Bad Mary – Glitter Bomb

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

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

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

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

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

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

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

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

Pete RingMaster 01/09/2017

Copyright RingMaster: MyFreeCopyright

Buzzkillz – Scum Of The Earth

There is always great enjoyment in the snowball effect of discovering one new band which in turns leads to another and so on. Checking out the new album from Finnish band Wanton on Undead Artists inspired the thought of what other psychobilly bands were hidden in the underground of their homeland. Quickly standing out amongst a potent many was Helsinki quartet Buzzkillz for which a like on their Facebook profile was inevitable. This in turn sparked the band to get in touch with their latest album Scum Of The Earth and now an eager recommendation of its contagious punkabilly.

Buzzkillz was formed in 2011 by vocalist/guitarist Ultima Foole and double bassist Jybe, the pair after playing for many years in their own respective bands “decided to do better music together”. A few personnel changes led to the current and potent line-up of guitarist Antti and drummer Joiku alongside the founding pair stepping forward in 2015 with an arsenal of punk/rockabilly bred tracks. The following year saw the band record their debut album with the uncaging of Scum Of The Earth coming in its fall and still luring a host of new hungry appetites for their sound week by week,.

Scum Of The Earth opens up with Sick Of It All, enticing with a Clash like beckoning before stomping through ears with psychobilly muscle and virulence. Rhythms take no prisoners, beats a thumping trespass backed by the delicious resonating bait that only a double bass can offer. The vocal growl of Ultima is quickly in the bullying mix, his grouchy tones backed potently across the band as the song cantankerously bounds across the senses. With wiry melodies adding to the pleasure, it is a great start swiftly backed up by the addictive punk ‘n’ roll shuffle of Deepest Pockets. Like a mix of Russian punks Biting Elbows and the Danes Grumpynators, the track soon has body and spirit locked in its grip and with consummate ease.

I’m Not The One comes next, its cowpunk flavouring another easy to embrace temptation and the spicy lining to the track’s contagious swing before the album’s title track brings a dirtier, grittier slab of rock ‘n’ roll to the party. Both tracks hit the spot dead centre, the second with a tone reminding of The Peacocks but equally each is overshadowed by the rousing rumble and incitement of Losing The Fight. With anthemic rhythms alone stoking up feverish fires, the song ensnares eager ears and appetite, treating both to a mesh of sultry melodies over relentlessly catchy rhythms.

Through the punk ‘n’ roll intimidation of Outside, Jybe unleashing another simply irresistible infection of bass, and the sinister rockabilly seduction of Fear Of The Unknown, band and album further share rich variety and salacious flirtation while Roll The Dice delves into some ska punk seeded devilment to stretch that diversity within those three songs alone.

Psychobilly drives the irritable charge of Monsters next, the track a rapacious trespass of ears and pleasure simultaneously infesting and captivating the imagination. Its melodies entice with zeal as riffs and rhythms badger and trap an instinctive appetite for their source genre; a psychobilly flavouring just as eagerly fuelling the carnivorous exploits of Some Scars, a track something akin to The Meteors in league with Nekromantix.

There is a whiff of Tiger Army to the smouldering seduction of Sleepwalking but at times even more so of Th’ Legendary Shack Shakers with its dark off-kilter invention. Persistently, the song unveils a fresh twist and hue to its rock ‘n’ roll, emerging the most unique and thrilling proposal in a horde of only striking encounters.

The album ends with the muscular rock ‘n’ roll of Cross To Bare, a slab of punk rock putting a feisty cap on one rousing and thoroughly enjoyable release. There are plenty of familiar hues to the album but with a freshness and inventive prowess which employs rather than relies on them. Buzzkillz is a band ready to embrace attention far beyond their homeland, they have done their part in that aim with Scum Of The Earth; the rest is down to you. Now the question is from their discovery where will we be next led…

Scum Of The Earth is available now @ https://buzzkillzband.bandcamp.com/releases

https://www.facebook.com/Buzzkillzband/

Pete RingMaster 18/04/2017

Copyright RingMaster: MyFreeCopyright

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/