, rhythms in tandem snapping across the senses. As quickly the track shows a darker and dirtier attitude loaded nature to its predecessor, snarling as it stomps spilling open belligerence as it swings. The track is superb, for personal tastes even eclipsing the lead track, and another reason to get a touch excited about that impending album.

Its successor also carries that dirty texture in its infectious stroll, The DeRellas infesting the veins of Fox On The Run with their own creative and mischievous juices. The band does not dissect and rebuild the well-known encounter but gives it a growl and a raw layer of rock ‘n’ roll soil which works a treat.

It is set to be a very busy summer for The DeRellas and if High Rise Supersize is a sign of things to come an extremely successful end of year through the release of that new album.

High Rise Supersize is out now on the band’s own label, Rockaway Records; available on 7” vinyl, CD, and download @ https://store.cdbaby.com/cd/thederellas

https://www.derellas.com/   https://www.facebook.com/TheDeRellas/   https://twitter.com/thederellas

Pete RingMaster 03/05/2018

Copyright RingMaster: MyFreeCopyright