Gelato – Self Titled EP

Gelato _ Reputation Radio/RingMaster Review

Do you equally miss the days when Queens Of the Stone Age first teased and taunted ears and appetites with raw and undiluted rock ‘n’ roll cast in their inimitable manner? Then welcome to Gelato, a UK band openly wearing inspirations from Josh Homme and co in their feisty sound but only as one spicy ingredient in a contagious mix of punk and indie pop infused rock ‘n’ roll. Personally the biggest similarity is simply the thick tingle of excitement hearing the bands for the first time, the London trio rippling with an indefinable essence which leaves those around them seeming a much paler proposition.

The evidence to such claim comes with the band’s self-titled debut EP; three tracks of quirkily individual and addictively tenacious encounters fuelled by invention and soaked in creative devilry. Gelato consists of bassist Phil, drummer Ben, and vocalist /guitarist Drew, the latter previously of the excellent Hitchcock Blonde. 2014 saw the band make a potent breakthrough with low-key gigs across the London live scene with matching reactions and receive airplay via BBC6. Their EP though is the first major lure into broader awareness and attention, and the first step to big things we suggest.

Gelato EP cover _Reputation Radio/RingMaster Review   Recorded with Tobin Jones (Bo Ningen, Twilight Sad, Cold Specks), the EP kicks off with Get My Way, a track instantly flirting with ears as a wiry guitar hook repeats keenly on the senses amidst a thick prodding of beats. It is appetite raising bait which becomes a feisty stroll with the same sonic lure now embraced by crisp rhythms and a darkly wicked bassline. The vocals of Drew as just as inviting once they emerge too, whilst the QOTSA bred harmonies add a smiling extra to the contagiously engaging adventure. The song continues to snarl and seduce in equal measure, band and sound bounding around like a young colt with the maturity and craft of a rock veteran.

The band’s new single Room Service follows and again has ears and a now hungry appetite locked in with its first touch, this a dirty grizzled bassline which simply resonates in the senses before a spicy weave of guitar and brewing harmonies caress it and a fresh anthemic lure of beats. As its predecessor, the track from a slimmer start broadens into a heavier bewitching tapestry of sound and textures, it all infested in a contagious revelry and charm. As catchy and tangibly poppy as it is though, there is a dark predatory edge to the song especially in backing vocals and rhythms, which lights up air and imagination with further unpredictable adventure.

Ruffians brings the band’s introduction to a close, two minutes of punk filtered pop rock which has an underlying aggression as riveting and majestic as the warmer melodic tendencies wrapping its rugged spine. Arguably the least dramatically sculpted offering, the song still has little difficulty in firing up pleasure and a want for more, the band showing they can rock out or design a seriously involved temptation with matching potency.

As with any brief but impressive offering, there is only a needy want for more by the EP’s close, a wish to dive with haste into further endeavours but that is for the future. Right now we have a seriously impressive and thrilling start to devour from a band in Gelato, which one day might just be spoken of with the same stature of their prime inspiration.

The Gelato EP is available now digitally and on CD via https://gelatomusic.bandcamp.com/releases

http://www.facebook.com/GelatoMusic

RingMaster 17/05/2015

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://www.reputationradio.net

Graveyard Johnnys – Dead Transmission

Ester Segarra

There has always been a fire in the belly of the Graveyard Johnnys’ sound, as well as a constant entwining of varied strands of rock ‘n’ roll, but the band has tapped into their richest vein of belligerent contagion yet for new album Dead Transmission. The release is a glorious incitement of punk and rockabilly, though as ever the Welsh band infuses plenty of additional rock bred spices in provocations impossible to pin down but very easy to greedily devour. If you had to make a comparison it would have to be The Living End, though Graveyard Johnnys, as evidenced by their new offering, create something a little dirtier and more unpredictable.

Formed in 2008, the Chepstow hailing Graveyard Johnnys has earned a massive reputation for their fiery and frantic live performances, an aspect also echoed as close as it is possible to ever achieve in the studio within Dead Transmission. It is fair to say though that starting with their debut EP Streetblocks and City Lights, the band’s releases have persistently been a voracious slab of energy, as epitomised by first album Songs From Better Days in 2011. These only emulated as mentioned a live presence which has stirred up audiences Europe wide over the years, persistently luring new and loyal appetites to their sound. Graveyard Johnnys has shared stages with the likes of Turbonegro and Hayseed Dixie, toured with bands such as Mad Sin, The Peacocks, and Nekromantix, and left crowds exhausted with their own headlining shows, all earning greater acclaim and increasing a potent reputation. Now the threesome of vocalist/upright bassist Joe Grogan, drummer Thomas E Lord, and guitarist Callum Houston, arguably the first really stable line-up within the band and its most potent, are poised to open a new storm of attention with Dead Transmission, a release which will not take no for an answer.

Album opener is The Poison, a song entering on the regimented stomp of marching feet, equally eager beats, and subsequently a rich lure of flavoursome enticement which is as much melodic rock as it is classic rock ‘n’ roll seeded. Settling into a landscape of catchy energy and invention, a blues air lays over melodies and dust coated vocals whilst hard rock revelry creeps into the hook lined swing of the encounter. Straight away the band has expectations perfectly defeated, the song bounding through ears like a mix of Turbonegro, The Hives, and The Black Keys yet not. It is a tasty appetiser for things to come, but quickly outshone by the following For Tonight, and indeed the rest of the increasingly virulent album.

Dead Transmission Cover   The second track spills a delicious hook straight away, one swiftly joined by the excellent voice of Grogan and a potent rapping of drum skin by Lord. The singer’s bass is also quickly stirring up ears and appetite, its pungent bait a dark temptation within the swinging enterprise of Houston’s fingers and strings. A great mix of restrained and keenly strolling energy, it has an essence of The Peacocks to it though again it is easy to suggest other styles and artists as references to something quite distinct to Graveyard Johnnys.

The album’s title track is next, static caressing ears before majestic and instantly rousing rhythms and riffs ignite body and imagination. Scythes of guitar and an open spillage of attitude soon join the punk bred incitement too, its snare drum rim clicking and thumping beats irresistible and matched in slavery by the constant adventure of inescapable hooks and brawling energy. Again the band keeps things too lively for expectations, its passage another mix of feverish fury and predatory reserve, and simply sensational.

One major highlight passes the passions over to another in the feisty shape of Because Of You, an old school rockabilly stomp with modern tenacity and attitude. It is the kind of song that if Gene Vincent was stomping around in his young leathers now he would be unleashing. It is one minute and a half of pure and spicy rock ‘n’ roll; a description applying to the punk seeded One Day Or Forever and its individual march upon ears and emotions just as easily. Its rhythmic stroll has feet shifting and head bobbing whilst its alluring Bad Religion meets Flogging Molly like melodies and tempting has ears gripped.

     A similar punk fired persuasion colours the next up Ready To Roll, riffs and rhythms instantaneous seduction reinforced by a tenacious enterprise of guitar which at times flirts with a seventies spicing a la Mud/Showaddywaddy, though blink and you miss it as like so many, the song is a busy cauldron of flavours and temptation which has attention solely in its grasp, much like the following pair of I Won’t Wait and Compromise. The first of the two merges raw punk and vintage rock ‘n’ roll resourcefulness for its decades fusing, passions firing riot. It snarls relentlessly, and expels a dirt encrusted breath of predation, but with the throbbing string slaps of Grogan, the hypnotic bait of Lord, and the ear entangling prowess of Houston, the song was never going to be anything other than an epidemic of infectiousness. Its successor swaggers in with its own appetite binding lures as well as the potently confrontational lyrical craft which flows across the whole release as impressively as the sounds. The Living End is an unavoidable comparison to the outstanding song but again the British three create something as unique from as it is similar to any references.

Fair to say by the end of the song the body is weak from the energy given to the insatiable romps within Dead Transmission, and seemingly sensing this Graveyard Johnnys offer Mothers next, a calm acoustic rock ballad with a country rock breath. It is an engaging and increasingly magnetic croon but admittedly before its increasingly lively end, feet and appetite greedily wanted to let loose again which they do with the closing Little Witch. A smog of sonic aggravation and rhythmic intimidation, the punk/ hard rock explosion is the perfect book end to the start of the album, a fiery and tempestuous maelstrom of fiercely flavoured rock ‘n’ roll with a flirtation of melodies and keys to keep things even more fascinating.

It is a blistering end to a thrilling proposition, Graveyard Johnnys at a new peak with songs which tap into every instinctive want of any rock ‘n’ roll fan, a broad genre which just does not get much better than this.

Dead Transmission is available now via Bomber Music @ http://store.bombermusic.com/products/545212-graveyard-johnnys-dead-transmission-cd-or-download or https://graveyard-johnnys.bandcamp.com/releases

http://www.graveyardjohnnys.com/   https://www.facebook.com/graveyardjohnnysUK

RingMaster 13/05/2015

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://www.reputationradio.net

 

Yorkshire Rats -Sea of Souls

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It is with thanks to Carl of the excellent Chalkman Video that UK punk rock ‘n’ rollers Yorkshire Rats and their debut album Sea of Souls recently and firmly hit our radar. He gave us the heads up on the Leeds quartet having recently shot a video with the guys, and led us to one of those albums which lights ears initially but equally simmers away in the psyche to emerge as one thrilling riot of temptation.

Yorkshire Rats began in 2004, formed by Don Mercy once of Abrasive Wheels and Billy No Mates. Soon into their aggressive stride the band subsequently released, in the words of their bio, “a rabble-rousing 7” and a hooligan fuelled EP.” 2006 saw the band support to great success Rancid but then go on an extended hiatus. They have now returned fuelled to the top with contagious rock ‘n’ roll tenacity, punk confrontation, and potent lyrical incitements, all found to great effect on debut album Sea of Souls. Consisting of Kurt Alexander, Matt Lee, and Chris Furness alongside Mercy, Yorkshire Rats confront, incite, and thrill across thirteen tracks of bracing punk ‘n’ roll antagonism.

There is an instant stirring up of ears and appetite with album opener Hurry Up and Wait, the rolling heavily jabbing enticement of the drums swift persuasion. Raw guitar caresses need little prompting to add their lures, or the swagger lined bassline which jumps in at the same time. It is a feisty and contagious uniting topped by expressive vocals with a delivery which is part challenge, part invitation. The song is the kind of attention grabber all albums should start with, a song revealing the heart of a band’s sound and encounter’s intent with anthemic guile.

sos album artThe following Glory Days opens on a juicy stroking of slim but pungent riffs before opening up into a dusty rock stroll still driven by the initial hook lined guitar bait. The track does not quite have the bite of its predecessor but compensates with a catchiness and blaze of sonic enterprise which again has an early appetite fed well before making way for the album’s title track. Sea of Souls shows a whisper of the Californian punk influences which also colour the band’s sound, whilst the track itself gently but firmly embraces ears and thoughts with infectious rock sounds and lyrical suggestiveness.

The pair of Everyday and Mary Comes First offer fresh variety to an already flavoursome encounter, the former infusing a Flogging Molly lilt to its guitar endeavour whilst rhythms cast an anthemic baiting and the latter with a smell of Tom Petty to its riffery, in a striking landscape of emotive contemplation and rock ‘n’ roll contagion. Both songs have feet and emotions fired up, the first especially incendiary with its magnetic mix of flavours and almost predatory hooks, but as great as they are, they find themselves shaded by the Green Day-esque Lawful Civil Rights. Guitars and bass bring even stronger glimpses of the Cali scene whilst spinning their own anthemic and addictive proposal around punchy beats and expressive vocal reflection.

The opening dark and predatory bass resonance bringing Struck Down into view is one of those invitations only the deaf can resist, especially once guitars add their sonic scythes to the portentous air. Erupting in a tempest of rhythmic aggression and hostile attitude driven by belligerent vocals, the track weaves in strains of psychobilly and blues tinting into its punk roar, creating one of the most momentous and memorable exploits upon the album.

The calm and inviting balladry of You Don’t Know Anything entices ears and emotions next before Only the Rich Men stomps and rumbles with its raucously engaging sounds. Each again shows a different colour to the Yorkshire Rats sound, not major side steps but hues which reveal the strong variety to the bands creativity and tone.

No Freedom as the previous song is another rock ‘n’ roll romp, but with more rigour in its energy and infectiousness in its punk devilry. Rhythms brew up an inescapable slavery for feet and emotions whilst riffs and vocals blaze over deviously addictive hooks. Though not quite the final song it still makes for a mighty finale before Sea of Souls closes with a trio of excellent acoustic demos of Mary Comes First, Only the Rich Men, and the title track.

You cannot quite call Yorkshire Rats a new band, even with their prolonged absence, but they take ears with a freshness which makes their debut album play like a starting point for the band. A base for bigger and just as enjoyable things to breed from we suspect.

Sea of Souls is out now via Indelirium Records @ http://indeliriumrecords.com/releases-carousel/idr067-yorkshire-rats-sea-of-souls/ and most online stores.

http://www.YorkshireRats.com/     https://www.facebook.com/yorkshirerats

RingMaster 26/04/2015

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://www.reputationradio.net

 

Hung Like Jack – Fire beneath me/ Life’s first sign of rage

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If you thought the summer was going to be one of peace and warm calm then think again as this is when UK rockers Hung Like Jack release their next roar of voracious rock ‘n’ roll in the uncompromising shapes of Fire beneath me and Life’s first sign of rage. Equipped with the brawling tenacity and flavoursome enterprise the band has become renowned for, the new songs also reveals a fresh virulence to their sound’s aggressiveness and uncompromising ferocity. They are raw, intrusive, and confrontational but in the same strength the songs are a blaze of punk ‘n’ roll contagion.

Hung Like Jack began in 2007 finding its richest line-up and sound once vocalist John, guitarist Tim, and bassist Hakim linked up with beast of a drummer Denz. The band has been a greedily devoured proposition on the North of England live scene for quite a while whilst their trio of EPs have increasingly drawn acclaim and attention, the third, White Powder, especially so with its release in the January of 2014. Now they are geared up with squalling riffs, barbarous rhythms, and anthemic fury to unleash their new single.

11066515_889393494458755_821227949457285194_n   With just its first breath Fire beneath me is a wall of imposing yet compelling sound, guitars and drums an immediate provocation backed by throaty bass lures. Once vocals take their run at ears, the song has appetite and emotions centred on its exploits and increasingly enamoured as hooks and beats collide in a busy and rugged brawl. As mentioned though, contagiousness ignites just as potently within the song whilst the melodic enterprise of Tim adds a vibrant colouring to the stormy canvas of the song. Punk and varied heavy rock textures rage and unite across the excellent provocation, blasting out a rock ‘n’ roll incitement very hard to turn down and certainly ignore.

The single’s other track is similarly imposing, though the bellow of group vocals opening up Life’s first sign of rage are not as stable as they could be. They are soon a distant thought though as riffs and rhythms align for a bracing torrent of intensity and infectious persuasion inflamed further by the roaring tones of John. It is fair to say that the song is far more predatory and hostile than Fire beneath me but still expels a wind of anthemic might which leaves limbs and voice enlisted. The senses though just wilt under the rest of the uncaged onslaught, basking in every minute of it.

There is no hiding place with The Darlington based quartet’s sound or indeed their creative attitude, and in the Dave Hills recorded, mixed, and mastered release, no chance of a relaxing time, just a fiercely enjoyable one.

Fire beneath me/ Life’s first sign of rage will be released on May 22nd with a Launch party being held at the Railway Tavern in Darlington the same night.

https://www.facebook.com/hunglikejack

RingMaster 26/04/2015

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://www.reputationradio.net

Dirt Box Disco – Only in it For the Money

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You always know what you are going to get with a Dirt Box Disco album yet they still push their sound and invention on each and every time to never sound stale or repetitive. With their new release though the UK punk ‘n’ rollers, who have been stomping and a hollering since 2009, have really pushed the creative boat out and come up with a collection of their most diverse and adventurous songs yet. Only in it For the Money is by far the pinnacle of their rampage so far and that is without losing any of the insatiably mischievous and dirty devilry which has equally gone to make Dirt Box Disco one of the most greedily devoured and roared about rock ‘n’ roll bands in Britain.

Whether it is because principal songwriter Spunk Volcano has pushed his boundaries with his solo project or it is just an organic progression, the new album is a web of diverse punk flavours retaining the key Dirt Box Disco sound. Previous album Bloonz impressed and thrilled but in hindsight it was not a big step on from its predecessor Peoplemadeofpaper. The question was had the band come to the end of its potential? Only in it For the Money is a swift kick in the nuts of such blasphemy and potentially the bridge between national capture and a global spotlight.

Band and album strike with voracious force in opener Guest list, a track which hits with the welcome DBD signature character but equally stirs up a new nest of creative hornets. Its initial touch is a stinging coaxing which in a breath turns into a turbulent stomp of anthemic vocals and compelling riffs. Sculpted on the confrontation every ticketed show must come up against, the track is pure virulence and if you are not leaping around and yelling within the first minute we suggest you call the paramedics as you might be on your death bed. Quite simply punk rock, indeed rock ‘n’ roll does not get any better.

The Art Of Conversation follows and presses ears with a broader rock sound before rigorously crooning vocally and antagonistically, at the same time breeding swiping rhythms and raw riffery. Contagion is always a given with the band’s songs and again here it is an irresistible persuasion amidst the coarser raging of sound. There is a great Buzzcocks bred hook within the tempest too, just a slither of tang but an intoxicating hue in the imposing slab of punk ‘n’ roll.

Only in it for the money - Cover   Like the music, lyrically the band get to the point, no bushes worked around to make an impact and if it takes a uncultured approach to get the impact needed so be it, and so it is with Fat Twats And Scumbags. From an Oliver like plea, the song is a prowling and bitter dagger drawn predation on the state of society and political agendas bred from old school punk and furious metallic provocation. The track is an animal and already three songs in revealing that earlier mentioned variety in the character and heart of the album.

Something In My Eye revels in a raucous pop punk canvas next. Riffs and beats are a tenacious abrasing to which the great vocal mix across the band led by WEAB.I.AM brings tasty infectiousness. It is the blaze of classic rock seeded guitar from Danny Fingers which steals the show, though only just from the rest of the essences making up one addictive encounter; a contagion just as potent in the similarly lighter brewed rocker I Dont Wanna Know Your Name. Galloping through ears with pure energy and melodic enterprise, the song is one of those sing-a-long moments impossible to resist physically and vocally, but then that applies to all their songs, certainly upon Only in it For the Money.

The following Crushed is a more expected DBD offering but again it has a fresh nature in its presence. The driving enticing bassline provided by Deadbeatz Chris takes hold from the first seconds, tightening its grip as the swinging thumps of Maff Fazzo cage and batter the senses. With the guitars of Spunk Volcano and Danny creating a flavoursome web of sonic endeavour, the track swiftly enlists the imagination and emotions though it is soon overshadowed by the outstanding Dirtbox Disco. A ferocious trespass of punk attitude and raging, this is a song we have been waiting for, the band name always lending itself to a song at some point and finally arriving as a predator fuelled by ravaging energy and compelling creative antics.

If You Want A Sexy Bird Join A Fuckin Band opens with a melancholic croon wrapped in Green Day like softness, its protagonist self-pitying over the lack of success with the ladies. The band is soon riling up against him though; it is quite simple if you want to score join a fuckin’ band. Surely not that easy but nevertheless the song continues to toy with a poppier punk sound battered with a hardcore old school punk fury, the result a thrilling union and collision with the senses.

There is a touch of Flogging Molly to parts of the excellent Please Dont Walk Away next, a thumping charge of a song with again a refreshing mix of rock hues in its surging fist pumping incitement, whilst Realy Fast Car is as much power pop as it is dirty rock ‘n’ roll. Think The Radio Stars meets Eddie and The Hot Rods then infested with the Dirt Box Disco DNA and you have one exhilarating onslaught.

We explore more seventies seeded power pop next with Cry Myself To Sleep, this time doused in the tantalising scent of The Damned. It is another offering where limbs and throat are submissive and eager to join in within barely a flood of seconds, but as suggested that applies everywhere as proven by the lively melodic croon of Day After Tomorrow. The bass seduces and vocals provoke a ready to play response immediately whilst the crisp beats and enticing riffs only add to an inescapable enticing simply oozing from the song.

We get pure DBD with Ladyboyz, lyrics as base and hilarious as you could wish and hooks as flirtatious and addictive as those at the centre of attention in the song, or so we are told. We have always wondered how personal, intimate to the band certainly the failed romance lined songs are, and even more so after this…a tale for another interview maybe? The track itself will linger and fester in the psyche once heard, especially its prime hook and that salacious chorus.

Only in it For the Money comes to an end through All Day Long, arguably the least adventurous and explosive track on the release yet another leaving ears doused in happiness and the album on a potent high. As suggested Dirt Box Disco have unleashed their finest moment yet, one which is a leap forward in every aspect from their previous impressive outings. They have set them self a new lofty marker for future releases to be compared to but this feels like a new dawning for the band, so easy to expect that they will simply take it in their creative stride.

Only in it For the Money is released April 19th 2015 on STP Records. For details check out http://www.stprecords.co.uk and https://dirtboxdisco.bigcartel.com

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

Upcoming DBD live dates including album launch shows.

APR 17 – ASYLUM 2, BIRMINGHAM (Album Launch)

APR 18 – ZOMBIE HUT, CORBY (Album Launch)

APR 19 – Star & Garter, Manchester (Album Launch) – Tickets – http://www.stprecords.co.uk/page7.htm

APR 24 – Yorkshire House, Lancaster

APR 25 – Scotland Calling, ABC, Glasgow

MAY 03 – The Dog House, Nottingham

MAY 09 – The Boathouse, CAMBRIDGE

MAY 15 – Polish Social Club, Barnsley

MAY 16 – North West Calling, Ritz, Manchester May 23 – Nice N Sleazy, Morecambe

MAY 29 – Liquid Rooms, Edinburgh (with The Buzzcocks)

MAY 30 – Berwick on Tweed, Berwick FC.

JUN 07 – Boars Head, Kidderminster

JUN 13 – Riffs Bar, Swindon

JUN 20 – The Old Star, Uttoxeter

JUN 27 – Hillview Comunity Centre, Cheltenham

JUN 28 – Warehouse 23, Wakefield (with 999)

JUL 24 – Bladefest

JUL 25 – Private Party

AUG 6-9 – Rebellion, Blackpool

AUG 30 – 3 Chords Fest, Penzance, Cornwall

 

RingMaster 16/04/2015

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://www.reputationradio.net

Loaded 44 – Come On!

photo by Dave Brown

photo by Dave Brown

If there is a fiercer more contagious slab of rock ‘n’ roll around right now than Come On! it is sure to be a major triumph as the second album from UK punks Loaded 44 is one mighty stomp. From a strong but arguably unremarkable start it turns into a ridiculously addictive and riotous brawl. It does not take long for the transition to happen either, just a couple of songs, but when the release kicks up a gear bliss and exhaustion is its legacy.

Hailing from the North East, Loaded 44 began in 1996 stirring up the local scene before working on a broader attention and wave of eager appetites for their “ass-shakin’ punk rock”. The band’s live reputation is second to none whilst first album Wasted On You, released in 2011 on STP Records like its successor, established the band as one of the UK’s finest musically voracious punk bands. Now the quartet of vocalist Beki (Steve Ignorant, Chaos 8), guitarist Dave, bassist Steve and drummer Nelly (both Hi-Fi Spitfires and The Lurkers), have upped the ante and created a new tempest of attitude and aggressive infectiousness in Come On!, an album to rage at the world with and lose your inhibitions to.

As mentioned the album did not bowl as over initially though it had attention and appetite gripped and eager through the first pair of songs. Breakdown hits first and from a single riff erupts in a blaze of jabbing beats and aggressive chords. Once Beki unveils her distinctive tones, the track is a richly satisfying slice of rock ‘n’ roll for thoughts to swiftly align to. What it does not have is the spark to ignite anything more than calm but thorough enjoyment. Nevertheless it is a potent start straight away matched by the rhythmically agitated Something For Nothing. A throaty bassline instantly grips whilst the vocals of Beki have a great Poly Styrene edge to them as the rumbling beats of Nelly add richer anthemic bait. Again though, it strongly pleases without sparking big excitement, though that all changes from hereon in.

STP033     Paper Heart steps up next with a heavy tempest of beats and riffs on its first breath, a stormy presence soon veined by group harmonies and the combative tones of Beki. They in turn seem to inspire greater attitude and menace in the other parts of the song, the result a forceful romp with a volatile air veined by incendiary flames of rock guitar. Finishing on an inescapable anthemic roar the song makes way for Generation Idiot and yet another gear and plateau is found. Vocals lure from the first second, swiftly backed by addictive hooks and dirty riffs. The song is soon ablaze with pop punk devilry and energy, but this is no lightweight Green Day like tempting, but a fiery and predatory incitement of power punk.

The class ‘A’ addiction of Give It Up strides in next, a track with a chorus taking barely seconds to be seduced by, roared along with, and deeply wormed in the psyche. The repetitive spine of the song through bass and riffs, has all the hallmarks of an understandable influence of The Lurkers and works like a magnet as melodies and hooks flare up with virulent catchiness around it. The track screams single but then again most of the songs from the album have that declaration as proved by Over And Out next. A bigger bruising encounter than its predecessor, the track equally has that infectious temptation and enterprise to it. Vocally Beki reveals a touch of the Fay Fifes whilst the guitars and bass collude to create a straight forward yet perpetually spicy confrontation punctuated by the scything swings of Nelly’s sticks.

Aggression and intensity only gets harder and more imposing in Step Back In Time but so does the band’s ability to create catchy provocations. Hooks simply seduce as rhythms and riffs badger rigorously, whilst vocally the band and Beki singularly, whip up an anthemic storm from which escape is impossible, a success emulated in Only Ones within seconds. Like a dirtier punk version of The Rezillos, the track is a rampant persuasion of rock temptation. Both tracks have you thinking rock ‘n’ roll does not get much better than this but oh it does as shown by the outstanding Shake It Up. Opening with a classic rock spicing within its punk coaxing, and with a great whiff of The Duel to its early melodic and harmonic resonance, the song twists around to unleash a chorus which simply sends a tingle down the spine as body and emotions succumb to its epidemic lures. It is one of those moments you know music is primarily there to breed, an all-consuming treat which only grows stronger and hungrier as the band get even more adventurous within the brilliant encounter.

The album is brought to a thrilling close by It`s Not About You first of all, a raucous punk ‘n’ roll exploit with drama to its riffs and delicious bassline. Voices and beats cast a riveting and bracing proposal as ears and the passions are set ablaze once again, then left on a high at the song’s departure, subsequently and fed further intensive pleasure by the closing Love Myself To Death. A more standard rock punk bellow but giving the album one final exciting moment, the track just puts the final layer of icing on a modern punk classic.

You may come up against many albums which might rival Come On! as a bulging package of rock ‘n’ roll anthems but there will be few to surpass it, if any. Loaded 44 produce punk rock at its best and an example of why the genre and state of mind will never die.

Come On! is available now on CD via S.T.P. Records @ http://www.stprecords.co.uk/page4.htm and digitally @ https://itunes.apple.com/gb/album/come-on!/id982345664

http://loaded44.weebly.com/   https://www.facebook.com/loaded44

RingMaster 16/04/2015

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://www.reputationradio.net

 

Bite The Shark -Tantrum EP

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It is fair to say that the first Bite The Shark release, the three track First Blood, suggested that British rock ‘n’ roll had a new protagonist to breed some real excitement over. Now the Manchester trio return with the explosive Tantrum EP, a roaring, stomping encounter not only making that previous loud hint a reality but thrusting the band to the forefront of incendiary revelry. Consisting of five ferocious and mischievous punk ‘n’ roll anthems, Tantrum simply leaves bodies breathless and emotions blazing. Every exploit within its raucous walls is the host of volatile sounds, feisty imagination, and adrenaline soaked devilment; all providing a virulent contagion conducive to naughty habits and unbridled enjoyment.

Formed a couple of months past a year ago, Bite The Shark swiftly lit an eager and vocal local following which spread as potently and easily with the release of First Blood last year. Luring in acclaim and keen online radio attention with the Romesh Dodangoda (Motörhead, Bullet For My Valentine, Twin Atlantic) recorded release, the threesome of brothers Adam and Edd Langmead alongside Rory O’Grady have been kicking up a storm on the live scene too, the weeks leading up to the release of Tantrum alone finding the band rampaging round the UK on tour with Drop Down Smiling and Fake The Attack. Again recorded with Dodangoda, Tantrum is the band’s next mighty temptation on the nation, one with the qualities and tunes to ignite the UK rock scene.

Rock & Roll in the Soul hits ears first and lives up to its title instantly. An opening guitar hook makes the first rich connection, matched within seconds by an equally tempting heavy bassline. The song soon hits its stride with raw riffs and punchy rhythms led by similarly feisty vocals, a mix alone enough to have feet and emotions bounding along with its persuasion. Add a ridiculously compelling chorus and the first anthem of the EP is stirring up imagination and thrills. Imagination and diversity are never far from the forefront of Bite The Shark songs, as well as lyrical provocation, and both are as rampant as the thick sounds within the tremendous opener.

10897961_327152687479870_8976137320647029148_n   Good rowdy times continue with Little Fishy which follows, guitars brewing up a voracious and abrasing blaze within which vocals romp and mischievous ideation plays. With its mid-point merely a glimpse in its future, the song suddenly twists around from its initial stampede and begins prowling, indeed stalking the senses with predatory invention before returning to a frantic onslaught which in turn slips into a catchy TV show theme tune finale. The track is just irresistible just like Shiny Shoes straight after. Soon showing a heavier ferocious nature of its own to its riffs and rhythms, the song reveals an essence of classic rock entwined with power pop in its punk romp. Once more grooves and hooks breed addictiveness whilst vocals and fierce melodies offer searing magnetic hues.

There is no chance of a breather at any point within Tantrum either, each song a full on tempest of infection fuelled incitement as evidenced again by the outstanding Killzone. From the opening twang of riffs, ears and body are ready to accept the suggestive rampage in waiting The track’s entrance is almost a limbering up before chest beating rhythms and fury lined riffs explode in a steamy onrush. It is not a hell for leather charge though, hooks and band harmonies a tasty tempering to the aggressive foot to the floor energy offered, but it is certainly a seriously rousing slab of rock ‘n’ roll.

The release closes with Sleep when You’re Dead, though the CD also includes Burn em to the ground and Burn and Gas & Air which made up the bulk of the previous release. Drawing on blues rock spicing for its melodic essences, the track as its predecessor, is a balls to the wall rocker leaving no room for abstinence from joining in with body, voice, and energies. It is a glorious end to a spectacular riot of punk ‘n’ roll tenacity, a song unafraid to explore new depths and areas of songwriting and sound whilst the release simply bellows that Bite The Shark is one of the bands with the potential to take British rock ‘n’ roll into a new heyday.

The Tantrum EP is available now digitally @ https://itunes.apple.com/gb/album/tantrum-ep/id962681213 and on CD via http://bitethesharkmerch.bigcartel.com

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RingMaster 09/04/2015

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