Mannequin Death Squad – Eat Hate Regurgitate


After the rousing scuzz enticement of latest single KYMS, Australian duo Mannequin Death Squad uncage their debut mini-album Eat Hate Regurgitate to confirm all the mightily good things found in said single and it’s just as magnetic predecessor.

Emerging last year, Mannequin Death Squad consists of El and Dan; one girl, one boy who between them play and swap guitar and drums whilst offering their potent union of vocals. A striking presence on the Melbourne underground scene, the pair sparked attention with the single Sick earlier this year, following it up with the even more impressive and gripping KYMS a few weeks back. Both feature upon Eat Hate Regurgitate alongside a trio of new proposals which simply whip up attention and appetite for their scuzz punk devilry.

Released via the excellent UK indie Integrity Records (Million Dead, Horse Party, Valentiine), the release opens up with the raw magnetism of KYMS, a track raging “against the relentless pollution of our planet, the song inspired by a hatred of those who continue to defile and pollute the earth.” Plaintive strains of guitar make the first touch, swinging rhythms and caustic riffs the next as Dan vocally bursts into view with the warm tones of El in close attendance. It is raw and inviting, fiery and captivating, hooks and grooves a weave of temptation as the pair vocally dances around the senses. The track’s infectiousness is virulent but only part of the picture as darker shadows and textures blossom as the song progresses, its finale of an imposing and enjoyably oppressive nature breeding blues grooves and a sludgy climate before going out in a blaze of raw rock ‘n’ roll.

The impressive start is followed by Sick, a volcano of scathing pop punk with more bluesy flames in its melodic kiln as thumping and slightly predacious rhythms roam. Like a mix of My Baby, Karn8, and Valentiine, the track seizes ears and appetite swiftly, only tightening its hold midway as again the band suddenly twist into a whole new creative landscape which lifts things to another addictive level.

The muscular poppy romping of Sky comes next, its feisty canter carrying hues of bands such as Jack Killed Jill and The Melvins whilst creating its own character of unpredictability while Van Gogh snarls and aggressively bounces along before slipping into something more melodically and seductively comfortable. It is a strain of persuasion which switches between full-on assault and that bordering on salacious coaxing, casting a tempting which weakens knees in between having them feverishly stomping around. A great live air to the track only accentuates its glory, it challenging the opener for best track honours.

The album is concluded by the similarly addictive and enterprising Down, another swinging from bold energy to harmonic calm and leaving a greed for more in its wake. The track sums up everything great about Eat Hate Regurgitate and the Mannequin Death Squad sound in its four minutes plus and why so many are becoming rather excited about the twosome.

Eat Hate Regurgitate is released October 21st via Integrity Records.

Pete RingMaster 19/10/2016

Copyright RingMaster: MyFreeCopyright

Dead Hands – Nobody Exists on Purpose EP


Just over a year ago, we were taken by and aback by the noise infested fury of British band Sexwolf! and their debut release, the Hangin’ With The Boys EP. Our submission to their senses devouring sound was followed by their demise in the first half of this year. It was a frustration though quickly replaced by intrigue as three quarters of the band, linking up with one half of fellow Midlanders A Werewolf and a second guitarist, emerged as Dead Hands. They have just released debut EP Nobody Exists on Purpose and fair to say any gap left by the loss of one band has been more than filled by a new encounter which sears ears as it excites them.

Creating a maelstrom of fiercely infectious noise from texture reaped from the likes of mathcore, hardcore, grind, and numerous other punk and metal based savagery, Dead Hands have taken little time to stir up attention and it is easy to hear why with Nobody Exists on Purpose. The six track violation is an irritable tempest of abrasive sound and toe curling intensity delivered through an invasion of twisted hooks and demented grooves within a sonic savaging fuelled by some viciously catchy enterprise. It is merciless, at times painfully inhospitable, and constantly a joyously addictive abuse of body and senses.

It all starts with the band’s recent acclaimed single Open Bracket. Straight away guitars are squirting sonic toxicity, tangy riffs soon joined by the heavy insatiable rumble of bass and the scything viciousness of drummer Jenks’ rhythms. It is intensive furious stuff just as infectious as it is barbarous with Richard Phillips spilling his lyrical and vocal venom into the compelling mix. All the flavours mentioned above and more are in open sight within the furious turbulence, all adding to the thick lure of the track.

It is a sign of things to come within the EP, the following Elephants Crush People just as crabby and uncompromising and just as fascinatingly littered with unpredictable trespasses, inventively virulent hooks, and ear catching twists. A mix of The Chariot, Every Time I Die, and Dillinger Escape Plan is an obvious but maybe closest equivalent to the Dead Hands roar with additional Cancer Bats/Brutal Truth hostility.

Diving Board (Jack Christ-Ho) instantly and fractiously devours and punishes while gripping the appetite with more virulently contagious enterprise, it all springing from the Jenk’s initial rolling rhythms. Guitarists Niall Jones and Dabby Gough in turn lay their creative snares, further unavoidable traps as the song overwhelms and sparks body and mind into lustful responses. Of course this is not going to be for everyone but if noise does not annoy but inspires than Dead Hands have the ability to raise the strongest ardour through songs like this and its successor Buck Angel’s Challenging Movies. Arguably the catchiest proposal within the release, the track is a quarrelsome stomp led by the deliciously testy tone and grooves of Daniel San Mogg’s bass, its truculence matched by that of the guitars and vocals. Moments of calmer, post punk lined imagination only adds to the thrilling character of the song, the pinnacle of the EP with ease.

The closing pair of 7 Days (of Craig David) and Close Bracketté finish off Nobody Exists on Purpose, the first a mouth-watering ear plundering wall of heart bled enmity and sonic rancor while the last blasts and tangles ears in a tetchily red-blooded incursion of technical and emotional fury. Both tracks also come equipped with even bolder invention and experimentation and it is no coincidence that as each song gets braver the EP only gets stronger and more irresistible ending on a rousing high.

 Nobody Exists on Purpose is superb, a triumph in many ways with its seeds in the previous exploits of Dead Hand members but blossoming into not only something totally new to them but distinct to pretty much anything else out there. It is a must!

The Nobody Exists on Purpose EP is out now @

Pete RingMaster 14/10/2016

Copyright RingMaster: MyFreeCopyright

Shit The Cow – The one with the devil


The one with the devil is the fifth EP from “scrapyard rockers” Shit The Cow but our introduction to the Swedish quartet and boy are we kicking ourselves for that. The six track incitement is a furore of creative theatre and raw energy treating ears and imagination to an often ferocious and always compelling mix of alternative and hard rock with as forceful punk, stoner, and garage rock infusions.  Hindsight shows that it is a mix which has primarily fuelled the band’s previous exciting releases in their various characters of sound but is at a new pinnacle within this latest encounter.

From 2012 EP volume/cow, Stockholm based Shit The Cow has uncaged a sound which infests the imagination but as shown by our recent discovery of them, thanks to the band themselves, maybe not always awareness. Certainly subsequent EPs, Salt of the earth (2013), Rissna (2014), and 67p have drawn plaudits and a host of new fans but it might just be, with deserved luck, that it is The one with the devil which ignites real attention.

Produced by Ron Haven, The one with the devil swiftly grips ears and induces raw hunger with opener Warcow. At a few breaths over a minute in length, the song is a rampaging surge of infectious caustic punk pop; like a lustfully dirty blend of The Dickies and The Super Happy Fun Club, all fuzzy guitar and irresistible hooks driven by thumping rhythms. Vocalist/guitarist Peter Söderberg sits astride the surging drive of the track, his great vocals backed and surrounded by the guitar/bass enterprise of Daniel Kjellberg and Erik Rosenberg, the pair apparently sharing instruments across the EP. Short but ridiculously infectious, the song has ears and psyche enslaved in little time before the EP’s title track lays down its potent bait.

art_RingMasterReviewOne With The Devil has a slightly slower stride to its gait but a more imposing weight and tone as it as good as prowls the senses. A glorious hook within a superhero essence captures the imagination as swiftly as the magnetically firm beats of Robin Lindqvist court the instincts to rock ‘n’ roll. Like Eagles Of Death Metal meets Helldorado yet not, the song is pure rock alchemy, a primal solicitation of the passions snarling away with increasing potency

The following El Chupacabra has a similar template to its character, stalking ears as engaging vocals and imagination entangling grooves collude with nagging riffs and rapacious rhythms. Featuring the backing female vocal charm and beauty of someone apparently called Alex, the song is a tempestuous, almost volcanic fire of raw intensity and melodic seduction which tempts and insists on attention as repetitious beats and niggly riffs core the whole bewitching affair.

There is something familiar about next up The Villain, an essence we have not yet pinned down but only adds to the intrigue and enjoyment of the exciting encounter. Again a wealth of flavours and textures are woven into a song by Shit the Cow, those female vocals alongside Söderberg icing on another irresistible slice of multi-faceted rock ‘n’ roll.

The band whips up another punk infested gen with IGGY next, the track a stomping beast of insistent beats and antagonistic riffs aligned to a bass growl to drool over with band vocals which ignite the spirit and indeed the vocal chords. There is a Jello Biafra air to the song, more Lard than Dead Kennedys maybe but very tasty all the same though ultimately song and sound is little like anyone else’s.

The EP is closed by an alternative version of Warcow; a quite delicious and haunting seducing with Alex on vocals courted by a host of portentous sounds and melancholically enthralling keys. The song is quite wonderful, a stunning end to a riveting and exhilarating first listen, for us, to Shit The Cow, the source of a new musical lust we are sure we will not be alone in having.

The one with the devil is out now across most online stores and @

Pete RingMaster 13/10/2016

Copyright RingMaster: MyFreeCopyright

Conformist – Lifestyle Bible


It has been three years since British electronic weaving producer Conformist released his debut album Paid to Fake It to swiftly draw attention and acclaim. It was a weird and often psychotic tapestry of sound and samples which simply ignited the imagination as enjoyably as it did ears. Now the Cardiff born conjuror is back with its successor, the equally as dramatic and compelling Lifestyle Bible. It is more of the same creative adventure but with a new honing of inventiveness amid greater suggestive collages of sound.

Conformist is the project of Michael Simmons, who as mentioned stirred up attention with the 2013 release of Paid to Fake It. Written between 2014 and 2016, the Jerome Schmitt (Alt-J, Diplo, Mr Scruff) mastered Lifestyle Bible is an unrelenting flickering of sound and incisive sampling, a non-stop parade of textures and aural suggestiveness but with a tightness to its weaves and greater rounded character to its songs which insists Conformist is a proposition if not necessarily ahead of the game is certainly weaving its own creative field.

The previous album drew comparisons to the likes of Steinski, The Dust Brothers, Avalanches, and Aphex Twin. They are references again easy to offer up for Lifestyle Bible but as suggested Simmons is honing a unique proposal with every new track. As opener Trust Exercises entangles ears, swiftly a new air of adventure to the album escapes its creator, the track virtually creating its weave before ears as strands of electronic intrigue and twisting samples interlock and unite as it emerges. Repetition and sonic psychosis only add to the brewing landscape of persuasion, all elements tempting rather than forcibly taking attention but successful all the same.

artwork_RingMasterReviewThe following industrially stalked electro punk romp of Rock n Roll Dead Man slips straight out of the final lure of its predecessor, quickly parading commanding beats as hooks and strands of sound wind around the imagination. Again it is a perpetual stabbing of sounds bound in melodic mischief; like a disorientated rocker lurching from hook to hook with endearing prowess before stepping aside for new single Komputer Jenerated and its funk ‘n’ roll swing of electronics. There is a whiff of Yello to the devilry soon baiting and enslaving the senses, its sudden stop and go moments and off kilter twists all adding fuel to one fiery captivating ride.

Next up Harm Hides at Home is a slower bloomer though straight away it has ears fully engaged but it is with every passing minute and listen that layer by layer it reveals its compelling depths whilst coming over with fresh character each and every time whilst swinging from the same constantly seductive vine of melodic enterprise.

The variety within the album continues as the warped presence and psychosis of Life! Death! Prizes! clambers psychotically across the senses and imagination before the excellent A Snake Eating Its Own Tail saunters through ever magnetic creative circles, each rotation a writhing web of electronic provocation with a flavoursome touch of Pop Will Eat Itself to it.

The album is completed by the screwy exploits of firstly Art Colony, a pixilated jungle of beats and electronics which again inescapably conjures new adventures within thoughts with every listen, and lastly the enveloping melodic and sinister drama of the Nothing Important Happened Today. Intimate in its haunting proposal courted by ominous noir lit shadows, the track is almost a baiting of the emotions; a daring of thinking all is well as dangers lurk in an encroaching sombre dark.

It is a fine and compelling end to another great proposition from Conformist. Lifestyle Bible is an album which will trap and excite all who like their imaginations to be twisted and turned inside out by their electronic music, as well as their eager ears.

Lifestyle Bible is released October 14th through Consumer Consumer Records @—cd-album/10915384

Pete RingMaster 07/10/2016

Copyright RingMaster: MyFreeCopyright

3 Broken Limbs

This month sees the release of a trio of split assaults from New York based label Broken Limbs Recordings. Each is a raw and imposing echo of the darkest, dirtiest, and destructive traits of humanity and the world it has created emotionally and physically, and all propositions which leave a lingering imprint on the psyche as invasive as the sounds which sonically harangue and ravage the senses.

cover-art-2_RingMasterReviewNew Haven’s SEA OF BONES and New Hampshire’s RAMLORD come together for one of the incursions upon ears, each offering one epic trespass of their uncompromising sound and intent. Sea of Bones strike first with HOPELESSNESS AND DECAY, the trio of bassist/vocalist Gary Amedy, guitarist/vocalist Tom Mucherino, and drummer/vocalist Kevin Wigginton unleashing a cavernous soundscape soaked in predacious intensity from the off. For over ten minutes the trio breed a wall of confrontation as expansive and decayed as it is at times melancholically seductive. The track ambles, at times lumbers, across the senses, spreading its filth clad body and air with sludge fuelled hostility and moments of corrosive ambience leaving ears and emotions numb.

It is engrossing stuff matched in success by Ramlord’s proposal. INCARCERATION OF CLAIRVOYANCE is a mere few seconds shorter and just as enjoyably challenging. With a black metal/crust corrosiveness to their sound, the band explore a more urgent examination of the listener infesting them with their joyless yet at times fiercely infectious savaging with some inescapable hooks to be eagerly snared by. With essences recalling the likes of Discharge and Amebix, the track completes a powerful and gripping proposal.

Another of the three releases sees the coming together of Tennessee’s BLACK TAR PROPHET and from Pennsylvania IRON GAVEL. A seven track instrumental invasion again showing no btpig_RingMasterReviewrespect of the listener’s peace and sanity, the first half of the split is consumed by Black Tar Prophet’s sludge/doom powered incursions into the senses and imagination. Starting with the compelling persistence of MALIGNANT, a track living up to its name, the duo of bassist Greg Swinehart and drummer Erik Dever snarl in their distinct way across a further three incitements. As dark as they are heavy, as primal as they are strangely comforting and understanding to the darkest corners of one’s thoughts, Black Tar Prophet probe and transfix with RUINOUS DECAY and the deeply disturbed ABUSE especially momentous.

Iron Gavel have a less thick climate to their music but one which still crawls over the senses like a venomous predator and seeps into the corner of every emotion like erosive smog. Consisting of Dan Martin and Ryan Advent, the band taps into the psyche with their sonic and rhythmic explorations whether it be through vast and wonderfully nagging crawls like their first track here TEETH/THORN or through the shortest swinging assaults as its successor SHROUD, a concussive tempest of an aural dispute. Completed by the band’s pungent and relentlessly acidulous but refreshing GERM, the split is a match for the previous mentioned threat and at times eclipses it.

guiltcover_RingMasterReviewThe last of the Broken Limbs offerings is GUILT AND HIS REFLECTION, thirteen tracks bringing Texans CARA NEIR and WILDSPEAKER together in a split which sees its concept realised through both bands revolving around cannibalism in a post-apocalyptic scenario. The first seven songs escape the creative potency of Arlington, Texas crust duo vocalist Chris Francis and multi-instrumentalist Garry Brents. Starting with the sonically and vocally raw but melodically seductive HALO OF GREY, Cara Neir proceed to explore not only the psychological depths and impact bred in an apocalyptic environment but those of the listener too as tracks like CLINGING TO MY LAST BIT OF SANITY and THE VIEW THROUGH THIS FOG seem to flirt with ears and imagination as fully as they wonderfully antagonise them with their blend of black metal and post rock infested punk. Each of the band’s songs leave a potent impact with the outstanding almost poppy EGO EATS MAN stealing the pair’s half of the show.

Fort Worth based Wildspeaker brings their blackened crust tempests to the release with just as much creative venting and eagerness. Also featuring their partners in adventure’s Brents, the quintet go for the jugular from the off with the hellacious storm of hell DESECRATION PLAGUE. Led by the savage riffs of Nelson Favela and Zak Pitts as vocalist Natalie Kahan spills her rage, the track is as dirty and visceral as its name suggests with toxicity just as potent and appealing in its successor SINS OF DESPERATION which takes best track honours on the second half of the split. Driven mercilessly by Ricky Rivera’s drums, the track devours the senses but exciting them at the same time. With FIRST TASTE OF FLESH, another big shout for the biggest pinnacle of the release, and HIS REFLECTION especially notable among nothing less than six energy sapping uncompromisingly enjoyable whippings, Wildspeaker complete the third of a trio of splits which abrasively spark and forcibly ignite the senses.

The Sea of Bones/Ramlord Split is available @  Limited to 300 12″ copies: 200 black, and 100 orange vinyl, each with a download card.

The Black Tar Prophet/Iron Gravel Split is available @ Limited to 300 12″ copies: 200 black, and 100 red vinyl, each with a download card and poster.

The Cara Neir/Wildspeaker Split is available @ Limited to 100 white shell cassettes

Pete RingMaster 22/09/2016

Copyright RingMaster: MyFreeCopyright



The Cavemen – Too High To Die/I’d Kill


It has been a busy year for New Zealanders The Cavemen from just releases alone. April saw the unleashing of their exceptional self-titled debut album followed in June by the just as rousing and wonderfully arrogant two track single Juvenile Delinquent. Now the quartet of vocalist Paul, guitarist Jack, bassist Nick, and drummer Jake Caveman have freed new offering Too High To Die/I’d Kill ahead of yet another album; the single two slices of the band’s distinctive garage bred punk ‘n’ roll which is impossible not to get lustfully off on.

Now UK based, The Cavemen have arguably unearthed their most primal and trashiest sound for their new single; breeding both tracks with the kind of punk rock which has ignited and corrupted rock ‘n’ roll since the days of Gene Vincent and Jerry lee Lewis, through the likes of Hasil Adkins and The Stooges, and on to the likes of The Cramps, Gun Club, and The Ramones and more. Raw and cast in lo-fi manna, the single sizzles on the senses as it infests the body and purges the psyche like a predacious attack of sonic leprosy.

too-high-frontcover-copy_RingMasterReviewToo High To Die rumbles and grumbles from its first sonic lancing of ears, rhythms cantankerously bouncing as deranged vocal urgency colludes with the winy enterprise of the guitar. The whole song is like one giant chorus such its rousing catchiness with the fiery guitar solo additional toxicity to greedily devour.

Companion I’d Kill is just the same, a virulent stomp from first note to last but even more soaked in seventies punk with a touch of bands like The Saints and The Lurkers to it. A belligerent snarl with more contagion to its persuasion than any plague, the track alone but definitely in union with Too High To Die sparks even more impatient anticipation for The Cavemen’s impending second full-length.

Too High To Die / I’d Kill is out now via Dirty Water Records @!/The-Cavemen-Too-High-To-Die-b-w-Id-Kill-download/p/70351208/category=18119001

Pete RingMaster 23/09/2016

Copyright RingMaster: MyFreeCopyright

Nomad Stones – Self Titled

ns good band pic_RingMasterReview

The press release from Brutal Panda Records for the debut album from US trio Nomad Stones suggests that their “punk-infused blast of rock n’ roll sounds like Dinosaur Jr. meets Black Flag.” It is a description which it is hard to dismiss though throughout the eight-track encounter with the New England band we could not help thinking this is what The Dickies might have sounded like if they had slowed down, got grungy, and embraced the raw rock ‘n’ roll of Johnny Thunders. Numerous times the punk pop mischief of the LA punksters is encroached within the Nomad Stones album but always infused into their bubblegumless and fiercely rousing punk ‘n’ roll.

Formed in 2015, Nomad Stones consists of guitarist/vocalist Adam McGrath (Cave In, Zozobra, Clouds), drummer JR Conners (Cave In, Doomriders, ex-Goatsnake, etc.), and bassist Erik Szyska. With already shows under their belts alongside Mutoid Man, United Nations and numerous others, the threesome has certainly stirred intrigue and attention, and easy to hear why now their first release is spreading its ferocious yet contagious temptation.

Wrapped in the art work of Converge’s Jacob Bannon, the album opens up with Dead Batteries. Firmly punching beats set things off, grumbling riffs soon in tow as McGrath shares his vocal prowess in a virulent stroll mixing the punk of The Damned with the dirtier scent of Dinosaur JR and the dark growl of Misfits. It is a rousing and compelling start, a spirit and appetite sparking beginning reinforced by the following stomp of Dirty Boots and A Friend Named Goo. With swinging rhythms and mischievous hooks entangled in another scuzzy antagonistic snarl of a sound, the song brings seventies punk into the visceral infectiousness of modern punk ‘n’ roll, hitting the sweet spot within seconds and only reinforcing its persuasion as distorted guitar enterprise plays.

mininomadstones_RingMasterReviewDrain Brain comes next bringing a monotone nagging of the senses as riffs groan and shimmer while vocals add their singular but magnetic coaxing. Grungy and again old school punk seeded, the song grumbles and transfixes before The Frugal Yankee strides in and inspires that Dickies reference. Previous songs hinted but the fourth track especially recalls a sterner and heavier take on the Leonard Graves Phillips, Stan Lee, and Chuck Wagon led band, whether by coincidence or just in our ears.

A slower prowl comes with Glory Days next, its slow but eager crawl thick with emotive and rhythmic shadows adding another creative shade to the EP and an intriguing proposition for ears and imagination to embrace. Carrying a bit of Fugazi in its character, the excellent encounter steps aside for a rousing version of the Buddy Holly classic, Heartbeat. Just beefing it up gives the track a fresh lure but Nomad Stones also add fiery melodies and even more aggressive nagging to its riffery to leave ears greedy and pleasure rife.

The rowdy air and intent of In Too Deep ensures satisfaction is full next too, the song without the same spark as its predecessors for personal tastes still only leaving a want for more which closing track, The Sandwich Police provides as again, much like the last song, Nomad Stones venture into the epidemic strains of pop punk united with the threat of Black Flag/Converge scented confrontation.

The track is an outstanding end to an excellent introduction to Nomad Stones. There is buzz rising around the band and we can only add to it as raw and punk infused rock ‘n’ roll does not come much more enjoyable than this.

The Nomad Stones EP is out now via Brutal Panda Records @

Pete RingMaster 02/09/2016

Copyright RingMaster: MyFreeCopyright