Buzzkillz – Major Fucking Complications

Having caught the Buzzkillz bug last year after being introduced to their debut album of the previous year, there was certain anticipation with an edge of excitement when Jybe from the Finnish band got in touch to say a new EP was winging its way over. Major Fucking Complications is a five track holler of the band’s increasingly individual punk ‘n’ roll/punkabilly; an encounter which eagerly builds on that first full-length and demands greater attention goes the way of the Helsinki quartet.

Formed in 2011 by vocalist/guitarist Ultima Foole and double bassist Jybe, its line-up subsequently completed with the addition of guitarist Antti and drummer Joiku four years later, Buzzkillz saw potent praise come their way through 2016 debut album Scum Of The Earth. It also introduced them to a new wave of fans outside of their homeland. Major Fucking Complications should incite even thicker attention as it expands on the potency of its predecessor in songwriting and sound. It some ways it does not offer anything majorly removed from the album but every track has a richer character and thicker enterprise to their stomps.

Major Fucking Complications also features across its length the guest vocals of Titch from legendary psychobilly band Klingonz alongside its creators, the release opening up with its title track. Slowly but deviously swinging in with open mischief in its intent, the song quickly bursts into a psychobilly nurtured stroll within a punk bred roar. Senses clipping rhythms easily had instincts on board, the lustful slaps of Jybe on bass string appetite exciting as Foole’s growling tones backed by Titch’s distinctive tones add to the infectious dissent. Addiction teasing hooks only add to the persuasion, guitars teasing and taunting as the track’s swing mastered eager hips and limbs; it all making for a fiercely rousing start.

The following Envy, Hunger and Greed though quickly makes a demands on top track honours; it too needing mere seconds to incite the listener with rock grooves , punchy rhythms, and a punk bred ferocity. Calm and virulently catchy in its lead up to a lustfully raucous chorus, there was no stopping the track getting deep beneath the skin from its first cycle. There was definite catchy times within that first album but now that contagiousness has been honed as inescapable bait and traps within song and EP with an imagination which bordering on bedlamic never rests.

Its glorious punk ‘n’ roll hue is then merged with more punkabilly natured tenacity within next up That Shit Is Gonna To Kill You. Jybe’s bass saunter is the first mighty lure, a firmly pulsating one eventually joined by the rest of the band’s swinging escapade. Centred by an ear seizing hook, the track becomes a dirty canter of attitude lined punk rock around a rockabilly seeded rhythmic stroll. The further into its infectious trespass darker hues and bolder imagination escape to add to its increasing temptation before Lie! twists and turns with belligerence and muscle.  With a touch of early Grumpynators to its dissent, the track is punk ‘n’ roll contagion. It may be less adventurous and more invasively irritable than its predecessors but it does not stop it being a fully contagious involvement.

Completed by the psychobilly fuelled Keep On Crawling, another moment which had our appetite for the flavours the band weaves into their sound drooling, Major Fucking Complications is a declaration that Buzzkillz is ready to roar in a whole new landscape of recognition. The surf kissed shimmer of guitars within that final track just epitomises the bolder invention and imagination in their sound and why we are already eagerly awaiting its next adventurous move.

Major Fucking Complications is released July 27th via Fast Decade Records on 12” vinyl.

 https://www.facebook.com/Buzzkillzband/   https://buzzkillzband.bandcamp.com/

Pete RingMaster 24/07/2018

Copyright RingMaster: MyFreeCopyright

Drive On Mak – Babylon

Creating a magnetic mix of punkabilly with blues coated rock ‘n’ roll though that just scratches the surface, Drive On Mak is a proposition, certainly with their latest EP, which teases and tempts until you cannot resist taking attention. It is fair to say that initially Babylon pleased without making a major impression but over subsequent listens where its prowess and enterprise seemed to really blossom, the release really captured the imagination.

Texas hailing Drive On Mak is the creation of U.S. Army Vet Sean Makra who in 2011 after eleven years in the forces taking in three tours in Iraq left and began focusing on pursuing his long-time musical dreams. Three years later having linked up with his brother-in-law and drummer Scott Feigh and bassist Jason Bilderback, the beginnings of what was Drive on Mak emerged. Embracing and exploring the experiences and emotions bred by those military years in his songwriting and lyrics, Drive on Mak released the Weapon EP in 2015. Now it is Babylon luring increased attention with its individual, slightly dirty and fully tenacious rock ‘n’ roll.

Babylon opens up with its title track, its initial melodic stroking of ears the tempting lead into the song’s blues kissed reggae lined stroll. Makra’s vocals make a just as alluring invitation, his tones wearing the weight of battles and sights seen without an ounce of weariness, instead coming fuelled by a lively spirit to share and express. The song continues to carry its gentle swing through ears, epitomising the release in its quality to become more potent and compelling listen by listen.

The great start is followed by the similarly boisterous Comin’ For You. Instantly it had a firm hand on attention with the flames of Feigh’s harmonica rich enticement. Its melodic heat echoes the tenacious gait of the surrounding sounds, essences of garage rock and fifties rock ‘n’ roll aligning with blues punk adventure. It is a mix and invention which escalates the strong start of the EP before Kiss Thy Hand brings more of a seventies psych rock air to its lumbering saunter. Though the song does not ignite personal tastes as potently as its predecessors it quickly feeds an appetite already brewed, nagging away with every note and fibre of its creativity to ultimately be just as memorable.

Best track comes in the shape of the cowpunk flavoured Outlaw, a dirt clad slice of punk ‘n’ roll with dust in its climate and instinctive infection in its hooked lined character. With moody rhythms courting the defiance oozing vocals of Makra’s alongside the creative shuffle of his guitar, the track is a contagion on the ear setting up the following relaxed but manipulative swing of Player. It is another which seems to find greater heights over time though tapping feet and eager hips show its no slouch at teasing involvement from the off.

Babylon concludes with When I’m Gone, a country scented proposal with Feigh again just as skilful on harmonica as in springing catchy beats. There is no escaping a slight Rancid spicing to the track either, mostly through the Tim Armstrong textures of Makra’s tones, as it canters along with a lively attitude and infectious agility.

With its songs inspired by Biblical tales and personal observations, in the case of its title track by the Heath Ledger movie A Knight’s Tale too, Babylon has little trouble in awaking interest; it is with time and more plays though that it truly comes alive …a quality only adding to many more reasons to check out Drive On Mak.

Babylon is out now @ https://driveonmak.bandcamp.com/album/babylon

https://www.driveonmak.net/home    https://www.facebook.com/driveonmak/

Pete RingMaster 14/11/2017

Copyright RingMaster: MyFreeCopyright