My Cruel Goro – Self Titled EP

My Cruel Goro_RingMaster Review

Since its emergence a couple of weeks or so back, the debut EP from My Cruel Goro and its sound, has lured comparisons to bands as varied as The Clash, The Stranglers, and The Jam to the likes of Ash, Arctic Monkeys, The Fratellis, The Hives, the Libertines, Dinosaur Jr., and Weezer. For us the self-titled release brings a weave of Asylums meets Birdland meets New Bomb Turks to the table. That diversity across all references though is because primarily it is hard to pin down the My Cruel Goro sound; it seems bred from varied decades and through a vat of inspirations but with no particularly defined evidence to support any claim, everything just teasing whispers in something quite original.

cover_RingMaster Review     Hailing from Italy, My Cruel Goro is a currently Reykjavík in Iceland based trio which formed in 2014. Vocalist/guitarist Andrea Maraschi and bassist Andrea Marcellini had already been making music together for the previous nine or so years, meeting through a mutual friend, before My Cruel Goro rose from the ashes of their previous project, its demise according to Marcellini because “We couldn’t find reliable musicians to form a proper group with a stable line-up.” Then they met and linked up with drummer Tommaso Adanti, from whence My Cruel Goro stepped forward with now their new EP an introduction to broader awaiting appetites for their raw and virulent rock ‘n’ roll.

It opens with Clash and an instant blaze of enticing riffs and probing beats. A single breath of a ‘pause’ brings the throbbing tones of the bass in before the band strolls and swaggers with indie revelry, thick guitar incitement, and mischievous electronic enterprise. The song is a tapestry of fuzzy hues and blustery flavours colluding in a punk ‘n’ roll roar which is as creatively unpredictable and agitated as it is contagiously rousing.

Next up is Crapford, a song quickly endearing itself to ears and appetite with a wonderful opening melodic hook which is as Buzzcocks like as you can get without a touch of stealing. With tangy bass bait and crisp beats alongside, it is a gripping start which only gets stronger as warmer flowing vocals and pop punk hues add to the texture and richness of the song. As its predecessor, if without the final raucous spark, the track is an addictive anthem to get fully involved in before Glue Buzz takes over with its new wave meets garage rock devilry. A perpetual bounce with seventies punk attitude and tone, as well as a horde of spiky hooks, infectious swings, and a noise rock centre which simply transfixes as it meanders and evolves towards its scuzzy atmospheric climax, the song is a glorious end to a striking and thoroughly enjoyable stomp.

It is of course early days but if their first EP is the sign of things to come, My Cruel Goro could be making a hefty impact on rock ‘n’ roll ahead.

The My Cruel Goro EP is out now via Rebel Waltz Records as a free download at the My Cruel Goro Bandcamp.

Pete RingMaster 05/10/2105

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Counting Coins – Don’t Look Down

CC_RingMaster Review

Here is another band we could kick ourselves for not discovering before now, well we will once we stop bouncing to their glorious new single. They are Counting Coins, a UK band which in one breath you might call ska, in another gypsy punk, in another…well you get the idea, and their new release is Don’t Look Down, a song destined to turn venues, festivals, and the world into a heaving mass of bodies.

cover_RingMaster Review   The Hull hailing Counting Coins formed in 2009 and it seems took little time in exciting crowds locally before drawing broader attention through debut EP Take the Ride in 2010. With its successor, the Reach for the Sky EP three years later even more successful, the band were soon and hungrily since, lighting up venues across the UK and into Europe, sharing stages with the likes of Random Hand, Sonic Boom 6, The New Town Kings, The Talks, Jaya the Cat, Babar Luck (ex-King Prawn), The King Blues, The JB Conspiracy, and Neville Staple along the way. Equally performances at festivals such as Boomtown, Rebellion, Tramlines, Galtres, and Freedom Festival have only drawn acclaim and seen the band’s reputation gain momentum. With new single Don’t Look Down constantly in our ears alongside a retrospective investigation of Counting Coins, it is easy to see and hear why the quintet of vocalist Harry Burnby, guitarist/bassist Matty Dennison, bassist/guitarist Rob Green, drummer Sam Burnham, and trumpeter Will Chalk are so lustfully supported.

As mentioned at the top, the band’s sound is a weave of styles; ska, punk, gypsy, and hip hop aligned and entangling in Don’t Look Down alone. A brief rally of beats introduces the magnetic flames of brass, they enticing choppy riffs, a pulsating bassline, and the resourceful and magnetic lures of Burnby, his voice just as eagerly backed across the band. The ska swagger of the song is pure temptation, feet and hips soon in tandem, vocal chords a swift addition too. Around them though, the song seamlessly slips in flames of reggae, ska gypsy, and more, it all managing to collude to breed a swing like dynamism. With elements of dub and folk, tango and waltz, and at one point we swear steam punk, the track just continues to roll and twist like a melodic acrobat as it takes the listener and passions on a heady and exhausting ride.

Single of the year contenders is a list longer than a queue on Black Friday and now it is one song richer, an incitement which has more or less jumped the line to stand to the fore of 2015 essential treats.

Don’t Look Down is out now as a digital download on All Our Own Records.

Pete RingMaster 02/10/2015

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Slumlord Radio – Too Pretty For Tijuana

SR_RingMaster Review

After releasing the excellent $3 Dollars, A Half Pack of Smokes and Some Other Jive S​*​*​t album earlier this year, it a compilation of tracks from their earlier EPs with a couple of fresh treats for good measure, Slumlord Radio now uncage some brand new punk ‘n’ roll incitements to contemplate in the fiery shape of Too Pretty For Tijuana. It is an encounter which seems to have looked back at previous releases and taken the prime and prize elements from them, reseeded and honed them with new imagination, and then immersed the results in a new maturity and enterprise. Slumlord Radio is still as violently funky as before and as aggressively dirty, but now its sound is wrapped in a contagiously imaginative swagger and unpredictable adventure that has produced with ease the band’s finest moment yet.

Apparently bred in the slums of Grand Rapids and emerging in 2010, Slumlord Radio was soon stoking a reputation for the live shows and fusion of punk, sludge, metal, and unbridled power. Release wise, The Cats Pajamas in 2012 nudged attention though it was more the infectious raw rock ‘n roll of Tokyo Roadhouse Sonic Sex Castle the following year that found a new and wide range of appetites focusing in on the band; us included at this point. The potential fuelling the encounter was confirmed and stretched by the excellent No Trick Pony in 2014, a raw and grouchily aggressive offering which was as irritable as it was magnetic. As suggested earlier, with Too Pretty For Tijuana, the trio of vocalist/guitarist Tommy Erickson, bassist Mike Todd, and drummer Matt Claucherty seem to have reassessed past triumphs, taken all the richness from them and aligned all with new invention for a whole new escapade creatively fresh yet still distinctly Slumlord Radio.

album_Cover_1_RingMaster ReviewCarrying a Tarantino like southern theme in air and word, Slumlord Radio the good, the bad, and the ugly; Too Pretty For Tijuana leaps from its cinematic spoken Intro into Bullwhip and a bar-room good time for all. With heavy beats stirring up caustic riffs as the recognisable growling roars of Erickson prowl the emerging cage of confrontation, the track is soon swinging its infectious sinews with belligerent and addictive prowess. The bass growl brewed is as gripping and predatory as the chunky riffs and tendrils of inflamed toxicity, a mix alone which ignites ears and imagination but once given an almost glam rock like host of hooks and grooves it becomes slavery in a speaker.

The following Debonair Dolomite strolls in on a magnetic rumble of beats from Claucherty, his thick bait wrapped in stoner sown lures of guitar aligning with seductive attitude soaked bass. From its perpetual rhythmic incitement, the song bounds along with hook driven infection and ripe grooving until mid-way when it suddenly drift into a slow smoulder of evocative melodies and vocal reflection. In no time at all though, things are brewing up again, intensity and energy rising until band and song are once more preying on the listener with their addictive and thrilling fierce shuffle.

A tangy resourcefulness soaks Southpaw next, its entrance laying a sultry and exotic Latin hued soundscape which simply lures the imagination in deep before the guitars begin to weave their scorched temptation and rhythms start showing their muscle. In the flow of a hanging man’s breath, rapaciously heavy grooves are stalking ears, their descriptive winy texture southern rock toned and thick as tar but equally adventurous as alongside flames of hard and classic rock escape with agreeably raw tones and textures in chase.

Intermission adds more of the underlying narrative before Tycoon gets dirty with the listener, again grooves, hooks, and beats colluding to infest ears with infectious endeavours and addiction forging enterprise. Anthemic roars from across the band only add to the insatiable persuasion of the song whilst backing up Erickson punk aggression perfectly. One of the shorter moments on the EP, the outstanding incitement sees blood rushing through veins and neck muscles stretched, leaving the listener exhausted yet energised ready for another almost insidious horde of grooves and intoxicating hooks to be enslaved by. Managing to unite old school punk, seventies hard rock, and garage spawned rock ‘n’ roll, Choke 66 spews imagination and inescapable bait across its incendiary trap, only losing a little steam when it too dips for a relatively brief moment of emotive calm.

With just an Outro piece to follow, the album is closed up by a new or certainly updated version of Fort Knox, a fan favourite which first appeared on the Tokyo Roadhouse Sonic Sex Castle EP. With greater definition to its grooves, clarity to its busy body and simply new energy in its heart, the track seems to relish its make-over, growing in its skin and emerging even more impressive than first time around. Simply the ‘teenager has become a man’, something which kind of applies to the Slumlord Radio sound generally, as Too Pretty For Tijuana ends on a lofty high.

Uncompromising, bruising, and incessantly dynamic, that is Slumlord Radio rock ‘n’ roll and fair to say we have become even more enamoured with through their new incitement.

Too Pretty For Tijuana is out now via Honyock/Silver Maple Kill Records @ the Slumlord Radio Bandcamp.

Pete RingMaster 01/10/2015

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Hub City Stompers – Caedes Sudor Fermentum: The Best of Dirty Jersey Years

hubcitystompers_RingMaster Review

It never takes much of a reason to get our stomp on here, any excuse to fling limbs and energy around like a headless chicken devoured. One band which has perpetually been a spark is Hub City Stompers but in collecting a horde of their horniest ska bred tunes for their latest album, the band has set the fuse to global skanking like no other.

     Caedes Sudor Fermentum: The Best of Dirty Jersey Years is an irresistible bundle of songs personally chosen by band founder Rev Sinister and taken from previous releases Dirty Jersey, Blood Sweat & Beers, and Mass Appeal. It is also offers a long awaited outing on vinyl from the band, its songs re-mastered by David Perez of Memphis Street Studios for the format.

For those new to Hub City Stompers, the band was as mentioned, formed by Rev Sinister, the former vocalist for NJ Ska band Inspecter 7. When that band went into a kind of hibernation around 2001, Sinister searched out to like-minded musicians and by the following year, Hub City Stompers, with a line-up consisting of ex-members of bands such as Inspecter 7, Bigger Thomas, Professor Plum, Predator Dub Assassins, Bomb Town, and The Heavy Beat, was unleashing irrepressible creative romps. Infusing essences from styles such as reggae, punk, oi!, and hardcore amongst a few others into an array of ska flavours from the 60’s through to the 80’s, the band quickly bred a unique voice to their music which took little time in awakening greedy appetites, as shown by the success of 2004 debut album Blood Sweat and Beers and the Mass Appeal EP a year later. Both the Dirty Jersey and Ska Ska Black Sheep full-lengths of 2006 and 2009 followed suit before the band took a year out on hiatus as Rev Sinister members returned to help revive Inspecter 7. Last year though saw the frontman quit the band and return to Hub City Stompers, bringing it back to raucous new life as evidenced by their last album Life After Death which came out last December. It was of course a heftily welcomed return with their new compilation alone holding all the reasons as to why.

HCS Cover low_RingMaster ReviewThe twelve-track escapade opens with the epic sounds of Wtfiu, ears instantly under a cascade of roving rhythms and sultry brass whilst keys seduce and romance the imagination. Soon into a trampoline like gait, every beat and riff a bold bounce, the track is quickly the puppeteer to the body and soul of the listener, its contagion and energy aural addiction and merciless incitement. Uncaging a scuzzy intensity in its climax, the glorious opener sets release and ‘victim’ off in insatiable style before Bumbl-B is allowed to swarm over ears with its choppy stride and infesting key bred melodies. Vocals snarl and invite whilst the bassline coring it all, is heavy nectar, just two aspects colluding to stir up air around and the passions of all in close proximity in an encounter reminding of the UK’s own King Prawn at times.

Both the smooth skinned, Scarlet & The Harlots meets The Beat like Skinhead Boi and the ska ‘n’ roll canter Johnny Date Rape, captivate with their individual swaggers, both enticing as masterfully through the voice of Jenny Whiskey as they do with their ever tenacious weave of sounds whilst Chatterbox swings with reggae hips as the flirtatious clipping of the guitar aligns with hypnotic beats and another juicily moody bassline. Again the two tone elegance of The Beat comes to mind as the song seduces feet and sparks thick attention but once more Hub City Stompers employ all spices in their own renowned inventive and hungry adventure.

Trojan Night lifts bodies and dance-floors with its insatiable infection of sound and revelry next, early Specials a scent within its romping body, whilst a great Hub City Stompers infested version of The Cure’s Boys Don’t Cry hits the passions in the form of Skins Don’t Cry which hounds and brawls with ears; its punk toned sound and words twisted with Hub City Stompers warm irreverence.

A sixties smooch comes with the lively dance of Leave Me the F**k Alone after that thrilling pair, its own body a mischievous and flirty tempting sure to ignite everything from toes to voice in all to fall under its spell. Another exciting physical workout is guaranteed by band and song, a promise pretty much applying to all songs on teh album let us be honest, the following I’ve Got a Boot even in its belligerent and rawer ramble, a tonic to enliven the body, its relaxed and resourceful hooks and boozy brass lures especially intoxicating.

The magnetic punk irritability of F**k You, You’re Irish hits the spot with ease, its Dropkick Murphys like bar-room tromp a grin inciter matched in fun and unique persuasion by the jazz lined, blues charmed Little Julie Swatstika before the album is closed off by Mass Appeal and one last undiluted swing of sound and energy.

     Caedes Sudor Fermentum: The Best of the Dirty Jersey Years  is the cream of Hub City Stompers in the ears and thoughts of the band. Sometimes it is easy to forget the power of a band in consistency and evolving adventure over time and a good Best Of as here, can bring that home. This is simply a brilliant compilation which excites whilst igniting even greater and eager anticipation of the band’s exploits ahead.

Caedes Sudor Fermentum: The Best of Dirty Jersey Years is available from September 30th as a co-release between Rebel Sound on 150x White Riot Vinyl, Crowd Control Media on 150x Clear Vinyl, and Not Dead Records on 150x Green Goblin Vinyl, each colour exclusive to the individual label with 50x Classic Black Vinyl versions also available.

Pete RingMaster 30/09/2015

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Ferocious Dog – Slow Motion Suicide

Ferocius Dog pic 3_RingMaster Review

There is no denying that Ferocious Dog is known for breeding a snarl in their traditional Celtic folk inspired rock which lives up to the band name but if you need further proof then go grab the band’s new single Slow Motion Suicide. Taken from the bands new and second album From Without, the single is simply a stirring proposal of lyrical and musical incitement, a “working class hero’s anthem’ as punk as it is melodically tempting.

Consisting of vocalist/acoustic guitarist Ken Bonsall, fiddler Dan Booth, lead guitarist Les Carter (from Carter the Unstoppable Sex Machine), bassist John Alexander, drummer Scott Walters, and mandolin/banjo player Ellis Waring, Ferocious Dog come off a successful Glastonbury appearance with their new pair of releases, a performance at the festival on the Avalon Stage pulling the third biggest crowd of the whole weekend. The unveiling of the single and album are to be followed by a country wide UK tour ensuring the rest of the year is definitely going to belong to the rock ‘n’ roll hounds.

Guitars open up the lures within Slow Motion Suicide; their raw punkish air quickly joined by the potent vocals of Bonsall and in turn the prowling and eager rhythms of bass and drums. The rest of the band is soon in collusion as the song brews Irish familiarity and bracing intensity of emotive and creative drama. There is no escaping a Flogging Molly essence to the song, a welcome hue at any time, or the street punk breath which lines its honest and straight edged core, but fair to say it is the poetic persuasion of the fiddle, strings, and voice which taps into the imagination most engagingly, as they share the track’s heart for aural fascination.

Taking a look at the band’s album is our next intent; we suggest you do too after enjoying the intimate roar of Slow Motion Suicide; maybe add a show to your end of year treats too?

Slow Motion Suicide is out now.

Upcoming Ferocious Dog Live Dates.

Upcoming Ferocious Dog Live Dates.

Pete RingMaster 29/09/2015

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Sexwolf! – Hangin’ With The Boys

Sexwolf_RingMaster Review

It has been digitally devouring the senses for a few months now but in the breath it takes one month to roll into another, Hangin’ With The Boys gets to physically violate the world. A fierce infestation of punk fuelled rock ‘n’ roll, the EP is the debut release from noise merchants Sexwolf!, an English quartet which has become recognised as one of the wildest and greedily devoured hardcore confrontations on the Birmingham, indeed Midlands rock scene. Going by Hangin’ With The Boys they are one of the most exciting too, a treat lovers of feeling something substantial in their hand which bites, i.e. a CD, will go wobbly over.

With inspirations from the likes of Every Time I Die, Cancer Bats, Black Sabbath, and Refused sparking their sound and sharing stages with bands such as He Is Legend, The Bastard Sons, Black Shapes, Black Art, and Heck (Baby Godzilla) amongst a great many more, under their belts, Sexwolf! go straight for the jugular with Hangin’ With The Boys and its opener, the band’s forthcoming single None Stop Body Rock.

cover_RingMaster Review   Guitars and drums respectively send a torrent and barrage of their finest ferocity down on the senses straight away, their bait leading the listener into a tempest of vocal antagonism and infection dripping grooves from within an already more hostile onslaught driven by the vicious beats of drummer Jenk. No quarter is given as the track continues to abuse and batter yet the guitar of Joe Lane conjures virulent sonic enterprise to temper his carnivorous riffs and those of bassist Dan Mogg, whilst together the band breed a contagiousness which is especially virulent in the rousing and ravenous chorus helmed by the raw squalls of vocalist Richard Phillips. As much as you might say the song and the band’s sound is living off essences heard often before, they become twisted and cultured in the ways of Sexwolf! to emerge with a fresh and fiery character of their own.

Evidence is swift as She Got Gold leaps from its waiting seat and tears a raucous hole in air and psyche. As it abrases the senses it simultaneously spins an addictive tapestry of noise rock hooks and impossibly catchy grooves matched by the diversity of the vocal attack. Like Shevils meets Gacy’s Threads with a splattering of Every Time I Die for good measure, the track is a glorious trespass of body and soul, a protagonist to a lustful appetite for more of band and sound. Guitars are bluesy, vocals unpredictable, and the rhythms, well they just beat an enslavement out of you with force and violent charm.

Nomesayin resourcefully uses its few gasps over a minute to unleash an hellacious bestial swamp of violent punk ‘n’ roll that just breed pleasure whilst Captain Bastard Face seems to have the scent of blood in its nostrils the way it explodes from the blocks and ravishes air and listener. It does have the invention to also share waspish grooves and hostile repetition across its sonic predation, an enterprise which seems to only increase the potency of its maliciousness and the emerging bolshie but mischievous swagger.

The final thrilling skirmish between band and ears comes courtesy of Fuklashnikov, a minute and a half of twang infested rancor and raging belligerence, and another tsunami of noise that just hits the spot. If hardcore in its full savagery is not for you then run, run away now but for the rest of us with a taste for spiteful invention and devilry, Hangin’ With The Boys is a must, especially now in its physical glory.

Hangin’ With The Boys is available on CD from October 31st and digitally now at the Sexwolf! Bandcamp.

Pete RingMaster 24/09/2015

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Dead By Dawn – Dead Time Stories

Courtesy of George Martin Photography_

Courtesy of George Martin Photography_

You can never have enough ghouls rocking the breath from your lungs by our reckoning, so it is great lusty pleasure that we bring you Dead Time Stories the new EP from UK horrorbillies Dead By Dawn. It offers four tracks, which like a swarm of the undead, unleash contagious bloodlust and decayed virulence across relentless stomps which increasingly become ravenously addictive.

Dead By Dawn rose from the cold dank earth in 2013; escaping graveyards in the North East of England and coming together to brew a plague of rockabilly, punk, and ska; all strains soaked in horror. Before their enrolling in the walking dead, the band’s members earned their musical claws and experiences playing in a host of hard rock, punk, metal, and ska bands. Their subsequent resurrection as Dead By Dawn has already seen the release of the well-received Re-Animation EP and attention grabbing debut album 13 Nightmares. Now it is Dead Time Stories prowling the nation and devouring the psyche with one thoroughly welcome and thrilling rock ‘n’ roll rampage.

The defilement starts with Romero & Ghouliet, its first touch a raw scraping of riffs quickly bolstered by the deeds of Shovel, who with a name like that you just know will be the drummer. His beats are like sledgehammers on the senses as guitarist Dead Bundy weaves a tendril of sultry enterprise around the mischievously alluring voice of Siouxsie Psycho once she joins the already forcibly infectious proposal. Her string prowess backs up her joyful vocal enticement and the spicy grooves of Dead Bundy whilst Ruby Morgue swings thick lures from her upright bass like a big boned seductress. It is striking stuff with a smiling chorus so catchy it borders on candy pop and works superbly within the predatory and salaciously enticing sounds around it.

Deadtime-Stories_RingMaster ReviewThe great start to the EP only get musically juicier and more creatively ravenous as Bloodlust: Hellbound Hearts takes over. Shovel brings the song in on a rousing roll of his ever intimidating beats, the guitars adding their lures swiftly as boisterous riffs and another web of wicked grooves and sonic endeavour escapes, their temptation lined with an exciting tinge of discord. The track’s body continues to rock like a dog in heat, bass and drums cultivating an addictive swing over which guitars devilishly prowl and Siouxsie spreads her siren-esque intent.

The Dead By Dawn sound lies somewhere between HorrorPops, The Bloodstrings, and Dragster but continues to find its own increasingly unique character as shown over the band’s trio of releases and indeed American Mary. The third track on the EP leaps from a slither of a cinematic tempting into a rhythmic stalking draped in punk hooks and intoxicated grooves, the guitar’s winey lure as compelling as the psychobilly growl uncaged alongside them. A whiff of The Creepshow and Zombie Ghost Train seeps through in different ways from within the bracing dark tango but again it only colours a heart bred devouring which is primarily Dead By Dawn.

Dead Time Stories saves the best till last in the mouth-watering heavy canter of its title track. Once more hooks and grooves provide a constant supply of inescapable traps laced with delicious discord whilst the band unleash their inner vocal bedlam around enchantress lures laid by Siouxsie’s delivery. There is great simplicity to the infection loaded bait uncaged within Dead By Dawn songs but it is with instinctive imagination and craft that it becomes so successfully woven into fiercer, predacious exploits without either contrast losing its impact. The final track, with another impossible not to get involved in chorus, is the perfect example as it gives a rousing end to one exhilarating encounter.

It might be fair to say that Dead By Dawn is still looking for their majorly unique sound but when they do, and you feel they certainly will on the evidence of Dead Time Stories, there is little to stop them finding real success ahead; though the fact that every genre of heavy music it seems has at least one band with the same name might be a shadow the band has to escape from too.

The Dead Time Stories EP is available now

Pete RingMaster 23/09/2015

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