Goblin King – Blood, Drugs & Death n Roll EP

Set to send a bruising shockwave through British punk ‘n’ roll is Goblin King, a London hailing Death N’ Roll quartet primed to release their debut EP. Offering five ravenously dirty and intrusive slabs of heavy rabid trespassing, Blood, Drugs & Death n Roll is a primal cauldron of metal, rock, and punk; everything which makes for a great rock ‘n’ roll fury and battering.

Founded earlier this year, the foursome of King, Beast, Jester, and Sin have taken little time to make a thick impression with a sound said to draw on the inspirations of Entombed, Motorhead, Amen, GG Allin, Cancer Bats and more. It is a ferocious affair, on the evidence of their first EP, as ready to have you swinging from the light fixings as savage the senses you were born with; simply raw rock ‘n’ roll in glorious rampage.

The EP opens up with its title track, Blood, Drugs & Death n Roll an infestation of scavenging riffs and nasty rhythms careering through ears with an appetite for mayhem. Their animosity though springs a swiftly addictive groove and an infectious swagger matched in the gruff vocal style and energy of King. Hooks are as prevalent as filth sharing riffs, thrash and punk uniting in a contagious animus hell bent on having the listener stomping around with middle fingers raised. Those Amen and Motorhead influences are especially vocal but immersed in an insatiable tide of character and tenacity all of Goblin King making, a rich flavouring equally flooding the following, just as superb second track.

Titled Goblin King, it is the kind of anthem no defences work against; an incitement from its first breath which has body and spirit eagerly embroiled. Riffs and rhythms swiftly confront and infest, vocals soon adding their bullying tactics until it all erupts in a chorus only the deaf could escape being hooked on. It is a chorus taking a breath at its final throes giving greater clarity to one glorious bassline and tone which spines the whole tempestuous contagion. Some tracks are instinctively manna to ears and the passions, this lustfully one for us though hunger is left dissatisfied at its departure after barely three minutes.

The opening pair gives the rest of the tracks a hard task to match their united triumph but the likes of 667 and Eye Of The Storm make a potent rolled up fist of it. The first is a ‘milder’ proposal in relation to the scourges before it but still has an attitude and hefty swipe to its presence which has you warily launching your participation and an unpredictability which wrong-foots and sparks the imagination at certain moments. Its spicy assault reveals a far broader landscape to the Goblin King sound and writing than its predecessors, one equally as refreshing and it is intriguing for an adventure the second of the two also embraces in its multi-flavoured, metal infused punk rock charge if not quite to the same boldness. With the guitar a flamethrower of melodic craft and rhythms an incessant examination of the senses, the track is inescapable virulence.

Death Sti-XXX brings things to an antagonistic close, crawling all over the listener with irritability and creative spite; a discontent breeding another addictive groove, spikily grabbing hooks, and anthemic incitement. Admittedly, initially the song did not make the same strong impression as its companions but over time had body and appetite seduced just as tightly.

Blood, Drugs & Death n Roll is pretty much a physical interpretation of its title; an affair basking in its grubbiness and relishing its prowess of igniting the energy and spirit of those it preys upon. It may be greedy but we so want more of Goblin King and are already finding it hard to patiently wait.

Blood, Drugs & Death n Roll is released August 10th digitally and on CD @ https://goblinkingofficial.bandcamp.com/

https://www.facebook.com/GoblinKingOfficial/   

Pete RingMaster 02/08/2017

Copyright RingMaster: MyFreeCopyright

Spunk Volcano & The Eruptions – Not Wired Up Right

Always a dirtily feisty and rousing mix of punk and raw rock ‘n’ roll, we can announce that Spunk Volcano & The Eruptions has managed to breed an even more ravenously incendiary fusion of both within their new and third album Not Wired Up Right, a proposal living up to its title in character and intent whilst stomping around like a bull elephant in heat.

Having set their 2017 off in fine style with the aggressively raucous Ram Raid EP, Spunk Volcano and co devilishly finger  its raw virulence and fresh whiff of bruising rock ‘n’ roll to a new aroused state within Not Wired Up Right. It has been a riotous clutch of years since Dirt Box Disco guitarist/co-songwriter Spunk unleashed his own project with the aid of drummer Maff Fazzo, bassist Deadbeatz Chris, and guitarist Ste Lingard; a time kicked off in striking style with a self-titled EP and an insatiable persuasion only perpetuated by debut album Injection that first year, 2014, its successor Shit Generation two years later and the aforementioned Ram Raid EP a few months back. Each release has had the body stomping and a defiance driven attitude roaring; a triumph unsurprisingly just as rampantly repeated with Not Wired Up Right.

With its current line-up completed by guitarist Tom ‘G Force’ Batterbee and newest addition in lead guitarist Stu Page alongside vocalist SV, and fellow DBD members Maff Fazzo and Deadbeatz Chris, the band gets straight down to it with contagious antagonism and bare arsed rock ‘n’ roll through the album’s opener and title track. Not Wired Up Right instantly preys on ears with its corrosive metal bred riffs, a hungry tide of guitar soon driven on by the senses battering swings of Fazzo as SV unashamedly roars. It is a minute and a touch of hook lined punk manna, a storm of balls swinging rock ‘n’ roll swiftly backed in listener manipulation by Nobhead. With a title like this you just know at some point you will be bellowing in zeal fuelled unison with the song and that point comes within thirty seconds of a vocal and riff set up breeding eager anticipation for that incoming moment. The infectious lure of Chris’ bass courts the unspectacular but seriously compelling riffs of Batterbee in the meantime; together laying down the landscape over which the melodic scythes of Page lure and of course the moment to leap on board with vocal energy to match that of SV erupts.

The following Shutdown offers its own collusion of punk and metal lined rock ‘n’ roll next; prowling riffs and biting rhythms a predacious incitement matched in success and intrusive magnetism by a litter of hooks and vocal unity. Standing at the fore SV is the trigger, his tones a belligerent yet welcoming cause to get on board with whilst the bass simply seduces the appetite with its devious groove. The track rocks the joint with ease, bodies and speakers rocking just as tenaciously through the more corrosive presence of Gatecrash and in turn by the seriously irresistible of Fuck This For A Game Of Soldiers. The first of the two lacks some of the sparks of its predecessor, such the former’s inventive bent, but still has full command of again throat and physical participation with its dirty punk ‘n’ roll while the second simply snarls and invades the senses with its primal hearted, melodically catchy antics. Initially a predator in sound and invention, it evolves into another SV anthem which chews up the listener whilst stirring them into an outpouring of unbridled energy. Not Wired Up Right features a special guest in Ginger Wildheart on guitar and backing vocals on three tracks and it would be no surprise if this superb dirt-fest of a romp was not one of them such its unsterilized gutter nurtured rock ’n’ roll.

Next up, Your The Bastard has the same kind of seeding in its punk clamour, a Motorhead meets Grumpynators fuelling which makes its minute and a handful of seconds irrepressible and irresistible before Out Of The Blue reveals to its inescapable tempting a poppier nature contaminated with the band’s ear grabbing stag rock ‘n’ roll. Across all tracks Page adds a broader styled enterprise ranging from melodic metal, punk rock, and of various rock ‘n’ roll seeding but here afforded a clarity which really shines alongside the band’s infection loaded harmonies and chorus. His presence has certainly brought a new fresh air of flavouring to the band’s sound without defusing its distinctive character and presence, Dementia Hurricane another prize example within the release; an encounter which if you are not boldly hollering with its chorus by its second round, deafness of worse may have descended.

Smack In The Teeth is just the same, an eye balling prospect of getting battered which of course the senses do with the rhythmic antipathy and caustic riffery backing up SV’s threat. You can just imagine venues chasing fear into surrounding streets as band and fans inevitably vocally unite in the song’s virulent incitement live.

The album concludes with two of its major highlights amongst nothing but peaks. First up steps Knuckledusters & Scars with an initial surge of rancorous riffs and stabbing beats which alone ignites the passions; metal, heavy rock, and rapacious punk rock soon entangling in its delicious steely tempest with emotional rabidity and primal imagination just as prevalent in its gloriously uncompromising yet still ridiculously catchy howl. Somehow though it still gets eclipsed by the simply captivating Purely Medicinal, a song brilliant in its resourceful simplicity, inspired in its captivating croon as SV opens up heart and suggestion within a subdued but oh so potent web of sound.

It is a final two minutes epitomising the creative strength, new adventure, and instinctive epidemic like catchiness of the band’s sound. Sometimes when review after review of a band’s releases carry nothing other than drooling praise you almost set out to look for faults. Spunk Volcano & The Eruptions relish that challenge and from the first seconds never allow anything other than ardour to once again arise with us.

There are two bands which are making British punk n roll the most exciting it has been in a long time, maybe ever been, and both embrace the headstrong creative instincts of Spunk Volcano and indeed Maff Fazzo and Deadbeatz Chris. Enough said!

Upcoming live dates:

Sun August 6th – Blackpool – Winter Gardens (Rebellion Festival)

Sat August 19th – Cambridge – BOAT HOUSE

Sat September 30th – Northumbria Students’ Union (NE Calling)

Sat December 23rd – Manchester – Star & Garter (STP Xmas Show)

Fri December 29th – Birmingham – Venue TBC

 

Not Wired Up Right is released August 3rd on STP Records; for more info

http://www.spunkvolcano.co.uk    https://www.facebook.com/pg/spunkvolcano/   https://twitter.com/SpunkVolcano

Pete RingMaster 01/08/2017

Copyright RingMaster: MyFreeCopyright

Basementones – No ease, No rest, No mercy

There is a great nagging quality to the sound of Finnish punk ‘n’’ rollers Basementones and in fine insistence within their new EP No ease, No rest, No mercy. Easily tempting ears on its first couple of listens, the release leaves the seeds of addictiveness behind; lures which spark that just one more time repetition which in turn leads to another and more obsessive qualities.

Released on Undead Artists, the EP comes four years after the release of the band’s debut album Let There Be Noise which followed their first EP Gambler of 2012. Being introduced to the band through No ease, No rest, No mercy, with thanks to a certain Johnny Rose (Thirteen Shots), founder of said label, what the band has been up to between releases we cannot say though plenty of shows seems a good guess, that and, with hindsight, the more audible honing of a sound which instinctively gets under the skin with its mix of punk rock, psychobilly, and numerous other aspects of rock ‘n’ roll.

The quartet gets down to business straight away with opener The Call, hooks and swinging rhythms instantly colluding as vocalist Jani snarls and growls in his distinctive way. The melodic dexterity of Kinnunen matches the lure of his grooves and lively hooks whilst the string slapping prowess of double bassist Tuukka needs little time to stoke instinctive ardour for throbbing suggestive basslines. Punk and rock ‘n’ roll unite in the voracious swing of the track, Lahu’s lively beats fuelling it all with tenacious energy and urgency as the EP gets off to a flying start.

And there is no time to grab a breath as the outstanding Green Bastards steps in with a spicy groove which within another second launches virulent hooks and a pulsating flirtatious bassline from within its salacious temptation. With Jani adding his raw catchiness to the contagion, the track is pure infection and the best track on offer though closely courted by the likes of the rockabilly swinging Cellmates Of Lunacy. There is a touch of The Peacocks to the track but it is soon bound in the Basementones’ character of sound and expression as other spices adds to an increasingly compelling tapestry.

A country/cowpunk hue comes with the resourceful exploits of The House its creative rustling soon twisting things into an individual proposal which bounds along with zeal and infectious dexterity if not quite matching the heights of those before it or the outstanding antics of final track No Regrets. The psychobilly essences of the third song are even more vocal within the EP closer, their sultrily toxic hues merging with horrorpunk/punk escapades as the release is given a boisterous and increasingly rousing finale.

Given the sound and potent lure of No ease, No rest, No mercy it is surprising we have not come across Basementones before but better late than never.

No ease, No rest, No mercy is out now digitally and on red vinyl through Undead Artists @ https://basementones.bandcamp.com/ and https://undeadartists.bandcamp.com/album/no-ease-no-rest-no-mercy

https://www.facebook.com/Basementones/

Pete RingMaster 04/07/2017

Copyright RingMaster: MyFreeCopyright

The Dukes Of Bordello – Lowdown ‘N’ Dirty

To convince and prove that physical and emotional rock ‘n’ roll stomping is one of the primal instincts inside us all UK trio The Dukes Of Bordello release their debut album. Lowdown ‘N’ Dirty offers up eleven tracks of balls swinging, voracious rock ‘n’ roll which not so much lives up to its title than stamps it relentlessly into the heart. It is an encounter leaving the body and soul breathless with music which quite simply could and will seriously arouse the world around it.

Consisting of guitarist/vocalist Andy Barrott, bassist/vocalist Sion Bailey, and drummer Caradoc Tyler, The Dukes Of Bordello grab the most tenacious and infectious muscular traits from every aspect of rock music you can imagine. Rockabilly, punk rock, hard rock, and psychobilly all lay among numerous strains mixed with pure rock ‘n’ roll revealing its various decades of evolution. It results in a sound which seems familiar, like an old friend, but hits and incites with something new and bold at every twist and turn. It is dirty and trashy, inventive and skilfully resourceful like a mix of The Wildhearts, Danish outfit Grumpynators, and Canadian duo The Black Frame Spectacle and fuelling one hell of a first full-length to build on the well-received release of their 7 track self-financed Skullduggery EP/mini album of 2014.

Released physically via Death Or Glory Records and digitally by Undead Artists Records, Lowdown ‘N’ Dirty quickly shows why The Dukes Of Bordello have been firing up zealous support through gigs and festivals these past couple of years with opener All In The Name Of Rock’N’Roll. Instantly a feverish hook lays its claim to ears as the song swings into view, rhythms soon thumping their persistence as vocals incite with their own anthemic roar. Not for the last time, the twanging bass of Bailey is manna for these particular instincts and passions, it’s dulled but vibrant throb the pulsating vein around which the guitar of Barrott flames and sears the senses. The song itself is exactly as it says on the tin, seeded in and brewed with the same intent and swiftly commanding a mutual energy and involvement from body and spirit of the listener, thoughts easily imagining from the encounter alone that the band live is a dangerously commanding puppeteer of energy and stamina.

The following Hellvis is no different, a devilish infestation of ears and hips with an organic demand of both as swinging beats and biting hooks infest with a bordering on toxic infectiousness. As its predecessor, in some ways there is open familiarity to the track yet nothing about it is anything other than new and unpredictable; the same applying to next up Doing Just Enough, a slice of throbbing rockabilly nurtured romping swinging from controlled strolling to unbridled gang vocal arousal with fluid ease.

Wreckin’ Ball (Into The Pit) has a psychobilly snarl to its ballsier incitement straight after, vocals and rhythms again leading the addictive punk scented resourcefulness of the rapacious song though that steely yet almost primordial tone and character of Bailey’s bass is the prime fingering of lust sparked.

Through the addiction laying Down In The Gutter with its wiry groove woven web of boisterous hook ridden seduction and the stalking revelry of King Of The Road the album only tightens its grip. The first is an out and out stomper whilst its outstanding successor is a predacious but again relentlessly contagious compulsion on ear and heart with its dirty tarmac eating, heavy rock pounding drive. Classic and hard rock collude with more rockabilly/psycho nurtured exploits, it all coming together in a ravenous adventure before She’s My Witch shares its sultry hex like a rabidly seductive temptress with bold energy seized rhythmic hips and sonically flirtatious devilment at work. As the previous song, it quickly has a hand on best song honours, eventually having to share but never relinquishing a finger on the prize even as tracks like The Devil Rides Out feverishly serenade the imagination with its smouldering heart but forceful ingenuity. Eventually coming to its own head of ear rushing rock ‘n’ roll, the beguiling encounter has the body hooked and bouncing with increasing dexterity; the passions again in tow.

Come Back Wilko (All Is Forgiven) simply sparks with the enterprise and tenacity not forgetting the richness of rock ‘n’ roll found in its name checked inspirations; hitting and repeatedly pushing the sweet spot from start to finish while Born To Die ‘steals’ from a host of classic encounters to inspire its own distinct and individual bluesy espionage guiding body and spirit to fresh reactions and inhibition free arousals.

Bringing the album to a mighty finish, Scream If You Wanna Go Faster is a rollercoaster of virulent rock ‘n’ roll with a sizeable line in pop rock and rockabilly infectiousness which as you would rightly assume is quite irresistible leaving the lungs gasping for air and a greed for more rushing back to the play button.

In many ways it is hard to say that Lowdown ‘N’ Dirty is particularly unique yet in the same way it is impossible to say there is anything predictable or previously well-worn about it. The Dukes Of Bordello have a sound and presence which is as fresh and arousing as anything out there and now an album which will firmly slap the band on the biggest rock ‘n’ roll maps.

Lowdown ‘N’ Dirty is out now physically through Death Or Glory Records and @ http://thedukesofbordello.bigcartel.com/product/skullduggery  with its digital outing courtesy of Undead Artists Records @ https://undeadartists.bandcamp.com/album/lowdown-n-dirty

http://www.thedukesofbordello.com/    https://www.facebook.com/TheDukesBordello/

Pete RingMaster 28/06/2017

Copyright RingMaster: MyFreeCopyright

The Spaceballs – Self-Titled

Recently when covering the new album from Bad Luck Gamblers we pondered how big and potent the psychobilly scene was in their native Brazil. Investigation revealed it is pretty good and growing and so it appears, going by the new album from fellow countrymen The Spaceballs, is the region’s rockabilly scene.  Hailing from São Paulo, the band also recently released a new album in the shape of a self-titled debut which quickly had ears hooked and bodies bouncing.

Consisting of vocalist/guitarist Ale Marinho, double bassist/vocalist Marcelo Zarra, and drummer Jeff Billy, The Spaceballs have a sound seeded in and proudly showing inspirations from the likes of Stray Cats, Eddie Cochran, Elvis Presley, The Rhythm Shakers, Bill Haley, and Billy Lee Riley, essences all providing strong flavouring which added with the bands own craft and imagination makes for a refreshing romp. It is a proposition which mixes the familiar and new with tenacious enterprise and an open passion for the genre it embraces; an invention and energy openly fuelling their first attention grabbing album.

The album opens up with I Have Fallen In Love and quickly has ears relishing a classic rockabilly melody but one with its own magnetic nature as rhythms stroll and vocals add a harmonic caress to the senses. That Bill Haley essence is alive within the song, Cochran’s too but equally there is something of The Reverend Horton Heat to the swiftly magnetic shuffle and enticement of the song. In saying that, it also reveals plenty which is distinct to The Spaceballs, in tone and character which continues in the following Be My Valentine. With the clipping lure of beats and the vibrant throb of Zarra’s bass, the song quickly has feet involved and hips swinging, Marinho’s chords equally potent while entangling the song’s melodic boisterousness and country scented smile.

Showing an Elvis thrust of its hips, next up Rockabilly Ghost soon eclipses its predecessors, the song a mischievous tempting of melodic hooks, angular riffs, and lively rhythms as vocals play. As with those around them, you feel you know the song at heart but it never has expectations met as the song with a touch of UK band The Stargazers to it, flirts and swings with body and imagination.

There is a meatier air to Never Enough straight after, the track bringing a psychobilly edge to its bold stroll, a lining which expands The Spaceballs sound and invention as well as their imagination as the track twists and turns along its captivating length with sultry melodies wrapped in further sonic heat. That broader adventure of sound continues with Just Go Away, its mix of surf inspired melodic strands and old school rock ‘n’ roll flavours a magnetic enticement matched by vocals and the flirtatious rhythmic lure of Zarra and Billy.

Good times continue to insist and impress as I Will Always Rock, with more than a hue of The Shakin’ Pyramids to it, has the listener swiftly hooked on its compelling canter. Once more there is no stopping physical participation with the excellent track which is as fresh as it is familiar, traits and success employed and found as potently by Lost in The Desert with a resourceful and almost mischievous appetite. The closing track alone has all the qualities which make The Spaceballs sound and album a highly appealing opportunity for rockabilly fans to discover and explore something new. It also makes for another thoroughly inviting gateway into what seems a very promising and exciting not forgetting varied Brazilian rock ‘n’ roll scene.

The Spaceballs album is out now @ https://thespaceballs.bandcamp.com/album/the-spaceballs

http://www.thespaceballs.com.br/    https://www.facebook.com/thespaceballs/

Pete RingMaster 28/06/2017

Copyright RingMaster: MyFreeCopyright

One Last Shot – Even Cowboys Have Sundays

Pretty much three years after impressing with their debut EP, French rockers One Last Shot have unleashed their first album to once again have ears and plaudits aroused by their dirt encrusted sound. Even Cowboys Have Sundays is a roar of thrash nurtured ferocity and sonic southern rock liquor but an incitement as punk as it is metal as it is unbridled rock ‘n’ roll.

With their musical instincts and passions raised on nineties thrash metal, the Paris quintet soon stirred local support after emerging with a sound soon drawing comparisons to the likes of Lynyrd Skynyrd, Motörhead, and Guns N’ Roses. It was the First Gear EP in 2014 which sparked broader attention at home and further afield; its bold character and bruising sound as contagious as it was aggressive. Even Cowboys Have Sundays follows in the same vein; bringing a host of flavours, familiar yet forcibly fresh, in a strain of rock ‘n’ roll self-termed as dust metal. Equally though, the album reveals a richer vein of individualism in sound and imaginative songwriting as maturity and adventure collude in a clutch of tracks which feel like old friends in some ways but a voracious new adventure in many more aspects.

Opening with The Gambler, One Last Shot swiftly has appetite and imagination caught, its opening sultry lure of guitar an intoxication soon swallowed by a wall of wiry riffs and robust rhythms. Yet there is a control to the assault which seamlessly embraces more of a prowling than demanding gait as vocals add their own raw but captivating texture to the mix. An unpredictable nature to its overall attack is just as appetising though the song never releases its full aggressive venom, preferring to seduce with melodic and sonic enterprise with its own persuasive toxicity.

One Last Shot – Even Cowboys Have Sundays

A great start is quickly matched and pushed on by One Night Stand, a blaze of classic rock and punk ‘n’ roll with a touch of UK band The Senton Bombs to its irritable contagion. As with its predecessor, and indeed most tracks, involving the listener in body and voice is swift; the encounter another lustfully catchy proposal with a slew of rapacious hooks and swinging energy across its dirty holler before Embrace The Fire draws on old school rock ‘n’ roll for its particular rousing romp. Like a blend of Volbeat and Grumpynators, the song harasses and seduces the instincts to beat one’s rock ‘n’ roll chest; the senses entangled in the melodic rapacity of the guitars as bass and drums drive things with matching zeal. The track is superb, rock from the fifties through to modern day seemingly bullied into one compelling stomp.

The variety of sound and ideation within the album is already apparent by the fourth song and continued as Thou Shall Be Drunk creates a proposition part melodic metal and part grunge punk, all with a nineties toning while Join The Club offers a merger of punk metal and sinuous heavy rock. Both songs are twisted and moulded into seriously enticing temptations with the first especially anthemic and irresistible.

The excellent Hell Mariachi (A Mexican Interlude) takes the imagination into the heart of the desert heat, the two sides of The Bronx mixed with East Coast trash for another mouth-watering and seriously compelling exploit within Even Cowboys Have Sundays; that new maturity and bold imagination within One Last Shot united in an eager charge.

That thrash breeding within the band is in full voracity within Live Fast And Die Young and indeed It’s All About Speed straight after. The first of the two is a chug fest of nagging riffs bound in lustful grooves as vocals, single and mob handed, arouse the spirit even further with an anthemic roar as lustful and unapologetic as the sounds around them. With the guitars weaving a glorious web of melodic dexterity, the song simply rocks before its successor uncages its grubby rock ‘n’ roll to continue the manipulation of the listener’s body and spirit; the track a potent persuasion  even if missing some of the vital and unique sparks of earlier tracks.

Closing up with the fiery fusion of predatory metal and imposing heavy rock of We Don’t Call 911 and lastly the groove entangled bellow of I Feel Alright, the song a tenacious web of resourceful and eventful enterprise, Even Cowboys Have Sundays leaves the spirit alive and just a little over excited. The album is a charge of commanding adventure built with recognisable and original textures and bound in a fresh and striking imagination. Their First Gear EP, stirred up a form appetite for their sound, now the album has unlocked a lust which will surely infest many others and deservedly install One Last Shot as someone to heartily recommend to all.

Even Cowboys Have Sundays is out now via JFF Records and available @ https://onelastshotofficial.bandcamp.com/album/even-cowboys-have-sundays

http://olsband.com/    https://www.facebook.com/onelastshotofficial    https://twitter.com/OLSBANDOFFICIAL

Pete RingMaster 20/06/2017

Copyright RingMaster: MyFreeCopyright

Dirty Jane – Boogie Monster

There is a new hypnotic rumble brewing in the belly of the Birmingham underground scene and it goes by the name of Dirty Jane. This salaciously flirtatious garage punk ‘n’ roll filly is not exactly brand new, the British trio emerging in 2014 but they have just made their national introduction with debut single Boogie Monster, a track with a primal swagger which simply infests body and spirit.

Consisting of vocalist/guitarist Jack Brown, bassist John Beadsmore, and drummer Elliot Morris, Dirty Jane has become an eagerly supported and talked about proposition within the Midlands music scene; earning a fine reputation for their energetic live presence amidst shows alongside the likes of The Strypes, The Sherlocks, The Computers, The Dirty Nil and most recently Hvmm. As mentioned, Boogie Monster is the band’s first fingering of national attention and surely lustful reactions such the infectious devilry breeding the single.

Fusing garage punk and punk rock with fifties rock ‘n’ roll, the Dirty Jane sound prowls ears and psyche like a fusion of The Cramps, The Phantom, Dick Venom and The Terrortones, and Eighteen Nightmares At the Lux; a creative breed of temptation which instantly has ears and appetite inflamed as the single sonically and vocally shatters the silence. Within another breath, rhythms are prowling the senses with a lively almost predacious gait casting catchy menace for Brown to vocally embrace. With insatiable hooks equally grabbing ears all along his guitar’s swarthy grooves, a delicious grumble to Beadsmore’s bass alongside, and the whole of the band courting thick involvement with their vocal roars, the song demands lusty participation, Morris’ tenaciously swinging beats extra incentive.

Produced by Gavin Monaghan, Boogie Monster is quite simply irresistible; its psych rock essences icing on the diablerie escaping the band and if a sign of things to come, the beginning of major mischief and adventure for and from Dirty Jane.

Boogie Monster is out now on 7” from the Magic Garden Vinyl @ http://magicgardenvinyl.uk/Store/ and digitally through iTunes.

http://www.dirtyjane.co.uk/    https://www.facebook.com/Dirtyjanemusic/   https://twitter.com/dirtyjaneuk

Pete RingMaster 04/04/2017

Copyright RingMaster: MyFreeCopyright