The Slytones – Shake The Cage

slytones_RingMaster Review

There is no precise way to describe the rich sound of The Slytones and no way to stop it crawling under the skin and enslaving the psyche. This has been proven over previous releases but is at its most seductive and darkly magnetic in new single Shake The Cage. The song and the accompanying Thomas Thumb making up the release cast a kaleidoscope of ravenous flavours, styles, and warped imagination whilst their characters are as relevant to the carnival as they are to voodoo bred escapades. They both epitomise the heart of The Slytones sound whilst simultaneously creating their own new and unique imagination romancing adventures.

The British band began as a trio, expanding its line-up over time whilst quickly alluring keen appetites with their The Psychedelic Sounds of EP in 2011. It is fair to say that the Brighton hailing sextet of Ashley Edwards (vocals/guitar), Bradley Wescott (lead guitar), Chip Phillips (vocals/keys), Freddie Hills (drums), Chris Warren (vocals/bass), and Robin O’Keeffe (percussion) have drawn comparisons, in an attempt to describe their sound, as broad in the diversity of bands as the mix of ingredients colluding to ignite their individual incitements. There are few bands which can conjure such variety within a single song let alone a whole release, but as Shake The Cage proves it is child’s play to The Slytones.

The striking of a match sparks a fanfare of enticement, its blowing out the trigger to a feisty stomp built on ska clipped riffs and jazz seeded swing. Keys and guitars instantly have feet and hips involved whilst the dark tones of the bass along with the infectious hooks, simply work on the imagination. The track continues to stroll along with 12 Stone Toddler/ Mynie Moe like devilry, a flowing torrent of unpredictability lighting up and bewitching from every move taken before it all gets turned on its head for a garage rock prowl reminiscent of Th’ Legendary shack Shakers. Grisly barker like vocals leads the fresh parade of sinister carnival-esque flirtation, keys and rhythms an insatiable romp in the shadow soaked shuffle now toying with ears and brewing even thicker enjoyment. All the time the song is still weaving a virulent swing and psychotic drama, every passing minute an adventure of individual design with superbly woven styles but always leading back to the rich contagion of its original psych kissed and energetically rabid swing.

As if one irresistible treat was not enough, Thomas Thumb brings its own maze of ingenuity in sound and invention. Opening with a gospel seeded dose of harmonies and ambience around the leading edge of the main vocals and narrative, the song subsequently opens into mystique lined psychedelic scenery brimming with creative theatre and picturesque tempting. Like a blend of The Doors, Arthur Brown, Rocket From The Crypt, and Tankus The Henge, the song swarms over ears with invasive magnetism, every touch a slight evolution from the last before the track bursts into a sturdy garage rock canter which steers towards a Queens Of The Stone Age meets Faith No More/6:33 devilment.

Both tracks are glorious, a must for anyone with a taste for avant-garde and psychedelically warped adventure, but songs which flow with a natural and skilfully infectious, and wonderfully unpredictable, waltz. The Slytones is a carnival of invention, mischief, and most of all unstoppable fun so do yourself a favour and check them and especially Shake The Cage out.

Shake The Cage is out now.

Dates for The Slytones and Moulettes tour this September! :

16th September                   Southport                     Atkinson

17th September                   St Helens                       Citadel

18th September                   Halifax                           Square Chapel

19th September                     Morecambe                  Hothouse

20th September                   Ramsbotton Festival   Manchester

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

Ringmaster 01/08/2015

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

 

Strings Of Atlas – In A Better World EP

Atlas and his Nova_RingMaster Review

Strings Of Atlas is a “psychedelic urban punk band”, a labelling which presumably comes from either the band or someone pushing them and their new encounter, In A Better World EP. It is a tag which sort of fits and does not, but one label that does is simply that the El Paso bred Strings Of Atlas is one mighty fine rock ‘n’ roll incitement. The band’s sixth studio and latest offering is our introduction to the duo of singer/songwriter Atlas Cage (vocals, guitar, bass, drums) and former Archetyped bassist Ed C., and the first feeling, after being gripped by strong enjoyment, is that we have been missing out. Consisting of five tracks which whip up attention and appetite with increasing success, the EP is a thumping treat of an encounter. Not one to re-invent the boundaries of rock music but certainly one to give it a new tasty prod.

Since forming, Strings of Atlas has opened for such artists as Nick McGalis and Guitar Slim, whilst their music has graced a trio of short films and the soundtrack of the movie, The Edison Bomb. As mentioned and according to the press release for the EP, In A Better World is release number six from the band and for us potentially the one to awaken a new broad spotlight upon their stirring sound.

Strings Of Atlas - In A Better World Album Cover_RingMaster Review     The EP opens with Burning Days and a spicy web of grooves aligned to punchy beats. It is a strongly alluring start which hits another level once the striking tones of Cage join the affair. His voice reminds of Dicky Barrett from The Mighty Mighty Bosstones, and once it unites with the already potent sounds brewing up in the song, a nice whiff of Rocket From the Crypt emerges. It is an essence which only gets stronger within subsequent songs on the EP. His guitar play is just as magnetic too, riffs and hooks laying down nothing particularly spectacular yet everything comes with a craft and instinct to it which is virulently infectious. The song continues to get feet and imagination involved before making way for its equally potent successor.

The second song is the EP’s title track, and like the first it grabs instant focus, this time with a sultry blues toned coaxing complete with soulful melodies and vocal persuasion. The song’s steady and enticing stroll continues to smoulder and sizzle, and though it does not have the imposing snap of its predecessor, the track is one lingering slice of fiery enterprise.

As strong as its first two tracks are though, In A Better World kicks up another gear from The Way You Don’t Love on. The third proposal is an incendiary slab of garage and melodic rock, that RFTC whisper entwining with a great sixties spicing springing thoughts of bands like The Kinks and The Who to mind. Loaded with an additional snarl and a breed of punkish attitude which can only give an extra spark to any rock ‘n’ roll stomp, the song perfectly hits the spot, though as it outshines the previous song it is in turn eclipsed by the following Odyssey. The feisty stomp is glorious, a cauldron of rebellious riffs and rhythms wrapped in a gripping mesh of guitar and bass tenacity, each casting contagious hooks and a predacious air. Again vocally Cage has full attention, stirring things up as potently as the sounds around him with the result one outstanding rock roar.

The release is concluded by A Light In The Dark, a rousing and tantalising seduction of psych rock and melodic punk, again predominantly recalling The Mighty Mighty Bosstones and Rocket From the Crypt whilst sculpting its own distinct and irresistible romp of anthemic rock ‘n’ roll.

Co-Produced by Charles Godfrey, In A Better World sets the wheels in motion for a far keener and expansion spotlight on the band. Strings Of Atlas have certainly now caught and chained our attention and it is hard to imagine us being a lone new recruit to this potential drenched and thoroughly enjoyable band.

The In A Better World EP is available now on Amazon and iTunes or @ http://www.stringsofatlas.com/music

https://www.facebook.com/stringsofatlas

RingMaster 17/07/2015

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

The Graveltones – Love Lies Dying

The Graveltones _Reputation Radio/RingMaster Review

If the Devil had his own band it would definitely be The Graveltones, though we suspect the horned one has his dark seduction running through the band’s new hellacious slab of dark rock ‘n’ roll posing as new album Love Lies Dying anyway. The thirteen track hex on ears and passions is the most virulent and incendiary roar of devilish blues rock and dirt clad rock you are likely to hear this, last, or next year, a satanic bargain promising not its but your soul to the dark side.

In a time of some exceptional rock duos, The Graveltones stand boldly to the fore thanks to the creative and musical union of the Australian bred, UK based pair of vocalist/guitarist Jimmy O. and drummer Mikey Sorbello. The band emerged in late 2011, a subsequent adventure resulting from their meeting in London’s Tin Pan Alley and a mutual love of artists as diverse as Captain Beefheart, Howlin Wolf, John Lee Hooker and Queen Of The Stone Age. 2013 debut album Don’t Wait Down stirred up greedy attention and a new wave of lustful fans for their fiery and unique sound whilst live the band was soon sharing tours and stages with the likes of Rival Sons, The Temperance Movement, Boss Hoss, Monster Truck, and Cadillac Three, as well as playing a seriously successful slot at that year’s Download. As impressive as the album was, it was just the first step to the majestic rock alchemy that is Love Lies Dying, an encounter revealing the band and its sound as the inescapable real deal.

The devilment opens with World On A String, a track emerging with a heavy stride of rhythms and a thick blues soaking of riffs. From the first breath it also has a punk belligerence to its character, an attitude which fuels vocals and adds edge to the wine of grooves igniting its anthemic canvas. Like Rocket From The Crypt meets The Black Keys at a salacious stomp hosted by US duo In The Whale, a description which closest fits the whole of Love Lies Dying, the track is pure addictive rock ‘n’ roll setting the whole intoxicating riot off in contagious style.

love-lies-dying_Reputation Radio/RingMaster Review   The invigorating revelry continues just as masterfully in the following Fancy Things, its rhythmic bones bordering on predatory as they bounce on the senses as the guitar sprays flames of melodic spicing. With vocals emulating both aspects with a mix of both intimidating rapacity and infectious temptation, the song brews up an irrepressible stomp around the tangiest of grooves; a template emulated in This Love Is Gonna Break, though the song with colourful keys provided by Carl Hudson walks a more sixties garage rock kind of landscape. It is just as much punk and rock pop too, its cauldron of merciless temptation and a chorus even the dead would be unable to refuse, simply irresistible.

Things take on a slightly more shadowy turn with Running To You next, its scuzzy blues hues and catchy rhythmic bait something close to a stalking of ears, though with a mischief in those same beats and the great vocal dynamics, the song is as vivaciously light as it is menacingly toned. Once more imagination and appetite are inflamed, and four songs in it is fair to say that lustful greed is in the equation too, all swiftly encouraged and fed further by both Never Gonna Let You Go and Can’t Tell A Man. The first of the two is the band’s current single and a little fuzz pit of riffs and searing grooves badgered by another vital rhythmic trap. The song is stirring up major attention for the band and album right now and easy to see why as its creative agitation and frenetic enterprise is just punk ’n’ roll slavery. It pounds the senses as it embroils thoughts and emotions in inventive mayhem, leaving the listener exhausted and alive. Its successor is more of a smoulder in comparison; its fiery blues melodies bourbon running around jabbing beats and the ever expressive and increasingly magnetic tones of Jimmy. It is a barroom croon, sweat and liquor fumes as pungent as the emotive hues of voice and guitar, and just addictive.

In The Throes is of a similar proposal to the previous song, but less dirty and more restrained as it flirts with ears through acidic grooves and rebellious beats. Both songs bring strong variety to the album too, another good essence within Love Lies Dying, and indeed within this track alone things are a perpetual evolution as it gets heavier and darker before making way for the outstanding I’m A Ghost. Like The Stones reincarnated as Th’ Legendary Shack Shakers, the track is a maze of hypnotic beats and vocal incitement but flush with delicious surf punk imagination and garage rock resourcefulness. The song is exceptional, one of numerous pinnacles within the album but another which is sure fire manna for new ears as an introduction to release and band.

Surf seduction reeks in the haunting croon of Back To You too, the mesmeric dark balladry carrying a Nick Cave like hue to its melancholic embrace whilst Kiss And Fuck Off is psychotic brilliance shaped as a psyche/noise rock predation. Ripe with deranged imagination and masterful discordance, not forgetting rhythmic disturbance, the song forcibly hits the sweet spot which Come And Find Me stirs up even more with its aggressive and commanding rumble. Riffs snarl with alluring causticity whilst beats with a more controlled purpose prowl fuzzy air, contrasting elements uniting perfectly as the song twists and turns through varied creative scenery, including a passage of QOTSA like grooving.

Upcoming single Big Money steps forward next, slowly crawling over ears and imagination with boozy melodic vines with vocals from Jimmy to match. The relaxed percussive courting of Mikey is just as enticing, becoming punchier when the song erupts in a furnace of intensity and impassioned energy from time to time. It is not maybe the most obvious of single, compared to others within the album, but its smoulder is intensive and persuasion a lingering potency so that the song joins the major peaks of Love Lies Dying.

Together Again brings everything to a close, its low key melancholic finale a blues rock hug to drift off with until the urge to start the album all over again, which to be honest is a matter of seconds. Someone elsewhere said that The Graveltones have come of age with Love Lies Dying and you can only agree as the album song by song establishes itself as one of the thrilling irresistible proposals of 2015. There is still the feeling though that this, like its predecessor, is only a step towards even greater glories, an excitement as powerful as that bred by the album itself.

Love Lies Dying and latest single Never Gonna Let You Go are out now via Lagoon Dog Records @ https://itunes.apple.com/gb/album/love-lies-dying/id978331780. New single Big Money will be released in July.

http://www.thegraveltones.com/  https://www.facebook.com/thegraveltones

RingMaster 11/06/2015

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

 

The Twin Dracula – Death Is Our Client

10661618_739876806066774_4299550454266036612_o

Bred from a punk rock seeding, the sound of UK rockers The Twin Dracula just seems to get broader and more flavoursome with every release and that is without losing the snarl and aggressive passion which marked out their first offering just over eighteen month ago. The band recently unleashed third EP Death Is Our Client and it is not too far from the mark to say that British punk ‘n’ roll has rarely sounded as creatively expansive and violently imposing as the tracks which ignite the excellent encounter.

Formed in 2012, the British quartet grabbed, like a great many, our attention with their debut release, which was simply called Introducing when released in 2013. It was a raw roar of hardcore causticity rich in potential and strong on antagonistic craft. Its successor TTD​/​GFY not only reinforced that first potent impression and appetite for the band’s sound, but showed new adventure and invention which Death Is Our Client has taken to new impressive pastures. Sculpted on the inspirations of bands such as Kid Dynamite, Wipers, Rocket From The Crypt, Propagandhi, and The Bronx, the band’s music is a brawling contagion which takes no prisoners yet treats them like guests once ears and attention have been enslaving, offering always and especially on the new encounter something seriously special.

First track Nom De Plume is simply a ravishing sonic blaze of temptation from its first breath, guitars abrasing ears with addictive riffing punctured by just as forceful beats. It is soon in full a0584789698_2swing though with grooves and hooks as virulent And potent as the inviting scrub of guitar energy around them. Once vocals bring a flame of melodic toxicity into the picture, energy rises to a high and attitude becomes confrontational but still the song is nothing less than contagious provocation. That Rocket From The Crypt spicing is a loud whisper in the song but equally a breeze of Ghost of a Thousand and Reuben like fury is adding its potency to the riotous blaze of sound and intensity.

It is a commanding and breath-taking start swiftly emulated and surpassed by the infectiousness and hostility of rebellious Occultimate Warrior. Again a ridiculously compelling and nastily catchy offering from its opening second, the track also explores a web of addictive hooks and anthemic ferocity vocally and sonically. It all combines to cast the most antagonistic and irresistible seduction which leaves ears smarting and emotions lustful. Hardcore punk comes in varying shapes and colours as more imaginative bands emerge to charge its boundaries, and on the evidence of this song alone, but backed rigorously by its companions, The Twin Dracula is there to the fore leading this fresh investment in the scene.

The closing Newtown Jazz Revival is almost funky in comparison to its predecessor, opening with the darkest and most delicious bassline heard for a while. Its lure is courted by abrasing riffs and jabbing beats which soon expel their fullest weight and tenacity to add to an already captivating persuasion. The song proves to be a mellower encounter than the other two songs on the EP, vocally cleaner harmonic vocals aligning to warm melodic acidity and endeavour. It does not stop the song growling with a grouchy breath and provocative nature though as the band unveils yet another adventurous twist and aspect to their gripping sound.

Introducing had us excited and its successor even more thrilled, but Death Is Our Client feels like a whole new ball game in so many ways, which leaves anticipation for what comes next from the band and acclaim upon them brimming.

Death Is Our Client is available now on CD through Crucial Taunt @ http://www.crucialtaunt.bigcartel.com/product/the-twin-dracula-death-is-our-client-cd and digitally @ http://thetwindracula.bandcamp.com/album/death-is-our-client

https://www.facebook.com/TheTwinDracula

RingMaster 22/01/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.thereputationlabel.today

 

 

 

 

 

Dope Body – Lifer

10353435_10152585010024791_9214962179343543231_o

In covering Natural History, the previous album from US noise sculptors Dope Body, we boldly declared the band as ‘without doubt one of the most exciting bands in music right now’. Returning with its successor Lifer, the Baltimore quartet has done nothing to change or dispel that declaration. The release is a glorious and voracious maelstrom of invention as now expected from the band, but also one with another open twist in the evolution of Dope Body’s sound. Certainly Lifer is the band’s most rock ‘n’ roll release to date, raw and attractively abrasive, but within tracks and sounds are as dramatically eclectic as ever.

Formed in 2008 for originally just a one off show, Dope Body soon saw and found their sound stirring up the local scene and its passions. Early releases via HOSS Records drew potent attention but it was Natural History, released as the new album through Drag City, which widely announced the band as one of the more original and creatively warped fresh breaths in modern music. Between albums the band has feverishly toured and played shows before seeing the latter part of last year out taking time focussing on other endeavours, bassist John Jones on his solo project Nerftoss and guitarist Zachary Utz and drummer David Jacober with their two piece band Holy Ghost Party, whilst vocalist Andrew Laumann turned to his visual arts side and exhibited work at the Galerie Jeanrochdard in Paris, the Pre Teen Gallery in Mexico City, and Signal in Brooklyn. This year though soon saw the foursome back together in the studio and with producer Travis Harrison creating what is another stirring encounter from them.

The album opens with Intro, an instrumental with carnival-esque vivacity and mischief to the gripping rhythmic juggling of Jacober and scuzz bred tenacity of guitar. It is a great raucous start to the album, instantly unveiling some of the varied rock ‘n’ roll seeded essences to be explored across the release. The piece subsequently slips seamlessly into Repo Man and its opening slow caress and shadowed crawl. Right away the distinct tones of Laumann entice and flirt with ears before raging to match the increased intensity and aggression of the music. It is a captivating track which has as much an air of Nirvana to it as it does The Stooges. In hindsight it is a steady opener to the album in many ways, a raw encounter which as the album, holds a real live feel to its touch and breath, but proves to be just a taster of greater things to come.

That stronger potency grips ears and imagination right away with Hired Gun. From a deliciously acidic web of sonic revelry, the song strides out with a garage punk energy and causticity, though it is still prone to the great scythes of sound liferwhich opened up the encounter. Taunting senses with a devilish swagger and punkish rabidity, the track is a transfixing slice of noise rock, but as expected from the band only part of the story as seductive surf rock sultriness and rhythmic tantalising emerges before a fiery finale. From this song the album really takes unpredictable and diverse shape, the following Echo sauntering through ears with a smouldering blues climate aligned to garage punk turbulence. Like Tom Petty plays The Cramps, the song is an enthralling croon with tendencies to expel caustic ferocity as it makes another step up towards the album’s highest peaks.

They come in the next clutch of songs, starting with AOL. A brawling slab of blazing hard and punk rock incitement, whispers of The Clash and Melvins hinting away, the track comes loaded with lingering grooves and biting hooks for a relatively brief but scintillating roar. It sets ears and emotions up perfectly for the even richer triumph of Rare Air. A song which kind of bridges this and the last album, it emerges from a metronomic coaxing lined with a ridiculously infectious sonic tempting. Instantly there is a post punk emprise to the song, bass and guitars flirting with a mix of Joy Division, Tones On Tails, and John Foxx led Ultravox breeding. It is a gripping adventure with Laumann as vocally enterprising as the tapestry of sounds and textures around him. The pinnacle of the album, the song alone reasserts Dope Body as the imaginative masters of sonic and noise alchemy.

Straight away confirming that point, the dark seductive Day by Day steps forward next. With a heavily shadowed bass resonance spotted by sonic elegance making the first gentle touch, the track forcibly intrigues and entices senses and imagination, increasing its lure and potency as it gathers pace to craft a Bauhaus like tension and presence. That increase in energy also brings a funky gait and appetite to the song, which in turn leads to squalling clouds of scuzz lined ferocity and garage rock devilry. With a pinch of psychobilly and a dab of old school rock ‘n’ roll too, the song takes the listener through scenery of explosive invention and bold creative mischief, all persistently cored by the irresistible throaty bassline which kicked it all off.

Toy strides purposefully across ears next to return the album to another boiling garage punk/grunge soiled stomp, engaging ears in a dusty rampage of Rocket From The Crypt meets Damn Vandals like irreverence. As everywhere though, references only give a slight idea of something uniquely Dope Body, the band forging new templates and imagination smothering ingenuity at every turn, proof of course immediately coming forward through the pair of Nu Sensation and I’d Say to You . The first of the two is another multi-flavoured rocker, seemingly embracing every corner and era of rock ‘n’ roll to give birth to an uncompromising and inescapably addictive rock devilry, whilst its successor is a torrent of repetitive hooks and lingering grooves as catchy as the common cold and sneakily lingering.

The album is closed by the striking Even In the End, a song opening on another skilfully conjured rhythmic contagion before spreading its melodic and atmospheric tendrils into a progressive terrain of bracing sonic invention and immersive dark shadows. Within that landscape though, guitars and beats unleash imaginative and lively agitation whilst vocals range from slow drawls to raging emotion. It is an absorbing exploration bringing the outstanding release to a mighty close.

Lifer is not a step forward in quality for Dope Body but a side step from Natural History into similarly impressive and individual waters. The excitement brought by a Dope Body encounter continues and the band grows in stature once more.

Lifer is available via Drag City now.

https://www.facebook.com/pages/DOPE-BODY/310914069790

RingMaster 23/10/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

Limozine – Party On The Bus/Tequila Shots

1622154_10152218523962456_2115466634_n

Ahead of their fifth album, UK punk ‘n’ rockers Limozine ignites anticipation and appetite for their forthcoming release with new double A-sided single Party On The Bus/Tequila Shots. Two stabs of garage punk in its dirtiest wanton form, the single finds the Londoners at their most irreverently and creatively impressive yet. There is also a fire to the songs which declares that they know they are good and come loaded with a devilry to seduce, which they both do with ease.

The single is the quartet’s tenth and follows the previous acclaimed Johnny Got Shot by a UFO in the March of last year and before it the 2012, Tokyo 1970. The impending album is the band’s fifth, their list of full-lengths starting with Car Crash Casino 2007, which brought the band an eager attention. Through Evil Love two years later and Full Service two years on again, Limozine continued to impress and grow, hitting a pinnacle with last year’s You’ve Been Limozined. If the new single is to be believed though that plateau is going to be pushed to new heights with the upcoming album and we for one cannot wait.

Party on the Bus gets things loose and excited first, hollow sounding beats and antagonistic riffs waking up ears ready for the vocal swagger which infests the senses soon after. Revealing touring debauchery with its narrative, the track brawls and incites the imagination in a fusion which at times is like The Stooges meets Rocket From The Crypt with healthy essences of Turbonegro and early The Damned bounding the devilment. Hooks and riffs captivate across the scorching riot whilst the rhythmic enterprise of Timmy enthrals and enslaves the senses. Vocalist Limo Dean as ever is a raw and compelling lead whilst his guitar and that of Johnny Zero impress and tantalise with consummate ease to help create a monster of an addiction forging song.

As excellent as the song is though, it is just the appetiser to the brilliant Tequila Shots where old school punk and raw rock ‘n’ roll make a pact to seduce and enslave. From its first second the bass of Karl Atlas is a rapacious bait and shadow to the more fiery guitars, cock sure vocals, and gang harmonies. Of a liquor fuelled seduction and commitment, the song parades its lyrical suasion on bulging rhythms and sonically varied endeavour, flaming riffs and deep lying hooks insatiable temptation matched by the web of vocals and emerging melodic toxicity permeating the climax of the outstanding protagonist. It is a glorious track which alone leaves lips licked for the new album but alongside Party On The Bus makes for an inescapable trap before it’s unleashing.

If Limozine has not pulled up outside your attention and emotions before now then Party On The Bus/Tequila Shots is the perfect way to open up an exploration of one of UK’s still relatively hidden best secrets; though you will soon suspect like us that once the new album is there inciting, Limozine may be a much louder name in the country’s ears.

Party On The Bus/Tequila Shots is available via Beat Atlas Records

http://www.facebook.com/limozineband

9/10

RingMaster 09/06/2014

Copyright RingMaster: MyFreeCopyright

 

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

Boy – Darkest Visions

boy 2

Imagine a mix of The Angelic Upstarts and UK Subs with an equally potent blend of Rocket From The Crypt and Turbonegro, and you have a sense of Czech punks Boy and the body of their outstanding debut album Darkest Visions. Fusing old school British punk with a touch of glam and raw rock ‘n’ roll, band and release make a dramatic entrance to a worldwide market with their Rebel Sound/Voltage Records released rampage. It is an encounter which has a welcome familiarity to its brawl but just as strongly a unique breath and substance which marks out Boy as a band with a potentially mighty future within the world of punk rock. The band name suggests wishy-washy media friendly teen pleasing blandness, what you get is raw antagonistic punk rock of the finest order.

There is little we can reveal about the background of the band with any available bio offered in Czechoslovakian, but they are a quintet from Brno who have previously released a three track 7” EP via Voltage Records last year and before that had a track on the 2012 compilation Brno stále v plamenech (Brno Still In Flames). Their new full-length is produced by Turbonegro’s Tommy Akerholdt and features numerous guests including Ronnie King (who has worked with NOFX, Rancid, Offspring, Snoop Dog) on piano, Shawn Smash (Total Chaos) on guitar, Daniel Marusack (Chancers) on flute, Theresa Kovalová (Calm Season) on cello, and Martin Maleček (ex – Centaury ,SRK) on conga. That piece of info alone tells you the flavoursome design and sounds bursting from within the punk bred tempest, though the album starts off with a more straight forward belligerent sound.

The title track opens things up with a fiery welcome, hooks blazing vociferously within the ears whilst vocal samples bred from 9/11 place front coverthe drama of the release. It is a heavy weight welcome with sinews building up their intent and intensity ready for the following I Need Your Hate. The second track is immediately snarling and gnawing at the senses, riffs bordering on carnivorous and rhythms an imposing barracking. The excellent rough vocals roar and confront with a voracity which matches the passion of the sounds around them, the song further flaming with seductive melodies from within its rapacious onslaught. There is nothing dramatically ground breaking about the song but with impressive individual skills, a scorching solo, and anthemic band vocals it is an irresistible proposition.

Never Break Us Down binds the imagination next with an instant addictive groove, a lure aligned to numerous sharp hooks and that again virulent anthem seeded suasion which already the band proves they are expert at sculpting. The resourceful romp offers that earlier mentioned RFTC comparison as well as holding a touch of The Mighty Mighty Bosstones to its catchy temptation, both elements re-occurring across the album and adding extra spice to the outstanding raucous charge of punk ’n’ roll. It is a mix which lights up Back For More to a different degree, the band grazing the senses with greater causticity and ravenous breath. Again there is a compelling contagion to the track which has attention and appetite impatient for more which Stay Free more than happily provides. Abrasing ears with acidic sonic swipes from the first second along with an evocatively brewing wash of keys, the track broadens its riveting narrative with a wonderful dark cello croon and atmospheric shadows. It is like a mix of UK band The Duel and Russian punks Biting Elbows, an invasive seduction which subsequently stretches further into a NOFX like imposing. The track is quite glorious, pushing the invention and songwriting of the band whilst still entrenched in their epidemically appealing seventies seeded punk.

Stop Talking To Me stalks and riles up the imagination next, riffs on a chunky prowl speared by predatory rhythms. The vocals are vitriolic in delivery and malevolent in intent, a seemingly different voice leading the intrusive belligerence as the track squares up to the senses and emotions. It is a great strike but one which ends far too soon, only one minute forty seconds in length, and closes on a frustrating and actually very annoying fade-out. These grievances are soon forgotten though as Drop The Bomb scores ears with an acrid flame of guitar punctuated by keys and wisps of melodic guitar invention. The song strides purposefully with a slow predation, absorbing imagination and the by now constantly submissive passions. It is another total captivation revealing yet more of the depths of sound and invention within Boy, the unveiling continued with the heavy rock exploits of It was the Alcohol. The track is prime punk and hard rock with glam devilry and metal toned hunger, and impossibly addictive especially its infectious chorus which is bait only the deaf or the six feet under could resist joining in with.

The album comes to a close with firstly the thrilling quarrelsome bluster and catchiness of Fashion Police then the incendiary glory of Just A Number. The last track is an aggressive scrap of spellbinding hooks, fierce riffs, and punchy rhythms all merged into a rabid contagious punk spat, a last lingering triumph to sear the sound and name of Boy in to the memory and passions.

Darkest Visions is one of the punk glories of recent years and a potent suggestion that Boy has all the armoury and invention to be a real force in punk and rock rioting across numerous horizons to come.

Darkest Visions is available through Rebel Sound and Voltage Records now as a black vinyl release with a 12 -page booklet and in a deluxe version clad in silver foiled artwork.

https://www.facebook.com/PUNKROCKHOOLIGANS

http://www.boy-punk.com/

9/10

RingMaster 19/04/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com