With creative lungs bellowing out ear grabbing hardcore fired punk rock, US outfit Come Out Fighting has just unleashed a new single which simply insists on, no demands attention. Soundtrack To A Shipwreck is a two track offering which equally makes a compelling raucous excuse to check out the band’s forthcoming new album, a release which if this teaser is a potent sign could very well thrust the Detroit quintet towards far broader recognition.
Containing ex-members of Tommy Gunn and current members of The Purps, Aggro Or Die and Saint Ridley, Come Out Fighting are not exactly new to keen praise and support across a trio of rousing albums and a powerful live presence. With a sound inspired by the likes of The Purps, Aggro Or Die and Saint Ridley, they have become a vital proposition within their local scene and further afield adventures. As suggested by their latest release, their music is not commandingly unique yet the two tracks making up Soundtrack To A Shipwreck, both taken from the impending Any Port In A Storm, are drenched in a fresh and voracious character which leaves a vast many other similarly cast encounters pale in comparison.
Soundtrack To A Shipwreck is a song which immediately gripped ears with an urgent but controlled trespass, classic rock hues lining its insistence before the band’s punk instincts drive the track’s rapacious incitement. Raw throated and melodically spun vocals unite in its irritable declaration, the scowling exasperation of vocalist Nick Rudowyj nicely contrasted by clean tones as the guitar of Brian Stewart spins its own broadly emoted sonic web. Underpinned by the bold senses harassing exploits of bassist Dan Bruce and drummer Casey Husted, the track easily got under the skin as it inspired mutual discontent on the world.
As striking and enjoyable as it is, the song was quickly eclipsed by its companion, Blackout. Taunting more pop punk essences into its own individual tempest, the song surged from the speakers with physical and emotional voracity. Hooks and grooves are quickly embroiled in its ravenous attack, their virulent catchiness eagerly lining the antagonistic leanings of the excellent encounter; a blend just as potent and infectious within the vocal incursion of the song. With an appetite firing bassline and eager punk rock ferocity to its infection, it was a quick submission sought and found by the track as equally a need to check out the soon to descend album.
As suggested there is plenty familiar in flavouring to the two songs but for the main just recognisable invitations into the individual escapades of Come Out Fighting; exploits we can only recommend.
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Pete RingMaster 17/05/2019
Copyright RingMaster: MyFreeCopyright
Puce first erupts with Docks, Haycroft’s lone guitar casting steely strokes at ears with his just as untamed tones quickly stepping forward to its side. Then as swiftly the track stretches its muscles and strides forth, rhythms almost gleefully and definitely venomously dancing on the senses that grooves keenly infest. As suggested earlier, the contagious sound is as individual Duckeye as fans would hope but it is a new monster with no qualms about parading seductive enterprise within its voracious incitement.
We Might Not Make Tomorrow leads in the four tracks originally making up the band’s similarly named second EP. A heavier post punk discord accosts the quickly persuasive encounter; strains of early Killing Joke and a corrupted indeed bestial Fire Engines-esque disharmony adding to its virulent mordant clamour. Fair to say already a quickly formed favourites list was becoming increasingly lengthy as we explored more, this track to the fore but quickly worried by the invasive rhythmic jerking of Sentient. Immersion in the guitar’s sonic rancour only increased its magnificence; every note and syllable the perfect manipulative mix of threat and temptation before the deliciously trenchant Splinters and Rust deviously danced on submissive ears and appetite and the infectively scathing Tainted gurned over and twisted the senses into its tenacious plaything.
Southend based Bait first tempted almost taunted us with a track upon the Alternative Occupations EP from Cool Thing Records which featured four of its striking bands. The intrigue and appetite the song bred was richly fed by the debut Bait album, addictively satisfied by the unique fusion of punk, post punk, and industrial espionage which thrilled within. So you can imagine the tingle when the band’s vocalist/songwriter Michael Webster got in touch with their latest track. Of course there are never guarantees, expectations and assumptions always there to be shot down but not this time. DLP was another addiction in the waiting and a big excuse for us to again push you all towards the creative exploits of Mike, Luke Branch, Jim Webster, and M R E.
Having our own musical journey seeded and bred in the small but tenacious independent record labels which leapt from the punk scene decades back there is an instinctive intrigue and appetite for the energy and passion which fuels such endeavours. They are adventures which are all about the music, it and their creators the reason for every move and release. This is no more epitomised than by Society Of Losers, a Liverpool hailing label formed in 2016. We were drawn to their presence and releases through the outstanding Salt The Snail before subsequently discovering the glories of . Now we have a couple of new tracks from two more of their bands with each confirming Society Of Losers a go to outlet for compelling escapades.
Enamel Animal within their CVs, Mr Ted immediately tease ears with a guitar wire; a coaxing line to a tide of sonic trespass which swiftly rises up. Just as urgently, the track’s thick groove and swing invades ears and body, leading an eager sway as rhythms prowl within the nagging insistence of the guitars. With vocals equally as infectious in their untamed antics the song revels in its unpredictable imagination aligned to a moments of more composed grunge nurtured roars.
Leaders is the new single from another Liverpool outfit in Bisch Nadar who similarly cast a sound spawn from a blend of styles, in this case merging the essences of math and alternative rock with progressive and pop infused flavours. Their new track shows it makes for a potent proposition taking little time to have ears and enjoyment keenly engaged.
as inviting as they are imposing. The warm vocal tones of Rathbone similarly are allied to the throat rasping scowls of Yelding; that aligning of contrasts the heart and power of a song with bite to its welcoming character and organic volatility in its belly.
Celestial heights are ventured once more through Please Kill Me, its prowling flight a sizzling wind of psych fuzz and sinister rock ‘n’ roll. At times it merges gothic psychobilly reminding of The Orson Family and the scorched punk of The Scaners to its compelling body, all the while niggling away at the imagination before Earworm uncages its own feral swing. Echoing the grungy wildness of Escobar in its breath, the track is a cyclone of salacious garage rock as punked up as it is melodically caustic and more than living up to its moniker.
Catch Up With A UFO follows, launching on a delicious rhythmic incitement from drummer BX which quickly leads to an adrenaline soaked stomp shaped by the guitar of DD and temptingly coloured by the dark shadows of Tama’s bass and the ever persuasive vocals of Pav and co. Navigating its flight through swinging gravitational debris, delinquent twists and turns further equip the inescapable greed casting bait of the song before the album lands at Random City 2099. A fuzzy slab of garage rock nurtured synth punk, the song is a magnetic shimmer of theremin and organ nurtured seduction across jangling guitar and rapacious beats and far too easy to devour to be good for one.