Frauds – With Morning Toast & Jam & Juice

It cannot be just coincidence that year on year December brings some of the relevant year’s best and often most dramatic releases. Maybe it is just that they generally come within a concentrated two week burst with the year’s final pair of weeks more likely to be party time for all so that it is more noticeable than in other equally productive months but there does seem to be a real gathering of striking encounters  as the year makes its departure. The debut album from UK duo Frauds simply adds to the evidence, With Morning Toast & Jam & Juice a glorious cacophony of noise bred rock ‘n’ roll infested with post punk and post hardcore rapacity.

Formed in late 2012, Croydon hailing Frauds consists of Chris Francombe (drum/vocals) and Mikey Alvarez (guitar/vocals), a musical partnership which seems to hail from well before their latest venture burst into life. Inspired by the likes of Nick Cave, Tom Waits, Sonic Youth, Fugazi, Mclusky, Hot Snakes, and Drive Like Jehu, the pair initially began jamming together again with the intent of only playing covers. Soon though their own imagination and creativity took over and new songs emerged. Since then the band has become a potent presence on the capital’s live scene sharing stages with the likes of Idles, Life, HMLTD, Tigercub, Demob Happy, Kagoule, USA Nails, Slaves, Blacklisters, Queen Kwong and site favs The St. Pierre Snake Invasion along the way. Fresh from tour dates alongside ex-Reuben front man Jamie Lenman, Frauds are poised to nag national attention with Morning Toast & Jam & Juice, a niggling hard to see failing such its raw majesty.

Let’s Find Out kicks things off, a riveting tendril of guitar winding around ears and soon joined by the thump of Francombe’s beats. Second by second the web expands, Alvarez’s guitar creating a clamorous jangle with post punk hues to its sharp spice. Vocals equally have a caustic edge, courting the repetitious magnetism of the encounter with punk attitude and ferocity. Sonic shimmers and distortions only add to the virulent nagging, the track as much an intro as a complete offering luring ears and instinctive attention into the waiting depths of the album.

Next up, Smooth instantly twists and turns around the senses, its post punk/alternative rock antics as invasive as they are seductive. Like the spawn of a union between The Three Johns, The Droppers Neck, and Mclusky, the song swings along drawing the listener deeper into its feral majesty before The Feeding Frenzy envelops ears with its noir clad atmospheric drama. Sonic smog devours as vocals provoke, the underlying volatility brewing a ravenous toxic drone as flirtatious as it is debilitating.

From its virulent inhospitality, the mischievous exploits of Sandwiches emerge, the song a rash of hooks and rhythms around brash vocals; all carrying a liquor of humour and captivating causticity. Again there is an eighties post punk discordance in allegiance with modern creative antipathy and again everything uniting in a corrosion of punk irritability which simply sparks ears and an instinctive appetite for noise rock. As it evolves with increasing imagination, the track feeds ears with a delicious groan of bassoon-esque guitar; its barracuda tone pure manna for these senses and matched in addictiveness by the duo’s vocal lures. There are numerous major moments within the album but this is the pinnacle with ease.

The psychotic rock ‘n’ roll of Just Come Of Age comes next to be a strong rival though, beats a kinetic psychosis matched by the wandering tendrils of guitar and vocal theatre. The Eighties Matchbox B-Line Disaster easily comes to mind as the song plays with the imagination, crawling over the senses with predacious glee and tenacity.

Suck Jobs keeps the thrills high with its senses scathing sonic enticements and vocal abrasions, the song mercurial in air and relentless in infectious dynamics while Doom prowls and seeps through the body with grievous intent. Its suffocating tones devour mood and thoughts, dragging attention by the throat into a finale which is pure punk ferocity. The track is one of the least easily accessible trespasses provided by the album but joining all in leaving pleasure brimming.

With Morning Toast & Jam & Juice concludes with firstly Could’ve, Should’ve, Would’ve, another carnally tart and compelling stroll with an Engerica hue to its visceral contagion, and finally through the transfixing saunter of Give In. Rhythmically hypnotic and melodically haunting with a just as appetising acrid edge, the song slowly entangles the senses, its own individual drone like bait viral persuasion becoming more chafing and disturbing second by second.

With a hidden scar of punk as its actual final breath, With Morning Toast & Jam & Juice leaves pleasure high and anticipation for their next move lustful. As earlier mentioned there have been numerous really stirring propositions this year yet it is hard to remember many as glorious as the debut from Frauds.

With Morning Toast & Jam & Juice is available now through Till Deaf Do Us Party Records and available @ https://fraudsfraudsfrauds.bandcamp.com/album/with-morning-toast-jam-juice

https://www.facebook.com/fraudsfraudsfrauds/

Pete RingMaster 19/12/2017

Copyright RingMaster: MyFreeCopyright

Loom – Self Titled

Photo by Kurt Fairbairn

With quite simply raw rock ‘n’ roll nurturing its heart, the debut album from UK band Loom takes ears through every shade of punk rock you can imagine within its ten track confines. It is an adventure which has the imagination fired up, ears burning with ardour, and aggressive tendencies bubbling to the surface in a striking and rousing incitement of a self-titled proposal. Each song as suggested reveals a new aspect in its furious landscape yet brews a united character distinct to a band and release which just commands attention.

Leamington Spa hailing, the trio of Tarik Badwan, Matt Marsh, and Joshua Fitzgerald took little time in attracting ears and praise with their early releases including a pair of well-received EPs within their first year. The second of 2013 featured six covers of songs from the strongest inspirations for the band in its early days, The Jesus Lizard, Bad Brains, Pixies, GG Allin, Misfits, and Warsaw. Alongside the other encounters, it sparked support from the likes of Zane Lowe and Daniel P Carter at BBC Radio 1as well as laying the first steps in a springboard for Loom live to support The Rolling Stones at Hyde Park and tour the UK and Germany with artists such as Frank Carter & The Rattlesnakes, Queen Kwong, and Turbowolf.

The band’s first album is not slow in suggesting those influences in its multi-flavoured roar, as mentioned each song distinct from the next but there is a vein of unique Loom-ness running through all which we would suggest goes beyond the cohesion of aggression suggested by its press release. It opens up with Lice, a sonic itch you just cannot scratch enough to escape from. Its initial glaze to an instantly robust sound has a gothic/indie rock spicing, coming over like a blend of Leitmotiv and The Victorian English Gentlemens Club before its grouchy rock ‘n’ roll instincts burst free. It is a glorious nagging of the senses and imagination taking magnetic twists along its contagious enmity of sound and attitude.

The great start continues as firstly Hate imposingly shimmers with electronic radiance upon grunge bred antipathy to be followed by the rousing exploits of Get A Taste. There is a whiff of Pere Ubu for these ears to the first song but a thicker Nirvana like causticity to its nature and again niggling potency. Embracing garage punk confrontation too, the track stirs ears and appetite with ease, a triumph matched by its successor with its old school punk meets seventies garage rock growl as demandingly catchy as it is openly crotchety.

Grunge colludes with post punk for the feistily prowling Leopard, guitars winding spicy tendrils lined with delicious discord around ears as rhythms reveal a rapacious nature to their drive before Salt entangles the imagination in a fusion of Joy Division post punk and the irritable punk rock of The Stooges with just a tang of psych rock bewitchment. It is an enthralling mix opening new aspects with each passing flick of a chord and sonic detour yet throughout a fluid tart snarl never deviating from its quarrel.

Seasick bawls as its stalks ears with predacious intent straight after; indie rock merging with raw hardcore ill-temper in a track which steals the passions within seconds. Vocals are as unpredictable and instinctively volatile as the sonic flames cast by the guitar and indeed the rhythmic jabbing around them. With the bass a brooding threat within the tempestuous joy crowding and seducing ears, the track makes a big play for best track glory but is quickly challenged by the muggy grunge venting of Bleed On Me and eclipsed by the glorious dark deeds of the band’s latest single, Nailbender. The latter is a compelling caliginous seduction of gothic and punk metal; like Type O Negative fused with Descendents and 1919 yet still emerging as something unique and gripping to Loom.

The punk grouse of Barbed Wire grabs something from all decades of punk since the sixties whilst in finishing up the album Slowly Freezing Heart crawls across the senses in a kaleidoscope of sonic toxicity and shadow loaded rhythms united with vocal psychosis. Both tracks are treats greed gets the better of composure over while bringing one superb album to a memorable and rousing end. Listening to Loom you get the feeling that the band creates on instinct, not searching for a sound but letting it find them and infusing their music with its own unique character. The album reminds of numerous artists across its riveting body but never comes over as anything other than the offspring of Loom, the first of many more belligerently sculpted and physically visceral gems we hope and suspect.

The Loom album is released May 19th via Silent Cult across most stores.

https://www.facebook.com/Loomband/    https://twitter.com/loomband

Pete RingMaster 17/05/2017

Copyright RingMaster: MyFreeCopyright