The Kingcrows – Funland

 

Kingcrows_RingMaster Review

For all the exceptional punk releases and bands igniting the rock scene over recent years, there is no still no substitute yet for the special tingle which only lifts its head with a ‘77 found roar. As we all know, it is a never diminishing inspirational period for punk rock and the never ending torrent of bands spawning their own identity with its antagonistic hues. Some breed a sound which is as close a cousin as you could wish for, amongst them The Kingcrows who are simply a rousing bridge between the late seventies and modern punk ‘n’ roll. Their previous releases have already made that declaration but new album Funland sets it in stone, the UK quartet involving the listener in something energetically aggressive, attitude driven, and most of all undiluted sleaze wrapped fun.

Hailing from Leeds, the quartet of vocalist Phil E Stine, guitarist Lee J., bassist Rocco, and drummer Ratbag have been a bruising and thrilling live presence across the north of England moving outwards. Emerging in 2005, The Kingcrows has torn up stages with their filthy rock ‘n’ roll ever since, playing alongside the likes of Spear Of Destiny, UK Subs, The Rezillos, TV Smith, Anti Nowhere League, Tokyo Dragons, Vice Squad, The Lurkers, 999, The Vibrators, Red Alert, The Outcasts, Peter & The Test Tube Babies and many more legendary and emerging bands over the years. They have also released a clutch of attention grabbing EPs, which made an even bigger impression when collected together and released in the shape of Corvus Maximus through STP Records in 2013. The album awoke a broader focus and awareness of the band’s unfussy and virulent sound, which Funland should now push into new spotlights and recognition.

The album erupts with Here We Go, the first riot initially blooming from a fairground organ and its warm invitation. Soon rhythms rumble with attitude and riffs stir up the air as the opener’s eager rock ‘n’ roll seizes ears and attention. The song is quickly into its virulent and persistent stride, cruising with jabbing beats spearing grouchy guitar and bass tenacity. The track is like a mix of Spunk Volcano and The Eruptions and The Adicts, similarity and nostalgia colluding with fresh attitude and revelry.

cover_RingMaster Review     A potent start to the album is further ignited by the following She’s My Rock ‘N’ Roll and its thrilling tempting. An alluring rhythmic enticing sparks a rockabilly bred grooving flirted with by spicy harmonica, they in turn kick-starting a heavy anthemic canter of contagious rhythms and incendiary sonic enterprise led by the ever magnetic tones of Stine. The track is glorious, punk rock at its tenacious and riotous best, and again as old school as it is imposingly new. The album’s first major pinnacle is backed, if not quite matched, by On The Road Again, a swiftly engaging and infectious stomp which has ears, feet, and appetite locked in within a handful of chords and resourceful seconds. There are no big surprises within song and arguably Funland in general, yet they only provide a nonstop and fully satisfying stomp to get eagerly involved in.

A southern whisper lines the lure and rampage of Rock ‘N’ Roll Rebel Songs, the track aflame with sultry guitar endeavour, inviting group vocals, and the breath and atmosphere of ’77. Lyrically it also sparks memories of times past, it all colluding in one easy going and gripping persuasion, though outshone by Forgotten Son straight after. Its opening riff comes with dark intent and imagination igniting attitude, its bait continuing to enthral as the song grows and breeds new sonic colour and lyrical drama around it. There is a touch of Angelic Upstarts to the encounter though that is but one flavour within the emotive shadows and provocative narrative on offer.

The album’s title track kicks up a storm of attitude and insatiable rock ‘n’ roll next, the track forcibly prowling with essences of bands like Suburban Studs and Crisis in its armoury before making way for the irresistible presence of Kick ‘Em Down. The album is truly at its loftiest height at this point, the tasty provocateur, and its predecessor, unleashing welcomingly bullying and virulently infectious rock ‘n’ roll with the second also unveiling another tonic of harmonica belligerence, before the brilliant Apocalypso steals the whole show. Opening on a delicious throaty bass riff with tendrils of guitar adding their spice before the drums create a brooding and catchy confrontation, the track evolves into one seriously magnetic shuffle. The beats of Ratbag continue to incite song and ears with their anthemic swings, whilst around them voice, riffs, and contagion ebb and flow like virulent waves soaked in inescapable temptation.

Never Gonna Fall continues the album’s elevated and invigorating energy and enjoyment with ease, its thumping presence and gait luring many strains of rock into one bulging incitement whilst Sick Of Love Songs creates its own individual fusion of old school punk and new rock ‘n’ roll. The bass of Rocco breeds a bestial snarl to its tone whilst Lee J. once again leaves sonic vapours from his searing and ever to the point exploits. Led by the beckoning delivery of Stine, the track is another hitting the sweet spot whilst proving to be another proposition you only wish its two or so minutes was stretches longer.

Funland ends with Beer and Whiskey, arguably the weakest song on the album. In context though, with it holding ears and pleasure firmly in its rip-roaring escapade, it simply reinforces the might of the tracks which over shadow it. It is indeed a fine end to an excellent slab of rock ‘n’ roll, Funland rigorously feeding appetites for seventies punk and today’s punk ‘n’ roll from start to finish.

2015 has already been blessed with some mighty punk offerings which The Kingcrows now rival if not surpass with their new proposal, but few of those others will become as big a favourite as Funland is destined to be we suggest.

Funland will be released through STP Records at Rebellion on August 6th and then available @ http://www.stprecords.co.uk/page4.htm

http://www.kingcrows.com/     https://www.facebook.com/kingcrows

RingMaster 31/07/2015

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

Russkaja – Peace, Love & Russian Roll

PL&RR__RingMaster Review

Our own introduction to Austrian turbo polk metallers Russkaja was through their third album Energia! and there is no denying it stole our ears and lustful soul with ease. Now the septet returns with its successor Peace, Love & Russian Roll and fair to say the devilish fun continues. The album in many ways seems a more concentrated attempt at flirting with the broadest attention, songs sung predominantly in English this time around and the bedlamic nature of their songwriting turned down a touch, but it does not stop the band unleashing another manic and exhilarating stomp.

Formed in 2005 by vocalist Georgij A. Makazaria, Vienna hailing Russkaja has a sound which embraces the essences of its member’s Ukrainian, Austrian, and Russian heritage, the latter especially a potent hue in an adventure which entangles folk, punk, ska, jazz, metal, polka…well you name it and it will be in there as shown by both Energia! and now Peace, Love & Russian Roll. As suggested the band seems to be looking at stirring up a wider spotlight of attention with their new album, but in no way does it mean they are dipping into commercial attributes to cheat the imagination and fans, just that Peace, Love & Russian Roll has, well I guess it is a more mature and knowing touch to the songwriting and sound behind its magnetic schizo waltz.

The festival of flavour and adventure starts with the body igniting Rock’n Roll Today. Its opening fanfare of trumpet has ears instantly hooked, with the scythes of energy, riffs, and drum stick swipes only adding to the enticing. Within a few more breaths the track is in full throttle, stampeding through ears with a punk ferocity, multi-flavoured tenacity, and a web of rhythms which, as the sound, shifts gait and nature with every passing clutch of seconds and inventive twist. Vocally Makazaria growls as he leads the boisterous revelry, feet soon a blur in return and hips swinging to the breakout of ska seeded hooks. Like a mix of Kontrust and Tankus The Henge, the track sets the union between album and listener off in rigorously contagious and thrilling style, especially with its fifties rock ‘n’ roll detour towards its exhausting climax.

   The following Slap Your Face equally has the senses and imagination aflame, and again it all starts with an irresistible entrance which this time is blessed with the kind of blaze of brass that Roxy Music cast in their heyday. Soon metal riffs and beats back up its tempting, the mix persistently punctuating the ska seeded funk swagger which soon breaks out. As the first, the song is a flowing stroll of infectiousness and invention. Its fusion of sound reminds of Biting Elbows and Gogol Bordello at times with the added spice of King Kurt in for good measure, and fair to say that if as its predecessor, it is not luring your body and vocal involvement within the first minute, you should check you have a pulse.

Hometown Polka calms things down a touch with a restrained saunter spiced by the teasing violin strings of Mia Nova which provide a charming welcome. Its catchiness is in full flow pretty much straight away though, growing with strength as lively crescendos to the song come littered with a throaty bassline, mass vocals lures, and swinging traditional temptation. The dark allure of H-G. Gutternigg’s potete (a hybrid of bass trumpet and trombone), only brings greater flirtation to the song, complementing the spicy trumpet of Rainer Gutternigg and the melodic dance set by Engel Mayr’s guitar simultaneously.

A further breath can be taken thanks to There Was A Time, a warm yet melancholic croon of voice and sound. Once more infectiousness is as ripe as the skills breeding the total seduction, the English sung reflection making another persuasion impossible to not join within one round of its chorus. The sublime persuasion is matched by the Latin sparked El Pueblo Unido, its Spanish sung and South American coloured tones the canvas for a rousing ska infused canter complete with climatic crescendos and mariachi like drama.

597_Russkaja_RingMaster Review   Lovegorod wears its ska influences with a broad creative smile whilst Parachute guided by the pulsating beats of Mario Stübler is a folk shaped swing of melodic and lyrical romance hugged by siren-esque harmonies and trembling Mediterrean caresses. Both songs hold attention and imagination in firm and pleasing hands but each finds itself over shadowed by the theatre of the following Let’s Die Together. Arguably the most traditionally Russian bred song on the album, it is a bordering on schizophrenic maelstrom of voice and sound which boils into a familiar and addictive quickstep. Its energy and passion increases with every swaying step, its roaring catchiness of band cries over a deeply hooking swing, sheer inescapable virulence.

One major triumph is backed by another in the noir lit prowl of Salty Rain. Dark rock ‘n’ roll with a healthy spice of jazz and melodic sultriness, the song swiftly entrances body and imagination, once again hips coaxed into eager movement as the immersive narrative grabs thoughts. A core ska spine of guitar binds the outstanding track’s varied beauty together, alone manipulating limbs before letting You Are The Revolution flick the switch to another raucous outpouring of sound, attitude, and energy. Metal and punk collude to create the raw and gripping stomping with the bass of Dimitrij Miller, not for the first time, a prime protagonist in song and ears. Of course as volatile as it is, there is a contagion to its tempest which is just as mouth-watering as the turbulence around it.

Peace, Love And Russian Roll concludes with firstly the country rock/folk croon of Radio Song, a serenade as lyrically mischievous as it is musically tangy, and finally its title track. The last song’s name just about sums up it and the album’s contents, Russian rock devilry spawned by the theme of uniting in the good things to make life and the planet a better place. It is a glorious end to another delicious slab of unpredictable and inimitable aural festivity. If pushed previous album Energia! with its less polished and more of a raw toning still edges it as our favourite Russkaja moment but Peace, Love & Russian Roll is right up there leaving so many other offerings this year in its wake.

Peace, Love & Russian Roll is available now via Napalm Records http://shop.napalmrecords.com/russkaja

http://www.russkaja.com/    https://www.facebook.com/russkajaofficial

RingMaster 26/07/2015

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

 

 

Seething Akira – Airstrike

Cruisin'_RingMaster Review

Like a raid on the senses and a mass riot for the body, the new single from UK rockers Seething Akira sets the world on fire in just three volatile minutes. Setting out the kind of tempest fans to the band’s fusion of alternative and heavy rock with electro and hardcore dub step are accustomed to, Airstrike equally thrusts its hellacious mitts into a richer and deeper vat of anthemic intensity and psyche twisting tenacity for one ferocious devilry.

Hailing from Portsmouth, and with inspirations from the likes of Prodigy, Senser, and Enter Shikari joining their own rebellious ideation, Seething Akira was soon inciting a potent and loyal local support when emerging in 2011. First EP, You Missed The Show that year showed the band was loaded in potential but it was from the Transmission EP a year later that they hit their stride in sound and broader persuasion. Live the band has only earned an acclaiming stature, the quintet taking in shows with bands such as Hacktivist, The Algorithm, Senser, Don Broco, Black Futures, Sonic Boom Six, Max Raptor, PWEI, and Heart Of A Coward over the years. Last year the Aggro Vito EP reinforced and pushed on the band’s sound and presence but for us Airstrike is the band’s most exciting and ridiculously involving offering yet.

Airstrike_RingMaster Review     Airstrike allows no escape for feet and emotions, let alone voice, stirring them up in its first seconds and then dragging them into its maelstrom of energy and attitude. It spews increasing slavery through voracious rhythms, psychotic enterprise, and a vocal assault which makes the term incitement seem lightweight. The thumping beats of Stu Mealcliffe alongside the pulsating synth stabs of Charlie Bowes cast the first lure, their union unrelenting until the subsequent vocal roars of Kit Conrad and Bowes add their united antagonistic charm. The metal spawn riffs of Harvey Sneezeface Ware aligned to the predatory prowl of Terry Brown’s bass instantly turns the already virulent temptation into a beast of a proposal, their entrance sparking greater intensity and aggression elsewhere too. The landscape of the song continues to evolve and unpredictably shift, sinister melodic endeavour from the guitars sparking a similar air to keys before the dynamics at the heart of the song explode once again in a torrential and commanding cascade of techno trespasses, heavy duty rhythmic and riff induced incitements, and vocal belligerence.

Airstrike is a brawl impossible to resist and it is easy to imagine Pendulum being offered as a hint to the song’s might. But more so it has the hues of bands like G.R.I.M, Axis Mundi, and a dirtier Pop Will Eat Itself to it. Those flavours do bring a certain familiarity to it at times but that is countered and overwhelmed by the sheer energy and unique enterprise of Seething Akira. This is a band which just gets bigger and better whilst persistently knocking on the fullest spotlights.

Airstrike is available from July 27th

Upcoming Seething Akira tour dates:

July 31st O2, Islington, UK *

Aug 1st Downstairs, Aberdeen *

Aug 2nd Audio, Glasgow, Scotland *

Aug 3rd Bannermans, Edinburgh, Scotland *

Aug 4th Warehouse 23, Wakefield *

Aug 5th The Asylum, Birmingham *

Aug 6th Academy 3 Manchester, UK *

Aug 7th Waterfront, Norwich, UK *

Aug 11, Knust, Hamburg, Germany *

Aug 12 West Park Eventhalle, Inglostadt, Germany *

Aug 13 Little Devil, Tillburg, Netherlands *

Aug 14 Hypothalamus, Rheine, Germany *

October 3rd, MAMMOTHFEST, Brighton

* Main support to Mordred on EU tour

http://www.seethingakira.com/     https://www.facebook.com/seethingakira

RingMaster 27/07/2015

Copyright RingMaster: MyFreeCopyright

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Celeb Car Crash – ¡Mucha Lucha!

CCC_RingMaster Review

Fusing a great blend of nineties rock and pop punk into a modern alternative rock invention, Italian quartet Celeb Car Crash have a sound which feels simultaneously fresh and familiar. It is a mix which makes their latest EP, ¡Mucha Lucha! an adventurous but equally, an instinctively enticing proposition. Bringing three varied and fiercely magnetic slices of melodic rock ‘n’ roll to bear on ears and appetite, the release alone suggests that Celeb Car Crash are pushing towards major attention.

Consisting of vocalist/guitarist Nicola Briganti, drummer Michelangelo Naldini, guitarist Carlo Alberto Morini, and bassist Simone Benati, Celeb Car Crash emerged at the end of 2012 and quickly set about recording their first encounter. Ambush! was unveiled in the April of 2013, backed by the video /single Dead Poets Society. Gaining strong attention from fans and media alike, the album was supported by an extensive tour across Italy, Switzerland, France, and the UK and shows supporting bands such as Gotthard and Coheed and Cambria, all reinforcing the emergence of record and band. After another well-received single the previous year, 2014 saw the band again concentrate on tours and shows, ending with Celeb Car Crash winning the Red Bull Tourbus contest against 1700 other entrants, resulting in the band playing three shows as support to Lacuna Coil and the chance to record a new single. That was to be Because I’m Sad, the opening song and lead to the ¡Mucha Lucha! EP.

celeb-car-crash-300x300Celeb Car Crash - ¡Mucha Lucha!     Backed by two unreleased tracks on the EP, the Olly Riva and Mario Rice produced Because I’m Sad gets things off to a gripping start. From its opening coaxing of acoustic guitar and the swiftly magnetic voice of Briganti, the song has ears in the palm of its hands, especially as the gentle opening soon sparks a feistier burst of rhythms and riffs. Quickly blooming greater colour and richer tempting through spicy hooks and anthemic enterprise, it continues to evolve, breaking into a tenacious canter reminding of bands like Everclear and Jimmy Eat World. It is a recognisable essence though which only adds to the potency and arousing drama of the song, and indeed its virulent infectiousness.

The following Next Summer has a more hard rock endeavour to its character but also a rhythm and blues spicing which has thoughts of Graham Parker hinting as it continues to explore its wiry walls and throaty canvas. Sharing the same boisterous energy as its predecessor and ripe with melodic flames and catchy hooks, the song shows another hue to the songwriting and sound of Celeb Car Crash, a raw and dirtier toning bred from more fresh and varied sources of rock ‘n roll gripping the imagination.

The EP is completed by ¡Adiós Talossa! (tututu), a sultry seductive affair from the off with warm emotive coaxing cast from the trumpet of Damiele Ravaiolli. Growing and blossoming with every passing minute, the bewitching track grows into a grungy pop punk affair around a compelling rhythmic stomp. Whispers of Green Day, Nirvana, The Mighty Mighty Bosstones, and again Graham Parker all seem to collude as a thicker aural colour continues to enrich a captivating encounter spawned from the band’s own invigorating ideation.

The opener and closer definitely steal the show upon ¡Mucha Lucha! but the thoroughly enjoyable Next Summer also shows that Celeb Car Crash have real variety and depth to their music and writing. A little late to the party, the EP is actually our introduction to the band but one which has sparked a keen appetite to see where they go next. An intrigue we will surely not be alone in.

¡Mucha Lucha! is available now via Sliptrick Records through most digital stores.

http://www.celebcarcrash.com/ https://www.facebook.com/CelebCarCrash/

RingMaster 22/07/2015

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

 

 

 

The Meow Meows – Friends On Benefits EP

meow meows_RingMaster Review

Starting with one of the most flirtatious embraces likely to be heard this summer and proceeding to cast another two slices of pure aural suggestiveness, the Friends On Benefits EP from UK ska rockers The Meow Meows, puts the irresistible into virulent temptation. Three songs of the Brighton nine-piece’s increasingly renown fusion of eighties ska and even older garage rock with a more than healthy punk bred diversity, the EP is one inescapable incitement for body and imagination.

The Meow Meows emerged on the Brighton live scene around 2005, the collective rising from the ashes of several bands from the south-coast ska-punk scene. It was not long before their reputation and fan-base flourished through their energetic live presence and a sound which bewitched feet and ears with infectious ease. The years since forming have seen the band share stages with the likes of The Temptations, The Skatalites, Reel Big Fish, The Beat, The Selecter, King Blues, The Skints, and Hollie Cook amongst many, and the release of a couple of well-received albums. Debut full-length Songs From The Fridge stirred up plenty of attention but it is probably fair to say that its 2013 successor Somehow We Met, helped push the band into new spotlights. Friends On Benefits, like that album, was recorded with producer and reggae legend Prince Fatty and quickly confirms The Meow Meows as one of the UK’s truly instinctive creators of contagion.

cover_RingMaster Review     The seeds to the Friends On Benefits EP arose from the band being one of ten artists commissioned by Fuel Theatre for their Music to Move to project, its aim to create works from bands in union with choreographers which would inspire the general public to dance. Equipped with another pair of toe inciting swingers, also loaded with humour laced and snarling social /political themed lyrics, band and release swiftly set hips to work with the EP’s title track. Brass and rhythms instantly collude in a gentle but forceful sway as guitars within another breath add their sultry hues to the melodic smile of the keys. Alternating their individual vocals over the verses, both Danny and Hanna spark further hunger, the two ladies temptress like within the rousing swagger and shuffle of the song. With a whiff of The Bodysnatchers to it, as well as The Beaubowbelles and The Jellycats, the track is a spellbinding and lingering bounce of a persuasion swiftly matched by its successor.

London Road has an even chirpier gait to its stroll, brass and beats quick-footed protagonists within the key’s smouldering caress. As in the first, the music embraces the vocals with a more restrained energy yet it never loses the infectious lure ripe in its presence and enterprise, in fact springing new melodic flames with every twist of its irresistible tempting. As it proceeds with a distinctive and magnetically quaint Hammond organ tone seducing, the song gently and seamlessly evolves to subsequently emerge with a Martha and the Muffins like new wave colouring which seems to feed and accelerate the excellent ska fuelled and increasingly agitated climax of the outstanding song.

The EP is completed by Tits & Hatred, a more old school punk endeavour which echoes with essences of bands like Au Pairs and The Raincoats within its severely tantalising and eagerly varied character. The track is again primarily brewed from the band’s seventies inspired 2-tone/ska punk inspirations which of course are in turn dosed up with the band’s compelling touch and imagination; the result being one mouth-watering end to one thrilling proposition.

The Meow Meows create ska punk ’n’ roll to lose your inhibitions and body to, with Friends On Benefits the spark to lustful endeavour.

The Friends On Benefits EP is available on vinyl from July 13th via Jump Up! Records and digitally @ https://itunes.apple.com/gb/album/friends-on-benefits-single/id997669416 or http://www.amazon.co.uk/gp/product/B00Y6EIGXO?keywords=Friends%20On%20Benefits%20EP&qid=1436784848&ref_=sr_1_1&sr=8-1

http://www.themeowmeows.com/     https://www.facebook.com/themeowmeows

RingMaster 13/07/2015

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

 

 

A Billion Lions – Doomsday Babies

BILLION LIONS PROMO PIC1_RingMaster Review

You assume all bands unleash their best and most potent song on ears for their debut single, uncage their most virulently attractive proposal to whip up attention and appetites. The following question is always can they back it up next time. Well that query offered has been dynamically answered when it comes to British band A Billion Lions. Earlier this year, they exploded on the imagination with Torquay, a song which with contagious ease provided of one of the year’s most invigorating singles so far. Now they return with its successor Doomsday Babies, a just as fiery and tenacious riot of pop rock which sizzles on the senses and explodes in the passions. If their first single lit the fuse to inescapable attraction, prepare to have lustful thoughts with their second.

Formed in 2012, the Leeds/Bradford hailing A Billion Lions soon had the local scene to their feet with their ferociously energetic rock ‘n’ roll. A pair of demo recordings, On My Lover and I’m Free, began an introduction for the band to broader fields via YouTube, that potent tempting backed by an increasingly acclaimed live presence. This led to End Of The Trail Records paying attention and a subsequent link up between label and band, and in due course the release of the acclaimed Torquay and now Doomsday Babies. The former lured strong media and radio attention, as well as a flood of new fans, and it is hard to see any reason why their newest offering cannot emulate and push further that kind of success.

artworks-A Billion Lions - Doomsday Babies_RingMaster ReviewDoomsday Babies opens on a bait of drum persuasion which alone awakes ears with a licking of lips, the brief and singular but potent lure soon joined by sonic caresses and a moody bassline, all courted by an instinctively suggestive hook. It is a masterfully magnetic start which discovers new fiery energy and a melodic haze as again thoroughly impressive and enjoyable vocals come in. Vocally the band is as energetic and resourceful in igniting ears and imagination as anything but within the just as rousing sounds they seem to gain extra angst and zeal. The layers of the song, as its predecessor, reveal twists of garage rock, punk, pop, and numerous more spicy flavours, all woven and honed into something distinct and individual to A Billion Lions, though at times there is a feel of My Red Cell to the track; a positive in anyone’s book we would suggest.

A Billion Lions have not only followed up their tremendous opening song with one of matching quality and thrills but Doomsday Babies reveals just a little more to what seems to be an increasingly expansive sound and imagination. Ahead of debut album Let It Happen which is scheduled for September, Doomsday Babies makes the perfect teaser whilst A Billion Lions simply reinforce themselves one of the exciting new breaths in UK rock.

Doomsday Babies is available from July 13th via End Of The Trail Records.

https://www.facebook.com/billionlions   https://twitter.com/ABillionLions

RingMaster 13/07/2015

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

 

Los and the Deadlines – Perfect Holiday EP

Los and the Deadlines_RingMaster Review

With more distinctive hues to their creative tapestry of sound than colours in a drag queen’s make-up palette, UK based Los and the Deadlines unveil their new EP to cast a captivating enticing which is as dynamically refreshing as it is imaginatively inflamed. There is adventure on every corner and inventive devilry within each creative breath of the Perfect Holiday EP, exciting times coming with increasing persistence over each and every listen. The band has sparked intrigue and enjoyment with previous releases but those just pale against the vibrant and bewitching exploration of this new Los and the Deadlines encounter.

The seeds of the band began when Arizona bred lead vocalist/guitarist Alex LoSardo moved to London in 2010. After being introduced to guitarist Neils Bakx, common interest and already existing musical thoughts began to bear fruit between the pair as they began writing and composing together whilst studying for their undergraduate degrees. A few line-up changes ensued as the band established its sound and presence, the time offering up a pair of strong EPs in the shape of Metro Talk in 2012 and Part One: Bank last year. Italian drummer Alberto Voglino had joined the band before the release of their second EP whilst Israeli bassist Rotem Haguel linked up more recently after another change in personnel. Whether he was the missing link to the band’s full potency others can decide, but there is no doubting a new spark and maturity, not forgetting energy, to Perfect Holiday which declares a band coming of age.

cover_RingMaster Review    The band’s sound is often and understandably tagged as art-rock but as opener Feel At Ease quickly reveals that barely hints at the evolving brews of grunge, stoner, punk, noise, and many other rock ‘n’ roll spices woven together in the EP’s individual exploits. The first song is an immediate throaty groan of heavy bass, discord deranged guitar, and jabbing beats. It is an almost menacingly brewed lure which never flinches as the spoken delivery of LoSardo opens up a just as pungent narrative. Fresh predatory air hits all areas before the song opens out into a catchy and melodically tempting chorus, its appearance another trigger as the song returns to its stalking but with a hungrier and livelier nature. We would suggest as this and all songs play, each listener will find their own references and hints to compare songs with, and here, thoughts of early Squeeze, Split Enz, and just a touch of Pere Ubu nudge these thoughts.

The outstanding start is followed by It Could Be So Much Better, an instantly grittier and more classic rock toned saunter resonating to metallic swipes on drums and blossoming a bluesy tang to the winding grooves of the guitars. Melodic vocals only add to the sultriness whilst off kilter scythes of sonic invention ensures another song not here just to feed expectations, even if it is arguably less adventurous than surrounding proposals with its fiery Red Hot Chili Peppers like smoulder. That is not to suggest the track has an air of predictability, just that it is less creatively ‘psychotic’ compared to the likes of The Youth’s Opinion which follows it. Once again the band opens a track up with the richest bait, rhythms and riffs compelling enticement with a touch of grouchiness which soon expands into a maze of wiry grooves around a Queens Of The Stone Age melodic revelry. Addictively virulent and tenaciously imaginative, the song swings and dances on ears, treating them to further sonic and warped resourcefulness which it would not be too far from the mark to suggest plays with a Melvins spicing.

From one glorious incitement to another as Batshit Crazy steps forward, its entrance a merger of crispy beats and a heavy, dark funk bred bassline around more greatly alluring tones of LoSardo, the vocalist potent whether speaking or singing across songs. Though restrained in its energy and assault, its title sums up the song’s nature perfectly, a funky Jane’s Addiction like prowess colluding with Dog Fashion Disco like imagination. To be fair all references offered never weaken something original to Los and the Deadlines, and as mentioned everyone will hear someone different within the band’s unique waltzes.

The shadowy flirtation of the track makes way for closer We Lust To Shop For Nothing, another with a Josh Homme like touch to its inventive colouring though in no time the song expels a blaze of rock ‘n’ roll which is more I Plead Irony like but constantly creating its own addiction sparking, ridiculously infectious emprise of sound and ingenuity. As all tracks, there is, for want of a better word, bedlam at the heart of the song, a ‘crazed’ weave which is as fluid and magnetic as it is relentlessly surprising.

As suggested earlier, Los and the Deadlines have suddenly blossomed from an enticing potential fuelled prospect into a beast of ravenous and mouth-watering rock ‘n’ roll, though again that really only hints at the thrills found within Perfect Holiday.

The Perfect Holiday EP is out from July 13th

https://www.facebook.com/losandthedeadlines   http://www.losandthedeadlines.com/

RingMaster 13/07/2015

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