Dirt Box Disco – Poppycock

To date every Dirt Box Disco album has been a reason to romp and stomp, to unleash the instinctive punk and rocker inside with the British band’s own devilish intent. Of course their new proposal, Poppycock, is no different, a fifth album which turns body and spirit into a mischievously brawling blur of flying limbs, riotous fun, and lustful habits.

The Burton on Trent quintet has long established its own punk ‘n’ roll sound across four voracious albums and a host of EPs and singles. Fair to say that Poppycock brings more of that belligerent rock ‘n’ roll rascality but yet again the band manages to tap into something fresh. It is not necessarily a definable essence though the STP Records released album has a pop catchiness to its attitude loaded, middle finger raised rampage, but something which just gives the album its own character and the DBD sound a new twist.

In another year seeing the band relentlessly cause live havoc across the UK and Europe, DBD set it all up perfectly an album leaping upon ears with the same hunger as opener The Bullshit Kids bursts into life. Rambunctious rhythms and voracious riffs join group calls to get things started, a wiry vine of guitar temptation from Danny Fingers escaping the roar as the track spreads its bait. With lead vocalist Weab.I.Am standing antagonistically but invitingly astride the muscular stroll, band and track barge around with contagious revelry, DBD instantly showing they are still kings of the rebel rousing, listener involving chorus.

The following Finger Blast opens up with a Stiff Little Fingers like air, Deadbeatz Chris’ burly bassline and the swinging aggression of drummer Maff Fazzo courting the spicy hook and subsequent surge of caustic riffs set loose by Fingers and Spunk Volcano. Raw pop punk relishing its inbred rowdiness and sonic enterprise, the song has the body rocking and primed for the immediate incendiary incitement of Punk Rock Riot, a track as you would expect living up to its title with virulent aggression and anthemic contagion. With a slight whiff of The Adicts to it, the track is an inescapable persuasion to raise hell.

The excellent Little White Lie romances the senses with its multi-vocal union and warm textures next, all fuelled by the wilful and headstrong energy and sound expected of the band while its successor, Working For Wankers, has vocal chords at full volume in unity with its sentiment and defiance. Blending explosive and calm pastures, choppy riffs and melodic teasing leading to ferocious expulsions, the song has ears and appetite hooked within seconds, success equally found by the snarling Fat Kid with its carnal metallic riffs and toxic grooves.

DBD show their pure rock ‘n’ roll instincts with Snorting Crack From A Girls Top Rack, a virulent and raucous UK Subs/Sham 69 meets Showaddywaddy roistering providing an almost two minute spirit stirring yell. A pinnacle amongst only peaks, the track leaves body breathless and attitude inflamed ready for the lighter but still imposing incitement and swing of Lazy Bastard, its raw captivation subsequently eclipsed by the metal infused rock of Slapdash And Haphazard. Part pub rock, part hard rock, and all punk, the third of the three roars with creative zeal as sonic tendrils offer a scorching flame within the aggravated air of vocals and song.

The tenacious and uninhibited exploits of Geronimo are a bruising addictive charm to persistently knock around, as too the bolder poppy shenanigans of Imaginary Friend; both raffish sing-a-longs that vocals chords yearn for. The vociferously grouchy and rousing Somethings Are Better Left Unsaid is no different, its lures more metal nurtured but instantly involving rock ‘n’ roll to stride through the world with.

Poppycock closes with the tantalising swing and shuffle of I Hate This City, a ska/reggae kissed stroll with a touch of The Members and Ruts to its initial saunter. Boiling up with every passing second, the track hollers and thrills, and though it is not the best song on the album it leaves an irresistible and lingering imprint just impossible to shake off.

Upon the first listen or two of Poppycock, as impressive and highly enjoyable as it was, it seemingly did not make the same immediate impact as predecessors. That suggestion was soon dispelled as songs imposed their infectious claws in thoughts far away from their home in no time, returning as they pleased. Poppycock creeps up on you as well as creating a thrilling clamour in its presence while again Dirt Box Disco create musical havoc, emotional incitement, and the kind of rock ‘n’ roll that has body and heart stomping and howling with sheer pleasure.

Poppycock is out now through STP Records @ http://www.stprecords.co.uk/page3.htm and https://dirtboxdisco.bigcartel.com digitally and on CD with its vinyl release April 5th

Upcoming live shows:

 

http://www.dirtboxdisco.co.uk    http://www.facebook.com/pages/DIRT-BOX-DISCO/129060477115572    http://twitter.com/dirtboxdisco

Pete RingMaster 16/03/2017

Copyright RingMaster: MyFreeCopyright

Spunk Volcano & The Eruptions – Ram Raid

As if the early excitement of 2017 could not get better with the release of the new Dirt Box Disco album, it undoubtedly did with news of a new EP from DBD guitarist and his cohorts, Spunk Volcano & The Eruptions. It was a year ago that the band released their acclaimed second album Shit Generation, though it seems only a couple of months back thanks to its constant airing in the offices. It and the band’s punk rock rebel rousing firmly set the band not only as a wholly different proposition to Spunk’s ‘day job’ but on the British punk scene full stop. Ram Raid cements that uniqueness whilst revealing the most aggressively raucous and virulently dirty sound from the band yet.

Ram Raid also sees new guitarist Stu Page alongside lead vocalist Spunk, fellow guitarist Tom ‘G Force’ Batterbee, bassist Deadbeatz Chris, and drummer Maff Fazzo, the latter pair also part of the DBD devilry. With the band in the midst of a run of live stomps sure to confirm the band’s reputation as one breath-taking and bruising live proposal, Ram Raid simply brings a fresh incitement and spark to the UK punk scene.

Its title track opens things up, almost stalking the listener from its first breath as its predatory riffs and imposing rhythms prowl the senses. Having sized things up it bursts into a muscular stroll with Black Flag like animosity and the infectious aggression of The Damned.  As already established over previous releases though, SV & The Eruptions embroil ears and imagination in their own unique exploits, an enslaving rather than inviting chorus demanding participation as riffs and rhythms trespass and punish the senses respectively. It is one thrilling encounter, an outstanding start to the EP which already has itself and listener all fired up.

There is no moment to calm down either as the belligerent punk rock of Stop Looking At Your Phone roars in ears, its antagonistic charge and dispute irresistible. It is a wall of sound and protestation, a torrent of violent riffs and equally uncompromising rhythms driven by the vocal antipathy of Spunk and the band. At barely a breath over a minute in length, the song is like being given the juiciest steak and only allowed one bite before it is whipped away, but what a mouthful it is.

Hanging Round The Shops is a collusion of punk and hard rock with a metallic lining and just as vociferously seductive and uncompromising as those before it.  It also has a pop punk devilry to its swinging grooves and lusty chorus; body and throat swiftly enjoying subservient participation before sharing just as much zeal with the contagion fuelled clamour of I Think Her Name Was Tracey?

The two tracks alone, but just like the EP, have something for all rock ‘n’ roll fans; whether of bands like Dead Kennedys, The Ramones or UK Subs, Turbonegro or Motorhead, indeed even New York Dolls to Gene Vincent there is plenty to relish. Ultimately it is punk rock at its voraciously ballsy best as proven one final time by EP closer Snap Backbone, a seriously catchy and tenacious slab of hook lined rip-roaring enticement.

Though only five songs running at twelve minutes, Ram Raid is the band’s most stirring and rabid yet rounded creative howl yet putting so many others and their offerings firmly in the shade.

The Ram Raid EP is out through STP Records on March 31st with pre-ordering available @ http://www.stprecords.co.uk/page3.htm

Upcoming Live Shows:

Fri March 31st – Rotherham – Cutlers Arms

Sat April 1st – Uttoxeter – The Old Star

Fri April 28th – Gateshead – Black Bull

Sat April 29th – Glasgow – O2ABC (Scotland Calling)

Sun April 30th – Wakefield – Warehouse 23

Sat July 1st – London – Tufnel Park Dome (Wonkfest)

Fri July 28th – Derby – Hairy Dog

Sun July 30th – Manchester – Star and Garter (Rebellion Warm Up)

??? August 3-6th – Blackpool – Rebellion Festival (day tbc)

Sat August 19th – Cambridge – Portland Arms

Sat September 30th – Northumbria Students’ Union (NE Calling)

Sat December 23rd – Manchester – Star & Garter (STP Xmas Show)

http://www.facebook.com/svate   http://spunkvolcanoandtheeruptions.bigcartel.com

Pete RingMaster 16/03/2017

Copyright RingMaster: MyFreeCopyright

Born To Destruct – Devasteight With Destruction

BTD_RingMasterReview

There are many forces of nature, especially within punk rock and a few which really relish turning the world upside down whilst offering rich rewards for those in the way of their tempest. Destruction rock ‘n’ rollers Born To Destruct are one, a UK band which unleashes their own individual form of punk and uncompromising heavy rock in a confrontational fury of anthemic hell-raising which rouses the spirit as it bruises the senses.

Hailing from Cambridge, Born To Destruct stomped into the punk scene in 2007; formed by one of the forces of seventies punk, vocalist/guitarist Woodstock PunkRock who was returning after a decade away from performing and playing. Originally female fronted, the band soon made a potent mark live and with their contagious punk rock sound across many well-received releases. With vocalist Kat Destruct leaving to study at university, 2010 saw Woodstock take over lead vocals and a new version of Born to Destruct emerge. Further successful releases followed to back their ever potent live presence which brings us up to the now and the band’s storming new album Devasteight With Destruction. Released on the persistently impressing STP Records, the album is fifteen tracks of gloriously invasive rock ‘n’ roll to get shirty alongside, to rampage with, and to get inescapably addicted to.

Devasteight With Destruction opens with its title track, immediately laying down a grouchy lure of riffs which just as swiftly blossom into an addictive coaxing where grooves and rhythms collude to tempt and invade ears within the tow of a deliciously carnal toned bass line. Once in full cantankerous flow, the track shows itself a web of heavy and hard rock infused with punk seeded predation. It is a gripping start with the bass of Stu Spider Fingers continuing to seduce an already awoken and keen appetite as the brawly vocals of Woodstock prowl and growl.

art_RingMasterReviewThe excellent start and flavouring carries on into the raucous and cranky charge of Eufuckinphoric, where initially choppy riffs funnel into ears this time around as Woodstock adds bearish vocal weight and coaxing. The riffs and hooks of Paul Moose and guitarist Daiv Tap bite and serrate the senses with sonic hostility all the while too whilst the rhythms of drummer Jack Destruct swing with contempt. It is a unity which should send you running but instead simply whips up an impossible to resist call to arms.

All The Gear But No Idea has a slightly mellower air next, well more melodic anyway with its Generation X like spicing to grooves and an accompanying infectiousness. Around them the song barracks and presses all the right buttons in antagonistic pleasure before Lets Get Rowdy obviously does what it says on its tin. There is a touch of Crashed Out meets 4 Past Midnight to the song as well as another dose of unstoppable virulence to its seventies spiced punk ‘n’ roll uproar.

Across the hard meets punk rock blaze of Do You Wanna Know, with its great line in nagging hooks, and the thumping incitement of Release The Beasts, the album turns the screw on ears and the passions. It is always hard to say no to instinct raising, vociferous rock ‘n’ roll and both songs have it in thick abundance, the second with an extra pleasing slither of classic rock to it also. Smile comes similarly equipped, though truthfully that applies to all songs within the album. It is arguably more formula in presence than the encounters around it yet shares only the strongest persuasion and the enticement of eager participation.

The surly roistering of Sixty Seconds is next to step up, the minute long clamour leaving ears almost punch drunk from its zealous revelry whilst We Bring The Noise, as expected, again lives up to its name in physical and impassioned kind. Actually the track probably does not devour ears as forcibly expected but no complaints as it leads another moment of chest thumping enjoyment before Get Your Head In The Game becomes the inspirational ringleader to further lusty involvement, especially through its addictive chorus and vocal bellow.

You can almost feel the roar of the crowd as What A Bastard unfurls its magnetic defiance and muscular intimidation next; from title alone easy to sense becoming a fan favourite. Of course its particular brand of ear pleasing obstreperous rock does it no harm in inciting keen emotions either, a success more than echoed by the outstanding We Love It quickly after. Swinging in on a caped crusader-esque groove, in no time the track is a snarling torrent of riffs and tenacious rhythms laying the groundwork for the equally testy and rousing vocals. In your face rock ‘n’ roll does not get much better than this, though it can get matched as shown by Today, a song emerging as a personal favourite. There is a great contagious scent of The Vibrators to track, additional magnetism to its hook lined slab of near perfect punk rock. Some songs just hit the sweet spot, Today does dead centre.

The album concludes with the rollicking stomp of I’m Too Rock N Roll and finally the raw and irresistible anthem that is Destruct For You. Both tracks epitomise the tenacity and rampageous potency of Born To Destruct’s heady rock ‘n’ roll and equally the unstoppable addictiveness of the band’s album.

Though some tracks of course rise to loftier heights than others, from its first moment Devasteight With Destruction is one robustly imposing and exhilarating brawl very easy to get greedy for. Admittedly we have not come across the band’s previous offerings yet but if Devasteight With Destruction is not one of their finest moments yet, hard to believe it will not be, we have missed some other major treats.

Devasteight With Destruction is released March 17th via STP Records @ http://www.stprecords.co.uk/page4.htm

https://www.facebook.com/BORN-TO-DESTRUCT-246990948165

Born To Destruct embarks on the RELEASE THE BEASTS – ALBUM LAUNCH TOUR in March alongside Spunk Volcano & The Eruptions and Skurvi.

Dates are…

Sat Mar 12th – Abertillery – Dolls House

Fri Mar 18th – Cambridge – Corner House

Sat Mar 19th – Brighton – Prince Albert

Fri Mar 25th – Rotherham – Bridge Inn

Sat Mar 26th – Gateshead – The Black Bull

Sun Apr 2nd – Nottingham – The Maze

Fri Apr 8th – Birmingham – Flapper

Sat Apr 9th – Lancaster – The Yorkshire House

Pete RingMaster 01/03/2016

Copyright RingMaster: MyFreeCopyright

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

Cavaverman – Tales From Cavafistool

Cavaverman _RingMaster Review

It was Johnny Rose, the band behind Birmingham rock ‘n’ rollers Thirteen Shots and the independent label Undead Artists, that pushed our gaze the way of Italian horror punks Cavaverman, and boy are we grateful that he did. The trio released their new album Tales From Cavafistool this past Halloween, a thirteen track proposal that rocks with the bloodlust horror punk should always do but equally with an imagination unafraid to involve other bold flavours and twists of invention. The result is a fascinating and seriously rousing stomp fuelled with a potential that says even bigger and bolder adventures are ahead, so time the world woke up to the sonic zombie hunters.

Consisting of guitarist/vocalist Sal Champion, bassist Apocalypse Giò, and drummer Doktor Hell, it is fair to say that Cavaverman wear many of their inspirations on their sleeve the likes of The Ramones, Misfits, Alkaline Trio, and Entombed included, weaving them into their own contagious and visceral romances of sound and horror. As previous releases like Dead Brains For Brain Dead and James Dead showed, at times there is no escaping the familiarity to those influences but more often than not they merely spice fresh pools of bloodied Cavaverman imagination.

Tales From Cavafistool quickly stirs the blood and passions with opener Vampiro; a pull back on a shotgun the spark to a charge of spicy riffs and thumping beats driven by the potent tones of Champion. With a snatch of psychobilly to its character and straight forward rock ‘n’ roll in its instincts, the song rumbles and swaggers with expectations feeding horror punk tenacity and zeal, but with a wealth of enterprise it only thickly excites before Dead In Berlin offers its own breed of lusty punk ‘n’ roll. As in the opener and many more, Misfits is an obvious spicing but one, as suggested earlier, honed into the ways of Cavaverman with fresh and imaginative resourcefulness. The rhythms of Giò and Hell stalk and grumble magnetically throughout its scavenging whilst Champion shows himself as alluring with fingers on strings as voice on lyrics.

Cfront_RingMaster Review     The more restrained Yellow King shows a fuzzier melodic string to the band’s creative bow whilst still creating a virulent offering hard for body and voice to resist whilst the mighty Green Goblin is a two and a half minute addiction that you will be crooning long after leaving its and the album’s side. Familiarity is once more a potent hue but entangled in a pungent pop punk weave, the track is like all your best friends partying in the ears.

Such its contagion and slavery upon the passions, the following Don’t Cross The Streams has a harder task to shine alongside but its efforts are strong and enjoyable, especially with its excellent sinister entrance on intimidatingly anthemic rhythms. Into its stride, the song loses some of its potency in energy and impact but it still has feet romping and pleasure aflame by the time it makes way for Inside You and straight after Hero. The first of the pair also embraces the punk pop side of the band, breaking into an easy going and vibrant rocker before its successor grows from a scuzz kissed croon under atmospheric cold into an impassioned serenade with rising crescendos. The track might be another not quite matching some of those around it, but what it lacks in a persuasive spark it more than makes up with in bold and fiery blends of varied rock styles to show the strength of the band’s songwriting and imagination.

Lora Ashley is a delicious straight forward incitement of hooks and united vocals, an inevitable horror punk sing-a-long raising the spirits and greed ready for the drama laded rock ‘n’ roll of Dead Boys Of Summer. Resistance is futile here too as the track prowls ears with its sturdy rhythms and grinning hooks, vocals the final lure in a lustful anthem. Irresistibility continues in the old school punk joins fifties spawned rock ‘n’ roll of Don’t Worry About Me next, the song something you could imagine a collusion between The Damned, Flogging Molly, and Calabrese producing whilst the irresistible Teenwolf is less than two minutes of boisterous incitement with anthemic effect on body and emotions.

     Tales From Cavafistool is finished off by fiery rocker Just Another Day where blues spicing adds to rich flames of melodic and heavy rock aligning to a rockabilly swing, and finally the short sepia toned instrumental epilogue of Dawn Of The Cavaverman. The final piece is like the closing of the theatre curtain at the close of a creative triumph, and that is just what Tales From Cavafistool is, a triumph from a band previously in the shadows but now bounding forward with a real punch. As uniqueness and imagination continues to grow within the craft of Cavaverman, there is no reason to dismiss the thought that something special for horror punk is brewing in Italy.

Tales From Cavafistool Cavaverman is out now via Undead Artists and @ https://cavaverman.bandcamp.com/album/tales-from-cavafistool

https://www.facebook.com/Cavaverman

Pete RingMaster 04/11/2015

Copyright RingMaster: MyFreeCopyright

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

Vanilla Muffins – The Drug Is Football Double 7”

REB1051 front cover_RingMaster Review

Apparently Switzerland’s Vanilla Muffins have been the undisputed Kings of Sugar Oi! for the past 25 years or so. I am not sure about you but I have no idea who else has a sound which fits that genre; well actually maybe we do as the trio from Basel create a stomping proposition which blends pop infused punk with infectious rock ‘n’ roll. It is quite simply punk ‘n’ roll but a strain which indeed has a distinctiveness singular to the band whilst providing one rousing and thoroughly enjoyable escapade.

Driven by a passion for football and their home city team, Vanilla Muffins began in the late eighties, growing in presence, songs, and stature with each passing year. Now they have five albums, eleven EPs, and numerous compilation appearances under their belt, the latest being a re-issue of their classic and highly sought after 2003 album The Drug Is Football via Rebel Sound Music. Last year saw the band return with Best Of (Triumph of Sugar Oi!) via Bandworm/Spirit of the Streets and after it the A Little Night Music / Eine Kleine Nachtmusik EP on Sunny Bastards. Both re-ignited old and indeed sparked new appetites for the band’s insatiable infectious sound, as too limited edition single Goal of the Month earlier this year. Now for a limited edition Double 7″ offering, the band itself has plucked eight of the best songs from The Drug Is Football and if like us you are new to their presence, it is a must listen.

The trio open things up with No Punk Rock In My Car, and a rally off boisterous vocals and punchy rhythms aligned to bracing riffs. Instantly it is a virulently catchy affair with sinews as gripping as the warm and inviting melodies are infectious, slavery for feet, neck muscles, and vocal chords the result. There is a feel of UK rockers Spunk Volcano and The Eruptions to the encounter, a similar old school punk meets modern devilry at riotous and irresistible play.

The following Brigade Loco is just as magnetic and inciting, the grooved coaxing from the guitar of Colin Brändle an inescapable lure within the jabbing beats of Eddie Jr and the great bass groans posing as a bassline from Ian Norris. Equally Brändle’s vocals are nothing less than rich persuasion and though there are no major surprises in the song, as throughout all tracks, everything colludes in a power pop meets punk rock tempest of boisterous and seriously invigorating goodness.

Dirt Box Disco meets Weezer is a handy description for All Roads Lead To Rome which follows, the song sitting somewhere between the two as Vanilla Muffins swing riffs and hooks like a puppeteer to again command eager hips and reckless feet. Without quite matching the first two in drawing lusty reactions, the song is an easy going protagonist to get swiftly involved with, its success nicely setting up the appetite for the brilliant 3 Comrades. Rhythmically compelling and vocally inescapable, the song is pure anthemic rebel rousing and maybe the best thing on the release, though that fluctuates between a trio of songs daily.

The title track rampages through ears next; its steely punk attitude and intensity simultaneously tempered and urged on by the ever alluring vocals and melody rich hooks which just as potently rouse the spirit and spark unavoidable participation. It is a blood pumping call backed resourcefully by The Gang From Kannenfeldpark and its nostalgic look at the young years and more carefree times and straight after by The One And Only with its Buzzcocks like nag of a hook and fuzzy Vibrators like contagion. Both songs whip up more pleasure and hunger for the thickly enjoyable punk frolics, and the wonderment as to why it has taken this long to come across the slavery of the Vanilla Muffins sound.

The Mob From Kannenfeldpark is built on similar seeds as to its predecessor with another recognisable hook the lead into a slice of rock ‘n’ roll which finds a inspiration in decades further back than that of its original birth to spice up its own tenaciously imagined rock ‘n’ roll.

As the saying goes, better late than never and it certainly applies to finally get wrapped up in the Vanilla Muffins experience, a treat no punk and rock ‘n’ roll fan should miss out on. Watching FC Basel play on TV will come with a new soundtrack and fun from now on too.

The Drug Is Football Double 7″ is available from 30th September via Rebel Sound Music on Black Vinyl (200), Red A&B Side, Blue C&D Side coloured vinyl (200), and on Half N Half Blue/Yellow vinyl (100 and only exclusive to Rebel Sound)

https://www.facebook.com/VanillaMuffins

Pete RingMaster 30/09/2015

Copyright RingMaster: MyFreeCopyright

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

Akoso – Todas Putas

Todas Putas_RingMaster Review

Let us introduce you to some rousing punk ‘n’ roll from a band which most probably you have yet to make the acquaintance if placed outside of their homeland. They are Akoso and have recently released their third album Todas Putas. It is a storming collection of middle finger raising tracks roaring at the world with a view emulating the album’s title, which in English translates as All Whores. It pulls no punches and even with all track sung in the band’s Spanish tongue, there is no escaping its lyrical aggressiveness and musical contagion.

Hailing from Montblanc and with a name meaning “harassment” or “abuse”, Akoso began some when between 2002 and 2003. They have released two albums previously, a self–titled offering in 2010 followed by Noctamid para dormer three years later. The years has seen numerous line-up changes around co-band founder and guitarist/vocalist Xavi Nuez and at one point after the recording of their second album, Akoso seemed to split or go on hiatus with Xavi going on to form The Sick Side. The album still found itself uncaged to strong responses but it was only in 2014 when the band re-emerged, initially for a one off show. Now a year or so later, Akoso has their third and most impressive offering to date snarling at the world, a fusion of antagonistic punk and raw rock ‘n’ roll very easy to get excitedly vocal over.

Mañana Será Otro Día sets the aggression fuelled treat off, though the song itself arrives on a relatively restrained canter of riffs and punchy beats. It has a growl to it though which stirs ears and a sonic enterprise to feed the appetite straight away, and though the song is not tearing up trees it is an enjoyably solid and satisfying start to Todas Putas.

Things get a touch spicier with the following Habitación 46, the guitars swiftly sending tendrils of bluesy endeavour through ears as a more grouchy mix of riffs and rhythms court the distinctive vocals of Xavi. As enticing as it is throughout, the track most catches fire when it kicks its energy and attitude up another notch, a move which lures in great backing calls and a more predatory nature in the grooves and bestial tones of the bass. It discovers a more adventurous nature over time which is explored much further in the album ahead, here that boldness coming in hints adding more flavour and spirit rousing urgency to the track before ¿Qué Es Esto? takes over. The third song equally opens on a controlled intent and energy only to find its greatest persuasion once it also explodes with creative tenacity into another charging attack, mixing both gears with pleasing results from thereon in.

The next up Esto Es Punk swings its rhythmic and belligerent prowess at full throttle from its opening breath, jabbing at the listener whilst inciting their eager involvement, especially when the great unruly and anthemic mix of vocals leads the way. The track is a proper, rebel rousing punk song setting up emotions and energy ready for the similarly tenacious Ella Arruinó Mi Vida and its musical and bedlamic vocal hooks. Like its predecessor, the track has everything you want from a slice of adversarial rock ‘n’ roll and plenty more to get additionally excited over, just as La Guerra. Opening with scene from the battlefield, the next track is quickly spilling tangy sonic bait as vocally Xavi explores the tale of a soldier on the frontline, his wife back home, and their ill-fated chance of a reunion. Again it is an encounter which just gets hits the spot with no extra frills or any intent other than to provide one meaty and thrilling slab of punk rock.

The social commentary of Crisis blazes away next, the guitars merging hungry riffs with fiery endeavour throughout its infectious provocation, especially in a volcanic expulsion midway. The bracing roar of the song is matched by that of the outstanding Fuck The System, which from its opening contagion fuelled hook, has ears and imagination enslaved, only increasing its grip with the repetition of that irresistible start and a fist raising chorus where for the only time English its used in a simple repeat of the song title.

The thicker adventure of that song seems to spark Islamismo Radical straight after too, its initial bait of brooding bass quickly followed by swarthy grooving which just gets more potent with every dangle of its tempting, which in turn seems to spark greater flirtatious hooks and melodic imagination elsewhere as it heads to another middle part which just erupts with compelling imagination inspiring subsequent adventurous exploits through the keys to emerge. The best track on the album by far, amongst nothing but great growls of sound and attitude, the track gives a clear view along with the song before it, of where Akoso has the invention and prowess to really stir up attention from a broader punk world.

Closing song Llegó la Hora, also takes a leap into new imagination in the band’s sound, its opening caress of piano emotive and elegant as it leads ears into the addictive textures and hard rock meets punk ‘n’ roll infectiousness of its body. It is the perfect anthem to end the rebel rousing exploits of Todas Putas and a final stomp to get thoroughly and keenly involved in.

Fair to say Akoso are not trying to inject major originality into punk or rock ‘n’ roll with Todas Putas, though they do have it within them as a couple of songs show, but rather provide a slab of sound to simply get people excited and invigorated. That they do with ease through an album that definitely deserves more than a moment of anyone’s time.

Todas Putas is available for streaming and free download now.

Pete Ringmaster 22/09/2015

Copyright RingMaster: MyFreeCopyright

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

Hell Puppets – Theatre of Sin

Hell Puppets_RingMaster Review

Picture the scene, after one flawed but certain success Victor Frankenstein’s ambitions go full out to feed his appetite for rabid music. So with bodies embalmed with the raw irreverence of Frankenstein Drag Queens From Planet 13, the ravenous metallic animus of Morgue Orgy, the virulent contagion of Dope, and the punk mischief of Dirt Box Disco, he created EviL-P, BeLiaL, GRavES, BeeLzEBeN, and SaTurNiST to spread the red and devour the soul. Or it might simply have been the Devil which dragged Hell Puppets from their English graves to conjure and release the lustful addiction that is Theatre of Sin.

The debut album from the Sussex bred quintet is a carnivorous vaudeville of horror and creative drama cast across a dozen songs which just thrust a knife of contagion through the heart and continually twist it with a bounty of punk ferocity, metal predation, and rock ‘n’ roll devilry. It drew a big grin on the first listen and a lustful stalking from the second, and fair to say since its release a couple of weeks or so back, we are not alone in adding the release to our cellar of favourites.

With members hailing from London, Brighton, Chichester and Lucifer’s right hand, Hell Puppets emerged in 2011 infusing inspirations from the likes of White Zombie, Pantera, Sex Pistols, Slayer, and Misfits into their swift attention grabbing fusion of punk and metal draped in horror, the occult, and Demonism. The first year saw the band solely concentrate on creating and honing their sonic infestation before setting out on their live scourge of the UK. A live session for a local radio station marked the growing emergence of the band during the next year before in 2013 they began recording debut EP No Strings Attached which was released in the following January. An increasing number of acclaim garnering shows surrounding its well-received introduction to the band and since with a support slot with The Hell later in 2014 another highlight. It was a successful year certainly eclipsed by this, as fresh from playing Bloodstock and touring with Meta-Stasis in support of their debut album, we simply have Theatre of Sin.

Theatre of Sin_RingMaster Review   From the opening carnage of Bow Bells, band and album has ears and imagination gripped. The brief track is a visceral scene setter for the following …From Hell, a blood dripping, flesh ripping introduction to the murderous streets of Victorian Whitechapel and the lust of Jack The Ripper which its successor impressively runs with. The second track to a concussive ring of bells rolls out an epidemic of inciting rhythms and growling vocals within a horde of punk riffs and tenacious hooks. All those bands initially mentioned come to thoughts as the track throws its sinew loaded attitude and mischievous insanity across the senses, yet as good as a hint that they are, the track is something demonically distinct to Hell Puppets, as too it emerges, the album. The band certainly cuts straight to the chase with the best track on Theatre Of Sin but there is no downward slope to follow, even if tracks can only closely sniff at the brilliance of the full opener.

Hung, Drawn and Slaughtered is one which runs it close, its blackened soul and horror punk fury colluding in another quick slavery of infectious hooks, grooves, and unpredictability. As many songs within the album there is a familiarity to it which seduces with the charm classic evil always has, a broad smile which captivates as djent kissed riffs and death instilled voracity works away at the senses and psyche narrated by the varied squalls of vocal animus.

From that metallic tempest another in the caustic shape of Born To Die steps forward, its body a maelstrom of glam and hard rock with punk ‘n’ roll tendencies aligned to metal ferocity. It is a stomp which seizes neck muscles and vocal chords to do its bidding before Project Mayhem uncages its primal anthemic roar laying somewhere between Black Dahlia Murder and Therapy?, and Political Diarrhoea taps into the punk beds of The Damned, The Vibrators, and Misfits for its rapacious stroll and lyrical agenda which gets the job done without fuss or wastage.

From an imposing shadow cast by the classic shark attack sound, complete with nasal secretions, the deranged hardcore fuelled roar of Drugged Up Shark excites and disorientates leaving ears prey to the clutches of Halloween, the band’s Christmas song. Only kidding, but it is a track which just keeps giving from its Carpenter inspired theme and melodic coaxing through to its grungy death infused sonic rancor. The track is glorious, another revealing new nuances and defiling attributes with very listen, much as We Are The Enemy and its whirlpool of insidious death metal, bracing rock ‘n’ roll, and juicy grooving. Imagine The Sex Pistols, Turbonegro, and Venom severely shaken until their juices merge and you get a glimpse of another big highlight amongst many within Theatre of Sin.

Morbid Mirror twists and turns like a clawed seductress next, its lithe grooves and rasping vocals bringing a mix of Grumpynators and Murderdolls whilst slipping into richer blackened spite throughout, especially vocally. Once more ears and emotions are lost to Hell Puppets and kept by firstly the bestial, mordant sound of The Decunted and finally the mouth-watering discord and sonic antipathy of Face the Reaper. The track is a bad-blooded smog of noise and sonic pollution which just brings the bedlamic acts of Theatre of Sin to a fitting ravenous climax.

The album is a wonderful desecration of body and soul and if any of those bands we mentioned as hints appeal, as well as something new and dirty to the touch, and the fact the Hell Puppets is our new favourite trespass, then hopefully we have incited you to be brave and enter the Theatre of Sin.

Theatre of Sin is available now via Hell Puppets’ Bandcamp.

Pete Ringmaster 15/09/2015

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