The Creeping Ivies – The Witch House EP

creeping ivies_RingMaster Review

All those with dodgy hips turn away now as we have one slice of physical slavery for you courtesy of The Creeping Ivies. Revealing a new wash of ingenuity in their sound which borders on pop, the Scottish band again enthrals and seduces with their unique style of garage rock ‘n’ roll which quite simply is impossible not to get a little lustful over. Consisting of three exotically and flirtatiously sonic slices of dark rock ‘n’ roll, EP and band have ventured into a broader landscape of invention and tempting which might be best described as The Shangri-las meets The Cramps meets The Revillos at a bordello of ill-repute presided over by Johnny Thunders.

The Creeping Ivies since forming in 2011 has been no strangers to acclaim here and across media and fans thanks to two dynamically thrilling and fiercely dynamic albums and a clutch of EPs which have just lit the fires of devilry. It is fair to say that each subsequent encounter has shown a potent evolution of the band’s garage punk/rock bred sound from the last, with a matching strength in temptation. Between last year’s outstanding album Ghost World and The Witch House, the band has seen one half of the duo in drummer Duncan Destruction leave and vocalist/guitarist Becca “Bomb” Murray subsequently joined by bassist Christy Taylor and stick man Ian Duncan. With a big change to a band which has also drawn constant acclaim for a live presence taking in shows with the likes of Viv Albertine, Vic Godard & Subway Sect, Bob Log III, and The Primevals amongst many acclaimed headlining shows of their own, there was a wonder of how things would move or indeed change ahead. The Witch House swiftly shows that as ever The Creeping Ivies are an irresistible creative lure revelling in their inspirations whilst breeding their own striking imagination as they go exploring new avenues. The hex that is their sound has developed an appetite for sixties inspired pop on the EP to go along with a passion for garage rock ‘n’ roll from across the decades. The result is an EP which is majestically glorious and ridiculously addictive.

witch house cover_RingMaster Review   It opens up with its title track, The Witch House flirting through the voodoo rhythms the band has so masterfully transfixes with from day one. Where Mr Destruction’s beats used to transmit intent and resonance like a virus through ear and bone though, Duncan’s beats are more tempered to match the, dare we say mellower, tones of the music yet cast an equally lingering network of anthemic persuasion. Murray’s guitar is just as swift in its spicy coaxing as her recognisable and exhilarating vocal shrills and punkish tone. Completed by the dark rumble of Taylor’s bass, the song swings with attitude and a flirtatious swagger ripe with simple but deeply rooting Ramones seeded hooks and nostalgia bred chords. The track is scintillating revelry to start things off but just the beginning of great deeds.

The following Only the Moon opens with its own infectious shuffle, led in by more flavoursome rock ‘n’ roll guitar and blossoming into a tenacious and composed canter of sparkling riffs and grumbling rhythmic shadows. From that same moment a vibrant melodic and catchy smile also brews, erupting in a chorus complete with inciting handclaps and a vocal tempting which only the deaf could refuse full involvement with. Surf breezes and a sultry air only adds to the compelling dance of the song; sixties pop meets modern garage psychosis at its very best.

The release comes to an end through Bye Bye Babe, a track as much seventies melodic infection as it is sixties garage rock and original 21st century devilment. The guitars seem influenced by bands like The Ventures and Johnny & the Hurricanes, rhythms by bands like The Orson Family and The Bomboras, whilst Murray is like a sultry Fay Fife. Wrapped in an invention and imagination which holds whispers of possible inspirations like Josef K and The Pixies, the song is honey for ears, manna for the psyche and a third kiss of brilliance in The Witch House.

There is no denying we have had a soft spot for The Creeping Ivies since day one but equally there is no argument in the fact the band just gets bigger, better, and more essential with every proposition with The Witch House EP the finest moment for the band yet. We keep saying that over each encounter and suspect it will not be the last time either. Ahead of Your New Favourite Garage Band, a forthcoming compilation of previous singles as well as EP and album tracks from the band, this moment in time feels like The Creeping Ivies are starting a new exciting chapter with thrilling new sounds. Time to get spooked and infested guys and girls…

The Witch House EP is out now with Your New Favourite Garage Band available from October 31st, both though Flowers In The Dustbin.

RingMaster 18/08/2015

Copyright RingMaster: MyFreeCopyright

Kyy – Travesty Of Light

KYY cover_RingMaster Review

Though blossomed in the heart of traditional Scandinavian black metal, there is no escaping the rock ‘n’ roller in the sound of Finnish metallers Kyy. It has a rousing quality which tempers yet equally accentuates the dark and creatively ravenous instincts of the band’s music which brews a toxicity living up to the meaning of their name, which in English means viper. The invasive evidence relentlessly roars from the band’s debut EP Travesty Of Light, four tracks of insidious black ‘n’ roll to breed a healthy appetite for.

Formed in 2013, the Lahti quintet fuels their music with the “sole purpose is to spawn an antithesis to existence of universe and to serve the Great Unknown.” The tracks making up Travesty Of Light were recorded towards the end of last year with E. Wuokko and came to the attention of Saturnal Records who signed the band up for its unleashing this month, a release coinciding with the same day the band’s first steps into the live scene, starting at Rooster Death Fest in Lahti.

The EP opens with Death – The Great Liberator and an immediate consumption of ears by thick riffs and challenging rhythms escorted by venomous vocal squalls. Already there is a devilish swagger to the track and subsequent scythes of steely sonic bait from the guitars, their lurking presence and occasional expulsions icing on the toxic cake of corrosive intensity and drama clad and hostile enterprise. The track continues to swamp the senses like waves of the sea across its harrowing length, at times a relative calm soaked in melancholic rapacity escaping whilst for the main of its body, the song is an undulating tsunami of inhospitable emotion and ravishing but eventful destruction, physically and emotionally.

Everlasting Fire follows and quickly exposes its rock ‘n’ roll attributes. Whereas its predecessor was a more ‘formula’ black metal affair, the second song instantly rocks like a horned goat in heat but infusing it with an increasingly intrusive and caustic soaking of blackened animosity and sonic brutality. It’s less than three minutes also flirts with understated but unmissable, almost siren-esque, whispers and tendrils of acidic post punk spicing which incite thoughts of bands like Sex Gang Children.

The EP’s title track crawls in next, its melodically honed citric vines of guitar veining a lumbering body of rhythmic punishment and raw intensity. As in the previous pair, vocals are varied but even more diverse and compelling to match the epically hued musical narrative of the encounter. With great choral chants across the band and the song erupting into a corruptively magnetic canter at times, it is a theatre of suggestiveness and imagination all on its own.

Travesty Of Light is brought to a close by Immaculate Serpent King, another track stalking the senses and imagination with shadowed gripped grooves, belligerent rhythms, and a spread of vocals as harrowing as its canvas of sonic and emotional pestilence. Once more there is an instinctive rebellion to the song, a rock ‘n’ roll roar which only enhances and inspires every festering tempting of the elements uniting for the excellent violation.

We are not going to say that Travesty Of Light is going to be the best black metal encounter you will come across this year or that Kyy is going to reshape the genre’s landscape in the future, but both has the potential and right now create one of the most enjoyable raw metal offerings over past months.

The Travesty Of Light EP is available from August 17th via Saturnal Records.

RingMaster 17/08/2015

Copyright RingMaster: MyFreeCopyright

Blacklist Union – Back To Momo

blacklistunion_RingMaster Review

A few short weeks back, US rockers Blacklist Union unleashed their single Alive N Well Smack in the Middle of Hell, a magnetic stomp of a song providing an inviting teaser to the band’s new album Back To Momo. If you too took up its enjoyable invitation to rebel rouse let us tell you now, as good as it actually was, it barely touched on the might and enterprise flooding the band’s fourth full-length. It is persistently rivalled and at times just outshine by the thrilling incitements offered by Back To Momo, which tells you just how outstanding the album is.

Formed in 2004 by frontman Tony West, the Los Angeles hailing Blacklist Union was soon stirring up attention, especially from the 2006 release of debut album After The Mourning. The band’s reputation and stature continued to grow as the band emerged on the US rock scene, second album Breakin’ Bread With The Devil two years later luring keener fan and media focus which its well-received successor Til Death Do Us Part in 2012 pushed much further. Now it is the turn of Back To Momo to try and breach the broadest spotlights, a success hard to bet against such its rebellious and anthemic might.

BLU-Momo-Cover-smBlacklist Union - Back To Momo   With guitarist/bassist Todd Youth and drummer Matt Starr alongside West, Blacklist Union opens up Back To Momo with that aforementioned single, Alive-N-Well Smack in the Middle of Hell. A lone guitar stirs the air first, it’s coaxing soon pierced by a vocal shrill and joined by tangy grooving. Part hard rock, part punk ‘n’ roll, the song hits its stride with a swagger and a closet full of irresistible hooks and sonic enterprise from the guitars. Addiction is the order of the day with the song and as it has feet and emotions fully involved, it is easy to think rock ‘n’ roll does not get much better than this, but oh yes it does, and often across Back To Momo.

The following Shake It Off has a more restrained canter to its blues washed hard rock, and a sense of familiarity which is only enriched by the excellent delivery and vocal attitude of West. Expectations are fed a touch by the song, surprises less bold than on tracks around it but again it has ears and enjoyment settling into a keen appetite before the outstanding Mirror, Mirror on the Wall turns the creative heat up. Erupting in a surge of rhythms and sonic flames, the track quickly swings boisterous hips and frees contagious resourcefulness as an equally riveting vocal adventure jumps in. The track is glorious, a rousing blend of The Stooges, Turbo Negro, and Jane’s Addiction with just the right amount of glam metal, and easily the best incitement upon the album, and the next single surely?

Both the actual upcoming single Evil Eye and Superjaded keep things fiercely bubbling. The first is a scintillating swamp of prowling beats, nagging riffs, and blues bred hues with again an irresistible vocal tempting from West whereas its successor merges the infection of rock pop with the tenacity of punk and the revelry of hard rock, it all contained in a vibrant but restrained embrace which only seems to intensify the invention of the song. Both tracks come with a wealth of flavours and styles, another great feature across the rock ‘n’ roll of the album, and maybe it is no surprise they do given inspirations to the band range from Guns N’ Roses to David Bowie, Bad Brains to Bauhaus, T Rex to The Mission and The Ramones, to name a few.

With a title like Rock N Roll Outlaw you pretty much have an idea of the type of sound on offer and true to pleasing form, the song is an enticing blend of southern and classic rock coated in that twang that gets the taste buds grinning. The music itself does not hold the biggest key to the song’s success, as flavoursome as it is, but the invention and mischievous twists the band put into it is what excites the imagination most before the album’s title track uncages some more punk lined rock ‘n’ roll which simply radiates belligerence within a anthemic blaze. With a skeleton of pulsating rhythms within melodic and infection oozing creative flesh, the song entwines echoes of Alice in Chains, New York Dolls, and Shark Tape.

We Are Not Saints, as It’s All About You right after, flirt with some invigorating strains of garage rock for their individual designs, the former twisting it into a predatory prowling of the senses and serious ignition of the instincts to rock ‘n’ roll whilst the latter, taking an even richer dose of sixties/seventies garage ferocity, weaves a tonic for body and soul bristling with sonic tendrils, sparkling hooks, and psych rock breeding. The rhythms from both bass and drums are wicked seduction whilst West again shows he is one of the most magnetic and dynamic frontmen/vocalists in rock right now.

Things remain infectiously hot with the enthralling Meet Me on Zen Street, a song veering on the brink of horror punk at times, and again through the dirty scuzz lined Graveyard Valentine. Rock ‘n’ roll needs a healthy dose of filth and attitude, and there is plenty on show in voice and sound in this irresistible proposal, the grouchy deep throated bass leading the way. Punk again rears its welcome head, and not for the first time on Back To Momo, there is a touch of Canadian duo The Black Frame Spectacle to the thrilling stomp.

The album is completed by firstly the niggling temptation of Wined, Dined, & 69’d, the song simply classic bred, glammed up rock ‘n’ roll, and lastly Read Between the Lines, a track which again prowls the listener with dazzling lures and spicy enticements. It does not quite live up to earlier peaks yet as all songs, only leaves a licking of lips and want for more.

Back to Momo is not bulging with sounds that are unfamiliar yet from start to finish it is commandingly fresh with an insatiable spark sure to ignite any day. The single Alive N Well Smack in the Middle of Hell was and still is a mighty way to join the Blacklist Union, whilst the album shows it has much more to thrill and incite with. . After this if the band has not breached major attention then world rock is a fool.

Back To Momo is available now via BLU Records.

Ringmaster 13/08/2015

Copyright RingMaster: MyFreeCopyright

Helligators – Road Roller Machine

Hell_RingMaster Review

It is fair to say that Road Roller Machine lives up to its name, the new album from Italian heavy rockers Helligators an unrelenting juggernaut of ravenous riff driven rock ‘n’ roll. Immersing strains of blues and stoner bred colour into a raw and uncompromising tempest of power and intensity, the release is a thumping treat of bruising and invigorating sound; not the most unique you are likely to come across this year but without doubt one of the most exhaustingly enjoyable.

Hailing from Rome, the 2009 formed Helligators self-released their debut album Against All Odds two years later, it and a video for the track Tattooed Killer, enticing keen attention the way of the band. The varied flavouring in their imposing sound sparked increasingly eager appetites from that point on, with the release of 2012 single Snake Oil Jesus only reinforcing their emerging presence and potent musical persuasion. The song was a strong teaser to things to come too, pleasures to be found and grown further in the 2014 recorded and recently released Road Roller Machine. Alongside all of this the band’s live presence has equally drawn acclaim, the sharing of stages with the likes of Orange Goblin, Nashville Pussy, Doomraiser, Strana Officina, Bad Bones and many more persistently impressing over time. Now it is with their second album released on Sliptrick Records, to whom the band signed this past spring, that Helligators are looking to stir up rock ‘n’ roll ‘trouble’, and such its rigorously persuasion it is hard to see them not becoming a loud household name.

copertina_road_roller_machine_RingMaster Review     Recorded with Luciano Chessa, Road Roller Machine bursts into rugged life with Nomad, a lone invigorating groove straight away gripping ears and appetite before rhythms and heavily robust riffs join the deliciously intensive early bait of the song. Thoughts of Motorhead quickly take hold, hints joining just as pungent ones of Danish band Grumpynators spicing up the deluge of spiky rhythms and ravenous riffery. It is a thrilling onslaught only accentuated by the growling tones of vocalist Hellvis, his bear like delivery a thick incitement within the increasingly tenacious enterprise surrounding him. Guitarists El Santo and Kamo bring stoner and blues lined hues to entwine with insatiable charge of riffs, both also providing good vocal backing to Hellvis, with everything involved adding up to the most hellacious and thrilling start to the album; maybe to any heavy rock album this year.

The Doomstroyer holds court next, its opening sonic coaxing over swiftly addictive enticing from drummer Alex, again an immediate grab of the listener. Heftily anthemic from the first instant, the track continues to incite imagination and body with the descriptive expression of Hellvis against slightly restrained rhythms and riffs but lures still pulling at the leash of intimidation. There is a Desert Storm like air to the track, a dirty and tempestuous climate which is as volatile as it is infectious, especially as guitar cast melodic tendrils wrap around rhythmic pistons and the song’s raw ferocity.

A ‘lighter’ air springs forth with Scream next; its blues rock breeding spicy veining to a landscape as rugged as that of its predecessor. The bass of Goblin stalks the song from its first second, a dark and predacious spine the guitars entwine with their constantly evolving and enthralling ideation. The individual craft and passion of each member is an equally roaring essence in each album track, and here uniting in a furnace of virulent adventure and instinctive tempting for a success more or less matched by both She Laughs and Snake Oil Jesus. The first of the two tempers its rabid aggressiveness with mellower melodic rock resourcefulness, both guitars and even the vocals infusing a relative calm to proceedings though the gripping snarl of the bass and the ever wickedly jabbing beats of Alex ensures there is no lack of the bands intimidating edge. Its successor is a groove machine all on its own, an incessant scorcher which spills adrenaline fuelled intensity and rebellious attitude with every caustic syllable and acidic chord. Once more the band twists in strong variety to the design and persuasion of the song; never going into the unknown but only leaving ears and appetite urgently wanting more.

More is what you get with Truckdriver, a track with little in the way of major surprises but a tank load of inventive enterprise in its southern honed rumble. There is no escape from the pure contagion of the song or that of the sultry and sinister dark majesty of Swamp Man Voodoo. Every groove and predatory hook oozes menace, backed by the rapacious nature of rhythms and the ever hungry riffs though each element also leaks rich seduction that never lets go. The outstanding song is pure theatre, a satanic dance and fiercely vociferous trespass for the soul.

No surprises for guessing the character of a song called Bad Ass from Helligators, its air instant belligerence and sound swift confrontation with of course plenty which just invites full involvement before Stone Crusher takes over with its Metallica meets AC/DC like blaze. There is no denying that the song did not find the same depth of appetite as those before it, or to be fairer as consistently as those as there are moments when the band again shows they can rival any one in unleashing a torrent of rock ‘n’ roll brilliance with thick rigorous invention.

Road Roller Machine is brought to an end by the acoustically crafted Black Sun and its blues kissed melodic smoulder. The song fuses stoner and southern rock hues with classic rock ingredients to sculpt another song which maybe does not quite match those earlier within the album but is impossible to tear one away from whilst providing a fine end to one mighty slab of heavy duty rock ‘n’ roll. Helligators have no interest in re-inventing rock music but certainly they want to give everyone a riotously good time and that they do big style with Road Roller Machine.

Road Roller Machine is out on Sliptrick Records now!

RingMaster 12/08/2015

Copyright RingMaster: MyFreeCopyright

The Bastard Sons – Smoke

The Bastard Sons _RingMaster Review

There is no escaping the buzz which has powerfully brewed around The Bastard Sons since emerging in 2011 and especially over the past couple of years, and no evading the reason why, once losing yourself in the riotous depths of the band’s debut album Smoke. It is a bulging sack of pure rock ‘n’ roll cast in a maelstrom of flavours showing exactly why the broad term rock ‘n’ roll is the best way to describe the band’s tenacious sounds. At times it is southern rock led, in other moments hardcore driven, and very often metal sparked; to be honest it is constantly all of those and far more, a beast of a stomp sure to incite the passions of fans to everyone from Down to Cancer Bats, Ghost of a Thousand to Black Tusk, Bloodsimple to Hellyeah, and Stone Temple Pilots to Stone Sour.

Around and since the release of their second EP Roads in the March of 2014, the British quintet has been a blur of activity drawing increasing success at the same time. A US tour with Throw The Goat pushed the band’s growing reputation stateside whilst praised appearances at Hammerfest VI and Bloodstock, a tour supporting hardcore punks Snot, and shows alongside ’68, the new project of Josh Scogin from The Chariot, and also Cavorts amongst many others has taken care of the appetites of British fans and media. Earlier this year the York hailing five-piece dropped a potent and quickly devoured teaser for Smoke in the shape of the single Release The Hounds, a dynamic hint realised and taken to greater plateaus by the album itself.

The Bastard starts things off, southern fried chords the initial lure, though for barely a squeeze of seconds as quickly the band with sinew loaded riffs and rhythms bursting set up a riotous stomp of energy and sound. Vocals, as the music, come in varied styles, hardcore and cleaner rock ‘n’ roll tones colluding in a tempestuous incitement with anthem tattooed to its gripping walls. There is a touch of Pantera, Motorhead, and Every Time I Die to the storm, but as repeated song by song, it is just flavouring honed into something unique to The Bastard Sons.

TheBastardSonsSmokeFrontCover_RingMaster Review  The earlier single comes next, and quickly Release The Hounds shows why it had so many feisty for the album, its opening grooves and vocal scowling within a rugged landscape enough to get ears smiling and appetite drooling alone. The heart of the track is unfussy rock ‘n’ roll, a balls to the wall roar coloured and constantly reshaped by flirtatious sonic enterprise and sudden compelling twists of unpredictability, musically and vocally. It is the seed design to all tracks within Smoke in many ways, but persistently twisted and taken down new and individual avenues as swiftly shown by Sobre La Muer… and before it A Lie Is A Lie. The third track rages and croons with incendiary textures and addiction forming grooves whilst its successor casts a sultry air more in Seether/Shinedown territory than anything else, yet with a predatory dark bassline and a steely touch to the guitars, it carries a constant intimidation which strongly expels its fury from time to time. Nevertheless it and the previous song are inescapable anthemic traps; the lure somewhere between Them County Bastardz and The BossHoss, and fiercely contagious.

Bottom Of The Ladder growls and sonically grizzles with scuzzy magnetism next, guitars and vocals a dirty incitement stirring up ears and soul whilst the group calls work, along with the thumping rhythms, on the body and primal instincts. As anthemic in intensity and roar as it is, the track also unleashes an agitated and gripping web of aggressive twists and belligerence toned creativity, its presence ready to brawl at the drop of a hook or scything beat.

The southern drawl of guitars brings I’m Only A Call Away alive next, the song once standing tall writhing like a barroom temptress with inescapable grooves amidst a volatile fistfight of rhythms and the ever fiery and impressive mesh of vocals. As already shown by their live history, The Bastard Sons has a sound which works with, and appeals to, a vast expanse of rock and metal styles, that diversity in no finer and pungent shape than on this fascinating riot.

Through the brief and hellacious, as well as uncompromisingly emotive landscape of the fiercely angry U.S Against Them and the classic metal lined rock ‘n’ roll of Listen Here, band and album keep the thrilling storm blazing whilst Cardboard Walls saunters in on a rhythmic confrontation bound in more of the sludgy southern wrapping the band breeds so invitingly. A suggestive hint of Crowbar appears at times within the fire of sizzling grooves and snarling riffing, but as you may assume the track, whilst being one of the more restrained adventures on the album, it simply layers more flavours and varied textures into one enthralling mix.

Like a sandstorm, vocals shower and scar Scene(ic) Root(s) next to thick success, but equally they slip into cleaner gaits with ease and power to match the similarly volcanic and pleasingly exacting sounds. The track burns on the senses, simultaneously exciting and bruising before Stay True spreads its warmer balm. Featuring Glamour Of The Kill vocalist Davey Richmond, the track is a shadow brewed serenade as atmospherically and vocally haunting as it is emotionally and physically mercurial, and quite mesmeric.

Smoke finishes with the equally potent but far more capricious and intrusive Exist-Distance, a track which kind of sums up band and album with its constant weaving of different flavours and creative twists within a perfectly coherently cultured body, and another song which stands individual in the cast list of easy to recognise Bastard Sons songs.

We gave a list of bands at the start which sort of gives a hint at who might find thick pleasure from exploring one of the year’s real treats so far. To simplify it though, if raw and passionate, imaginative and ravenous rock ‘n’ roll hits the spot than Smoke is a must.

Smoke’ is available from 7th August 2015 via Kaiju Records @ https://thebastardsons.bandcamp.com/

http://www.thebastardsons.co.uk/    https://www.facebook.com/thebastardsonsuk

RingMaster 05/08/2015

Copyright RingMaster: MyFreeCopyright

 

The Bluebook Project – Hurricane Blues

The Bluebook Project_RingMaster Review

Always carrying a ready to pounce appetite for some punk fuelled rock ‘n’ roll, UK’s The Bluebook Project quickly set our ears a buzz with their new single Hurricane Blues. Simultaneously raucous and inventively infectious, the song is a raw and magnetic slice of rousing, anthemic sound, and the most potent invitation to check out the band’s brand new EP it bursts comes.

Hailing from Bedfordshire and formed late 2013, The Bluebook Project has busily been earning a strong reputation for their presence and music over the past year through touring across the country and supporting bands such as Slaves and Coasts. Last December saw the well-received release of their debut EP Out of the Blue, and even before the dust of its unveiling had begun to settle, the quartet of vocalist/bassist Dan Thorn, guitarists Dan Watson and Jordan Smith, and drummer Benn Davis-Gregory were back in the studio conjuring up the similarly welcomed Take Me Away EP which came out this past July. Drawing on inspirations from Iggy Pop and the Arctic Monkeys through to The White Stripes, The Bluebook Project, as shown again in Hurricane Blues, casts a sound fitting any intimate or grand festivity, or indeed any passing riot.

The single opens with instantly irresistible and bulging rhythms, the swings of Davis-Gregory commanding attention even before the distinctive tones of Thorn and scythes of guitar enter the affray. Straight away there is a sense of bands like The Senton Bombs and The Screaming Blue Messiahs, as well as a seventies punk and garage rock flavouring; all spices in something still predominantly distinctive to The Bluebook Project. With spicy grooves and flowing melodic acidity entangling around its busy stroll, the single is an incitement of attitude and varied sonic colours, and quite addictive.

The Bluebook Project is a band to watch out for, their future, again using Hurricane Blues as well as their Take Me Away EP as reasoning, looking rather rosy as their sound and attention upon it evolves. We suggest not waiting though and go explore another enjoyably appetising new band on the British rock ‘n’ roll scene.

Hurricane Blues is out now as also the Take Me Away which is available @ https://itunes.apple.com/gb/artist/the-bluebook-project/id1010599040

The Bluebook Project’s first EP Out of the Blue is currently available as a free download @ https://thebluebookproject.bandcamp.com/

https://www.facebook.com/thebluebookproject     https://twitter.com/thebbpband

Ringmaster 02/08/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Sassy Kraimspri – Cock Fight

SassyKraimspri3

Bringing the band’s trilogy of Cock Fight EPs in one riotous slab of essential rock ‘n’ roll, multinational rockers Sassy Kraimspri have unleashed a must have punk ‘n’ rock album of 2015 for all those yet to lay their destined to be lustful paws on the band’s previous releases. Consisting of musicians hailing from Norway, America, and Australia, the Stavanger hailing quartet have a sound to turn a party into a riot and a riot into unbridled debauchery, as evidenced in full explosive might by Cock Fight.

Sassy Kraimspri now consists of vocalist/guitarist Ida Collett Belle, guitarist Richard Belle, bassist Linda Pedersen, and Etienne on drums, the band itself emerging in 2006 with a sound which is part heavy rock, part punk, part rock pop, and all merciless seduction on body and soul. 2008 saw the release of debut album Dirty White Lies, the band just a duo back then of Ida Collett and drummer Tash Adams, who found success in Australian band SheRex. Three years later The Pussy Magnet EP was uncaged from the foursome, a well-received encounter recorded, as the Cock Fight EPs with producer Russ Russell (Napalm Death, The Wildhearts, Dimmu Borgir). Alongside these and the subsequent releases now making up the album, the band’s live presence has only grown and drawn continual acclaim, Sassy Kraimspri sharing stages with the likes of Skambankt, Melissa Auf der Maur, Casiokids, and Djerv along the way whilst playing in countries such as Canada, Norway, Australia, China, Germany, and the UK. The Cock Fight EPs awoke a new blaze of support and recognition in 2014, but together as Riot they forge one inescapable persuasion breeding full pleasure and in turn anticipation for the band’s sophomore album they are currently working on.

Looking at the songs in the order of the promo sent over (the actual order may differ on the release), the energies are ignited straight away with opener When It Rains, It Pours. Instantly gripping beats set ears and appetite off, their bait swiftly reinforced and matched by a heavily throated bassline. They alone set the tone for the enjoyment to be found across the release, but are a mere teaser for the rest of the track, and its subsequent companions, as guitars and vocals engage in magnetic enterprise and invigorating incitement. The song is a contagious affair, relatively restrained compared to some but an unrelenting weave of grooves and hooks that takes a firm hold of ears and appetite before making way for the outstanding Like a Drug. A spicy bass groove sets the lustful fun in motion, its gravelly twang the spark to a rhythmic swagger and similarly striding riffs. Like a blend of L7 and Breeders with the virulence of Spinnerette and punkish unpredictability of The Raincoats included, band and track bounce through ears like a sonic epidemic, infecting senses and psyche with its ferocious devilry.

COCK FIGHT coverReputation Radio/RingMaster Review     Current single Riot brings its riveting brawl forth next, again grooves and hooks an almost salacious flirtation as fiercely enticing beats and a grizzly bassline set down a primal lure. As its predecessor, the track has its claws in body and vocal chords quickly, it’s anthemic drive and roar a puppeteer under the influence of Ida Collett’s bellowing voice. The exceptional incitement is followed by the punk rock tenacity of Bad Disease, a track expelling antagonistic beauty like a mix of Bikini Kill and The Donnas with a little touch of The Slits to it. Submission is immediate and long term as it is with the punchier and more predatory Clay Pigeons. Again it is an offering with a virulent swing as it heads towards a delicious crescendo posing as a chorus where an excellent mix of raw vocals burst from across the band.

Addiction is a full flooding by this point of the release and only intensifies as the song Cock Fight snarls and launches its predacious provocation on ears. With harmonically seductive vocals glancing off its muscular stroll, the track roams ears and emotions with a hard rock adventure to its tempestuously hued landscape. It does feel like it is ready to swing aggressive rhythmic punches and sonic causticity at the drop of a note or syllable but stays in check for another prowling infection, which also best describes the spicier lure of its successor Dig It. A bluesy tinge adds to the drama and resourceful adventure of the song, and though it does not quite match up to the plateau of those before it, a meaty bassline and rumbling rhythms beneath that ever enthralling vocal temptation, ensures it is another unmissable stomp.

Say What is pure rock ‘n’ roll manna, sonic endeavour from the guitars winding around ears as a sultry air hugs smouldering vocals to seduce senses and passions. The song is aural eroticism; a reason to immerse in Sassy Kraimspri all on its own, though that is something you can lay at the romping feet of most encounters within Cock Fight.

There is one last blaze of rebellious revelry on the release, a storming cover of Great Balls Of Fire which lives up to its name in heat and energy whilst taking the punk of Jerry lee Lewis to a new and modern ferocity. It is simply a great end to an outstanding rock ‘n’ roll uproar. If you have the previous EPs making up Cock Fight, you will have to wait a little longer for a new thrill whilst enjoying the encounters you already have but for newcomers to Sassy Kraimspri  or part owners of their last trio of offerings, this is all your birthdays for the next decade in one exhausting and thrilling rampage.

Cock Fight is available from June 1st via Lady Luck Records digitally, on CD, and on vinyl.

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RingMaster 01/06/2015

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