The Obnoxious UK – Horror Movie Matinee

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With a title like Horror Movie Matinee, you cannot help expecting a viscerally imposing and furiously bloody proposition unafraid to go where angels fear to tread, and it is fair to say that the new album from UK punkers The Obnoxious UK does not disappoint. Bulging to the point of bursting with fifteen tracks which resourcefully draw on horror punk and psychobilly flavours as well as a thick dose of punk rock from over its most potent ages, band and release makes for one compelling and thoroughly enjoyable punk ‘n’ roll roar.

The Midlands based band began in 2001, and whilst going through a few line-up changes over the years has persistently grown and lured in devoted local attention and support which over recent times has solidly spread, Horror Movie Matinee poised to be the band’s biggest and most potent instigator yet. The release of the video for album track God For A Day really whetted the appetite for the forthcoming full-length, though it turns out it is only one particular spice in the hellacious riot.

Anthemic rhythmic bait is food and drink to these ears and that is exactly how album opener Drinking With The Dead makes its first wave of persuasion. The drums of Fez roll in and along with attitude and catchy tempting, swiftly joined by the raw and similarly magnetic riffs of guitarists Bri and Kimbo. The latter is close behind with his vocals too, potently adding to the infectious incitement of the horror punk escapade. It is not a song with a startling statement of originality yet with its punk tenacity and carnivorous shadows, easily provides a soundtrack for any salacious moonlit and cemetery based jiggery-pokery.

The tremendous start is backed by Walking Dead, another horror punk spawned proposal equipped with spicy hooks and melodic fire, though the blood lust seems restrained, as indeed the song, in presence and effect in comparison to the first and the outstanding Drag Me To Hell which follows. Psychobilly is given a poke this time but equally the track has an old school rock ‘n’ roll blaze to its addictive stomp. The string pulls of bassist Jacko resonate across the song whilst the duller but no less gripping beats only help infuse a great vintage tone to the song. With fiery enterprise from the guitars employed too, the track sets down a lofty plateau for the album which is matched and worried time and time again.

     Loaded Roadkill is one straight away unleashing a potent challenge. Fusing a hard rock and rockabilly tenacity into its punk attitude, the song bounces over and pounds the senses with accomplished vindictiveness and anthemic charm. Already across a quartet of tracks there is a distinct variety on show which continues in the mischievous Elvis Is Dead. Opening with what just could be the final croon of the man before he died, we wish, the track erupts into one of those irresistible old school punk sing-a-longs. It is barely over a minute of unbridled shouting and stomping from band and listener alike, loosening things up ready for the more intensive might of Burn and straight after Cadaver Doll. The first of the two snarls and growls in sound and vocals, Misfits like toning coating the caustic punk heart of the contagious track whilst the second takes the influence of the US protagonists even deeper into its primal instincts and expels an extremely tasty and feisty prowl of horror punk with a dash of Calabrese. It is another of the biggest peaks in the landscape of the already highly thrilling release.

The same kind of recipe igniting the last two songs is a flavoursome essence in God For A Day, though the song has a more volatile punk intensity which reminds a touch of Crashed Out. Veined by a great sonic groove and adventure, the track hits the personal sweet spot before making way for the excellent Time For Change. Think Angelic Upstarts meets 4 Past Midnight yet singular to The Obnoxious UK, and you get a thick idea of the excellent encounter, which in turn has to depart to allow the hard rock sculpted When Angels Fly Away to blaze away. Initially the song is a classic rock like croon but once its switch is flicked, it bursts into sonic flame fuelled by a punk abrasion and heavy rock temperament. It is another strong offering but lacks the same kind of spark as other songs and especially that within 3 Dead Souls which preys on ears right after. Another irresistible parade of dark rhythmic tempting opens up the encounter, soon followed by a melodic and sonic venture just as shadowed and gripping. As the song pulls back slightly on its predation for the vocals, a raw Tiger Army breath adds to the intrigue and invention, entangling with the rest of the track’s rock ‘n’ roll for a hefty slab of virulence.

Through the psychobilly/horror punk washed Ginger Is A Werewolf and the hostile punk ‘n’ roll of Iceman, the album tightens its grip further on ears and emotions. Both are inescapable offerings which ruggedly seduce and intimidate respectively before Amelia brings a little caustic ‘necro’ romance to the mix.

The bonus track of The Cottage Strangler brings the CD to a close, and it is indeed a bonus as the band slips into a ska punk and dub warped treat of a finale. Like the Vox Dolomites meets Ruts and probably more so Ruts DC, the song is pure pleasure.

Horror Movie Matinee is not really troubling boundaries and forging new inventive templates for punk and rock ‘n’ roll but The Obnoxious UK has definitely unleashed a romp which has body and imagination eager, and pleasure oozing from every receptive pore. That alone is one big reason for all punksters to check out band and album.

Horror Movie Matinee is released on Friday March 13th on STP Records and can be pre-ordered now @ http://www.stprecords.co.uk/page4.htm

The same day sees the album’s launch party the Cottage of Content in Chasetown where The Obnoxious UK will be joined by Dirt Box Disco.

https://www.facebook.com/pages/The-Obnoxious-UK

RingMaster 04/03/2015

Copyright RingMaster: MyFreeCopyright

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

 

dragSTER – Dead Punk

Photo by Uglypunk —

Photo by Uglypunk

 

Not sure about you but the quality of British punk rock right now is inspiring tingles not that far removed from those felt when its first generation of sounds and bands were in their heyday. This is all down to bands like Coventry quintet dragSTER and ridiculously exhilarating releases like Dead Punk. Rampaging with thirteen riots of hostile punk ‘n’ roll, the band’s third album is a tempest of feet inflaming, passions rousing ferocity with a strength of invention and virulence to match. There has been some extraordinary rock ‘n’ roll storms in recent times but few can be said to have come close to the fire and flare of Dead Punk.

Formed in 2006, the Coventry hailing dragSTER built, on a love of 50’s iconography, sci-fi and B movie horror, and ‘dirty, fast and energetic music’, their own punk turbulence which was soon stirring up a nest of attention with its voracious energy and aggressively forceful sounds as pungently evidenced on the Rat Scabies produced Trailer Trash EP. Extremely well and greedily received by fans and media alike, the band reinforced their emergence with first album Step Into The Deathray in 2007. It was swiftly devoured upon release whilst subsequent shows with the likes of The Damned, The Buzzcocks, Sham 69, Eighties Matchbox and Electric Frankenstein only enhanced and increased their reputation before second album Here Come The Meat Robots in 2010 had its impressive say. Released as Dead Punk on STP Records, the release marked out the band as one of the most exciting prospects in UK and European rock ‘n’ roll. Featuring ex and current members of bands like UK Subs, Texas Terri Bomb, Criminal Class, and Pigface, dragSTER has pushed on again in both songwriting and sound to now uncage one of the modern punk classics.

A slither of an intro leads ears into the opening fury of Gatecrasher Hostage as Dead Punk begins consuming ears. The song is an instant roar, expelling abrasing riffs and thumping rhythms around the fiery confrontational tones of vocalist Fi Dragster. Ears and appetite are immediately seduced by the onslaught, especially as potent hooks and spicy grooves add their bait to the straight forward but already juicy sound. The machine gun bursts of beats from drummer Ryan Murphy only inflame the intensity and addictiveness of the encounter, leading the listener into a predacious web of dark temptation from guitarists Diesel and Ben Kelly, the latter following up with a short toxic solo of magnetic enterprise. It is a delicious bellow of a song and entrance by the album, a triumph straight away surpassed by its title track.

Dead Punk is, as all tracks to be honest, an addiction forging anthem of belligerence and cantankerous endeavour bound in grooves and hooks to lose inhibitions over. With nostrils flared and dragdradramuscles giving ears a thorough going over, the track compounds its might with a chorus even the deaf and deceased would be drawn to engage in. There is no escaping the slavery of the song, a potency grabbed by Drink You Pretty next and twisted into a new furnace of tangy grooves and chorus placed vocal roars. The song growls and rages with a raw infectiousness and diversely flavoured enterprise, squalling like a mix of X-Ray Spex and Midnight Mob with a healthy dose of  Distillers added. Also repeating and increasing its prowess and bait is the bass of Tom AK, the throaty and at times grizzled tones conjured bringing a perpetual primal lure to this and surrounding tracks, bait again is impossible to resist.

Through the broader dirt clad hard rock spicing of Cattle Prod, band and album keep the variety and thick attraction of the album blazing before Evil Craze provides another massive thrill with its balls to the wall punk rock savagery quipped with another seriously habitual roar of a chorus. The protagonist bursts from the speakers with an almost physical and certainly visceral presence, Fi raging over it like a Queen of attitude and defiance whilst vocally and musically the band beside her unleashes their individual and creative furies to equal intensity and glory.

Such its magnificence, there is an instant fear or feeling that maybe the next track has a mountain to climb to impress but that is soon dismissed by the rampant fifties seeded rock ‘n’ roll of The Dead Are Out In Droves. Garage and old school punk meets horror punk with metal bred venom for company; the track casts its own unique anthem of quarrelsome and addict making sounds, passing on the same challenge to compete to Terminal Loser. Opening with a Generation X like lure of guitar courted by a demonic bass temptation, the song is soon rumbling and grumbled with every note and swiping beat. That antagonistic intent is matched by the fearsome and ever captivating Fi as she opens up the pop tainted heart of the song. A Spinnerette whisper adds to the rigorously seduction at work whilst the guitars scowl and tempt with a canvas of vicious and riveting endeavour which ensures that the track easily matches the potency of the previous storms.

The furiously caustic sounds of Just Wanna Fuck provides one minute of unbridled punk lust next before Liar Like That stamps its raucous authority on ears and emotions with a volatile union of vocals for the chorus the final key in the corrosive passions chaining encounter. Both leaves ears exhausted and spark a serious greed for more, a want and need fed copiously by firstly the Misfits stroked raging of Death By A Thousand Cuts and straight after by the stalking temperament of Indonesian Buzz Cut. The first of the two seizes ears with a raw wind of riffs and bass grievances splintered by the crippling swings of Murphy whilst the second, from a prowling gait of an entrance is soon a viper’s nest of incendiary rhythms, stabbing riffs, and vocal incitement. The pair also come with their own breed of contagion posing as choruses and a lack of thought of using their toxic hooks and inflammatory grooves sparingly.

The refreshing melodic and mellower tones of Fight Fire With Gasoline infuse more new spicery to the album, though that is not to suggest it lacks the same unforgiving attitude in sound and voice as any other proposition with Dead Punk. Thoughts of Penetration come to the fore as the fascinating encounter croons and blazes within its inventive presence before leaving final track Skull Ring to bring it all to a highly satisfying end. The closer is a dark protagonist openly sculpted from the gene pool of seventies punk, The Adverts a suggested spicing, and a bracing and ravenous bruising of unfriendly and irresistible rock ‘n’ roll impressively completing an outstanding provocateur of a release.

Dead Punk is not only one of the finest if not best punk release of recent times but stands on the front line of any emotionally and energetically charged slab of rock ‘n’ roll heard over the past twelve months or so.

Dead Punk is available via STP Records now on CD @ http://www.stprecords.co.uk/page4.htmn and digitally @

www.dragsteruk.com

RingMaster 16/01/2015

Copyright RingMaster: MyFreeCopyright

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One Last Shot – First Gear

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You just have to love a bruising stomp of rock ‘n’ roll where you feel dirty, battered, and exhaustingly contented at its conclusion, and few come more satisfying than the First Gear EP from French rockers One Last Shot. Without worrying about setting new templates for others to follow, it inspires by simply unleashing heavy passion drenched sounds in a blistering antagonistic and aggressive, not forgetting exhilarating form. The five track release is rowdy and refreshing rock ‘n’ roll at its prime, a riot of metal and rock everyone can lose their inhibitions to.

Consisting of ex-members of The Outburst and Crack Ov Dawn as well as the bassist of Sin And Death, One Last Shot creates a roar which takes essences from the likes of Lynyrd Skynyrd, Motorhead, and Guns N Roses but equally involves groove and stoner metal tenacity with punk belligerence in tempests which easily spark attention and hungry appetites for more. Described by some as dust metal, the quintet’s sound is a take no prisoners brawl with the devilry of the sleaziest salacious and thrilling romps. It is an unbridled and seriously accomplished sonic provocation bound in inescapable fun.

Brawler is the first track to accost ears, casting a melodic enticing instantly through one then the two guitars sculpting the emerging song. It is a restrained but spicy opening awash with a0481176261_2southern winery which opens up into a raw and raucous incitement through the gravelly tones of vocalist Sky and the anthemic riffs of guitarists Shelby and Scarsid. With rhythms as imposing as the hooks and grooves are magnetic, the track virulently strolls with punk hostility and heavy rock intensity. A great solo only adds to the rich lure and enterprise of the track before it all makes way for the even more impressive Skateboard Song. An enslaving hook is the first thing to escape the lips of the song, swiftly followed by the crisp beats of drummer Kmy and a throaty bassline from Void. This is in tandem with great caustic vocals and a contagious blend of ravaging riffs and seductive grooving. The encounter is glorious, again part punk, rock, metal and quite irresistible.

The following G.A.S. is in no mood to let levels drop either, its busier opening a furious mix of snarling riffs and sinew swung rhythms ridden by the abrasing vocals of Sky which are backed by the anthemic calls of the band. Once again infectiousness soaks the guitars as tangy grooves grip ears and passions with consummate ease whilst as in its predecessors, imagination and unpredictability add their own distinctly flavoursome and tenacious bait. By this point in the release, if not earlier, it is hard to imagine anyone not being lost to the impressive craft and addictive hell-raising of First Gear but to make sure another pinnacle consumes the senses through the next up Headbangers. A roll of drums triggers a waspish lure of riffs, each wave coming with a web of toxic grooves and barb loaded hooks. It is a sensational start soon joining a tide of eager intensity and melodic spicing. As elsewhere, there is a gang feel to the presentation and energy of the song, a united front taking on all-comers whilst like an arrogant peacock it simultaneously expels sonic and melodic colours to seduce all before.

Closing with the maybe less dramatic and gripping but no less enjoyable Prophesick, the EP comes to a great imposing end. The last track puts on its heaviest rhythmic boots and harries and batters ears with belligerent enterprise and heart and without lighting the same fires as earlier songs, it still unreservedly pleases as it completes what is an excellent and refreshing proposition.

It is hard to do anything but heartily recommend First Gear; yes maybe originality is not high on the agenda but it twists established weaponry into a ferocious and riveting storm which quite honestly leaves most other similarly bred offerings in the shade.

The First Gear EP is available via Just For Fun Records now and digitally @ http://onelastshotofficial.bandcamp.com/releases

https://www.facebook.com/onelastshotofficial

RingMaster 07/01/2015

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Krum Bums – Smoke 12″ EP

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Angry, antagonistic, and some of the best punk rock you will have heard this year, the Smoke EP from Krum Bums celebrates Record Store Day/ Black Friday in sublimely belligerent style. Made up of four rages jammed packed with essential hooks and unique antagonism, EP and band brawl and roar with insatiable passion and intensity. Quite simply street punk has never sounded better.

Hailing from Austin, Texas, Krum Bums was formed in 2000 by vocalist Dave Tejas and guitarist Trae Martinez. The years has seen numerous line-up changes but equally a continuing evolution and impressive growth of sound, a charge coming to a peak with previous and fourth album Cut The Noose in 2011.The band now though has unleashed their finest ferocity yet with Smoke, incendiary punk at its virulent best.

The EPs title track sets the rampage off, riffs and raw chords from guitarists Martinez and Josh Stiffs exploding on the senses alongside the staggered rallies of beats from drummer Nika Bennet. It is an imposing and attention grabbing start, but just a teaser as the track swings into fierce action with a riveting groove and heavy throated bass tempting from Zach Volta. It is the distinctive and gripping scaly vocal tones of Tejas which completes and seals the deal, his coarse persuasion complimented perfectly by the backing calls of the band. Grooves proceed to wind around ears and imagination with addictive potency whilst the sheer tenacity and energy of the song is a blaze which withers the senses and ignites the passions.

The stunning start is swiftly emulated by Nightmares, its sonic lure the first touch to the subsequent furnace of lyrical and vocal spite within a sonic web of searing enterprise and merciless rhythms. Again hooks provide inescapable bait whilst the heavy swings of Bennett only stir up the body with dangerous anthemic tempting. Added to the rasping might of Tejas and predatory tones of the bass, it all colludes to harass and bruise thoughts and senses into willing submission.

The broader melodic hard rock scenery of Falling Down whips up a frenzy in release and listener next, the song a punk anthem demanding the assistance of its victim but also unafraid to flirt with flavoursome rock and horror punk essences. Actually the ‘weakest ‘of the four songs but outstanding aggressive drama and contagion all the same, it makes way for the closing might of Plastic Bomb, arguably the strongest track on Smoke. To be honest there is little between all of the protagonists but with tangy grooves, a tsunami of beats, and ravenous urgency, the track just has the edge. A raging furnace of enterprise and stalking predation within a torrential outpouring, the encounter is sheer slavery of ears and emotions.

We have constantly suggested that punk rock is having a new heyday right now, and with releases like this from bands like Krum Bums, who only get better and more essential with every maturing year, there is no chance of doubting our claim.

The Smoke EP is available via Jailhouse Records from November 28th on 12“coloured vinyl limited to 500 copies and digitally @ http://jailhouserecords3.bandcamp.com/album/krum-bums-smoke-12-e-p with a re-release with different packaging and artwork due in 2015.

https://www.facebook.com/krumbums

RingMaster 28/11/2014

Copyright RingMaster: MyFreeCopyright

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The Amsterdam Red Light District – Gone For A While

PHOTO HD Promo3 TARLD

With a mouthful of a name and a flavoursome depth to their captivating sound, French rockers The Amsterdam Red Light District unleash their new and highly anticipated album Gone For A While. It is a striking encounter which intrigues and pleases at every turn, the band’s mix of alternative rock in a fusion of melodic punk and hardcore, ensuring a persistent drama and vivacity to each and every track. That it does not ignite the passions as rigorously as it maybe should have is a mystery and probably a personal thing, but certainly the eleven track proposition provides a tasty stomp for ears and imagination to invest a real appetite in.

Seemingly with members based in Lyon and California, The Amsterdam Red Light District since forming in 2005 has earned a potent reputation and recognition for their sound and live presence. Employing inspirations from the likes of Refused, The Bronx, The Ghost of a Thousand, and The Bled into their own distinct ideas and invention, the band has made striking marks through debut album Dear Diary in 2010 and the I’m Not Insane EP two years later, their success backed by a live presence which has seen The Amsterdam Red Light District play all over Europe with great regularity, feature at festivals such as Groezrock, Mair1, Resurrection, Sylak and Rockstorm, as well as play with bands such as Refused, Anti-Flag, Thrice, 36 Crazyfists, Comeback Kid, and Slayer. In July this year the band set about recording second full-length Gone for a While, its release like the first with Red Light Records, now upon us and likely to only intensify the spotlight on the band.

Opener Time Flies swiftly has ears and feet involved in its feisty stomp, riffs and rhythms an immediate frenzy bound in enticing grooves. Vocalist Elio Sxone is a commanding presence within the raucous persuasion from his first syllable, whilst guitarist Maxime Comby is soon complimenting his caustic riffs with sonic enterprise. Arguably there are no real surprises within the song but equally it is a refreshing and magnetic offering with real power to its energy and persuasion capped by the great Red Tape like vocal roars alongside the velvety shadowed tones of bass provided by Gregory Clert.

The attention grabbing start is surpassed by the fascinating Just Have A Good Time, its initial Southern rock/Cajun twang the lead into a ferociously fiery and impressive incitement. Swiftly the_amsterdam_red_light_district_hb_251114revealing more of the depths and diversity to the band’s sound, the heavy rock fuelled track stomps with contagious and aggressive intent driven forcibly by the imposing skills of drummer Julien Chanel. The song though is still as welcoming and catchy as its predecessor, whilst the blend of raw and melodic vocals work a treat across song and subsequently the album, their union as bracing as the contrasting sounds igniting the beast of a song.

   Million Miles Away is no slouch in getting the blood running hungrily through band and listener either, its on-going charge littered with spicy hooks aligned to harsh and melodic elements of punk. Fuelled with a torrent of barbed and addiction forging twists, with further outbreaks of chunky riffing and virulent grooving piling on the temptation, the song keeps the album flying high before handing over ears and emotions to the similarly compelling and voraciously sculpted A Chance To Change. Its energy is as full and insatiable as in its predecessor, and with a thick melodic tempting to its rigorous tenacity, provides another weighty slab of punk hunger and irrepressible contagion.

The brief evocative presence of Final Boarding Call is underwhelming, the track seemingly an intro into the album’s following title track but lacks anything to halt the urge to simply move straight to Gone For A While, itself a song lacking something compared to the first quartet of encounters but reinforcing the craft and imagination surging through the album with ease, if not the earlier adventure shown. Its gentler caresses definitely make for a satisfying companionship before Behind Your Sunglasses unveils its fiercer presence and emotion. Still missing that spark of bold inventiveness, the track impresses as it bawls and croons simultaneously, the vocals especially gripping within the tasty web of chords and hooks.

Both These Kids That Your Parents Warned You About and Come Closer leave ears and appetite full of lingering pleasure, the first with gnarly bass tones and bordering on hostile rhythms, a grouchy and thrilling protagonist. Its growl is wholly infectious, as is the return of that bolder inventiveness which marked the start of the album as the track shows itself to be another lofty peak in the landscape of the release. Its successor is built from the same template, a hearty snarl coating every predatory note and heavily swung beat, not forgetting the raw vocal side of the band, whilst grooves and hooks find their own unique venom to infest the imagination.

The two songs has body and thoughts back hungrily engaged before making way for the addiction causing Set The World On Fire, the track one of those anthemic stomps which only a loss of hearing can deter. Its muscular brawl of a seduction is followed by closing track Waiting For So Long, an encounter featuring Justin Schlosberg from Hell Is For Heroes. A final blaze of rugged and melodic punk vitality which maybe misses truly lighting the passions, it nevertheless gives the album a furnace of a send-off whilst egging on the urge to dive right back into the heart of Gone For A While.

At the start we said that the album did not inflame the strength of ardour that it probably should have. It is hard to define why, certainly there is not an abundance of surprises but there is plenty to enthral and spark a greed for more. It is easy to expect Gone For A While to be a major trigger for the passions in a great many though, and for the rest of us it has to be said The Amsterdam Red Light District has placed a strong enough grip with the album that anticipation for their next endeavour is unavoidable.

Gone For A While is available now via Red Light Records, digitally @ https://itunes.apple.com/fr/album/gone-for-a-while/id918599363 and on CD @ http://tarld.bigcartel.com/

http://www.tarldtheband.com/

RingMaster 26/11/2014

Copyright RingMaster: MyFreeCopyright

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

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The Mobbs – Garage Punk For Boys

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Ever wondered what would happen when you mixed ’77 bred punk rock with garage rock? UK rockers The Mobbs obviously did and with additional doses of sixties beat and R&B have crafted a sound which insatiably infests body and soul. In the mischievous shape of their third album Garage Punk For Boys, this adventure it is fair to say also provides one of the releases of the year. The accompanying promo sheet for the album suggests that “The Mobbs play a Wilko Johnson infused Billy Childish explosion”, an accurately pungent description of their sound but to that we would add the unreserved devilry of Radio Stars, the raw charm of Television Personalities, and the bracing fever of Thee Exciters in its armoury. The concoction is a riveting and exhilarating stomp with a hunger as shown by Garage Punk For Boys, which infects the listener from head to toe.

Formed in 2008, the trio from Northampton has persistently lit up stages, earning a rich reputation for energy strewn live performances, a stirring presence backed up and spread further by their greedily received full-length It’s… The Mobbs of 2011 and its acclaimed successor Stiff Upper Lip & Trousers To Match last year. With a couple of singles equally stirring the passions, the band has been a live spark in the European garage rock scene, though it is easy to expect Garage Punk For Boys being the trigger to a far more ferocious spotlight upon the inimitable uniqueness of The Mobbs.

The trio of vocalist/guitarist Joe B. Humbled, drummer Cheadle, and bassist The Bishop, who is making his recording debut with the band on the album, unleash an instantly grabbing eighteen second punk brawl through Gpfb to set GPFB-FRONT-COVERthings off, following it with the magnetic grooving of Get Your Hair Cut. Bass and guitar cast the first spicy lure on the second track, before snipping scissors unlock a feisty stomp littered with a wholly seductive bassline and similarly alluring hooks. Matching the devilment of the sounds, Humbled incites ears and imagination with his raw and unfussy delivery, a boisterous and infectious enticing to misbehave or conform depending how you want to take the exceptional track.

Its bewitching bounce is followed by the tangy presence of I Am the Anticlimax, clanging riffs an easy enslavement from the first breath. With The Bishop adding another delicious velvety tempting on the bass within the crisp rhythms of Cheadle, the track entwines beat and vintage punk rock, kind of like The Rockin’ Vickers meets Leyton Buzzards. Striding with attitude and sonic enterprise, the song is an instant anthem, as so much of the album, an almost concussive and certainly inescapable treat whipped up by scything guitar and punchy rhythmic enterprise, everything lorded over by the compelling tones of Humbled.

Do the Bishop! comes next and is just the wickedest instrumental baiting possible. The skills of The Bishop seduce and rumble throughout whilst Humbled’s guitar launches its own virulent seducing as Cheadle smashes anything in arms-length resourcefully. With a tang of blues sweetness to its epidemic waltz, the song sets up further hunger in the appetite for the album before making way for the melodic causticity and intriguing narrative of Demobbed. The track is primarily garage rock but at times you can almost swear there is an element of The Undertones in its slim but impossibly potent sonic endeavour.

The hungrily vivacious ride of the album is taken to another level with We Don’t Need a God, a brilliant furnace of searing grooves and greedy hooks ridden by the punk honesty of the vocals. It is pure addictiveness, every twist and tenacious slither of bait soaked in infectiousness and anthemic irreverence, leaving feet, body, and soul blissfully exhausted and thoughts rebellious. Imagine The Masonics flirting voraciously with The Adicts and you get not only the heart of the song but arguably of the whole release.

The title track is next, romping with ears and nostalgia through jabbing beats and jangly hooks, its title summing up song, sound, and the whole garage premise which fuelled punk and garage rock at their outsets. It also has thrilling melodic warmth to its gentle uprising, everything aligning for an irresistible rousing of pleasure, taken on again by the blink and you miss shortness of second instrumental Chicken Run. Its enticing strut is swiftly pushed aside by the exceptional sonic commentary of Where’s the Punk Rock!?, angst and fury as much a part of its gripping clang and garage punk fever as creative relish.

Photo 1   It is not exaggerating to say that every song on Garage Punk for Boys is devious rascality, all instinctively and simultaneously appealing to the styles it weaves its propositions from, One Erotic Thought another fine example with its sixties spawned beat infused garage rock tromp. As here, they all keep feet and limbs as busy as ears and imagination, and whilst thoughts may not be erotic as the song reveals of itself, they are nevertheless keen to indulge in knavish practices after each encounter.

Put It in Your Pipe clunks and swings in next, riffs bulky lures courted by compelling bass craft and vocal devilment, everything framed by precise and eagerly wicked beats. Stepping out with a punk seeded swagger, the track also wears the mischief breeding charm and adventure of King Salami and the Cumberland 3 and the aforementioned Billy Childish, drawing out more lust for the album from the passions.

The final stretch sees the blues rock induced R&B stamp of Just as Bad as You light up air and ears first before the exotic swing of Mk II immerses senses and imagination in a sultry dance of the seven salacious temptresses, well in my dreams anyway. Both songs leave appetite as greedy as ever whilst closing riot of Mad! is an aggressively spirited and ferociously contagious garage punk assault, and oh so scintillating.

It is impossible not to drool from start to finish over Garage Punk for Boys, a release which if anything from punk to garage rock, beat to flirty rock ‘n’ roll gets the juices flowing, is a must. The thing with The Mobbs is they not only create sensational stomps but do it with a presence and flavour like no other, this simply makes them one of the UKs seriously exciting and innovative bands.

Garage Punk for Boys is available digitally and on CD now via Cravat Records @ http://themobbsuk.bandcamp.com/album/garage-punk-for-boys

http://www.themobbs.co.uk/

RingMaster 21/11/2014

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

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Para Elite/Total Annihilation – Battle On

Para Elite-Total Annihialtion - Battle On - Artwork

One of those releases you lick your lips in anticipation over, Battle On is the coming together of two of America’s finest oi provocations for one invigorating spilt. Uniting Para Elite and Total Annihilation for a choice slab of Patriotic Oi, the Skinflint Music released album is ten tracks of eighties seeded, invention fuelled punk rock to fire up the senses and passions.

The first half of the album is provided by LA band Para Elite. Consisting of drummer Cliff Warby (formerly of UK Oi band Condemned 84), vocalist Coop (of White Flag Down who only recently came to an end), guitarist Jason (Lone PESoldier), bassist Rob, and Tony (Rhythm Collision), the band, as indeed their companions on the album, stand eye to eye, toe to toe with the listener and abrase ears and emotions with prime Oi punk antagonism.

First track Battle Cry immediately stirs senses and thoughts as Coop stands alone pressing ears. This is instantly reinforced as a spicy tendril of guitar opens up alongside him, swiftly followed by a pulsating bassline and jabbing beats. Offering a juicy metal bred groove to its rhythmic tempting and great raw vocals, the song instantly defies expectations already gathered for the Oi punk fuelled release with its flavoursome variety. As proven across the whole release, both bands musically and lyrically challenge as with punk bred antagonism but do it in their own compromising way which people can take or leave. The opener makes a potent start to the release but is only an appetiser to the excellent lure of Don’t Wanna Hear It. Gripping the imagination with its opening flame of old school punk soaked guitar, the encounter settles into a provocative stroll with group vocal calls and a fiery texture to hooks and riffs performing aural slavery. The track is in swift control of body and emotions, its anthemic lure and potency an instant protagonist not demanding but certainly provoking reaction.

Hang The Banker is the same, a song which does not bully but definitely has inescapable and immediately riveting steel to its fury. With a chorus which enlists listener participation within the call of only its first line and barbed hooks to bait the passions of any kind of punk rock fan, the track is an addictive ‘call to arms’ igniting thoughts and views as easily as feet and the passions. It is a success matched by next up Patriot, its opening rally of seductive and contagious drumming alone binding bait. Broadening its enticing with similar riveting flames of acidic guitar and the ever inflammatory tones of Coop, it is simply incendiary rock ‘n’ roll with everything slimline but of the richest potency and persuasion.

Finishing their participation with Skinheads, an outstanding cover of the Condemned 84 track which thrills like a mix of Sham 69 Angelic Upstarts, and The 4-Skins but is still all Para Elite, the band leaves a blissful grin on the emotions, their old school yet fresh Oi tenacity and invention lighting nostalgic and new fires. Something which Denver quartet Total TAAnnihilation also easily inspire with their striking sound, an encounter merging Oi, punk, and heavy rock for an easy to greedily devour incitement. Starting with the raw assault of In Bed with the Reds, the band unleashes a distinctive and flavoursome dirty rock ‘n’ roll encounter. The song is a cauldron of spicy grooves and caustic riffs over seen by the great grizzled hostility lined vocals of Jimi (Working Class Heroes). It is also ridiculously contagious as is the following Death of a Nation, a track forging another rock stomp of punk and venomous rock ‘n’ roll for a belligerent and sonically inflamed brawl for ears and emotions. Guitarist Alex (Justice Blocc) colours the provocation with gripping riffs and sonic flames whilst the menacing basslines of Chris (ex-Outta Controllers(Working Class Heroes, Working Class Heroes) flirt forcibly as they align to the intimidation clad swings of drummer James (Archnemesis).

     Puttin in the Boot continues the spicy mixture, the song as its predecessor as much seeded in a Motorhead as it is in a Skrewdriver or indeed a Condemned 84. With a great blues tang to the guitar and incendiary riffery, the track is another tub thumping incitement though soon left looking paler by the brilliant Scene Slut. Part blues, part psychobilly and plenty punk, maybe we should call it Oi-billy; the track is an infectious stomp with more virulence to its tempting than the Playboy mansion.

Closing with the uncompromising inciting of Criminal Invasion, punk rock as raw and unpolished as it is always meant to be, the band leaves ears and passions on a high as the song brings the outstanding release to an impressive conclusion. Battle On is easily one of the best splits heard not only within punk but rock music in general this year. Oi fuelled but simply rock ‘n’ roll at its primal and instinctive best, the album is an easy recommendation for all punk fans.

Battle On is available from November 25th via Skinflint Music @ http://shop.skinflintmusic.com/index.php?main_page=product_info&products_id=755 , the first pressing of 300 coming in a gatefold jacket and the second pressing with a standard jacket available on white/yellow split vinyl (125 copies) and black (175 copies) vinyl.

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RingMaster 20/11/2014

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