Medusa – In Bed with Medusa

 

Having found ourselves taken with sound and invention of UK trio Medusa with their 2011 released second album, Can’t Fucking Win, it quickly became apparent that there was nothing predictable about the band’s music but as confirmed by its successor Headcase’s Handbook three years later it has persistently proved a thickly compelling affair. Both albums were rich in the band’s punk fired rock sound and bold in their intrigue loaded magnetism, traits again just as fertile within the band’s new album, In Bed with Medusa.

The new release though is a whole new beast to be tempted by, one which still bears the inimitable breath and touch of the London based outfit but as its title suggests has an unwrapped intimacy which challenges as much as it fascinates. It is a far darker and rawer involvement with Medusa, one which startled from the off and has persistently caught us off guard with its almost feral emotions and untamed enterprise but fair to say with every listen has left us thickly hooked.

Emerging in 2006, Medusa is the creation of vocalist/guitarist/songwriter Julian Molinero, the band’s line-up on the new release completed by bassist Kotaro Suzuki and Towers of London drummer Snell, the latter recruited barely eight weeks before recording which took place with Steve Albini at his studio, Electrical Audio, in Chicago across the first four days of  December 2019. You can only imagine this intense recording time has added to the raw energy and heart of a release though equally such its resourceful drama and touch you can only feel it was always meant and going to be such a soul bearing proposition.

Oblivion opens up the album, a song which instantly unravels an instinctive infectiousness in voice and sound even before hitting its more aggressive and energetic punk ‘n’ roll stride. Molinero’s tones are as bare breathed and provocative as the melodic wiring escaping his guitar between punk bred chords, rhythms a potent anthemic incitement beneath it all.

*love not included seamlessly springs up from the closing straits of its predecessor, the track another with a persistent, indeed voracious catchiness to its punk ‘n’ roll incitement. Hooks and sonic wiring lured and gripped ears as boldly as rhythms and vocals, the track provoking and inviting keen involvement in its naked heart and touch before River Phoenix, inspired by a biography on the actor, lays a calm hand on ears before erupting in a tempestuous rock ‘n’ roll squall again embroiled in emotional turbulence.

There is an open richness to Medusa sound which is entangled in a host of rock flavours, alternative and hard rock textures among them involved within the melodically woven, deviously contagious reflection of The Girlfriend Experience while Lost in Dystopia shares more classic hues in its virulent canter; a grunge lining to both tracks as well as others within the album accentuating the wonderfully unvarnished feel of its presence and heart. Indeed Ride the Styx bears Nirvana-esque shading to its greedy nagging of the senses, the first of our favourite moment considerations within the album swiftly set.

The pair of No Such Thing and Inverse Paradise offer up quick challenges to that choice though, the first with something of an Everclear air around a classic metal wired holler another pinnacle of the release with the second eclipsing both through its almost XTC like setting bound in blues nurtured wiring as Molinero muses proving irresistible. The latter is also one of a pair of acoustic tracks which were recorded in a hotel room overlooking Bran Castle, known as Dracula’s Castle, in Transylvania.

Lenore provides a fiery enticement for ears, maybe one which lacks the sparks of its predecessors for us but still held eager attention before that final slice of acoustic enterprise in the shape of Distress Signal brought In Bed with Medusa to a fine close. Whether bred on intimate experiences of its creator or through observation, it is a potent engagement with ears and thoughts alike; one epitomising the stripped and exposed fertility of the album.

A release which grew in presence and enjoyment by the listen, In Bed with Medusa simply backs up its predecessors in suggesting Medusa is one of Britain’s brightest and unique propositions and with its own openly individual endeavour a band all should at least consider checking out.

In Bed with Medusa is out now and available @ https://medusaworld.bandcamp.com/

http://www.medusaworld.co.uk/   https://www.facebook.com/medusauk   https://twitter.com/medusaworld

Pete RingMaster 26/03/2020

Copyright RingMasterReview: MyFreeCopyright

Cabro – Humano Ignorante

If six tracks across eight ferocious punk minutes whet your appetite then we can only say strap yourselves in as Humano Ignorante is one ear bullying, senses corroding ride sure to leave you either a broken mess or a lustful perpetrator.

The release is the new cassette EP from Cabro, a band which…well there is little we can tell you. Humano Ignorante could be their debut assault or not and they could be from Spain as all tracks are sung in Spanish yet you like us may feel there is something definitely English punk seeded to its hardcore irritability. The piece accompanying its release says “word has it that James Domestic is involved in some capacity” and as James, the frontman of both The Domestics and PI$$ER among other propositions, kindly sent the EP our way we can only confirm that…but little more we can share apart from six ravening punk bred tracks which violently demand attention.

Released through Kibou Records, Humano Ignorante unleashes itself on the listener with Azul De Muerte and instantly the feedback fuelled breath of the release is scouring the senses, scraping their tolerance to their limits before a scourge of feral punk descends on a scarred surface. It is raw and ravenous incitement, devouring the air and listener with a primitive contagion as virulent as it is fearsome while vocally we can only suggest that it is indeed Mr Domestic leading the assail or someone with a striking impression of him; they all thick reasons to dive into the EP.

Sangre is uncaged next from the sonic lancing which links all tracks, the song’s sanguineous thirst fuelling some infectiously menacing rock ‘n’ roll. With somewhat more restraint than its predecessor, the track courts and nags more than bludgeons the senses yet still left an appetite sparking stain before swiftly departing for Suicida Navidad and its insatiable animosity and urgency. Rhythms make for a relentless harrying as guitars spring a caustic enticement to fear or devour; vocals within accentuating the delicious savagery of it all.

In turn Vacunación and Apuñalado En La Espalda got under the skin, abrasing as they go with their respective callous causticity and predatory stalking, the latter soon becoming a barbarously grooved infection impossible not to greedily feast upon.

With Victima Permanente a final homicidal incursion which proved as violently catchy as it is unapologetically spiteful, Humano Ignorante left us wasted and hungry for more. As we said at the start, Cabro is a mystery in some ways but not in the delicious raw, grooved toxicity that is their hardcore punk enmity.

Humano Ignorante is out now via Kibou Records @ https://kibourecords.bandcamp.com/album/humano-ignorante-e-p-preview-tracks-only

Pete RingMaster 26/03/2020

Copyright RingMasterReview: MyFreeCopyright

Servant Leader – Raised by Wolves – Part 1

The promo received tagged Raised by Wolves as set in the hard rock genre but it took little time to prove much more diverse and ambitious than that suggests, and also that it is one aggressively enjoyable encounter.

Raised by Wolves is the first of two EPs from Servant Leader, the solo project of Leigh Oates (vocalist of Xilla, Soldierfield, Rise To Addiction and Ninedenine). Offering five ear grabbing tracks, it is boldly fertile with a sound as much grunge and metal as it is rock bred. It makes for a potent and powerful proposition which swiftly had ears gripped through EP opener Daybreak.

Initially the first track rhythmically entices, from a distance shaping intrigue until a few seconds later it stands eye to eye with the senses and uncages its full hungry presence. As those rhythms continue to bite, grooves and melodic enticement is woven around the distinctive and ever magnetic tones of Oates. With keys just as enterprisingly involved and hooks unleashed with almost feral intent, the track proved immediate captivation and only tightened its hold with melodic and harmonic dexterity, a Soundgarden meets Skyscraper scenting around its worldly observation extra irresistibility.

Boundaries quickly follows, a roar erupting from its first breath in voice and sound to instantly engage keen attention. With boisterous energy, eager rhythms set the tone of its contagion, guitars and bass aligning in suggestive enterprise as Oates ignites the air with his resourceful tones. Again there is a certain grunge nurtured graining to its melodic rock bred body, the subsequent melody spun twists virulent captivation in nothing but riveting enticement.

Immediately August Parade stamped its authority on attention, the melodic twang of guitar soon followed by the swing of heavy beats and the richer wiry lures escaping guitars as vocals set their insightful contemplation within an Alice in Chains-esque sunset of sound and vibrancy. As its predecessor, the track sets a striking moment within the EP, success quickly emulated by next up Siamese with its rousing and voracious metal steeled rock ‘n’ roll. At times melodic winds temper the tempest but only to escalate the song’s addictive nature and imagination, the later a perpetually evolving treat in a similarly twisting body.

Raised by Wolves closes out with That Girl, a track which maybe has a touch of Stone Temple Pilots to it but proves as individual and rousing as those before it. By now it was proving no surprise that Oates was embroiling a host of varied flavours in his invention wolfish and sound whilst entangling his esurient tones sounds and no surprise that again ears were feasting on a moment in time which left a lingering and enterprising mark on thoughts and a greedy appetite for more which hopefully will soon come our way courtesy of the now highly anticipated Part 2.

Raised by Wolves – Part 1 is available now.

http://www.servantleaderband.com

Pete RingMaster 26/03/2020

Copyright RingMasterReview: MyFreeCopyright

Dirt Box Disco – TV Sex Show

As a certain virus continues to overwhelm lives, society and the world, moments of feel good interjection can only be hungrily seized upon or in the case of the new Dirt Box Disco album, greedily devoured. The release gripped from its first breath and swiftly had the body bouncing with rapacious energy, all the while simply confirming DBD as UK’s maybe even the world’s finest rock ‘n’ roll band.

Step into TV Sex Show and unsurprisingly, if already a fan, you find a horde of tracks which arouse and incite with mischievous intent. The album is a raucously anthemic assault on apathy and despondency, a ‘go get ‘em’ insistence fuelled by the band’s inimitable punk rock bred sound which even in this moment of global self-isolation will get you at the very least hollering at the world from within any confines. As proven by previous releases like its predecessor, Immortals, the band’s sound even with its familiar individualism continues to grow and embrace; TV Sex Show uncaging Dirt Box Disco’s fullest, broadest and richest skilled cacophony of devilment and flavouring yet.

It is also the first encounter with the band since the departure of singer WEAB.I.AM, a change which raised intrigue but not panic as guitarist/songwriter Spunk Volcano has embraced the frontman role now something he has already proven magnetically accomplished in with his own solo project, Spunk Volcano and The Eruptions. With drummer Maff Fazzo, lead guitarist Danny Fingers, and bassist Deadbeatz Chris again unleashing their own esurient craft and revelry too, all three as motivating in their backing vocal roars, Dirt Box Disco grabbed ears and rock ‘n’ roll instincts from the first surge of TV Sex Show and not for the first time left us breathless and ridiculously grinning by the album’s final breath.

The release opens up with Unstoppable, Dirt Box Disco announcing and declaring their intent and defiance with the band’s combined vocal lure an immediate spark for personal vocal chords to unite in, the first round of solidarity quickly followed by a contagion of riffs and hooks aligned to just as virulent rhythms. With the same creative and catchy swing in Spunk’s vocals, the song had the body and spirit flinging energetic shapes and emotions like a master puppeteer.

Further ignited by Danny’s melodic wiring, the track is an exceptional start to the album which the following Insomniac ensures never drops with its heavier, more predacious punk ‘n’ roll. Relentless in its rhythmic harrying, incessant in cantankerous riffery and primal grooving, the song had us shouting with knowing unity while Barebones from its initial sonic nagging and rhythmic jabbing soon insisted and received similar participation in its punk nurtured call out.

A moment of intimate reflection or personal observation, I want out in many ways echoes the situations we find ourselves in right now as well as experiences all have felt at some point in time. Its calmer gait and energy still has a tempestuousness which equips the infectious chorus which DBD for years have proven so crafty at igniting listeners with.

Dickhead and the hype is next up, its punk rock meets hard rock swell pure anthemic encouragement refusing defiance, though great and addictive as it swiftly proves is still outshone by The Count of Monte Cristo lives in San Francisco. It’s initially reserved but still highly catchy saunter through ears is almost a tease of things to come, a hint to the voracious virulence which soaks another chorus only the deaf may be able to resist. That opening stroll returns and continues to light up attention between the surges, its melodic luring sparking the imagination before those eruptions grip throat and body.

The old school seeding of Reminisce got under the skin within seconds, the track brewing another potent fixation with something of a Vibrators meets UK Subs meets Mud lining to its still DBD individuality, the same agility easily said of 3 bottles down which again from a calm reflective opening brews an incitement which nags as much as it inspires full and eager involvement.

As often with relish, DBD turn the spotlight on a certain type of character we have all come across through Bitch full of stitches, a track which had us rocking with the kind of zeal its protagonist frequently shares in their own way with Vdtv for a minute and a half bitch slapping the senses while equally inflaming them with primal punk rock predation. It is a relentless assault built on the individual prowess of the band and their united contagion, a unity just as impressive and manipulative within successor Simple but effective. A middle finger parading response to ‘the haters’, again body  and vocal chords as well as spirit were keenly slung into the song’s vociferous yell and once more TV Sex Show proved itself irresistible.

The truly magnetic Ain’t life grand completes the line-up of pleasure, its intimacy as open as its gentle but persistent infectiousness. Grab the CD version of the album though and find the added pleasure of two bonus tracks in Tizwatitiz and Wake up. The first of the pair is another pure punk rock nurtured surge of temptation wired by many other flavours, its voracious instigation of eager complicity prime DBD while the second is a slab of rock ‘n’ roll contagion owing as much to the likes of Showaddywaddy as the seventies punk instigators it also hints at in its feral punk ‘n’ roll clamour.

So that is TV Sex Show, another glorious riot with Dirt Box Disco which leaves spirit and body ready to take on any challenge and pleasure boiling over. I am sure we have said this before with a DBD album and probably a few times but this might just be their finest moment yet.

TV Sex Show is released April 18th via Avenue Recordz; available digitally, on CD and on Ltd Edition “Mystery” coloured Vinyl.

https://dirtboxdisco.com/   https://www.facebook.com/dirtboxdisco/   https://twitter.com/dirtboxdisco

Pete RingMaster 26/03/2020

Copyright RingMasterReview: MyFreeCopyright

Syteria – Reflection

With a touch of annoyance that we missed their debut album three years back we can only urge you to check out Syteria through its successor, Reflection. That irritation stems from the fact that the band’s new full-length is rock ‘n’ roll at its virulent best; a spirit rousing, feel good release fertile in energy, fun, and creative agility.

Formed in 2015, Syteria is the brainchild of Girlschool lead guitarist Jackie ‘Jax’ Chambers. With Argentina born vocalist Julia Vocal and bassist Keira Kenworthy alongside, the band released the Wake Up EP in 2016 its permanent line-up completed later that year with drummer Pablo Calvo, the younger brother of Julia. A successful Pledge campaign in 2017 saw their broadly acclaimed debut album Rantobot born, its success leading to numerous festival and show opportunities. Last year saw Steph Dawson (Scream Of Sirens) replace the departing Keira on bass and the Yorkshire based band work on Reflections whose release now leaves an indelible mark on 2020.

Album opener, Make Some Noise, pretty much sums up the character of Reflection in its title though the album’s moniker echoes the lyrical prowess emulating in its look at the world and more intimate explorations. The song initially entices with a potent strand from Jackie’s guitar before rhythms and melodic hooks entangle ears in their own bait. Julia’s instantly captivating tones come potently backed by the 4 part harmonies which make up the first of the album’s irresistible choruses. A mix of pop rock, metal and punk, the track swiftly and instantly got under the skin to swiftly be joined by so many of its following companions.

Goodbye World follows and quickly shares eighties new wave like infectiousness, an insistent catchiness which never dilutes its temptation even as hard rock instincts bring the track further alive before another viral chorus is uncaged while the album’s title track bounds in with an insatiable rock ‘n’ roll appetite and rhythmic swing which alone had spirit and body bouncing. Again melodies and hooks almost deviously tempt and arouse, the band’s harmonies just as manipulative and galvanic as Julia’s words share knowing support.

The spidery touch of the melodic wires escaping Jackie’s guitar ensures next up Asylum has a grip on ears and appetite within its first breath, Pablo’s firm beats cementing that capture though it is the vocal dexterity across song and band which creates one of the album’s major pinnacles before latest single, Gossips, shares its pop infused rock on already eager ears. As within those around it, instinctive catchiness lines every note and syllable, aligning with the band’s creative imagination to again get under the skin.

Both Sorry with its gentle yet zestful and seriously stirring dynamics and the punk lined hard rock of As If left no room for attention to wander while the classic rock spiced Back Off and in turn Moving Forward (Angels & Demons) only accentuated the album’s grip and Syteria’s magnetic enterprise, the last of the four staking a claim on best track with its animated moves and rhythms beneath another vocal tempting from Julia and band impossible not to eagerly add to.

The dexterity of the bands flavour rich sound around fertile craft and imagination only continued to impress and animate the passions through the outstanding I Want It All and the equally inspiring Plastic Fantastic with the tenacious rock ‘n’ roll of Guilty backing up every anthemic aspect and electrifying quality with matching appetite as it brought the album to a rousing close.

Reflection is quite simply pure unapologetic rock ‘n’ roll with an adventure which alone will turn heads and Syteria a band surely heading to the loftier heights of the global rock scene.

Reflection is out now.

https://syteria.co.uk/   https://www.facebook.com/syteriaband/   https://twitter.com/syteriaband

Pete RingMaster 24/03/2020

Copyright RingMasterReview: MyFreeCopyright

Molly Karloff – Supernaturalation

Two years after their acclaimed debut EP, Dancing for Money, UK rockers Molly Karloff have uncaged its successor in the fiery shape of Supernaturalation, a collection of songs which quite simply and hungrily demand attention.

Oxford based, the trio of vocalist/guitarist Simon Guilliard, bassist Dan Podbery, and drummer Jowie Adkins has bred and earned a strong reputation for their high-energy performances and a similarly energetic sound bred on hard rock, grunge, and punk ‘n’ roll inspiration. The Dancing for Money EP back in 2018 more than alerted the UK rock scene of their rousing presence and though it has taken a couple of years to follow that potent introduction, Supernaturalation not so much builds on the success of its predecessor than leaves it in its dynamic wake.

Unleashing a vocal dispute with the issues life endures, Supernaturalation swiftly rips into attention with its title track, the EP opener dangling an instant hook impossible not to bite on as bass and drums add further thick bait. It is an entrapment which continues to grip as Guilliard’s similarly potent and energetic tones erupt. Familiarity and individuality collude in the track’s rousing roar, boldness of imagination which only grows more fertile across the release adding greater drama to the enterprisingly crafted encounter.

It is a great start to the EP which She Said, its lead single only reinforces. With slightly less energy but just as magnetic intensity, the track builds its might and roar resulting in a chorus which explodes on the ears as a rich climax to appetite nagging verse and creative escalation.

As stirring and thickly enjoyable as both tracks are, the pinnacle of the release for these ears comes across the next pair of Do You Wanna? and Do It Again. The first of the pair is pure virulence, bursting upon the senses with insatiable hunger with its riffs as predacious as they are contagious. A ferocious fusion of grunge lined hard rock and primal punk rock, the track swiftly proved irresistible, hooks a passion scything lure and rhythms a ravenous incitement within an enterprise which only grew more adventurous by the twist while its successor in its own individual vein proved just as viral driven and shaped by the swinging beats of Adkins and Podberry’s brooding bassline. That rhythmic unity quickly got under the skin, an addiction which bound in the guitar wiring and coaxed by the vocal prowess of Guilliard only escalated.

The Other Side brings things to a close, its funk nurtured swing the seed to another individual slab of Molly Karloff hard rock as keen to get the body bouncing as challenging, in this situation, taboos. With a fire in its belly and roar in its throat, the track provides a powerful and thickly enjoyable conclusion to one impressive and equally thrilling release.

The best rock ‘n’ roll leaves an indelible mark and incites the rebel inside, both fiercely potent traits of the Supernaturalation EP

Supernaturalation is available now through Roulette Media; available on CD and vinyl @ https://mollykarloff.co.uk/super-ep/

https://mollykarloff.co.uk/   https://www.facebook.com/MollyKarloff/

Pete RingMaster 13/03/2020

Copyright RingMasterReview: MyFreeCopyright

No Kings No Slaves – New Lease of Life

Providing a striking full introduction to themselves with debut album New Lease of Life, Switzerland hailing No Kings No Slaves have swiftly proved themselves a compelling proposition. The release is a cauldron of melodic hardcore but an encounter which dares to seek out bold and fresh pastures if maybe not always quite fulfilling the potential that imagination brings. Even so it is an album that scorched ears and ignited the senses as well as raised a hungry appetite for the band’s emotion loaded, tenaciously sculpted roar.

Lucerne hailing, the quintet of Pädi Reichmuth, Julian Thalmann, Philip Heini, Mario Rosso, and Dave Aletz embrace the inspiration of bands such as Architects, While She Sleeps, Bring me the Horizon, Gallows, The Ghost Inside, and Pure Love to their melodic hardcore bred sound though one as suggested relishing the additional flavouring of a varied mix of metal and rock. It has already shaped a well-received EP though New Lease of Life will be the first contact for a great many with No Kings No Slaves and one which will surely draw rich attention their way.

Dealing with issues ranging from transience and social ills to toxic relationships, New Lease of Life is fuelled by a furnace of passion and emotion, worldly and intimate; a fire matched in the intensity and enterprise of its sounds. Album opener, Judgment, swiftly shares that multi-faceted blaze, the song rising from portentous rhythmic intimation with a wave of heavy metal riffs quickly followed by Thalmann’s raw throated, senses abrasing tones. Just as urgently imaginative melodic threads wrap ears, the brief track an intro of sorts but providing a full incitement before the album’s title track erupts. Nagging almost bullying rhythms are surrounded by blazing guitars as again vocals coarsely assault the air but an attack from all quarters which equally captivates, especially the more post hardcore textures and harmonic vocal backing that brings greater potency to the track.

Though a form of familiarity is bred from its hardcore instincts a persistent unpredictability also shapes the alluring character of the album and the likes of the following Ticket To Far Away and Modern Life Slaves. Both tracks sear the senses as much as they melodically stir the imagination, each a tapestry of passion and intensity relishing the recipe of flavours making up their adventurous natures. The second of the two especially hit the spot with its groove metal tinted dexterity, being rivalled by the just as dynamic and multi-flavoured inferno of Humanity’s Curse.

Across the likes of Hell with its intense heart and sonic firestorm, the heavy metal hued A Quiet Place, and Medication with its more classic metal instincts, No Kings No Slaves reveal more of their creative adventure and boundary breaking imagination, the latter pair of the three the best moments within New Lease Of Life for us while after the haunting radiance of a short Interlude, the explosive Our Name Is Greed provides another fiercely memorable moment and pleasure. It is a rousing proposal that singes the senses as it cauterizes ill-will and emotion, rhythms and melodic flames relishing the individual and united prowess of the band.

The final pair of songs, Electric Sky and Losses, similarly flourish through the quintet’s eager embrace of flavours, the first emerging our favourite track as it casts a web of styles and agile dynamics upon the band’s melodic hardcore pyre with its successor similarly explosive and bold in its nature and creative character.

New Lease Of Life is a release which just gets better song by song, its second half majorly arousing the passions and personal plaudits but from start to finish the album only impressed and declared No Kings No Slaves a band attention was made for.

New Lease Of Life is out now.

https://www.facebook.com/NKNSband/   https://www.instagram.com/nokingsnoslaves/   https://nokingsnoslaves.bandcamp.com/

Pete RingMaster 14/03/2020

Copyright RingMasterReview: MyFreeCopyright