Random Hand – Hit Reset

Random Hand_RingMaster Review

Hands up, who also raised an expletive or two in disappointment when British punksters Random Hand announced earlier this year they were going on an indefinite hiatus to pursue other challenges in life? Well we can tell you now that the pain is going to get simultaneously better and worse thanks to the release of one of the band’s finest roars, final album Hit Reset. Whether it is because the decision has brought a freedom to the band in some way or it simply inspired a no holds barred energy to the creation of the twelve track storm as a last offering, but Hit Reset sees Random Hand at their most diverse, explosive, and passionate best with a little something indefinably extra too.

It is thirteen years ago that the Keighley quartet leap onto the British rock scene with their energetic and dynamic fusion of punk, ska, hardcore, and metal. The time since, has seen Random Hand earn the reputation as one of the UK’s best live encounters at home and further afield, and a host of varied and generally fiercely impacting releases. Now following a final flurry of shows this past summer, it all comes to an ‘end ‘ with the PledgeMusic funded Hit Reset; a giant slice of non-stop anthems which goes with the adages, “go out on a high” and “leave them wanting more”.

Random Hand - Hit Reset_RingMaster Review     Day One is the first encounter upon Hit Reset, its opening tinnitus of percussion amidst a tangy melody tempting enough but the mere appetiser to the explosion of punk metal ferocity and riffs driven by recognisable hardcore energised vocals matched in virulent strength by their clean harmonic counterparts. The swings of drummer Sean Howe seem to have new tenacity and aggression whilst the bass of Joe Tilston could just be at its most grouchy and compelling ever. It might be that ears are interpreting things in hope’s and assumption’s desired way but as the guitar of Dan Walsh weaves a web of antagonism and infection with intense enterprise and energy, that sense of freedom is a swift wonder.

As great as the opener is, the following Death By Pitchforks eclipses it with its strolling ska swing and relentless bounce. Juicy flames of trombone from Robin Leitch shoot across the addiction whilst vocals from him and the rest of the band are again as inescapably persuasive an incitement as the sounds hugging their alluring tones. It is a track which has body, emotions, and soul in relentless involvement, much as its successor Protect & Survive with its growling fury of Bad Religion tinged punk metal and a climax to arouse an empty room, and straight after If I Save Your Back… and its adrenaline powered punk ‘n’ roll stomp. The latter song also slips into some evocative dub/ska imagination and hardcore ire to add extra spice to the bracing revelry.

After The Alarm steps up next and soon forges another pinnacle for the album, its brass seared blaze and riotous stroll instant infection whipped up to greater potency by the choppy texture of riffs and the raw Reuben like contagion flying through ears for another richly inciting chorus. The track is glorious, definite final single candidate and alone a massive reason why Random Hand are going to be sorely missed; though every track upon Hit Reset spawns that feeling, Dead No Longer with its raucous thunder and Maybe It’s A Prize through its again Reuben spiced rapacity swift confirmation.

Dragging an eager body to the floor again, Pack It Up leaps and bounds into the imagination and an already lively ardour with its ska/punk ingenuity next, it too a track to whip up old and new fans alike with its busy and eventful collusion of styles and open passion.

A Clean Slate straight after is rock ‘n’ roll plain and simple, a boisterous call to arms for thoughts and bodies but a song unafraid to suddenly whip the floor from under the listener and take them through a melodic oasis of sound and tempting before entering an even more agitated and fearsome storm. It is a seriously invigorating proposition wonderfully contrasted by the addictive ska swing and rock groove of Abide which in turn makes way for more variety in the rip-roaring alternative rock/punk ‘n’ roll of Shelter As A Verb, both tracks a quick making addiction.

Closing with the no less irresistible As Loud As You Can, a song as post-hardcore as it bluesy, as punk and ska as it is old school rock ‘n’ roll, Hit Reset is a band at the height of its game, a game now sadly being put away in mothballs for a distant or possibly no further outing. Random Hand has left us with a classic though, an album which will continue to incite and excite in their absence. What a way to go!

Hit Reset is available digitally and on CD now through Bomber Music @ https://random-hand.bandcamp.com/album/hit-reset


Pete RingMaster 05/10/2015

Copyright RingMaster: MyFreeCopyright

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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)


Pete RingMaster 30/09/2015

Copyright RingMaster: MyFreeCopyright

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Julian Grimm – Hazy

Julian Grimm pic 2_RingMaster Review

Grabbing the listener by the scruff of the neck and taking them on a relentless charge of energy fuelled rock ‘n’ roll, the new single from Julian Grimm rousingly whets the appetite for all forthcoming offerings from the artist. Next to come is an EP called Rebirth later this year and it is fair to say that it could not have been given a better flyer than the boisterous roar of Hazy.

The musical journey of Grimm began under the Brazilian shadows of Sao Paulo skyscrapers where his first exploits came in a couple of independent punk bands. Subsequently moving to the UK and London, more punk fuelled adventures followed in a few bands before he formed Snap Out, an outfit releasing the Static and Dino Diner EPs and who played across a host of venues such as the O2 Academy and Monarch. After this things colluded to push Grimm “away into his own darkness”, the band coming to an end because of it and the man using “his time incarcerated in the shadows to rebuild himself.” Now music has had a ‘rebirth’ within him with Hazy the first, if it is a sign of things to come, stirring anthem to hit ears and emotions.

The single is, according to Grimm “about a girl that inhabits both my dreams and my nightmares. I can never be sure who she is and what she wants to do with me, but I can’t help to be incredibly attracted to her. It’s a song about raw instinctive feelings, love and hate.” It is also a proposition which takes an inventively building breath before launching into a foot to the floor, adrenaline fuelled charge with scything rhythms, crunchy riffs, and snarling attitude, but equally exudes rich melodic warmth and contagious virulence throughout which leaves the body breathless and hunger for more, greedy.

Part punk, part alternative rock, and part power pop, to slim down all its flavours, Hazy also has a familiarity which only works in its favour and a passion that cannot fail to transfer to the listener. Simply it is rock ‘n’ roll to get highly enthused over and a potent hook for the upcoming Rebirth EP where more of the same would do very nicely please.

Hazy is out now via iTunes and other online stores.

http://twitter.com/julian_grimm   https://www.facebook.com/juliangrimmrock    http://www.juliangrimm.com/

Pete RingMaster 30/09/2015

Copyright RingMaster: MyFreeCopyright

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Los Brigands – Nothing’s Clean

LB_RingMaster Review

We had limited knowledge of Los Brigands up to this point in time but that is about to change and for a great many others no doubt, thanks to the might of their debut album Nothing’s Clean. Co-released with Crowd Control Media, the sixteen track stomp is an incendiary brawl of punk rock in its varied forms and devilry. It is quite simply rousing undiluted rock ‘n’ roll which just hits the sweet spot and can only push the band to greedier, broader spotlights hereon in.

Hailing from Los Angeles, the trio of vocalist/bassist Aroldo, guitarist/vocalist Hector, and drummer Keith have become one of the staples of the LA punk scene since forming in 2009. Inspirations come from the depths of hardcore but as their first full-length shows, the band is unafraid to add and twists things to embrace a host of distinctive styles and flavours within their songs. Back home they are a loyally supported outfit renowned for their high energy shows and catchy incitements of sound. Now with the unleashing of the sabre like charge of Nothing’s Clean, sixteen songs in thirty four minutes, Los Brigands look set to become a name on a much broader expanse of enthused lips.

     The Haters’ Circle starts things off, the track a thickly enticing instrumental slice of psychobilly/punk which alone has body and emotions ignited and ready to feast, which they greedily do on its successor. Like Dead Kennedys meets Tiger Army, the opener brings its two minutes plus to the boil perfectly, making way for the similarly bred but hardcore driven 8 50. Hooks and rhythms are a hungry enticement whilst the vocals roar and brawl to match the addictive impact of the sound around them. For less than a minute and a half, the track incites ears and appetite, and for that same length whilst embracing familiar inspirations and essences, the punk rock passions are aflame, burning greedily for what is to follow.

losbrigandsnothingcleanalbumart_RingMaster Review   10 Times Worse is the first to step up with pulsating beats and a throbbing bassline aligned to ska bred enterprise. The song continues to swing along with infection lining its thick lures and chorus, its body an irresistible mix of UK band The Vox Dolomites and [Spunge] and leaving lips licked and a ripe want for more. The following Robbie does not provide more of the same flavour but is instead a highly agreeable Los Brigands take on Johnny B Goode which leaves rich satisfaction in its wake before the Spanish sung Algun Dia provides a Clash like stirring of ears and energy; its hard bounce another lifting the listener to feet amidst anthemic calls.

Things only get tastier as the belligerent ska brawl of Cold Cold City escapes the album next, it’s bruising attitude and prowess another spark to ignite the passions for the release with a success emulated and indeed eclipsed by the outstanding Dead American Dream. With a feisty tinge of street punk to its tempestuous swagger and defiance fuelled attitude, the song is as spiky as it is infectiously virulent whilst On The Wall straight after, dips into some raw pop punk revelry with a Rancid meets The Bouncing Souls proposition to outshine much around it as impressive though they all are.

The opening volley of beats from Keith straight away puts Downtown Nights on a pedestal to expect big things from, the swiftly rapacious riffs which swoop in not letting anyone down, or the snarling vocals and energy flooding the great confrontation. It is a raging force continuing in the excellent blaze of Fight Fire With Fire and true to form anthems come one after another within Nothing’s Clean but few incite participation as effortlessly as this excellent aggression.

As you will have guessed, variety across the album is rife and provides another colourful shade of adventure through the caustic ska romp of Broke, guitars and sax especially fruity against the growl of the vocals and the brooding bass tone cast by Aroldo. That fluid diversity creates another appealing contrast as the grouchy bellow of First 48 springs its contagious old school punk irreverence on the passions before it has to make way for Bumming Cigs and its bluesy rock ‘n’ roll canter which has all bouncing in their chairs, on their feet, and in the streets on personal experience.

Denver Ave has a feel of Russian punk rockers Biting Elbows to its more relaxed but spicy and increasingly agitated presence next, its magnetic tenacity and creative bait getting body and soul excited ready for Bad Vibes to exploit with its furious tempest of boisterous riffs alongside antagonistic rhythms, they bounding around another steely bass sound to get lusty over. It is the home straight on the album and both tracks are nothing less than impressive and addictive as they steer ears towards the finale that is Last One, a last bracing arousal of ears and enjoyment honed into a tangy and furious anthem.

Major surprises on Nothing’s Clean are not dramatic or regular but with a freshness and passion few bands can contemplate let alone match, Los Brigands has provided one of our favourite slabs of rock ‘n’ roll this year. After this the band deserves to be a big blip on all punk rock radars of fans and media alike.

Nothing’s Clean is available now through Crowd Control Media.


Pete RingMaster 29/09/2105

Copyright RingMaster: MyFreeCopyright

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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

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The Poly-Esters – First Cut

The Poly-Esters pic_RingMaster Review

And the excitement builds…alongside thick anticipation for The Poly-Esters and their proposed debut album for 2016. The reason all stems from the band’s freshly unleashed EP First Cut, three tracks of attitude drooling punk rock which just gets under the skin in a relentless incitement of rousingly fiery rock ‘n’ roll. It is a proposition which is potently nostalgic, furiously fresh, and one more defiant slab of loud proof that British punk ‘n’ roll outshines all on its day.

The Poly-Esters is a Blackpool bred force consisting of guitarists/vocalists Lola Fenix and Catlow, bassist/vocalist Syphi Lizz, and drummer Elliska Tron. Formed we believe in 2014, it is fair to say that the quartet has been stirring up an eager fuss for their riot grrrl/grunge punk fuelled rock ‘n’ roll as evidenced by their storming performance and subsequent reactions at the Nice N Sleazy Festival and Rebellion this year. Now it is their debut release attempting to do the brewing of hungry attention and already in its few weeks out, First Cut has done a stirring and sterling job.

The Poly-Esters_RingMaster Review     From their first track upon First Cut, The Poly-Esters fall on ears with the belligerent nature of Vice Squad, the ravenous and resourceful tenacity of The Kut, and the off kilter invention of The Raincoats. A strain of familiarity colludes with one of brand new imagination as opener Fooling Noone straight way gets to grips with body and emotions. Instantly riffs and wicked beats are raining down on the senses but tempered by the infectiousness which is just as swiftly fuelling the persuasion. In no time a healthily luring hook is working away in the swing of things too whilst the raw coated and seriously engaging vocals from all three string manipulators are as magnetic as the sounds around them. The track stomps along before suddenly slipping into something unpredictable and transfixing, a great discord kissed shimmer of calm which has a definite spice of The Slits to it. Things are soon feistily rocking again of course, bringing the song to a bruising and boisterous close whilst setting the EP off to a tremendous start.

Things only get better though, second track Cracked wrapping ears in a sonic mist from within which a flirtatious bassline winks and a searing flame of guitar erupts. The beats of Tron leave nothing in the locker as they join the affair but as in the first song, the instinctive catchiness of the band’s sound involves rather than intimidates. It does have an inherent snarl though which escapes through vocals and the rugged seduction on offer, it here aligned to riffs and short grooves which finger the imagination and a rhythmic inducement acting as a protagonist to well flung bodies.

Binge And Purge completes the line-up of thrills and again finds something to just outshine its predecessor. Opening with a rhythmic enticing which is almost duelling with ears as it crawls over their already eager appetite, the track’s predatory start is further enhanced by the acidic caress of the guitars but urged into a more even tempered stroll. That initial stalking of the senses is soon back igniting ears though, bringing an extra tingle of pleasure with it. That earlier reference to The Raincoats is most rowdy here but again The Poly-Esters use the hues to create their own landscape of imagination and thick temptation in on irresistible proposal within another in the shape of one thrilling introduction to the band.

Whenever the band’s first album is out it cannot come quick enough. We often label bands as ones to watch, and always with strong evidence but with The Poly-Esters watching is too late, climbing on board their ascent from the off and feeling their punk ingenuity manipulating body and soul, the only option.

The First Cut EP is out now via the band’s Bandcamp profile.

Pete RingMaster 03/09/2015

Copyright RingMaster: MyFreeCopyright

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In Evil Hour – Built On Our Backs

Photo Helen Templeton Photography.

Photo Helen Templeton Photography.

How do you back up debut album which a great many, us included, called a modern punk classic. Well with another equally blistering triumph of course. Easy on paper and in thought but not so simple in deed but that is exactly what UK punksters In Evil Hour have done with new EP Built On Our Backs. The follow-up to the exhilarating roar that is The World Bleeds Out, their new six-track new fury is a furnace of attitude and defiance loaded with lethal hooks and virulent contagion, all honed to incite and inflame ears and thoughts. To put it simply, it is hardcore punk rock at its ferocious best.

Darlington bred, In Evil Hour formed in the summer of 2011 drawing on inspirations from bands such as AFI, Black Flag, Sick of it All, and the Nerve Agents. Very early on the quartet was becoming a potent presence and draw on the live scene, shows with the likes of Leftover Crack, The Misfits, H20, and The Creepshow earning a quick reputation as one exciting onslaught which was further confirmed by their first EP, the Antipop Records released Tell Your God To Ready For Blood of that first year for the band. The World Bleeds Out really awoke attention and fevered appetites with its unleashing in 2013 on STP Records, its release at that year’s Rebellion one of the highlights of the weekend for band and fans.

With a tour alongside the $wingin’ Utters and their own jaunt into Europe and around the UK this August under their 2015 belts, In Evil Hour have provided another rousing and irresistible storm with Built On Our Backs. As you might suspect it is a collection of socially and politically challenging furies immersed in songs which spit fire and boil infection ripe seduction. The EP opens with Progress, which spins immediate bait of alluring guitar before broadening into a full enticement of spicy riffs, sharp hooks, and pungent rhythms. The persuasion is complete with the recognisable snarl of Alice’s voice, attitude and defiance dripping from every syllable as the track whips up an even keener and catchy aggressive stomp. Fair to say the song does not offer something to majorly blow ears and thoughts away, whilst undeniably heavily pleasing body and appetite, but rather provides the perfect base and launch pad for greater adventure to erupt from, which it certainly does with Blood and Majesty.

cover_RingMaster Review     To be honest the difference to the individual characters of the two tracks is nothing big or particularly definable yet the second song just pushes the right buttons to a more lusty reaction. Its first rumble of riffs and scythe of beats carries a spark suggesting a mighty tempest to come, an explosion of voice, riffs, and barbarous rhythmic enterprise confirming it swiftly after. Melodies and vocals have a toxic edge to them whilst Gareth’s guitar and Gib’s bass just grumble and growl with their particular torrents of caustic endeavour and nature. Throw in scarring swings from drummer Mike and you have one glorious addiction at work.

There is no way anyone could resist getting fully involved with the song, physically and vocally, and the same applies to Ascension. Its first touch is a ‘mellower’ vocal alluring from Alice against a raw riff, though there is that ever present snarl just adding its edge to her tones and being fully exposed across the track as it brews up an intensive and energetic blaze which once fully aflame, provides another surge of irresistibility and senses igniting provocation. That early melodic calmness is never driven away though, seizing the moment in a mouth-watering detour which is just not long enough before the creative raging is back igniting the air.

The bass of Gib leaves a tasty morsel of bait in the third song and again lays down an early bestial lure within the following EP’s title track, an anthem with vocal hooks and temptations galore and antagonistic ingenuity a plenty. It defies the listener not to physically leap on board as it brawls lyrically and musically, a challenge almost as potently thrown out by Bright Lights. At one minute and a large nudge, the track in some ways does not have long enough to establish its own uniquely corruptive web of tempting but still offers a storming slice of creative aggravation and enjoyment to get teeth fully into before Predators brings Built On Our Backs to a might close.

The track is prime In Evil Hour, every existing and newly discovered quality and skill in songwriting and sound within the band uncaged in its melody ripe hardcore and angst driven combat. A battle cry for the twenty first century and daily living, it is superb and the perfect end to an EP emulating its success in a themed journey across the elevation of hope, hard work, and rewards but resulting in exploitation and worse. As ever In Evil Hour play hard, hit hard, and have set free another standard setting fury for modern punk.

Built On Our Backs is available now via most online stores and digitally as well as on CD at the band’s Bandcamp and Bigcartel store respectively.

Pete RingMaster 03/09/2015

Copyright RingMaster: MyFreeCopyright

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