Vanilla Muffins – The Drug Is Football Double 7”

REB1051 front cover_RingMaster Review

Apparently Switzerland’s Vanilla Muffins have been the undisputed Kings of Sugar Oi! for the past 25 years or so. I am not sure about you but I have no idea who else has a sound which fits that genre; well actually maybe we do as the trio from Basel create a stomping proposition which blends pop infused punk with infectious rock ‘n’ roll. It is quite simply punk ‘n’ roll but a strain which indeed has a distinctiveness singular to the band whilst providing one rousing and thoroughly enjoyable escapade.

Driven by a passion for football and their home city team, Vanilla Muffins began in the late eighties, growing in presence, songs, and stature with each passing year. Now they have five albums, eleven EPs, and numerous compilation appearances under their belt, the latest being a re-issue of their classic and highly sought after 2003 album The Drug Is Football via Rebel Sound Music. Last year saw the band return with Best Of (Triumph of Sugar Oi!) via Bandworm/Spirit of the Streets and after it the A Little Night Music / Eine Kleine Nachtmusik EP on Sunny Bastards. Both re-ignited old and indeed sparked new appetites for the band’s insatiable infectious sound, as too limited edition single Goal of the Month earlier this year. Now for a limited edition Double 7″ offering, the band itself has plucked eight of the best songs from The Drug Is Football and if like us you are new to their presence, it is a must listen.

The trio open things up with No Punk Rock In My Car, and a rally off boisterous vocals and punchy rhythms aligned to bracing riffs. Instantly it is a virulently catchy affair with sinews as gripping as the warm and inviting melodies are infectious, slavery for feet, neck muscles, and vocal chords the result. There is a feel of UK rockers Spunk Volcano and The Eruptions to the encounter, a similar old school punk meets modern devilry at riotous and irresistible play.

The following Brigade Loco is just as magnetic and inciting, the grooved coaxing from the guitar of Colin Brändle an inescapable lure within the jabbing beats of Eddie Jr and the great bass groans posing as a bassline from Ian Norris. Equally Brändle’s vocals are nothing less than rich persuasion and though there are no major surprises in the song, as throughout all tracks, everything colludes in a power pop meets punk rock tempest of boisterous and seriously invigorating goodness.

Dirt Box Disco meets Weezer is a handy description for All Roads Lead To Rome which follows, the song sitting somewhere between the two as Vanilla Muffins swing riffs and hooks like a puppeteer to again command eager hips and reckless feet. Without quite matching the first two in drawing lusty reactions, the song is an easy going protagonist to get swiftly involved with, its success nicely setting up the appetite for the brilliant 3 Comrades. Rhythmically compelling and vocally inescapable, the song is pure anthemic rebel rousing and maybe the best thing on the release, though that fluctuates between a trio of songs daily.

The title track rampages through ears next; its steely punk attitude and intensity simultaneously tempered and urged on by the ever alluring vocals and melody rich hooks which just as potently rouse the spirit and spark unavoidable participation. It is a blood pumping call backed resourcefully by The Gang From Kannenfeldpark and its nostalgic look at the young years and more carefree times and straight after by The One And Only with its Buzzcocks like nag of a hook and fuzzy Vibrators like contagion. Both songs whip up more pleasure and hunger for the thickly enjoyable punk frolics, and the wonderment as to why it has taken this long to come across the slavery of the Vanilla Muffins sound.

The Mob From Kannenfeldpark is built on similar seeds as to its predecessor with another recognisable hook the lead into a slice of rock ‘n’ roll which finds a inspiration in decades further back than that of its original birth to spice up its own tenaciously imagined rock ‘n’ roll.

As the saying goes, better late than never and it certainly applies to finally get wrapped up in the Vanilla Muffins experience, a treat no punk and rock ‘n’ roll fan should miss out on. Watching FC Basel play on TV will come with a new soundtrack and fun from now on too.

The Drug Is Football Double 7″ is available from 30th September via Rebel Sound Music on Black Vinyl (200), Red A&B Side, Blue C&D Side coloured vinyl (200), and on Half N Half Blue/Yellow vinyl (100 and only exclusive to Rebel Sound)

https://www.facebook.com/VanillaMuffins

Pete RingMaster 30/09/2015

Copyright RingMaster: MyFreeCopyright

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Foreign Legion/The Shame – Split 7”

reb1038_front_RingMaster Review

Courtesy of a co-release between Aggrobeat and Rebel Sound Music, punk from both sides of the pond links up in a 7” split which just ignites the appetite. On one side stands Welsh oi/punks Foreign Legion and on the other Tulsa Street punks The Shame, both offering two tracks of highly satisfying incitements. There have been a few potent punk splits over recent times and this stands right up there as one of the best.

Foreign Legion_RingMaster Review     Emerging from the ashes of Dead On Arrival, Foreign Legion began in 1984 infusing an oi seeding with varied essences of punk rock. The years have come and gone, line-up changed but the band has never slowed down or taken the heat out of their creative and lyrical rage as shown by the new release. Recent years has seen Foreign Legion share stages with the likes of Cockney Rejects, Guitar Gangsters, Control, The Warriors, GBH, The Ruts, and Stiff Little Fingers and play festivals such as Back On The Streets, Punk & Disorderly and Rebellion, whilst over time they have played in 15 different countries and remained the only Welsh band to ever play at the legendary CBGB’s in New York. With four albums under their belt, including the Mick Jones produced What Goes Around Comes Around, as well as a split full-length with Major Accident and numerous other splits and compilation appearances, the band instantly show they are as stirringly confrontational as ever with their first contribution to this new encounter.

Nowhere Left To Hide strides in straight away with commanding rhythms and attention seizing riffs, their mix a potent lure which the grizzly tones of Marcus stand astride. An air of Angelic Upstarts lines the attitude and presence of the track whilst backing vocals are as anthemic as the core hook repetitiously fuelling the infectious challenge. With guitarist Simon and bassist Dave colluding to grip ears and appetite with their creative bait as the rhythmic swings of Sid thumps them, the track stirs up air and emotions with its old school tones and a modern attitude driven on by the lyrical attack on the state of the world, a premise continued in its successor.

Our World Today is even more addictive with its central hook incessant in nagging repetition and inescapable virulence. Around this the guitar flames with sonic enterprise whilst the throaty bass belligerence snarls with antipathy to match the thick accusation of the lyrics, again anthemically and intimidatingly delivered by Marcus. As its predecessor, the track is not trying to stretch boundaries and venture into unique landscapes but for a thrilling and provocative slab of honest punk rock it is prime incitement.

The other side of the release belongs to Tulsa’s The Shame, another band breeding their attacks from old school punk this time with maybe more US heritage though there are undoubtedly The Shame_RingMaster Reviewsome essences of British punk found within their sound. Their potent history has seen the band play with bands such as Queers, Downtown Struts, Noi!se, Bishops Green, The Templars, Fatskins, Concrete, and Those Unknown whilst their discography includes an album and a 7”. With a new EP scheduled for later this year, the band launch their part with Crossing the Line first of all and quickly gets down to being musically and vocally grouchy and thrilling ears straight away.

Riffs and rhythms rise as one and are soon taking the listener on a feisty attitude driven ride. A thick bass lure easily grips the appetite as does the group calls around the chorus, but from start to finish with a whisper of bands like NOFX to it as well as a UK influence of bands like The Business, the song is a rousing stomp led by pungent hooks and beats around the stirring influence of the lead vocals.

Its successor is just as contagiously imposing and bullish, Faded Glory emerging as a thick anthem of nostalgia and rebel rousing inspired by beer and sonic rioting. A little more reserved in energy compared to their first, song and band still raise the passions and spark the defiance in us all with accomplished and galvanic posture.

The four tracks on the release all hit the spot with ease in a reminder that punk on both sides of the big water is still roaring as strongly as ever. ‘

The Foreign Legion/The Shame 7″ Split EP is available now on exclusive US red vinyl version (250 copies) via Rebel Sound Music and European blue vinyl version (250 copies) via Aggrobeat http://rebelsoundmusic.limitedrun.com/products/541545-foreign-legion-the-shame-split-7-ep

https://www.facebook.com/pages/Foreign-Legion/149893361856696    https://www.facebook.com/oitheshame

RingMaster 04/07/2015

Copyright RingMaster: MyFreeCopyright

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Dog Company – War Stories

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Continuing the recent trend of punk rock throwing up some real treats we have another from you in the mighty shape of War Stories from US punks Dog Company. Stomping with eight massively virulent anthems, the album is a feisty protagonist of thoughts and passions, a fusion of old school punk and Oi! with additional twangs which is quite simply essential punk ‘n’ roll. The release celebrates the ten year anniversary of the band and the Dallas quartet could not have sculpted a stronger revelry to mark its moment.

Formed in 2004 and including members from Dallas punk bands The Staggers, Wayward Boy, and Dryline, Dog Company has been a persistent source of inciting political lyrical antagonism and rigorously invigorating sounds. It is a proposition which is thrillingly lean and direct as well as passionate in its intent and invention. Steering well away from the mediocrity and excesses the genre can sometimes indulge in, vocalist/rhythm guitarist Joe Blow (ex-Staggers/Riot Squad) leading the way from day one, the band soon earned a passionate and loyal fanbase. The album Songs of Discontent in 2008 drew certain spotlight upon their emergence which the acclaimed A Bullet for Every Lie two years later reinforced and pushed further. Live the band has equally impressed and constantly roused passions headlining and sharing stages with bands such as Street Dogs, Flatfoot 56, Lower Class Brats, The Briefs, Vice Squad, Agnostic Front, The Business, and Subhumans. War Stories though is the band at its mightiest and the perfect way to signpost their anniversary whilst surely recruiting an even greater horde of fans.

With lead guitarist Garrett Chapman, bassist Shea Close, and drummer Mick alongside Blow, Dog Company declare the rebel within its presence and southern kissed sound with a pleasing intro before the first irresistible contagion Elected Enemy hits the sweet spot. The track immediately sizes ears up with strikes of guitar and thumping rhythms which already are driven by the need to shape an anthem. It is a magnetic entrance which refuses to lose its potency as the song settles into an easy stride, guitars sending out twanging grooves and sonic colour to skirt the just as straightforward and appealing vocals of Blow, aided at times by both Chapman and Close. Feet are soon enslaved by the urgency and rhythmic bait of the song whilst imagination is coaxed into action by the lyrical narrative and heated guitar endeavour.

The captivating start is swiftly matched by the storming charge of For Our Friends, that earlier contagion taken to a new thrilling toxicity. The guitar craft of Chapman lights up the rapacious eagerness of the song, enterprise drizzling over and veining the riotous canvas and breath-taking stomp careering skilfully over its surface. Like a mix of The Clash in their early days and Flogging Molly, the song is insatiable in rousing emotions and thoughts whilst breeding an even greater flush of hunger and rapture for the album with its commanding presence.

Both Printed Word and Battle Fatigue keep the exhaustive pleasure flowing, the first a punchy and incendiary offering which again has limbs and emotions submissive to the catchy bait laid before them. As with most songs, the track feels like a friend before it has even completed its first suasion, a familiarity that is present but undefined in the fresh presentation and invention of Dog Company. The song’s successor entwines delicious sonic grooves around the ears straight away; a Buzzcocks like venom fuelled their enticement before the song provides a raw and wholly persuasive brew of riffs and rhythms ridden by again a lyrically challenging and vocally recruiting theme. The jagged scrub of riffs across the song only adds to the impossibly addictive nature of the track whilst the sonic croon of guitar simply adds coal to satisfaction’s fire.

Rhythms announce Combat Zone just how you would expect and hope they would, their military bearing the lead into a bracing blues seeping rock ‘n’ roll storm before Not Dead Yet brings its defiance, musically and vocally to bear on the eager passions. Again it is one to have the listener bursting in on its territory with voice and body, the song irresistible with its roving bass lines, battling rhythms, and sonic lures. As shown by the song as an example, Dog Company looks at issues and comments in a way all can relate to without ramming it down throats. Like the music Blow delivers the song’s heart with a forceful but undemanding swagger aligned to a fun built relish which ensures a good time for all comes hand in hand with the intent.

The album closes on the ridiculously contagious Last Call and the similarly epidemically driven and succeeding Can’t Keep Me Down, both tracks slabs of rock which brawl and seduce with an instinctive understanding of what makes the passions tick. Looking for something to temper our enthusiasm for War Stories proved fruitless with only the fact the release is sparse on major originality though definitely not short on invention, enterprise, and most of all passion. The album is one of the best punk records this year so far and if memory serves across the last too.

War Stories is available now via Cadre Records and Rebel Sound Music on CD and various 10” vinyl options.

https://www.facebook.com/dogcompany

9/10

RingMaster 02/05/2014

Copyright RingMaster: MyFreeCopyright

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Discharger / The Uprisers Split EP

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If you ask us there really are not enough split releases around these days, not enough bands/labels really exploiting their potential in spreading the word and sounds of emerging and established but maybe still to be discovered bands. Rebel Sound Music has stepped up to the plate though with the outstanding link up of Dutch Oi! punks Discharger and US punk ‘n’ rollers The Uprisers. Consisting of four diverse contagions, the 7” single is an irresistible riot of uncompromising rock ‘n’ roll, one gleefully leaving an exhausted and impossibly contented glow over ears and passions.

Hailing from Amersfoort, Discharger has never been slow in unleashing anthemic and compelling encounters to ignite punk appetites starting with debut album Born Immortal in 2004. Our Hate Is Justified two years later and the following The Sword of Our Ancestors in 2008 reinforced the band as a truly provocative proposition whilst the 2012 album Desecrated Ground recruited another wealth of engaged attention and fans, with the band re-embracing their Oi! background they started with than the more metal rooted influences which marked its predecessor. The quartet with their new songs stay rooted firmly in their punk roots on the single though that is not to say that the band has neglected any of its adventurous intent in sound.

Everytime We Drink opens on a relaxed chord and melodic coaxing before lifting its sinews and knees to burst into a muscular stomp, enthralling grooves lacing the aggressive urgency of the band. Seemingly already a firm favourite with fans and newcomers to the band since its appearance on YouTube a few weeks back, the track roars and recruits with open anthemic revelry around a thumping rhythmic punctuation. A fiery rampage with more contagion in its walls than many bands breed in a whole album, the track ignites an instant greed in ears and appetite for the following No Place For Our Kind. Opening on an acoustic invitation, the song erupts into a rampant confrontation with infectiousness again dripping from every note and digging hook. The great gruff vocals and almost brawling stride of the song has a thick texture which is part metallic and part rockabilly, the combination reminding of Danish motorbillys, The Grumpynators at times. It is a thoroughly incendiary and riveting anthem, quite irresistible and quite brilliant.

Discharger gives a high benchmark for New Hampshire’s The Uprisers to match, but it is no challenge as they rival their companions in Printsound and contagion. Emerging from the ashes of The Radicts, the band sees the reunion of Todd Radict and Rodger Shosa of The Bruisers, the pair having played together in punk band Five Balls of Power in the eighties. The band opens up their contribution to the release with a reworking of an old song of The Radicts. Led by the captivating vocals of Britney Noyes which have more than an essence of Poly Styrene meets Wendy Wu to them, Everybody’s Got A Reason takes a mere breath in time to draw a firmly attentive reaction with its opening thump of beats and classic rock flavoured guitar tempting. Keeping to a controlled stride with strikes of rhythms and guitar around catchy hooks, the song makes a tasty infectious appetiser for the band’s main course, the outstanding Ghetto Blaster. A brand new song from the band, it captures thoughts and emotions right away with its old school/modern punk bait, the track within seconds reminding of bands such as Penetration, 4 Nin Blondes, and Juliette And The Licks. Riffs and rhythms surge through the ears as devilishly as the vocals; every stride leaving a coating of anthemic toxicity which builds into a virulent seduction speared by sonic endeavour and melodically crafted hooks for the strongest bait. The song is punk rock at its purest insatiable best and takes tops honours amongst four quite magnificent beasts.

Whether the bands are intriguingly new to you or you just want punk rock in its strongest guises then the split between Discharger and The Uprisers is essential listening and owning.

The Discharger/ Uprisers split 7” is available now through Rebel Sound Music now coming in 200 Black vinyl, 200 Red vinyl, and 100 White vinyl options.

https://www.facebook.com/dischargerholland

https://www.facebook.com/theuprisersnh

http://www.rebelsoundrecords.com/

9/10

RingMaster 16/04/2014

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The Warriors – Dead To Me

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Reading the bio of UK Oi! veterans The Warriors, it has seemingly been an interrupted and persistently changing  adventure for the band since forming in 1981, their story almost having more twists and delays than a search for a Malaysia airlines flight. What has not been left unsure and broken is the might and passion, not forgetting contagiousness of their undiluted sound as evidenced by their new release, the Dead To Me EP. Two riots of insatiable energy and virulent old school bred punk, the release is a belligerent stomp which masterfully challenges and voraciously incites with raw rock ‘n’ roll.

Hailing from Kent, The Warriors was formed by original Last Resort singer Saxby though initially proved to be a short lived presence. He reformed the band with former-Last Resort bass player Arthur Kitchener in the mid-nineties with a line-up which played numerous shows around the UK, Europe, and Japan. Personal changes were part of the time as were also several album releases including The Full Monty and Noizy Bollox in ’96 and ’97, both via the Step-1 Music, and contributions to compilations and split releases over the years. As mentioned changes within the band is a journey in itself to keep up with but well worth checking out on their bio for, but it has not stopped The Warriors reinforcing themselves as one of the most potent and essential presences within the punk scene which further releases like Unite The Scene and Never Forgive Never Forget, as well as this new EP easily confirm.

Available through Aggro Beat as a 250 Solid Red vinyl release in Europe and with Rebel Sound Music as a 250 Piss Yellow vinyl encounter in the US, Dead To Me storms the ears and passions with all the true punk intent and hunger as expected from the band. The title track, which will be featured in the upcoming British movie Gatwick Gangsters, is instantly upon the senses and imagination with jagged riffs and rolling rhythms skirted by a great almost nasally bass prowl. The song is not an all-out assault but one with a predatory side to its nature, skirting and courting the senses with an emerging brawl of sound and the ever distinct tones of Saxby.  The group calls in the chorus only reinforce the steady anthemic lure of the song whilst the crisp beats and choppy guitar narrative add their creative enslaving web. With craft and emotion as loud as the uncomplicated bait of the song, Dead To Me is an irresistible stomp seeing The Warriors in a richer vein of punk rock than their earlier Oi! exploits and easily seducing the passions.

The song’s companion No One Provokes Me is much the same, a virulently contagious riot of punk antagonism and infectiously toxic hooks driven by magnetically challenging vocals and rhythms. The track takes thoughts right back to the birth of UK punk in many ways whilst caging the ears and an already greedy appetite in the rapacious mischief and combativeness of today. Like the first, the track is impossibly anthemic as it bridges the eras and shows again that the punk appetite and ingenuity never dies no matter the years stretched over by bands such as The Warriors.

With an appearance at the Rebellion Festival, Blackpool in August confirmed and many other shows in the planning, The Warriors looks set to take the UK punk scene by the scruff of the neck, Dead To Me their first unmissable stranglehold of 2014.

http://www.warriorsuk.com/

9/10

Ringmaster 09/04/2014

Copyright RingMaster: MyFreeCopyright

 

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Shameless – Guilt

 

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    With its well-received unleashing in Europe through Bords de Seine, Lion Records, and Last Rockers, and an even more recent uncaging as a 500 strong Limited Edition Picture Disk in the US via Rebel Sound Music, debut album Guilt from punks Shameless is an impressively solid and potent introduction to the French band. A feisty attitude drenched mix of old school and oi punk, the Lyon based quartet’s sound hits the spot forcibly and honestly, no overblown sonic theatrics or candy coated hooks cluttering their straightforward anthemic antagonism. Guilty is an album which does not hold many surprises or always gets the blood boiling but it certainly rouses and incites a healthy appetite for the promising sound and future provocations from the band.

    The seeds of the band go back to 2009 when vocalist/guitarist Pépito moves to Lyon and meets bassist Nico of the Rude Gones. They talk of getting a band up together, a suggestion which is given an opportunity to be realised when the Rude Gones split in the October of 2010. Writing together, the pair then recruit ex-Urban Gones drummer Scooter into their English Oi! inspired project. The band’s second gig saw them opening for La Souris Déglinguée, West Side Boys, and Warrior Kids to eager responses, a spark the band took into the making of their first full-length. Six months in the making the album came out to strong reactions swiftly followed by equally potent responses when the band around the time of its release played a show to celebrate the anniversary of the band Bad Gones with La Souris Déglinguée, Booze & Glory and Wayne Barrett of Slaughter and the Dogs. Unveiling second guitarist and ex-Urban Gones Gilles, who had already played as a guest with them on stage previously, as a permanent addition to the band at the show, Shameless show themselves ready and poised to take their DIY bred sound and presence to the punk passions of the world. A quest you feel if not with this album is a certainty within one of their near horizons.

    The title track arrives on sirens to open things up, public disorder soon sound-tracked by stirring riffs and crisp rhythms soaked in anthemic weight. The vocals of Pépito, gruff and slightly antagonistic, join the charge as the song stomps with addictive grooves and equally compelling hooks. Its prime bait has an essence of The Sweet meets Suburban Studs to it, the song as a whole an excellent and infectious doorway into the release.

     The following Friday Night Losers backs up the starter with its own incitement of riling rhythms and caustic riffery driven by uncompromising but welcoming vocals. There is little to surprise in the song though it avoids real predictability with ease, as does its successors 30 Years Tomorrow and Bastard!. The first taunts ears with a great throaty bassline and a quietly riotous stance around an irresistible chorus whilst the second instantly eyeballs senses and thoughts, bawling them out with another potently contagious chorus within abrasing sounds and vocals. As with most of the songs there are very few really striking hooks that viciously grip but it does not stop tracks like this from becoming a lingering and memorable pleasure.

    Both the unruly chant fest Oi! For My Nation and the outstanding We Are the Boys keep attention hungry for the release, the second of the two one of the major highlights of the release. With a delicious twang to the again predacious bass sound and a swagger to the vocal inducement, the track is a fiery encounter though like all the songs it is fair to say it does not explore or antagonise enough for personal tastes, almost holding itself in check for some reason.

     Men With Ties is a raw graze for the senses, its threatening to brawl approach a magnetic lure to spark up another flame of excited satisfaction whilst the next up Vote For Shameless has a reserved but definite Angelic Upstarts feel to its rebellion, a fight which is veined by a Buzzcocks like great hook and the only really attention seeking one on the album. From the pleasing recruitment drive Disappointing Friend steps in next to make a strong and enjoyable statement if without rivalling anything before its appearance. It is a decent enough song but lacks the spark and infectious suasion of others, though that toxicity is soon back fuelling the passions through Fashion Week. The track is a commanding and confronting bruising with the primal rhythmic combativeness and scolding riffery all the great punk songs unload on the senses. The best track on the album it is an invigorating barracking bringing the heart of the album to a close before final track provides an epilogue through its live version of Virage Nord, the Oi! hymn of Urban Gones.

     Guilt is a great rage parading the potential and punk voracity of a band it is easy to keep an eager eye upon. Once Shameless find their distinct voice and unshackle their reserve you can expect major fireworks ahead, whilst right now they simply provide a thoroughly pleasing and rousing experience…something never easy to refuse.

http://www.shamelessoi.com/

8/10

RingMaster 19/03/2014

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Epic Problem – Lines EP

Epic Problem Photo Courtesy of Chalkmanvid

Epic Problem Photo Courtesy of Chalkmanvid

    Feisty, commanding, and seriously contagious, the Lines EP from UK band Epic Problem provides another excuse to claim that the finest punk rock comes from this side of the pond. Ok that is a big debate which can never truly be resolved but the quartet from New Mills, Derbyshire with their latest slab of ferocious and raw anthemic rock ‘n’ roll only add to the evidence. The fact that their sound is seeded in the melodically spawned ‘Gainesville’ punk sound does not deter that declaration either, as Epic Problem simply twist it with further inciting genre additives into something not necessarily unique but openly distinct to themselves. Consisting of four tracks the EP is an adrenaline fuelled stomp which captivates, ignites, and bruises the passions, though not always in that order.

     The band formed in 2010 when guitarist Neil ‘Mackie’ Mclennan (from eighties punks Blitz) linked up with vocalist/guitarist Jake McCullough (Dangerfields, Dead Subverts) to sing on songs the former had written. Soon after bassist Tony Morrisson and drummer Greg Boulton joined up and the band worked on writing more songs and preparing their outbreak into the country. Their live debut came supporting The Business in the December of 2011, with the following year starting off a constant flow of shows to now which has seen Epic Problem sharing stages with bands such as Argy Bargy, Subhumans, Dead To Me, Nothington, and The Blacklist Royals. Recordings wise, The Lines EP is the successor to the six track mini album All Broken, a well-received and acclaimed release which the new record is sure to emulate.

     The title track kicks things off, riffs and rhythms a caustic force from the start matched by the great abrasive gravelly vocals. It is OB-GD17D.pdfnot long before a delicious tempting of anthemic melodic enterprise and group calls with Mackie and Boulton supplying a rich grazing support to McCullough, breaks out. Thoughts of Leatherface and Dillinger Four make a suggestion though equally the band triggers comparisons to Social Distortion and in some ways fellow Brits, The Vox Dolomites. Truthfully though song and sound whilst offering familiarities forge a presence which is distinct to the band; guitars and vocals a compelling inventive provocation driven by the voracious energy and antagonistic passion of the rhythms.

    The following Deny snarls and rips out an urgent pace from its opening second which is as predatory as its predecessor but with a slightly more belligerent gait, or certainly with a different twang to its voice and intensity. The track also lacks the incisive hook of the first song but has no lack of infectiousness to its vocal squall and rhythmic punctuation to its expressive riffs and lyrical croon, a bait elevated by the outstanding Sink, a rowdy anthemic charge of a song taking the best essences of the previous tracks and turning them into another potently addictive brawl of punk rock. The best track on the release, though seriously challenged with each play by the opener, the song alone with its rhythmic taunting and sonic mischief around a virulently catchy hook loaded with a wealth of melodic barbs and an old school fire enhancing its triumph, reinforces the stature of band and genre.

   The release is completed by Weak, a cover of The Beltones track. It is an accomplished and passionate offering revealing more of the band’s craft and adventure but as good as it openly is just does not match up to the other tracks. Nevertheless it makes a fine and pleasing end to an excellent release. It might be greedy to want a full-length assault from Epic Problem so soon after the release of the EP but that is the kind of hunger it inspires. Along with many other bands, this explosive treat shows that British punk continues to lead the way for our maybe slightly based thoughts.

The Lines EP is released digitally and via Longshot Music and Rebel Sound Music in the USA, and Rebellion Records in Europe with 100 on Black vinyl, 150 on White vinyl (exclusive to Rebel Sound), 150 on Blue vinyl (exclusive to Rebellion) and 200 on Splatter vinyl (exclusive to Longshot) available.

Check out the video for Lines directed by Chalkman Video @ http://www.youtube.com/watch?v=7zf0i9i3As0&feature=youtu.be

https://www.facebook.com/epicproblemuk

http://epicproblem2.bandcamp.com/album/lines-7

8.5/10

RingMaster 05/02/2014

Copyright RingMaster: MyFreeCopyright

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