Katalina Kicks – We Don’t Care

Pic credit Andrew Cotterill

Having embraced a big year with the release of new album Vices in May, undertaking a supporting 20 date UK and European tour, receiving featured airplay across the likes of Kerrang!, BBC Introducing, Planet Rock and a horde of regional and online stations, plus the addition of a new bass player, Katalina Kicks cap it off with the release new single We Don’t Care. A slice of pure punk rock twisted and manipulated into the alternative rock infused sound which has already brought attention and acclaim the way of the UK band, We Don’t Care is a snarling ‘fuck you’ declaration bringing the spirit of ’77 to the modern generation.

As mentioned, the single sees bassist Conor Cotterill alongside remaining band original in vocalist/guitarist Ian George and drummer Jase Wilkinson for the first time. Whether it is the new line-up or simple evolution but Katalina Kicks have managed to find a new antagonistic growl in their sound, a raw but virulently infectious and belligerent ferocity within We Don’t Care which as suggested recalls the late seventies when music found its defiant originality and attitude if for only a brief moment.

Its electro punk opening sweeps temptingly through ears, its sonic teasing the lure into a rapacious web of riffs and rhythms within which George raises his vocal middle finger. Bellowing against those trying to put the band down over the years and all wronging the world, it stomps and spews antagonism across the senses like a fusion of The Damned and Calling All Astronauts. The song’s nagging prowess and sounds are manna to the ears, words and hooks flirtation for the imagination and combined a spark to those feelings once rife numerous decades ago.

Katalina Kicks just seem to get better and better with every irritable expulsion and if We Don’t Care is the sign of things to come, set to have an even bigger, bolder year in 2018.

We Don’t Care is available now

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Pete RingMaster 17/10/2017

Copyright RingMaster: MyFreeCopyright

Scanner – Under the Devil’s Tail

If there is one thing you are sure of getting with US outfit Scanner, it is a healthy and seriously persuasive outing of punk rock and so it is again with their latest EP, Under the Devil’s Tail. Offering four slices of unfussy rock ‘n’ roll sculpted with an openly accomplished hand and imagination, the EP embraces the mixture of old school punk, garage rock, and virtually every other rock ‘n’ roll scent you might imagine which has already fired up previous successful releases, boiling it up for another highly enjoyable stomp.

Formed in 1979 by lead vocalist/bassist Joe Brady and guitarist Junnie Fortney and adopting the name Scanner two years later, inspired by the David Cronenberg film Scanners, the Pennsylvania trio has become a potent part of the local punk scene. The current line-up, completed by drummer/vocalist Troy Alwine, was in place by 2012 and followed by the release of debut album One Foot In The Grave, And More Pissed Than Ever a year later, then live outing Exploding Heads in Harrisburg – Live Recordings From 1982, and in 2015 second studio full-length Splat. The latter saw increased attention looking the way of the trio which Under the Devil’s Tail will surely re-energise.

Maybe due to it only being four tracks, the EP seems less broad in its sound and adventure than within Splat but uses that restraint to nurture a character which is the heart of the band’s sound and more tenacious and persuasive than anything before. The release opens up with its title track, Under the Devil’s Tail strolling in on Alwine’s tempting rhythms which are soon joined by the equally teasing mumble of Brady’s bass. The hook spun out by Fortney’s guitar quickly after has The Damned all over it, a hue especially potent when combined with the continuing bait of that moody bass. Dirty rock ‘n’ roll soon consumes ears and song as Brady’s eager tones jump on board, the song drawing on a mix of seventies punk and pub rock along with heavy rock textures lured from across the decades.

More persuasive with every listen, it is a potent start soon eclipsed by next up Tapeworm which starts up like a rock ‘n’ roll Pere Ubu before note by note hints at greater Ramones like revelry in its cranky romp.  Like its predecessor, the song only strengthens its grip on ears and appetite over time though it too finds itself overshadowed by its own successor.

Without doubt Membrane Men emerged the firm favourite within the EP, its opening bass lure and subsequent synth misting deliciously Devo-esque before Dead Kennedy like devilry leaps on the imagination. The track hits the spot straight away, emulating its companions in tightening its hold and our involvement with every passing minute spent in its presence.

Final track is Hippie Authority Song, a slice of street natured punk rock unafraid to add some bluesy hard rock strains to its raucous escapade. As all the songs, it has mischief on its face and in its heart which alone endears itself whilst fuelled by a sound which refuses to be anything other than true to its instincts and inspirations. It all makes for one inescapably enjoyable time; a description fully fitting the whole of Under the Devil’s Tail which may not make your top ten end of year but will still be satisfying your punk appetites as others slip away.

Under the Devil’s Tail is out now and available through   http://www.scanner1979.com/Music.html

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Pete RingMaster 14/09/2017

Copyright RingMaster: MyFreeCopyright

Peter118 – Wasting

It may last not much longer than a politician’s election promise but Wasting, the new single from Peter118 offers a minute and a half of punk rock in its essential form. Bringing together the punk instincts and traits of ’77 with the antics of the genre’s current pop punk side, the track is a senses harrying, spirit rousing charge with the speed of Usain Bolt and the ravenous lungs of a hurricane.

Peter118 started out as the solo project of Peter Field, formerly of Stoke-based punk bands Senseless and Ambassadors of Shalom, and made a swift impact with the Make It Or Break It EP in 2014. Over time the British band has grown with the addition of field’s wife Janine on bass, Sam on drums, and finally more recently rhythm guitarist Alisha Palmer. Since that first attention grabbing release, the band has ignited US appetites through legendary KROQ DJ Rodney Bingenheimer who championed the lead track of 2016 EP Need You More and sealed a return to the Rainbow Rock festival in Stockholm, Sweden as well as set up a highly anticipated UK tour this coming October and November.

Having just uncaged a split EP with US punks No Lost Cause, Peter118 is out to stir up the punk scene with Wasting. Taken from that six track split In Stereo, the single grabs ears with the raw harassment of guitar, rhythms swiftly forcing their touch on ears as vocals further stir the confrontation up. Like a mix of The Adverts, Dead Kennedys, and dragSTER, the track preys upon and surges across the senses, nagging riffs and wiry hooks aligning with the infectious vocal call.

Then before you know it the track is gone but despite its tempestuous briefness there is no sense of dissatisfaction just the urge to know and hear more of a band forging a potent place in the punk scene.

Wasting is out now as too the In Stereo Split available through In Presence Records in the UK and Thumper Punk Records in the US.

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Pete RingMaster 12/09/2017

Copyright RingMaster: MyFreeCopyright

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/

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Pete RingMaster 01/09/2017

Copyright RingMaster: MyFreeCopyright

Cardboard HIT – Subject to Status

We all have favourite bands which feel like they have been bred to pleasure personal tastes and desires and now adding to our list is UK trio Cardboard HIT. Creating a tantalising mix of punk, alternative and noise rock, and numerous other rock ‘n’ roll nurtured flavours, the East Sussex based band just creatively teased, tickled, and ravished our sweet spot with debut EP Subject to Status.

Though a brand new proposition for us, thanks to an introduction sent by drummer Matt Rouse, the release has been tempting ears for over a year now but well worth highlighting such its potent presence in an overwhelming landscape of bands and encounters very easy to be lost from sight within. With bassist/vocalist Ross Towner and guitarist/vocalist Lee Hayes alongside Rouse, Cardboard HIT opens up their first EP with the irresistible Bobby. Teasing wiry strikes of guitar get things underway, their post punk scent soon a rapid trespass with great Fire Engines like discord to their tempting. The dual vocal strike of Towner and Hayes is as magnetic as their sounds whilst the probing beats of Rouse manipulate ears and instincts with a controlled but bold touch. Growing into something akin to Eighties B-Line Matchbox Disaster and Japanese Fighting Fish in league with eighties band The Three Johns, the track is superb; manna to an already hungry appetite for more.

Say Yes is the next to feed the need, the thick strains of bass and guitar marking out its predecessor enslaving ears again as vocals and a melodic dexterity brings a calmer if still dramatically tenacious enticement. More dance friendly for feet and hips, the song swings with a bullish attitude and infectious boisterousness as again distinctive vocals rouse a similar energy in the music around them.

The grumbling tone of the bass is a delicious ingredient and once again ignites the first breath and subsequent stroll of the band’s latest single All the Voices. Its grumble is tempered by the dexterity of the two prong vocal lure, beats a swiping incitement alongside the calmest texture as the song grows more manic and wicked with every passing second.

That mellower essence is a bolder instinct within closing song Rabbit Hole, though it too has an unpredictable nature and off-kilter instinct which grabs attention and the passions. Showing a whiff of 12 Stone Toddler in its punk ‘n’ pop shuffle, the song has the body bouncing and a hungry want for more in motion in no time; heavy grooves, rapacious rhythms, and a loco invention for the fourth time seducing the senses and spirit.

With Cardboard HIT working on new material as you read, the time feels right for new fans to find the band and be swept away with their punk disco. With a trio of great videos accompanying the EP, Subject to Status is the doorway into an adventure meant to be lustfully devoured.

Subject to Status is available on iTunes, Spotify, and other stores.

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Pete RingMaster 15/08/2017

Copyright RingMaster: MyFreeCopyright

Voice Of Addiction – The Lost Art of Empathy

This started out as a piece on one track from their new album, an introduction for us sent by Voice Of Addiction which was so persuasive the whole album had to instead be the focus of attention. A multi-flavoured punk rock roar from the Chicago based band, The Lost Art of Empathy is one rousing confrontation which has the body bouncing and spirit leaping with its boisterous escapades from start to finish.

Becoming a potent part of the Chicago punk scene through their explosive live shows, Voice Of Addiction have been stirring up ears and venues since 2004, with a handful of releases and a host of compilation appearances marking their way. At their centre is vocalist/bassist Ian “JohnnyX “ Tomele joined upon the latest Voice Of Addiction stomp by drummer Dennis Tynan, guitarist/backing vocalist Jake Smith, and backing vocalist Luke Ostojic. Listening to the treat that is The Lost Art of Empathy, it seems impossible that the band is not a more widely recognised proposition within the global punk scene; a prospect their new album just might trigger.

With politically and socially challenging lyrics matched by a sound which bites however it comes across it’s twelve tracks, The Lost Art of Empathy opens up with that first song heard here. Rustbelt instantly coaxes ears with a spicy hook which is soon joined by a grouchy bassline and jabbing beats. Together they surge at the senses, developing an infectious urgency as Tomele’s vocals with equally potent backing swiftly capture the imagination. In no time the romp is igniting ears and appetite, its drive towards one irresistible chorus just as manipulative as everything from hardcore, pop and classic punk seems to get involved.

The following Dead By Dawn has a rawer manner in tone and touch but is equally as contagious with athletic beats and the grumbling bass shaping the assault from within which a collage of vocals and the clang of guitar entice. Smith spins a web of sonic endeavour as unpredictable as his riffs are rabid before Unity brings its own belligerent defiance to the party. Tomele’s bass again whips up the appetite, its magnetic prowess matched by another potent mix of vocals across the band.

Petty Schemes swaggers in next with a knowing mischief before bounding into a snarling and keenly eventful melodic punk blaze while the soulful Corporate Pariah evolves into a ska punk canter before which feet and hips are leaping as thoughts are provoked by the tracks incisive words. Both songs hit the spot, the second especially persuasive before Lockwood uncages its sonic spiral and subsequent punk contagion to eclipse both. Across the album bands such as NOFX, Bad Religion, and Angelic Upstarts come to mind, this track especially hinting but there is no denying that Voice Of Addiction embrace all into their own individual furor.

The street punk fuelled I Can’t Breathe invitingly brawls with the listener next, the band merging US and seventies UK punk for its tenacious attack and triumph; a success matched by the visceral punk holler of Everything Must Go. It too is a collusion of styles within the punk banner; alternative and math rock flirting with hardcore tendencies to enthral and arouse.

Through the caustic yet melodically hued tear up of Ad Nauseum and the equally uncompromising and enticing Eviction Notice, the album continues to grip attention even if the songs do not hit the same level as those before them; a plateau Alcorn Queen definitely flirts with straight after with its Mars Volta meets Converge like adventure and animosity. The track is superb, stealing best track honours at the death though there is still time for the acoustic brilliance of Are We Even Human Anymore to shine with Tomele vocally luring ears like moths to a flame.

The Lost Art of Empathy is a moment in time not to be missed; indeed all punks should make it their cause to share its compelling sound as too the presence of Voice Of Addiction. America is catching on, now it is our turn around the world.

The Lost Art of Empathy is available now @ https://voiceofaddiction.bandcamp.com/album/the-lost-art-of-empathy-2

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Pete RingMaster 09/08/2017

Copyright RingMaster: MyFreeCopyright

Spunk Volcano & The Eruptions – Not Wired Up Right

Always a dirtily feisty and rousing mix of punk and raw rock ‘n’ roll, we can announce that Spunk Volcano & The Eruptions has managed to breed an even more ravenously incendiary fusion of both within their new and third album Not Wired Up Right, a proposal living up to its title in character and intent whilst stomping around like a bull elephant in heat.

Having set their 2017 off in fine style with the aggressively raucous Ram Raid EP, Spunk Volcano and co devilishly finger  its raw virulence and fresh whiff of bruising rock ‘n’ roll to a new aroused state within Not Wired Up Right. It has been a riotous clutch of years since Dirt Box Disco guitarist/co-songwriter Spunk unleashed his own project with the aid of drummer Maff Fazzo, bassist Deadbeatz Chris, and guitarist Ste Lingard; a time kicked off in striking style with a self-titled EP and an insatiable persuasion only perpetuated by debut album Injection that first year, 2014, its successor Shit Generation two years later and the aforementioned Ram Raid EP a few months back. Each release has had the body stomping and a defiance driven attitude roaring; a triumph unsurprisingly just as rampantly repeated with Not Wired Up Right.

With its current line-up completed by guitarist Tom ‘G Force’ Batterbee and newest addition in lead guitarist Stu Page alongside vocalist SV, and fellow DBD members Maff Fazzo and Deadbeatz Chris, the band gets straight down to it with contagious antagonism and bare arsed rock ‘n’ roll through the album’s opener and title track. Not Wired Up Right instantly preys on ears with its corrosive metal bred riffs, a hungry tide of guitar soon driven on by the senses battering swings of Fazzo as SV unashamedly roars. It is a minute and a touch of hook lined punk manna, a storm of balls swinging rock ‘n’ roll swiftly backed in listener manipulation by Nobhead. With a title like this you just know at some point you will be bellowing in zeal fuelled unison with the song and that point comes within thirty seconds of a vocal and riff set up breeding eager anticipation for that incoming moment. The infectious lure of Chris’ bass courts the unspectacular but seriously compelling riffs of Batterbee in the meantime; together laying down the landscape over which the melodic scythes of Page lure and of course the moment to leap on board with vocal energy to match that of SV erupts.

The following Shutdown offers its own collusion of punk and metal lined rock ‘n’ roll next; prowling riffs and biting rhythms a predacious incitement matched in success and intrusive magnetism by a litter of hooks and vocal unity. Standing at the fore SV is the trigger, his tones a belligerent yet welcoming cause to get on board with whilst the bass simply seduces the appetite with its devious groove. The track rocks the joint with ease, bodies and speakers rocking just as tenaciously through the more corrosive presence of Gatecrash and in turn by the seriously irresistible of Fuck This For A Game Of Soldiers. The first of the two lacks some of the sparks of its predecessor, such the former’s inventive bent, but still has full command of again throat and physical participation with its dirty punk ‘n’ roll while the second simply snarls and invades the senses with its primal hearted, melodically catchy antics. Initially a predator in sound and invention, it evolves into another SV anthem which chews up the listener whilst stirring them into an outpouring of unbridled energy. Not Wired Up Right features a special guest in Ginger Wildheart on guitar and backing vocals on three tracks and it would be no surprise if this superb dirt-fest of a romp was not one of them such its unsterilized gutter nurtured rock ’n’ roll.

Next up, Your The Bastard has the same kind of seeding in its punk clamour, a Motorhead meets Grumpynators fuelling which makes its minute and a handful of seconds irrepressible and irresistible before Out Of The Blue reveals to its inescapable tempting a poppier nature contaminated with the band’s ear grabbing stag rock ‘n’ roll. Across all tracks Page adds a broader styled enterprise ranging from melodic metal, punk rock, and of various rock ‘n’ roll seeding but here afforded a clarity which really shines alongside the band’s infection loaded harmonies and chorus. His presence has certainly brought a new fresh air of flavouring to the band’s sound without defusing its distinctive character and presence, Dementia Hurricane another prize example within the release; an encounter which if you are not boldly hollering with its chorus by its second round, deafness of worse may have descended.

Smack In The Teeth is just the same, an eye balling prospect of getting battered which of course the senses do with the rhythmic antipathy and caustic riffery backing up SV’s threat. You can just imagine venues chasing fear into surrounding streets as band and fans inevitably vocally unite in the song’s virulent incitement live.

The album concludes with two of its major highlights amongst nothing but peaks. First up steps Knuckledusters & Scars with an initial surge of rancorous riffs and stabbing beats which alone ignites the passions; metal, heavy rock, and rapacious punk rock soon entangling in its delicious steely tempest with emotional rabidity and primal imagination just as prevalent in its gloriously uncompromising yet still ridiculously catchy howl. Somehow though it still gets eclipsed by the simply captivating Purely Medicinal, a song brilliant in its resourceful simplicity, inspired in its captivating croon as SV opens up heart and suggestion within a subdued but oh so potent web of sound.

It is a final two minutes epitomising the creative strength, new adventure, and instinctive epidemic like catchiness of the band’s sound. Sometimes when review after review of a band’s releases carry nothing other than drooling praise you almost set out to look for faults. Spunk Volcano & The Eruptions relish that challenge and from the first seconds never allow anything other than ardour to once again arise with us.

There are two bands which are making British punk n roll the most exciting it has been in a long time, maybe ever been, and both embrace the headstrong creative instincts of Spunk Volcano and indeed Maff Fazzo and Deadbeatz Chris. Enough said!

Upcoming live dates:

Sun August 6th – Blackpool – Winter Gardens (Rebellion Festival)

Sat August 19th – Cambridge – BOAT HOUSE

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

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

Fri December 29th – Birmingham – Venue TBC

 

Not Wired Up Right is released August 3rd on STP Records; for more info

http://www.spunkvolcano.co.uk    https://www.facebook.com/pg/spunkvolcano/   https://twitter.com/SpunkVolcano

Pete RingMaster 01/08/2017

Copyright RingMaster: MyFreeCopyright