Beth Blade And The Beautiful Disasters – Show Me Your Teeth

Show Me Your Teeth is a romping stomping slab of hard rock; a tenacious roar of defiance, attitude, and hungrily rousing rock ‘n’ roll. It is also the new album from UK rockers Beth Blade And The Beautiful Disasters proudly hollering out all the reasons why the band is riding a tide of success and plaudits.

Fan and critical acclaim are no strangers to the Cardiff bred quartet with previous debut album, Bad Habit, luring high praise and attention. Around and following its success, Beth Blade And The Beautiful Disasters have shared stages with a host of major artists such as Electric Boys, Dan Reed and Danny Vaughn among a great many and appeared on the KISS Kruise last November with the likes of KISS, Ace Frehley, Bruce Kulick, The Dead Daisies, Vintage Trouble, The New Roses as well as played Monstersfest with Dan Reed Network, The Dead Daisies and Tygers Of Pantang. The last year also saw the band concentrate on writing and creating Show Me Your Teeth, an offering which as potent and enjoyable as its predecessor was, leaves it waving from its wake whilst suggesting 2019 will be even busier for the foursome.

Show Me Your Teeth builds upon all the striking elements of that first album with relish whilst bringing its own individual enterprise and adventure to the fore. Swiftly it reveals the growth in the writing and imagination of the band and their prowess in casting boisterous riffs, inescapable hooks, and anthemic old school classic rock nurtured temptation; this fronted by the electrifying and hearty tones of Beth Blade.  It is a bolder affair with a breath suggesting the band has completely lost the shackles of trying to please and impress people and just go with their own hard rock passions and instincts. Certainly inspirations such as Halestorm, KISS, and Black Stone Cherry can be heard but Show Me Your Teeth embraces all familiar hues to its very own vociferous heart and roar.

The album opens with the outstanding Secrets and fair to say as its opening lung full sees Blade fronting up ears we were hooked. From there with the fuzz of guitar for company, she continues to coax the song to its feet, an air of menace surrounding its emergence before erupting in a contagious, attitude driven infestation of punk and hard rock. That raw edge continues to fuel its confrontation and rapacious catchiness whilst vocal harmonies seduce around the stirring tones of Blade. The track soon proved irresistible, increasing its enslavement as a delicious predacious bass growl and devious hues of unpredictable imagination became more vocal.

Such the first’s rousing and impressive tempting, the album’s following title track had a hard time to match its presence but with a teasing blues lilt, melodic wiring which just wrapped around eager ears, and the already predictable vocal dexterity and talent of Blade here was little to relinquish full attention to before Give It All You’ve Got shared its old school spiced rock ‘n’ roll. As the previous track, there was a strong familiarity to the encounter but equally an energetically passionate heart within just as open craft which manipulated and scooped up an already seriously contented appetite.

There is something of an early Pretenders-esque scent to next up On And On at times which combines well with its blend of nostalgic and hungrily fresh enterprise while You And I is a web of guileful hooks and melodic adventure around vociferously candid vocals which easily set another lofty peak in the album’s landscape.

From that incitement of controlled yet raucous persuasion, melodic calm accompanies emotive intimation hugs ears within successor Crazy. It is a simmering heart though as flames erupts around reflection and melancholic beauty. The track never erupts into a full blaze but boils over with stirring cunning as it too sets a major highlight within Show Me Your Teeth before I Ain’t Got Nothin’ (If I Ain’t Got Rock N Roll) provides everything you would expect from its title as it swiftly pulled our rocker instincts and animation into play.

Across the likes of Lost In You and Into The Light, the album only continued to tighten its hold even if neither track quite flattened the inhibitions of song and listener as those before them. Even so both are a tantalising and thickly satisfying fusion of melodic wine and barely restrained rowdiness which just hit the spot though the following 1974 soon eclipsed both with its virulent stroll and creative temptation. Its sound unsurprisingly echoes the rock ‘n’ roll era of its title’s decade but adds mouth-watering hues of punk and power pop which take it to another level of greatness.

Who Do You Love Now? with its own multi-flavoured mix of styles and decades is just as expert in persuasion and adept at casting a spell of enterprise and sound; another seriously captivating moment set down and one more than matched by the muscular, predatory almost grumpy stomp of album closer Jack And Coke. Inescapably enticing riffs and grooves collude to enslave ears, each seemingly knowing personal wants in rock ‘n’ roll whilst the song growls with infectious savvy and anthemic irritability.

As it started, Show Me Your Teeth ends with one of its most inspiring and thrilling moments and with so many more in between it is an album which we can only forcibly recommend. It is classic and hard rock, it is punk and pop rock all bound into one roar; quite simply rock ‘n’ roll at its and most electrifying best.

Show Me Your Teeth is out January 25th.

https://bethbladeandthebeautifuldisasters.com/   https://www.facebook.com/BBATBDofficial/  https://twitter.com/BBATBDofficial

Pete RingMaster 26/01/2018

Copyright RingMaster: MyFreeCopyright

Felons – Violent Society

Offering up three short bruising shocks to the system, Violent Society is the new EP from UK quartet Felons; an encounter providing all the reasons why punk rock still gets our juices going like no other genre.

Southend based Felons have a sound which scowls like a mix of Crass, Angelic Upstarts, and The Varukers. It is old school hardcore punk bred but anything other than a dated trespass on ears and enterprise. Already this year the foursome of vocalist Jay, guitarist Josh, Bassist Lew, and drummer Pike have uncaged their debut EP, Creeps; an encounter receiving strong support and plaudits. Violent Society springs another threesome of attitude driven trespasses which will surely follow suit in success and in taking Felons to a broader and eager landscape of attention.

Who’s In Debt To Who? opens up the Dan Bazan recorded and produced EP, the track following its initial welcoming hook with a furious holler of middle finger raised defiance and observation as imposingly infectious as it is unapologetically irritable. Whipping the imagination back to the late seventies/early eighties whilst stirring up its own modern individuality, the track effortlessly incited inner dissent whilst stirring an ever eager punk appetite with its irreverent exploits.

The following Pacing offers up a mere 47 seconds of sonic subversion but  a fleeting time as untamed as it is instinctively manipulative and all infernal goodness. The dual vocal attack inflames an already organic dissonance, a combination spewing fractious incitement within an unbridled tetchy attack which needed little time, which is lucky considering the length of the trespass, to ignite ears and appetite.

The release closes with its title track; Violent Society slowly, in comparison to its predecessor, enticing ears with a bass grumble as the guitar flirts from time to time before breaking into a deliciously nagging stroll with a Disorder-esque glare to its choleric breath. In no time it announced itself as the best of three irresistible infestations of sound and attitude, reinforcing its claim by the second

Violent Society is our introduction to Felons and, with hindsight and a just as enriching meeting with its predecessor to support its declaration, installs its creators as another of punk’s new exciting perpetrators giving reason as to why the genre can still incite and arouse like it did way back.

Violent Society is available now @ https://felonspunx.bandcamp.com/releases as a name your price digital release and on CD.

https://www.facebook.com/felonsband

Pete RingMaster 14/11/2018

Copyright RingMaster: MyFreeCopyright

Healthy Junkies – Delirious Dream

Two years on from the album Box Of Chaos outshining its impressive predecessor The Lost Refuge, which had started the trend by eclipsing the band’s debut Sick Note, UK punksters Healthy Junkies have again repeated the feat with their fourth album. Delirious Dream is a collection of tracks embracing the band’s broadest kaleidoscope of flavours yet over a punk ‘n’ roll landscape; a 15 song strong release which is for sure their finest moment to date keeping expectations clueless and the imagination enthralled.

Recorded with Brian O’Shaughnessy and mastered by Pete Maher, Delirious Dream is the songwriting and sound of the band at its boldest yet most intricately woven. With the founding duo of vocalist Nina Courson and guitarist/vocalist Phil Honey-Jones tapping into their most imaginative depths yet alongside the rhythmic prowess of bassist Dave Whitmore and drummers Pumpy and Adam Lewis, Healthy Junkies have created a new magnet of sound which needs mere seconds to demand attention through album opener When All Is Said And Done.

Instantly the track is strolling eagerly through ears with a rich melodic hook amidst eager rhythmic bait, all the while keys adding their intimation. Courson’s ever alluring vocals quickly join the mix, adding elegance and harmonic radiance to the earthier breath of the song. With drama soaking every note and syllable, theatre intensifying across the host of twists and turns making up the simply outstanding punk ‘n’ roll incitement, the track immediately sets the high creative bar and striking character of the release.

This Is Not A Suicide brings its own exceptional roar of sound and enterprise straight after. Dirtier and grumpier than its predecessor and driven by attitude fuelled riffs and senses biting rhythms, the track sets its own particular pinnacle within Delirious Dream. Nagging grooves and garage punk spicing also add their incitement to the bracing trespass before the even tempered rock ‘n’ roll of Juliet’s Call saunters in. Like a gothic rock nurtured punk inspired collusion between Siouxsie and The Banshees and In Evil Hour, the track is pure virulence.

The band embraces more hard rock like hues for next up Johnny Demented, its raw sonic haze magnetically tempered by Coulson’s angelic tones. The song did not quite raise the roof as its predecessors in appetite and the passions here yet from start to finish it is a full captivation raising the ante as its holler and breath erupt across its eventful body.

Through the infectiously tenacious croon of Some Kind Of Girl and Ghost Without A Soul with its shadow draped atmosphere, riveting sound and adventure abounds with unpredictability and rapacious enterprise while All Talk brews an emotive entanglement of old school punk and classic rock in its own individual recipe of temptation. All three tracks easily grip ears and appetite though the delicious punk instincts and pop flirtations of The Sound Of My Guitar outshine all. The track is Class-A addiction spurning late seventies kissed new wave/punk rock slavery as ripe with hooks and celebration as a festive holly bush.

The following Boy Or Girl is something akin to a meeting of early Blondie and The Photos and quite irresistible with its successor, Meet & Greet preyed on an already aroused hunger for what is on offer with its predacious escapade resembling a kind of X-Ray Spex/Spinnerette collusion as the band take a swipe at musical greed. It is simply another major highlight of the album echoed in success by the frisky indie/pop punk animation of This Condition with Honey-Jones leading and dueting on vocals.

The album’s worst track is next and These Boots Are Made For Walking is nothing less than full pleasure as Healthy Junkies make the classic their own by giving it a predatory breath as classic rock guitars blaze before James Dean rumbles with old school punk ‘n’ roll lust and uncontainable ebullience.

The album concludes with the pair of Theft and Part 2. The first is a rebel rousing protagonist vivaciously prowling the senses before breaking into a similarly ravening rock ‘n’ roll canter with erupting psych rock bred flames while the second is its dark but incandescent underworld where physical and emotion elements of the tracks shimmer, smoulder, and burn.

Together they make for a fascinating conclusion to Delirious Dream, echoing its title despite their brooding volatility and showing there is so much more to the creative palette of Healthy Junkies, one they have still yet to fully explore.

We always feel a sense of excitement when a new encounter with Healthy Junkies comes along as they have always manage to outdo themselves so far; Delirious Dream is no exception; in fact it pretty much outshines most other punk/rock nurtured offerings around this year too.

Delirious Dream is out now via Banana Castle Records/Cargo Records UK across most online stores.

http://www.healthyjunkies.co.uk/   https://www.facebook.com/healthyjunkiesband   https://twitter.com/HealthyJunkies

Pete RingMaster 17/10/2018

Copyright RingMaster: MyFreeCopyright

Bitter Grounds – Two Sides of Hope

Hailing from Utrecht, Bitter Grounds is a Dutch quartet that has a sound which could be best described as Hagfish meets The Vox Dolomites wrapped in the heart and breath of Bad Religion and Dropkick Murphys. But as swiftly evidenced within new album, Two Sides of Hope, it is a proposition with a bold and individual character that just demands keen attention.

Entangling the attitude and aggression of punk with the instinctive and raw attributes of ska, Bitter Grounds first stoked potent attention with their 2016 debut album Hollowlands. It emulated local support and praise across a broader landscape which now its successor should only strongly expand upon. Since that first release, the band has played numerous shows across Europe alongside the likes of The Real McKenzies and The Interrupters and earned plaudits for their performances at festivals such as like Punk Rock Holiday and Nice ‘n’ Sleazy. It is easy to suspect that Two Sides of Hope will spark an even bigger demand and time for Bitter Grounds such its stirring and virulent nature

As with its predecessor, the new album was recorded with engineer and producer Menno Bakker and immediately gets down to business with opener Lost. Instantly a spicy groove entangles senses rapping beats, highly catchy bait simply reinforced by bass, riffs and in turn boisterous vocals. The infectious attributes of the band’s sound and enterprise is as swiftly evident, coursing song and appetite with a viral quality whipping up eager participation. There is a familiarity to the track yet as with the band’s sound overall, it is a welcoming hue to something wholly individual.

The following Two Sides (of Hope) has a just as catchy lilt and swing to its tenacious swing shaped by a more intensive attitude. There is a defiant edge to every twist and turn, a rousing wind fuelling its incitement as the track swiftly got under the skin; a success more than matched by the contagious antics of Let Me See Now. Another which has a sense of an old friend returning with a new identity and intent, the song quickly had hips and feet doing its bidding as melodic and imaginative endeavour nurtured its brief but highly manipulative exploits.

As with its predecessor, the ska side of the band’s sound fuels next up Bad Dreams; its gait alone enticing physical involvement while the band’s potent dual vocal temptation works away on ears side by side with the jangle of guitar and the moodier stroll of the bass. Instinctively Bitter Grounds seem to conjure hooks and grooves which know what gets the juices going, My Time another addictive example with its melodic revelry and vocal dynamics.

Through the relatively calmer but just as infectious and mischievously woven Faded and the raucous holler of Let Them Talk, the album just reinforces its temptation and the band the creative dexterity of their songwriting and flavour rich music, the latter sparking thoughts that if Angelic Upstarts had embraced ska in their sound way back it would have been something akin to this inescapable trespass.

The album concludes with firstly Seven Nights, a Rancid scented stomp needing mere seconds to command limb and spirit, and finally the punk ‘n’ roll defiance of FML. With compelling rhythms battering the senses and riffs careering through ears as vocals spew attitude, the track is a tenacious and rousing end to one outstanding release.

From first breath to last, Two Sides of Hope hits the punk greedy spot, hungrily proving itself one of the best punk indeed rock ‘n’ roll albums of 2018.

Two Sides of Hope is out now, available @ https://bittergrounds.bandcamp.com/

http://bittergrounds.nl/   https://www.facebook.com/BitterGroundsBand/

 Pete RingMaster 16/10/2018

Copyright RingMaster: MyFreeCopyright

Blast Bomb – Burn History & Live Today

The tail end of last year saw the attention seizing arrival of German outfit Blast Bomb on the punk ‘n’ roll scene with debut single Born To Lose. Offering up three ravenous slices of heavy rabid rock ‘n’ roll, the release announced the Hamburg hailing quintet as one explosive proposition. Since then the band has made a just as striking and powerful impact on the live scene, sharing stages with the likes of Honeymoon Disease, Conan, Monolord, El Colosso, and Grumpynators along the way. With their reputation seemingly growing by the week, Blast Bomb is poised to release the Burn History & Live Today; an encounter confirming them a feral trespass of sound rather easy to devour and be excited by.

Blast Bomb emerged early 2017 as a project when guitarists Torben and Klaus, bassist Kai, and drummer Tobi came together though the foursome had played together in various permutations and outfits including notably High Gain District and Skull Harvest across previous years. Swiftly they enlisted former Thirteen Shots vocalist and founder Johnny Rose and together honed a sound which is an aggressively imposing and irritable yet instinctively contagious collusion of punk and hard rock with varied metal bred essences. Born To Lose soon proved it was an ear grabbing proposal which demands attention but fair to say as potent as that release was, it has been fiercely eclipsed by Burn History & Live Today in adventure and imagination let alone raw confrontation.

Recorded by Franz Schedlbauer at No Moss Studio and across its quartet of songs lyrically inspired and linked by the emotions and desire leading to Rose’s resettlement in German from England a couple of years ago, the EP swiftly reveals bolder imagination in sound and enterprise through opener Gambler. From an initial bike throated rumble, the band’s new single swaggers in with a hungry groove and rapaciously swinging beats. That grooving continues to bait as things evolve, getting under the skin as Rose’s distinctive tones bring their equally compelling invitation to the hook loaded rock ‘n’ roll incitement. Also spilling a horror punk scent over its punk ‘n’ roll instincts, the track provides a web of old school nurtured but intrusively fresh confrontation while increasingly building on its creative hand.

The following Stray prowls ears with an almost portentous air as it makes its entrance; its threat escalating by the riff and chord as the growling bass of Kai and scything swings of Tobi bring greater imposing texture and attitude to the senses challenging encounter. Stoner spicing adds to its character, further flavouring an inescapable intensity in sound and emotion as well as another inventive aspect to the Blast Bomb sound before Burn History bounds in with devious hooks and snarling riffs amidst an eager ferociousness quickly sparking blues flamed spirals of guitar. This all springs into a spicily searing glaze of sonic liquor which subsequently triggers a repetition of the song’s opening whirl of irresistible hookery and in turn a horror punk lined stalking. With imagination and drama growing in every persuasive note and vocal twist, the track rivals the first in best song honours.

Live Today concludes the release, its gentle opening saunter easily luring the imagination, seducing as guitars and bass unite in an even tempered invitation unsurprisingly carrying an edge and suggestive volatility. That aural simmering eventually erupts in a caustic wind of sound though it is still held with a restraint which escalates the intrigue and creative nature of the song.

It is a fine end to a release which confirms Blast Bomb as one exciting prospect and though you can sense that their sound is still evolving, finding its true voice it just adds to their striking and very welcome intrusion on the punk/rock scene.

Burn History & Live Today is released via Undead Artists on November 2nd with pre-ordering available now @ https://blastbomb.bandcamp.com/releases

Upcoming live shows:

19/10 Kapovaz, Bremerhaven*

20/10 MAD Music Club, Backyard23 Social Club e.V., Hameln*

04/11 Bambi galore, Hamburg+

* with The Dukes Of Bordello + with Castle – Metal Band

https://www.facebook.com/pg/blastbombhamburg

Pete RingMaster 16/10/2018

Copyright RingMaster: MyFreeCopyright

Tommy And The Commies – Here Come

Entangling the addictive hooks of Buzzcocks, the pop contagion of The Undertones, and the punk irreverence of The Cortinas with the early mod punk instincts of The Jam sounds like one rather tasty aural recipe; a mix which the imagination does not have to merely ponder as it is at the heart of the irresistible sound of Canadian outfit Tommy And The Commies. Their debut release, Here Come, soon proves there is much more of an individual character and flavouring to the band’s sonic holler though, a sound which you just feel would have been as potent back in the late seventies as it will undoubtedly be now.

From Sudbury, Ontario, Tommy And The Commies is the united exploits of Jeff Houle (Strange Attractor), his brother Mitch, and frontman Tommy Commy. Together they create “hooliganistic mod-punk” as nostalgic as it is rigorously fresh and in raucous evidence within the Slovenly Records released Here Come. The album immediately erupts with opener Devices, vocals and guitar colluding in instant temptations as rhythms boisterously roll. Very quickly we found ourselves agreeing with the Howard Devoto spicing to Tommy’s vocals as suggested by the album’s press release, but as within the music individuality soon wins through. The track continues to romp and stomp with punk/power pop infectiousness inciting body and vocal chords from start to finish, success only matched and escalated across the remaining slices of viral boisterousness and tenacity.

The following Straight Jacket shares its own virulent catchiness; from its first breath getting under the skin with excited riffs and melodic enterprise. Slightly more restrained in urgency than its predecessor, the track is still an unbridled bundle of energy and creative uproar bounding along without inhibition before Permanent Fixture springs its Dickies scented revelry. Again riffs and hooks collude in its excitable endeavour as rhythms robustly stir and bite within a full fusion of the familiar and new.

Something akin to 999 meets The Vapors,  Hurtin’ Boys provides another major highlight in nothing but across the album; its jagged stroll swift and a constant incitement on body and spirit before new single Suckin’ In Your 20’s entangles raw seventies power pop with modern day indie dissonance to similarly manipulate hips and throat.

A definite hint of The Ramones teases within the wiry antics of Throwaway Love, the guitar laying a mesh of hooks and melodic niggling which just brought lust to the appetite as rhythms simultaneously worked away on a body just as much badgered and inspired by the infectious clamour of So Happy where a Pixies like hue adds to inescapable temptation.

The release closes up with Reggie Rocks, another irrepressible slice of mod infused pop punk which is all mischief and noisy attitude wrapped in instinctive enterprise and contagion; a track which throughout epitomises the fun and energy of the band let alone their creative animation.

For us the best releases leave you feeling alive and inspired; Here Come does that and more.

Here Come is out now via Slovenly Records; available @ https://slovenly.bandcamp.com/releases

 https://www.facebook.com/TOMMYSCOMMIES/

Pete RingMaster 06/10/2018

Copyright RingMaster: MyFreeCopyright

Millie Manders And The Shut Up – Shutup EP

It rapaciously rattles as it tenaciously rolls, aggressively snarls as it leaps around with viral infectiousness. No this is not a riddle but the sound of Millie Manders And The Shut Up on their new EP, Shutup; a proposition which had us instinctively drooling even before the first track of the inescapably mouth-watering release reached its finale.

London based, Millie Manders And The Shut Up stepped out in 2015, the band emerging from Millie’s solo career sharing ear grabbing acoustic enterprise which itself sprung from varied previous projects including Second Sense. With The Shutup around her vocal dexterity and prowess on the ukulele and alto saxophone, the band creates a punk rock bred incitement eagerly embracing varied flavours from pop punk to ska to aggression loaded alternative rock.  Similarly though, there are moments certainly within the Shutup EP, our introduction to the band, when essences of styles such as swing, new wave and R&B more than tease. It is truly an appetite rousing crossover flavour which with hindsight shows just why the first two EPs from the band, The Free-P and Obsession Transgression, were so warmly welcomed and praised by fans and media alike and now why, finding its fullest most adventurous character yet, it is a sound which seeds one of the year’s most exciting offerings.

The EP opens up with Right To Life, a shimmer of guitar caressing the immediately striking presence and voice of Millie as the song rises slowly but purposively to its feet. Its sepia jazz kissed sound is alluring enough, Lewis Slater’s guitar winding up the temptation, but it is just a smouldering kiss before the boisterous carnival of its stomp to come. A flick of its hips and the spontaneous burst of dancing flames from the trumpet of George Alan and the tenor sax of Dom Walker spring the track into contagious urgency; ska punk instincts entangling its more spiky rock endeavour as the track bounds along like a mix of Sonic Boom Six, No Doubt, and The Selector. Yet even with those easy to offer references, song and sound swiftly proves its own uniqueness with Millie herself vocally as individual as they come but with a  great whiff of Brody Dalle in league with Imelda May and Pauline Black.

The track is superb but instantly rivalled by its successors for favourite track honours here starting with Brave. The imposing ticking of a clock incites the muscular swings of drummer Alessandro Vitiello and as quickly the magnetic tones of Millie. Slipping into a slightly more restrained canter compared to its predecessor initially, the song carries a portentous air; an inviting threat which erupts with fiery blasts of brass searing its chorus placed expulsion. As with all tracks, the body was quickly manipulated by the captivating antics of the song, the imagination and appetite as quickly seduced and enslaved before the equally irresistible Lollipops launched its own compelling escapade. Again Vitiello’s beats thump away with relish and poise as the even grumpier bass of Matt Munford twangs with tenacity, the guitar adding its attitude lined riffery to the virulent slice of punk rock.

New single, One That Got Away, completes the creative scheming and magnificence. The coaxing of the fuzz lined guitar alone offers intoxicating hooks but every aspect of the song from rhythms, brass, and vocals breed their own distinctive barbs to be hooked and aroused by. It might be punk in its heart but as all tracks, it is pure rock ‘n’ roll; manna to the ear and instincts.

Millie Manders has been sharing the goodness for many years now but the Shutup EP is surely the moment attention explodes around the band; so just do what it says and get down to some serious inhibition free rocking.

The Shutup EP is out now @ https://milliemanders.bandcamp.com/album/shutup

Upcoming live shows:

October

25th – The Waterloo, Blackpool

November

9th – Pie Race, Warf Chambers, Leeds

10th – Breaking Barriers, Leuven, Belgium

December

1st – Fighting Cocks, Kingston

7th – The Harp Restrung, Folkestone

8th – Blueberry, Norwich

13th – Portland Arms, Cambridge

14th – Smokehouse, Ipswich

15th – Voodoo Lounge, Stanford

21st – Alma Inn, Bolton

22nd – The Bobbin, Lancaster

23rd – The Ainsty, York

https://www.facebook.com/milliemandersmusic/   https://twitter.com/milliemanders   https://www.instagram.com/milliemanders/

Pete RingMaster 03/10/2018

Copyright RingMaster: MyFreeCopyright