Sendwood – Fist Leaf

“Forget about it; let the two of us be a band!”

That was the beginning of French outfit Sendwood; a declaration roared when guitarist/vocalist Kriss Wood (ex-The Real Mc Coy) and drummer/vocalist Alex Mc Wood (Harmonic Generator) found themselves alone in rehearsal without any sign of their band mates. It is a spontaneity and defiance which equally fuels their music and a debut album which just makes you want to get involved.

From the first breath of Fist Leaf, there is a sense that anything could happen, that the pair themselves did not have a firm grip on where their imagination at the time of recording would take them or want to place one. The result a collection of songs which explode like a sonic scatter bomb on ears with the intent of fun, mischief, and rock ‘n’ roll. Last year saw the release of the duo’s first EP, Log Face, a potent introduction to their feral blend of blues, metal, punk, and rock which is off the leash within Fist Leaf.

The first of three tantalising instrumentals starts the album off, Riffocephalus Minus a lure of crisp magnetic beats and meaty riffs swiftly bursting into a fiery proposition, though just as quickly that in turn slips into a harmonica led flirtation before evolving once again. It is a sign of things to come, of the unpredictable devilish antics on offer.

Demon immediately bursts from its predecessor; rapacious riffs and grooves colluding with more of Mc Wood’s rousing swings to grab ears and appetite. It is rock ‘n’ roll to the core, a ferocious slab of infectious enticement easy to roar along to as also the following Needle. Gnarly riffs hit the spot straightaway, beats and vocals taunting as they bait lustier attention, the song uncaging a wild incitement of garage punk ‘n’ roll again needing just a mass of seconds to get under the skin as untamed stoner lit grooves entwine.

Then the virulent catchiness of Leash consumed ears, its grungy stroll and contagious swing an insatiable persuasion with, as in all tracks, imagination rousing detours of varying potency along the way, next up Gotham proving the point. The second of the two is an asylum of wiry grooves and nagging riffs driven by rhythmic manipulation and a vocal unity which share lyrics which may not be the most inventive in the city but has you hollering along with matching energy.

Riffocephalus Medius is a scuzzy slice of sound and temptation, a brief but potent piece of enticement setting up the snarling presence of Penny, a song as seductive as it is unbroken. As so many within Fist Leaf it just pulled ears into eager attention and pleasure in tandem with an increasingly greedier appetite for the album and its hungry sounds. Gun is no different, the track a compelling trespass of concussive yet well-balanced rock ‘n’ roll simultaneously chewing upon and caressing the senses.

The album concludes with firstly the viral exploits of Ber, a track which as the album is maybe not looking to breed uniqueness but is as fresh and as hungry to arouse as anything around. It is followed by final instrumental, Riffocephalus Rex; a piece of captivation which is deceptively calm but with a carnival in its heart which subsequently erupts into a dirty clamour before easing into its cycle all over again.

Both make for a superb end to a thoroughly enjoyable encounter. Rock ‘n’ roll should be fun yet imposing, flirtatious but aggressive and Fist Leaf, indeed Sendwood pretty much tick all the boxes.

Fist Leaf is out now across most online stores.

https://www.facebook.com/sendwoodwtf/

Pete RingMaster 22/05/2018

Lucy And The Rats – Self Titled

May24

There are some things which are simply bred for temptation, propositions instinctively natured to lure like sirens. Among their numbers is the debut album from Lucy And The Rats. Deceptively unassuming but one virulent contagion, the release is an irresistible slice of pop punk with a snarl in its heart and the most disarming melodies and harmonies on its breath like a winning blend of The Shirelles, Honey Bane, and Spinnerette.

Lucy And The Rats is the new band from now UK based singer/guitarist Lucy Spazzy, formerly one third of Australian punksters The Spazzys. Once settled in London in 2015, she set about assembling a new band being “bored of playing at home by herself”, subsequently linking up with guitarist Joe To Lose (Los Perros, Johnny Throttle), bassist Mike Cannibal (Animal Cannibal), and drummer Manu (Thee Tumbitas). A pair of ear grabbing singles followed as the band made a stir on the live scene in the Capitol, in turn nationally and all over the world sharing stages with the likes of Buzzcocks and Paul Collins along the way. Produced by Johnny Casino and Jim Diamond (White Stripes, Dirtbombs), their first album is an inescapable tap on the shoulder of the broadest attention and recognition, a sweet sounding proposition so so easy to run off with.

Opening up with Pills, the album instantly had ears attentive and the body rocking. Soon the song strolls along with a summery glaze over eager catchiness as hooks collude with flirtatious riffs and rhythms. There is a whiff of The Shirts to the track as its heart embraces the instincts of pop and rock ‘n’ roll around the magnetic presence and tone of Spazzy.

The following Make You Mine wears a similar hue of sound but quickly reveals its own personality and The Waitresses meets The Crystals like temptation. Again feet were keenly shuffling and hips swinging as melodies seduced hand in hand with golden harmonies but all the while a punk edge stirs accentuated by the wiry enterprise of the guitars, they repeating that taunting prowess in next up Lose My Mind. Imposingly infectious, the song suggested involvement within seconds, manipulating it a few breaths later much to the lusty pleasure returned.

The likes of the surf kissed seduction that is So Simple, a mellow kiss on ears with the melodic smooch of The Dollyrots and rapacious touch of Valentiine, and the pop bouncing Melody just devour attention while the viral shadows of the bass grumbling Night simply danced with the imagination as the song took hold of the waist. It is truly hard to pick a favourite song within the album, all three among the options but the third makes an especially compelling statement.

Through Fall our passions pretty much echo their ardour as it swings with flirtatious grace and mischief, next up Hold On Me emphasising similar manipulation with rolling rhythms and deceptively controlled yet rousing energy with Spazzy tempting like a pop punk conjuring Pauline Murray. All three just leave a greed for much more, the latter laying on the temptation with some great hooks out of the Only Ones songbook, before Girl saunters along without a care in the world sharing the kind of creative snare addiction was invented for.

The album closes with Can’t Surf; a fifties inspired pop ’n’ roll romp which may have lost the heart for hitting the waves but had us riding its enterprising currents with zeal. The track is a thrilling end to one glorious encounter. Lately we have found pop punk to be a touch vacant on real uniqueness and though Lucy And The Rats have a sound which is much more flavoursome than that tagging, their album is the fresh and inspiring breath within both pop and punk, indeed rock ’n’ roll we have been yearning for.

The Lucy And The Rats debut album is out May 25^th digitally with Dirty Water Records and on vinyl through Surfin’ Ki Records, Monster Zero Records, and Stardumb Records.

https://lucyandtherats.bandcamp.com/ https://www.facebook.com/Lucy-and-the-Rats-817424101645809/

Pete RingMaster 23/05/2018

Bullets And Octane – Waking Up Dead

May23

Though a name familiar to a great many, attention on the UK side of The Pond did not particularly have Bullets And Octane as a concentrated spot on its radar despite some ear grabbing, appetising inciting releases since the band emerged in 2003. That was until the LA based outfit played a venue ripping tour over here last year with our own fine middle finger raising rockers Hung Like Jack supporting. It has sparked fresh interest and in turn real anticipation for the US rockers’ new album Waking Up Dead which we seriously expect to be embracing rigorous attention upon release. It is a beast of an album, rock ‘n’ roll in its most rapacious and rousing form and without doubt Bullets And Octane in their finest moment.

From the release of their debut EP, One Night Stand Rock N Roll Band in 2003, the St. Louis originating quartet has been on a hungry ride towards acclaim and attention. Their Gilby Clark of Guns And Roses produced first album, The Revelry started the growing appetite for their emergence, each of their subsequent seven albums escalating the temptation, including breakthrough album In The Mouth Of The Young, alongside a live presence which has seen the sharing of stages at shows and festivals with the likes of Avenged Sevenfold, Korn, Stone Sour, Flyleaf, Deftones, Unwritten Law, Gunfire 76, Social Distortion, Eagles Of Death Metal and many more over the years. Now we would suggest they are facing their biggest year and time yet with the release of the Brent Clawson (Wednesday 13, Hell or Highwater, The Knives) produced, recorded, mixed and mastered Waking Up Dead, a slab of devilry declaring that hard rock spun rock ‘n’ roll has never been healthier or more fun.

As soon as Bad Mother Fucker launches its attitude loaded stomp off of a warning siren, it has to said, ears and appetite were swiftly gripped; a hold tightening as the track almost stalks ears with riffs and grooves whilst stirring up the spirit with its contagious roar. Vocalist Gene Louis hollers at its heart with energy and contempt, the band’s united calls supporting his incitement as the swinging beats of Jonny Udell punch and Zachary Kibbee’s bass magnetically grumbles.

A raucously irresistible start to the album aflame with the wiry tendrils of Felipe Rodrigo’s guitar, the track sets the anthemic template for things to come and is quickly embraced by the album’s following title track. Guitar and mass incitement instantly draws ears into the almost as immediate blaze of the song, its pulsating stroll and fiery sonic flames surging straight to the instincts to rock out. There is a devious craft and imagination to the song though, predacious twists and tenacious clamours uniting in its spirit rousing exploits.

The calmer but no less lusty When We Were Young has the body bouncing again, it’s gripping hard rock nurtured canter almost poppy but all raw bustle and bite while Burning at Both Wicks jabs and snaps at the senses from its first touch, takes the listener on a bold hard rock infested ride thereon in. As the whole of the album, the songs blend the familiar with the boldly fresh in their individual escapades, each nagging to get under the skin riff by hook and hitting their target in swift time. It really was impossible not to offer up one’s own vocal and physical participation across the whole of Waking Up Dead as proven yet again by the simply captivating Fires. As its predecessor, there is a touch of Fall Out Boy meets Grumpynators to the track with a whiff of Turbonegro, a spicing which slipped through our ears like nectar.

All the same, every song within the album is stamped Bullets And Octane through to the core, the likes of the melodically aflame Fuck You Song and Murder Me Baby with its predatory prowl and salacious swing diverse proof. Neither track quite hit the personal spot as those around them actually but the fact they had us rocking and pressing replay with perpetually fresh lust shows the might of the rest of the album.

The final trio of tracks keep the stomping and thick enjoyment flying, Rolling Stone casting a ‘mellow’, in comparison to other songs, incitement which only needed a clutch of seconds to bypass inhibitions before Hostage seduced the body into a subservient sway. Even with its relative composure, the song is an insatiable rocker increasing its boisterousness and the listener’s involvement by the minute.

Heart Attack completes the release, the track maybe the best of the lot though it is hard to choose. Hooks and grooves ensnare as rhythms jab, vocals stoking up devilment and alone further involvement; the four prong rock ‘n’ roll attack as manipulative as it is simply balls swinging revelry. A great album deserves a thunderous end and Waking Up Dead certainly gets that though its whole body is a galvanic storm of rock ‘n’ roll; a tempest of pleasure we can only suggest, wherever you are, you should unleash your rocker instincts upon.

Waking Up Dead is released May 25^th through Bad MoFo Records/Cargo Records.

https://www.bulletsmusic.com/ https://www.facebook.com/bulletsandoctane

Pete RingMaster 23/05/2018

The DeRellas – High Rise Supersize

May3

Pic David Newbold

Paving the way to a new album later this year, UK glam punks The DeRellas have just released brand new single High Rise Supersize. Consisting of three tracks, it is a rousing slab of punk ‘n’ roll sparking sure anticipation for the band’s forthcoming full length.

With previous mini album of 2016, Freakshow, thrusting the band’s sound to a new plateau in craft, imagination, and energy, it has been easy to hope, even expect, another elevation in prowess and adventure in any successor. Eighteen or so months on, High Rise Supersize more than offers, indeed realises, plenty of the potential of such success.

Producer by ex-Vibrator, Pat Collier, High Rise Supersize is the first release to feature new vocalist/rhythm guitarist Joey DeRella and comes as the band venture across the UK on a string of live shows including playing Rebellion in August. High Rise Supersize opens with one of those hooks you just have to take a bite of, guitarist Luca DeRella luring swiftly keen attention, leading it into the waiting rhythmic incitement of bassist Timmy DeRella and drummer Billion Dollar Bish. There is boisterousness to the track which just entangles the spirit especially once Joey’s eager tones join in the rock ‘n’ roll romp. The track is DeRellas typical yet soon shows a fresh character and intent with its animated melodies and sneaky hooks. Equally there is a touch of old school punk devilment to its roar which only adds to the fun.

The lead song is accompanied by I Got Something To Say and a great cover of The Sweet classic Fox On The Run. The first similarly lays down tasty guitar bred bait to set things going, rhythms in tandem snapping across the senses. As quickly the track shows a darker and dirtier attitude loaded nature to its predecessor, snarling as it stomps spilling open belligerence as it swings. The track is superb, for personal tastes even eclipsing the lead track, and another reason to get a touch excited about that impending album.

Its successor also carries that dirty texture in its infectious stroll, The DeRellas infesting the veins of Fox On The Run with their own creative and mischievous juices. The band does not dissect and rebuild the well-known encounter but gives it a growl and a raw layer of rock ‘n’ roll soil which works a treat.

It is set to be a very busy summer for The DeRellas and if High Rise Supersize is a sign of things to come an extremely successful end of year through the release of that new album.

High Rise Supersize is out now on the band’s own label, Rockaway Records; available on 7” vinyl, CD, and download @ https://store.cdbaby.com/cd/thederellas

https://www.derellas.com/ https://www.facebook.com/TheDeRellas/ https://twitter.com/thederellas

Pete RingMaster 03/05/2018

Fuzzy Vox – Ba-Da-Boom

Dec5

With one of our favourite escapades last year being the No Landing Plan album from French rockers Fuzzy Vox you can be sure that news of its successor got us rather excited, a lusty reaction which only got more exuberant upon hearing its quartet of boisterous escapades. Ba-Da-Boom is a romp of the band’s feverish rock ‘n’ roll taken to a new pasture of imagination and fun, the year between releases seeing an evolution in sound and flavours, confirming the band as one exciting and creatively excitable proposition.

With new drummer Jeremy Norris alongside vocalist/guitarist Hugo Fabbri and drummer Nico Maïa, Joinville le Pont hailing Fuzzy Vox are continuing to stir up attention with their rousing, mischievous sound through Ba-Da-Boom. It is a success first poked with debut EP Technicolor in 2012 and accelerated by the band’s first album, On Heat two years later and subsequently reaching a peak through its successor No Landing Plan. Now their fusion of garage rock, power pop and instinctive rock ‘n’ roll is ready to spark another burst of acclaim and revelry through Ba-Da-Boom and as it stomps around in ears it is hard to see anything getting in its way.

It opens with I Fell In Love With The World, a track which saunters in on a spicy groove and rapacious rhythms which as they leap are just waiting to unleash their full energy which they do a touch in the subsequent flirtatious stroll of the track. Loaded with tasty hooks, eager vocals, and swinging harmonies, the song blossoms into a seductive roar of sixties teased garage rock and pop rock devilment with a chorus which is inescapable creative bait. Providing hips and the spirit one anthemic vehicle to lose composure with, the track is irresistible.

A potency swiftly matched and pushed further by the pop ‘n’ roll fuelled Eyes On You. Again beats thump as they tempt with chords and riffs alongside, all colluding in almost salacious incitement as vocals command the tenacity of it all. With a great punk boisterousness to its stomp and psych rock tendencies in its melodic explorations, the song is superb, reason alone to check out the EP.

Cold Justice follows and quickly shares more of the new broader flavoured sound of the band. Sixties pop and seventies power pop fused with pub rock shenanigans, the song swaggers along with mischief in its antics and charm in its melodic glaze. It is a truly magnetic affair becoming more physically involving by the minute and thickly compelling by the listen.

The EP ends with I Want Drums, a ‘showcase’, if any further proof was needed to his prowess, of Norris’ rhythmic dexterity. His skittish beats come with poise and a rousing agility which is equally matched in the revelry of his companions in voice and sound. With sixties garage rock again fuelling the fire, the track is like an illegitimate offspring from a union between The Monks and Jon Spencer Blues Explosion but bred on its own imaginative mischief.

It is an outstanding end to another delicious endeavour with Fuzzy Vox, a release which may not eclipse that brilliant last album but stands right by its side whilst revealing a fresh new venture in the hunger of the band’s insatiable sound.

Ba-Da-Boom is out now and available @ https://fuzzyvox.bandcamp.com/album/ba-da-boom-2

http://fuzzyvox.com/ https://www.facebook.com/fuzzyvox https://twitter.com/fuzzyvox

Pete RingMaster 05/12/2017

Blast Bomb – Born To Lose

Dec2

There is a new uncompromising bruiser in town and it goes by the name of Blast Bomb. The first week of December sees the Hamburg outfit release their debut single Born To Lose; three tracks of rousing feral punk ‘n’ roll that take no prisoners whilst stirring up defiance fuelled, attitude loaded involvement.

Blast Bomb rose up earlier this year from the presumable demise of underground bands High Gain District and Skull Harvest. Its line-up was subsequently completed by ex-Thirteen Shots vocalist and founder of independent label Undead Artists, Johnny Rose. Having moved to Hamburg from his native Birmingham in the UK, Johnny has introduced a host of great garage and horror punk bands to new ears though his label but it would not be too wrong to say that his old band has been missed by a great many so anticipation for this first Blast Bomb encounter is broad and eager. Listening to it, it almost feels like a match destined to be, Johnny’s untamed but fiercely magnetic tones an instinctive union with the sounds unleashed by guitarists Torben and Klaus, bassist Kai, and drummer Tobi.

Since emerging, Blast Bomb has earned strong support and plaudits through supporting Honeymoon Disease, Conan, and Monolord. We called their sound feral punk ‘n’ roll but it is easy to understand how they went down well with the audiences at those band’s shows as it has a definite dark stoner/sludge punk essence to its uncompromising but infectious trespass. Released through Italian label Archetype Records, Born To Lose is ripe with this voracious sound and is sure to nudge the European rock scene to their presence.

The single opens with its title track, a sonic wire drawing in the combined thrust of vocals and sound with rhythms directing the charge with their own creative agitation. It is a riot in the ears though imposing but one composed and direct in its targets as hooks and riffs crowd the great earthy moan of the bass. Group participation further ignites the anthemic rock ‘n’ roll of the chorus while tendrils of fiery guitar intensify the heat even if not hanging around long enough for personal pleasure. Like a dirtier punk Johnny Thunders and The Heartbreakers, band and track has the body bouncing and middle finger quivering as it gets things off to a great start.

As potent as it is, these ears took to its companions even more eagerly, You’re Going Down being first up. Its initial melodic hook is instantly a greed poking lure, even more so when an additional groove of guitar and the moody grumble of the bass join in. Once hitting its antagonistic stride, the track uncages a grungier hue to its bracing and abrasive roar proceeding to holler and blaze with creative irritability around a virulent web of hooks.

Things only get even more compelling as Maiden Hero closes things up. That stoner spicing is far more to the fore as grooves entangle ears and appetite, their flirtatious fingering lingering bait as the song’s punk heart erupts then flaring up themselves again and again across the incendiary landscape. The single’s finale is a scorching slab of rock ‘n’ roll, reason alone to check out Blast Bomb and sure to be a major spark to a great many to get involved in the band’s ear grabbing emergence.

Born To Lose is released December 6^th via Archetype Records.

https://www.facebook.com/pg/blastbombhamburg https://blastbomb.bandcamp.com/releases

Pete RingMaster 01/12/2017

Buster Shuffle – I’ll Take What I Want

Nov30

As you shiver over the winter months, body and energy needs something to keep the cold at bay and spirit stomping and Buster Shuffle have just the right tonic in the shape of their new album, I’ll Take What I Want. Bursting with their most virulent and imaginative sound yet, the UK quartet’s fourth full-length mischievously swings and devilishly strolls as it grabs limbs and soul like a rascal puppeteer.

I’ll Take What I Want casts more of the fusion of ska, pop, and rock ‘n roll Buster Shuffle has increasingly pushed and established since emerging back in 2007. Each of their previous albums has added a fresh lick of enterprise and adventure but the street carnival of their latest offering is a whole new ball game and easily the band’s most unique and thrilling proposal yet. Debut album Our Night Out of 2010 swiftly lured acclaim and attention the way of the London outfit subsequently backed by a live success soon seeing the band share stages with the likes of The Holloways, The Wombats, Goldie Lookin’ Chain and Chas ‘n’ Dave, a list which Buster Shuffle over the years has added artists such as Lee Scratch Perry, Frank Turner, Drop Kick Murphys, Madness, The Blockheads, The Rifles, and Flogging Molly. The albums Do Nothing and especially Naked has increased their presence and reputation with unerring fun and craft something I’ll Take What I Want can only vigorously escalate.

With their street wise/reflective lyrics and multi-flavoured sound, Buster Shuffle instantly infest ears and appetite with album opener I Don’t Trust a Word You Say. Straight away a rousing wave of vocal and musical temptation surges through ears, vocalist Jet Baker leading the way with his tones and equally potent piano revelry as rhythms swing. Hitting an impossibly contagious stroll part ska, part old school punk with a dash of fellow Brits The Tuesday Club to it, the song instantly has the body bouncing and passions greedy with its boisterous antics.

The forcibly captivating start only continues as We Fall to Pieces steps in with its folk ska rascality, the song like a fusion of Blur and Tankus The Henge around the throbbing lure of Tim Connell’s double bass and the crisp beats of Terry Mascall. Again Baker’s piano and James Stickley’s guitar collude in creative chicanery as the former’s tones and words tantalise across two minutes of instinctively bold rock ‘n’ roll before Pretty Boy swaggers in with its own infectious dynamics and enterprise. Imagine Television Personalities and again Blur bursting in on Bad Manners and you get a flavour of the track’s gorgeous recipe of enticement.

There is no escaping a rich Madness spice within next up See You Next Week, its determinedly infectious canter pure instruction to the body to dance and ears to greedily devour before The Estate takes the listener into the danger and shadows of modern city life with its spunk pop manipulations. Set across two stages, the day light vivacity of its initial stomp is a darkened night lit rush by its departure, song and imagination running with instinctive eagerness to only increase the already rich impact of the release.

I’ll Be in Peckham has a touch of gypsy to its virulent amble next, its seductive yet off-kilter street waltz manna to these ears as pretty much the whole of I’ll Take What I Want to be honest but especially manipulating as it sets up the warm gallop of the album’s madness soaked title track. It is ska pop to get frisky with, hips getting a keen workout as melodies and hooks unite in an irresistible web of catchy temptation.

With a throbbing tuba-esque hook to swing from, Your Mommy Is So Hot for Me is simply ska impishness so easy to devour, the band’s constant humour as virulent as their sound as too their lyrical prowess as shown yet again in the predacious flirtation of The Tables Have Now Turned and the indie punk pop jangle of Take Them All. Both songs tease and tempt with their creative twists and unpredictable turns, all lined with the never relinquishing infectiousness of the Buster Shuffle sound.

The album is completed by the folk littered contagion of Banana Thief, its ska spun carnival also embracing a country twang as tasty as its other infectious ingredients, and finally the instrumental skanking and harmonic seduction of the Outro Song. With its sixties espionage/sci-fi TV theme tune air and not for the first time, the golden hues of backing vocalist Carrie Griffiths radiating, the track is a masterful end to a real treat of an album. Also featuring the keyboard and vocal enterprise of Pete Oag, I’ll Take What I Want is sheer pleasure and addiction in one; quite simply another year high for music.

I’ll Take What I Want is out now via Burning Heart Records on iTunes, Amazon, and other stores.