Dirt Box Disco – TV Sex Show

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

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

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

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

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

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

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

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

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

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

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

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

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

Pete RingMaster 26/03/2020

Copyright RingMasterReview: MyFreeCopyright

Dirt Box Disco – Poppycock

To date every Dirt Box Disco album has been a reason to romp and stomp, to unleash the instinctive punk and rocker inside with the British band’s own devilish intent. Of course their new proposal, Poppycock, is no different, a fifth album which turns body and spirit into a mischievously brawling blur of flying limbs, riotous fun, and lustful habits.

The Burton on Trent quintet has long established its own punk ‘n’ roll sound across four voracious albums and a host of EPs and singles. Fair to say that Poppycock brings more of that belligerent rock ‘n’ roll rascality but yet again the band manages to tap into something fresh. It is not necessarily a definable essence though the STP Records released album has a pop catchiness to its attitude loaded, middle finger raised rampage, but something which just gives the album its own character and the DBD sound a new twist.

In another year seeing the band relentlessly cause live havoc across the UK and Europe, DBD set it all up perfectly an album leaping upon ears with the same hunger as opener The Bullshit Kids bursts into life. Rambunctious rhythms and voracious riffs join group calls to get things started, a wiry vine of guitar temptation from Danny Fingers escaping the roar as the track spreads its bait. With lead vocalist Weab.I.Am standing antagonistically but invitingly astride the muscular stroll, band and track barge around with contagious revelry, DBD instantly showing they are still kings of the rebel rousing, listener involving chorus.

The following Finger Blast opens up with a Stiff Little Fingers like air, Deadbeatz Chris’ burly bassline and the swinging aggression of drummer Maff Fazzo courting the spicy hook and subsequent surge of caustic riffs set loose by Fingers and Spunk Volcano. Raw pop punk relishing its inbred rowdiness and sonic enterprise, the song has the body rocking and primed for the immediate incendiary incitement of Punk Rock Riot, a track as you would expect living up to its title with virulent aggression and anthemic contagion. With a slight whiff of The Adicts to it, the track is an inescapable persuasion to raise hell.

The excellent Little White Lie romances the senses with its multi-vocal union and warm textures next, all fuelled by the wilful and headstrong energy and sound expected of the band while its successor, Working For Wankers, has vocal chords at full volume in unity with its sentiment and defiance. Blending explosive and calm pastures, choppy riffs and melodic teasing leading to ferocious expulsions, the song has ears and appetite hooked within seconds, success equally found by the snarling Fat Kid with its carnal metallic riffs and toxic grooves.

DBD show their pure rock ‘n’ roll instincts with Snorting Crack From A Girls Top Rack, a virulent and raucous UK Subs/Sham 69 meets Showaddywaddy roistering providing an almost two minute spirit stirring yell. A pinnacle amongst only peaks, the track leaves body breathless and attitude inflamed ready for the lighter but still imposing incitement and swing of Lazy Bastard, its raw captivation subsequently eclipsed by the metal infused rock of Slapdash And Haphazard. Part pub rock, part hard rock, and all punk, the third of the three roars with creative zeal as sonic tendrils offer a scorching flame within the aggravated air of vocals and song.

The tenacious and uninhibited exploits of Geronimo are a bruising addictive charm to persistently knock around, as too the bolder poppy shenanigans of Imaginary Friend; both raffish sing-a-longs that vocals chords yearn for. The vociferously grouchy and rousing Somethings Are Better Left Unsaid is no different, its lures more metal nurtured but instantly involving rock ‘n’ roll to stride through the world with.

Poppycock closes with the tantalising swing and shuffle of I Hate This City, a ska/reggae kissed stroll with a touch of The Members and Ruts to its initial saunter. Boiling up with every passing second, the track hollers and thrills, and though it is not the best song on the album it leaves an irresistible and lingering imprint just impossible to shake off.

Upon the first listen or two of Poppycock, as impressive and highly enjoyable as it was, it seemingly did not make the same immediate impact as predecessors. That suggestion was soon dispelled as songs imposed their infectious claws in thoughts far away from their home in no time, returning as they pleased. Poppycock creeps up on you as well as creating a thrilling clamour in its presence while again Dirt Box Disco create musical havoc, emotional incitement, and the kind of rock ‘n’ roll that has body and heart stomping and howling with sheer pleasure.

Poppycock is out now through STP Records @ http://www.stprecords.co.uk/page3.htm and https://dirtboxdisco.bigcartel.com digitally and on CD with its vinyl release April 5^th

Upcoming live shows:

 

http://www.dirtboxdisco.co.uk    http://www.facebook.com/pages/DIRT-BOX-DISCO/129060477115572    http://twitter.com/dirtboxdisco

Pete RingMaster 16/03/2017

Copyright RingMaster: MyFreeCopyright

MFC Chicken: Music For Chicken

Sometimes things are just meant to be and that is the strong feeling when it comes to rock n rollers MFC Chicken and the background story to the band. It all started with the arrival of Canadian Spencer Evoy who with his trusty sax in tow moved over to the UK around a year ago. On what he called a pilgrimage to the recording studio of Joe Meek he found himself outside a fried chicken shop on Holloway Road, London. With stomach yearning for the delicacies within but pockets financially incapable to fully assist, Evoy slipped out his trusty friend…his sax you naughty people…and proceeded to busk for his supper. His sounds made their eager way through the window of the flat above the shop leading to its occupant bassist Bret Bolton to call out his appreciation and thus two musical brothers were united from that point on, the pair within days forming a band named after the now closed down shop, MFC Chicken.

It is a story which almost reaches fact is stranger than fiction heights but surely is the proof that this band was destined to bless the world with its presence, and wow does it do that with its debut album Music For Chicken. The release is pure joy from start to finish, Evoy and Mancunian Bolton alongside Brazilian Alberto Zioli on guitar, and London boys Reverand Parsley and Ravi on keys and drums respectively, unleashing the purest joy with their poultry themed party of garage rock n roll driven rhythm and blues. There is one warning though, for some reason it will make you feel rather hungry by the end of its final slice of pleasure.

Released August 6^th via Dirty Water Records, a label which cannot do any wrong right now with its releases it seems, the album strolls up to the ear with a confident swagger called Chicken, Baby, Chicken. With initially the guitar teasingly showing off alongside great group harmonic shouts, the song erupts into an eager tonic for the heart through a fiery blend of Billy Haley, Johnny Burnette and Hasil Adkins. It is a great start easily matched by the following Every Girl on The Tube. From its first surge of Evoy pumping the senses full of tenor sax goodness the song ignites a feisty air for its greedy sounds, a garage rawness which lights the fuse for further submission and adoration. The guitar of Zioli is as keen and wonderfully teasing as the sax play and combined with the beats, keys, and playful bass sounds makes for one exuberant track.

As each song leaves its crazed energy the album simply gets better and better. It is not that the latter songs are any better than the earlier ones just that the accumulative effect is overwhelming and leaves one grinning like a man who just got lucky, which I guess is what happened. Tracks like the hot and crazed instrumental  Wild Safari with its elephant sax sounds and slight Batman theme sounding hook has limbs and emotions jumping even if the lack of rampaging chickens and stampeding cockerels noises is disappointing, whilst the  throbbing Laundromatic  is a scorching melodic blitz upon the ear with seeds in the band which has influenced MFC Chicken by their own admission the most The Sonics, which simply excites.

Music For Chicken at times offers up flavours which are easily recognisable in other bands and songs though you always feel it is merely coincidence such as with Chicken On The Bone, the song a dead ringer for a Showaddywaddy song  well if it had been given steroids and introduced to Johnny Kidd and The Pirates. Wine, Women, Rock’n’Roll is another with familiarity from a seeming heavy spice of Johnny Carroll splashed with a wash of Screamin Jay Hawkins.

The album closes as magnificently as it started with the trio of Man-Sized Tissues, Family Value Meal, and Fifty-Seven Acres of Pain ensuring every drip of pleasure is wrung into the heart of their recipients. The middle of the three is especially wonderful, its explosive melodic beauty of keys and guitar punctuated with sensational sax clucking a delight not heard since the fifties Fat Daddy Holems song, strangely enough called Chicken Rock.

Music For Chicken is nothing but total pleasure and a party for the ear and heart to gate crash relentlessly  whilst MFC Chicken has one diving into the fridge, damn them.

https://www.facebook.com/MFCChicken

RingMaster 10/07/2012

Copyright RingMaster: MyFreeCopyright

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The Bone Orchard Show 34

The Reputation Radio Show has a well established recognition and notoriety for finding, championing and promoting the best of the independent artists and sounds around the globe. Unrelenting and tenacious the promotions company/radio show is acknowledged as the prime source for finding the best talent of all genres with the introduction of the same followed closely. The intense and heavier world of sound is discovered and unleashed through The Bone Orchard, a show where anything with muscle and a riotous tendency is eagerly presented. From all forms of metal and industrial/harsh electro through punk and psychobilly on to noise and psyche with all in between, The Bone Orchard bears their individual shadowed fruits eagerly.

This past week saw the latest episode bringing six of the most impressive and exciting bands around as well as bringing a debate on some aspects of music. Hosted by the blue hued Pete Ringmaster and Reputation Radio Show CEO and mastermind Johnny Summers, the show cleared the sinuses and lit up the ears of all those with urges to match and compliment the great sounds played.

Opening with the traditional opening intro provided by Mr Strange of The Shanklin Freak Show, a band the hosts would talk about at length within the show giving the audience the latest developments from their carnival, the show immediately treated the eager crowd to a track from the debut album Defaced from UK rock band The Self Titled to be released June 18th. Mr Nobody is a stunning track, a metal and rock fusion with stirring vocals from frontman Mark Campbell over a brew of inventive and powerful sounds. With an insatiable thirst for gigging and an equal demand wanting them for shows, The Self Titled are one of the best bands in the country right now, their sharing of stages with the likes of Forever Never and Sarah Jezebel Deva as well as acclaimed festival appearances, leaving nothing but devoted fans in their wake.

Next there was a burst of real punk rock from another band from the UK in the mischievous bruising shape of Dirt Box Disco. With self declared influences ranging from Kerbdog, The Damned  and the Ramones to The Bonzo Dog Doodah Band and Showaddywaddy, the quintet from Burton on Trent make music which is honest, feisty, and insatiably infectious. The contagious track played, I Am Rock n Roll, was an exclusive from Legend another album to be released June 18^th. The song played and the album the song comes from is one which revives the true 1977 spirit of punk meshing it with rock sounds as anthemic and voracious as you could wish for.

Before a lively debate about bands including cover songs in their live sets which saw the hosts at opposing lecterns but ultimately ended in the blue man being right, so he claims, things became intensified with the devastating aggressive sound of Amongst Carrion. From South Wales the five piece metallers woke up the airwaves with their track The Fear In Her Eyes taken from their latest EP We That Should Not Be. With a melodic groove recalling In Flames and the brutal riffage of an August Burns Red, the track easily declares the band as an emerging force in UK extreme metal. They have definitely moved on fully from their early days as a cover band, the point which inspired the following discussion.

Continuing the UK theme Leeds band Ourfamous Dead provided the next outstanding track with their forth coming single Claws At The Door. A rampant brew of hardcore, punk, and electro the song is the latest step in the vision of band founder and song writer AJ Reeves. Fresh off a UK tour with another Bone Orchard favourite The Sun Explodes, the quintet are a band on an accelerated rise pulling in acclaim and fans with each show and release persistently. Having supported the likes of The Blackout, Funeral For a Friend and Gallows, the band is fast approaching the point where others are eager to share stages with them.

As the final featured band of the night, US melodic metal band Vajra stunned and thrilled the listeners with their epic masterpiece Inside The Flame. Taken from their forthcoming album Pleroma, to be released in July, the song is a hypnotic and powerful example of the darkly melodic progressive rock fused with Eastern Indian influences which they inventively create. Led by the glorious voice of founder/producer/keyboardist/songwriter Annamaria Pinna, the band is one with a craft and imagination which is sure to find a feverish demand over the months ahead.

Closing out with Irish metallers iBURN, a band which is frequently requested since the debut of their song Where It Begins taken from their new EP of the same name, and another band which leaves you wanting more, The Bone Orchard dished up another formidable dose of new and impressive music. If anyone tells you there is nothing good or new coming out, place them in front of the podcast of the show, and they will soon be put right by this group of bands alone.

With the show primed to unveil more outstanding artists and sounds across the weeks ahead you can catch this, previous and future shows over at The Bone Orchard page at The Reputation Radio Show site as well as watching a selection of videos from a host of the bands featured on the show.

Get in touch with the show via  boneorchard@reputationintroduces.com

RingMaster 16/06/2012

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Dirt Box Disco: Legends

The debut album from UK punks Dirt Box Disco only has simple and direct intentions, to stomp on your testicles, kick you in the guts, and to rummage in any parts remaining whilst ensuring you have the greatest fun whilst they do it. Legends is an unbridled blast of excitable and infectious rock n roll, it makes no demands musically and has no deep intellectual musings to share, well it has no time to when it is so busy rampaging and gate crashing the lowest and most primal instincts within us all.

Released via STP Records June 18^th, Legends is what all the best punk albums are, crazed, uncontrollably infectious, and a continual spasm of attitude and belligerence within the ear. The bio accompanying the release states it possibly sounds like KISS vs. Rancid vs. Showaddywaddy, we would have said The Wildhearts meets early Green Day in a salacious filth coated union with Mud and The Adicts, but you get the idea. Written by guitarist SPUNK VOLCANO and ably brought to boisterous fruition alongside him by his eager cohorts in vocalist WEAB.I.AM, lead guitarist DANNY FINGERS, bassist DEADBEATZ CHRIS, and drummer MAFF FAZZO, the album is a frenzied and irresistible ball of feistiness.

Since forming in 2009 Dirt Box Disco has riled up and incited their ever growing legion of fans to rupture joints and lose body fluids persistently with songs that are slightly tribal and always slices of agitated rock n roll. Previous EP Are You Ready? of last year marked the Derbyshire quintet as a band to embrace or hide your sons and daughters from but Legends has elevated the band into one of the best emerging punk/rock bands in the UK. Alongside the likes of Supercharger and The Duel, Dirt Box Disco bring a fresh and re-energised heart back to true UK punk whilst making it as compulsive and additive as any pop punk band.

The aggravated garage punk of The Other Side Of The Street pounces on the ear to set the album off on its belting energised mayhem. It screams and pesters with scorched guitars, intimidating riffs, and group yells. It has no intention on charming or seducing the senses just to rile them up and have them clinging on for sweet life. It is a devastating start continued by the following explosive Peepshow. The track taunts and bruises with an arrogance and proud declaration that reminds of a mix between NOFX and the Vibrators.

Already the album has convinced it is going to be one memorable and riotous fun barring a collapse in flight as dramatic as in an innings from an England cricket team. There is no chance though with songs like the Ramones fuelled Rock n’ Rolla a song that could be the nostalgic playlist of all punks and the blood pumping sing-a-long I Just Want To Be A Girl, this one as sirenesque as a pole dancer in overdrive and an easy manipulator of limbs and voice.

Every song on Legend captures the imagination and triggers the instinctive urge to join in, every slab of punk rock making it easy with anthemic hooks and contagious energy. Without a weak moment to be found on there are still certain songs which ignite the deepest uncomplicated allegiance to their high energy accosting most of all.  Smackhead is a minute and a half corruption of the ear, just how punk used and should always be, no niceties and no element left for the imagination to explore. The outstanding pop punk flourish of I Don’t Wanna Go Out With You, the UK Subs/Top Buzzer like Let’s Get Wasted!, and the scuzzed garage blistering of We All Fall Down, all leave one with a big grin inside and out but the two moments that leave the sharpest and most lingering intrusion are the brilliant I Am Rock n’ Roll and Dirtbox Days.

Both are beautifully simple and deviously infectious. Before you know it they have turned heart and voice into their puppets with joining in and littering the air with flailing limbs is a must. I Am Rock n’ Roll imply declares that I, you, we and this is all rock n roll and it is impossible to argue otherwise, the song simply  a impassioned musical call to arms. Dirtbox Days closes the album in similar fashion, anthemic generosity dripping from every note and syllable. The track sweeps over the senses with an easy pop punk enthusiasm, think The Monkees as Hagfish and a song which is fun, undemanding and again fully contagious. It builds to a triumphant climax of simplistic “This is Dirtbox Day” chanting and if you cannot resist you need to check for a pulse.

Legends is awesome, simple as. You can take all your reflective and provocative songs to bring thought and ideas to consider and be inspired by for nothing is as thoroughly rewarding, uplifting and enjoyable as punk at its best and Dirt Box Disco certainly create that. Go enjoy!

http://www.dirtboxdisco.co.uk

RingMaster 12/05/2012

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