Union Jack – Violence

Two years and a handful of months on from igniting the senses and passions with their previous album, Supersonic, French punks Union Jack have unleashed a just as voracious and compelling assault in the shape of Violence. With ten tracks which sonically live up to its title, the band’s new full-length ravages as it snarls, bounces as it unleashes ravening contagion. After the release of its predecessor we suggested that the Paris hailing trio could infringe on the world beyond their homeland, the UK and parts of Europe; with its successor we expect it.

In many ways Violence is a somewhat harsher and fractious trespass than that offered by Supersonic but still ripe with the instinctive catchiness and contagious character which marked out that previous outing. From vocals to sound, textures to aggression, it is an openly feral affair but one swiftly proving addictively contagious to ears and an ever hungry punk appetite.

Since emerging in 1997, Union Jacks’ fusion of punk, ska, hardcore and raw rock ‘n’ roll has bred its own individuality, one which has grown and evolved as a host of other flavours has been embraced and Violence only stretches that adventure. With its untamed air and trespass, the album in some ways looks back on the band’s early releases but with its noise fuelled twists, lyrical world attacking irritability, and rapacious almost cacophonous breath it is a whole fresh incitement for Union Jack and punk itself.

The album opens up with So Cold, the beat bouncing invitation of drummer Antoine Sirven Gabiache leading the way before the guitar of Tom Marchal and bass of Rude Ben spin their equally ear summoning threads of sound around the song’s initial lure. Quickly it is a volatile stroll of sound and infection, mouth-watering discord uniting with punk belligerence in music and voice, the mesh of vocal voracity from all three band members as tenacious as it is mischievously dissonant. With an At The Drive In-esque sonic tension and unpredictability, the track makes for a striking start to Violence with devilish keys adding to the temptation.

Venom ensures it continues as its swinging gait and savagery is immediately infectious, guitar and bass driving a boisterously truculent and catchy attack with the latter laying down a wicked groove as again vocals collude in a magnetic squall. Three minutes of noisy punk manipulation leads to two minutes of noise twisting ferity as Dance In The Fire springs its own cauldron of vocal and sonic dispute around manipulative hooks and grooves which invade and incite body and instinctive pleasure. The track is pure rock ‘n’ roll at its most wild yet deviously sculpted.

Poison Me instantly infests ears with a dancing melody if one with a certain acerbic edge which is inflamed across the instantly following hooks and an enterprise exposed by craft and imagination. Nimble keys flirt and tease from within the web of contagion unleashed by guitar and bass, the song a rousing and refreshing slice of animated ingenuity proving a definite favourite though matched throughout the album as proven by the calmer but as hungrily catchy Legacy. Like Joe Jackson meets Stiff Little Fingers, the song is pure temptation, if far too short at barely a minute length, and only more irresistible through the addition of Philippe Cattafesta’s piano organ.

Through the primal raging of Vasectomy, the song a fury of contagiousness and Frustration with its fertile noise bred roar, Violence only tightened its grip on attention and appetite; the lively hooks and spirited antics of both an inevitable and inescapable persuasion and each challenging that favourite moment choice, while Sugar is a collision of old school punk and rabid hardcore which ears and body had no defence to.

The final pair of Thieves & Liars and Nocturne take the album out as impressively as it came in, the first a multi-flavoured lure of punk and rock. It’s less intensive and ferocious presence compared to predecessors unveils a landscape of melodic and sonic dexterity but with an inherent cynicism and severity of word and emotion which makes you take stock while the final track is another inferno of the bands highly flavoursome and inventive sound with hooks and melodies that take hold of the senses like the strings of a puppeteer.

There is a definite uncompromising breath to the Union Jack sound which aligns a challenge with the temptation sprung but one which punk and noise fans will only relish along with the devilish enterprise which effortlessly escapes the band.

Violence is out now; available @ https://unionjack.bandcamp.com/album/violence

https://www.facebook.com/badska/   http://unionjack.free.fr

Pete RingMaster 27/09/2019

Copyright RingMaster: MyFreeCopyright

Headsticks – Kept In The Dark

If packaging decided best of year choices UK quartet Headsticks will have top honour sealed with new album Kept In The Dark. The surround to its music is simply glorious, easily the best art and presentation seen in many a year by these hungry eyes and embracing music just as mouth-watering it all makes for one irresistibly thrilling offering.

Checking out their previous album, Feather and Flame, three years back we suggested that Headsticks had confirmed themselves “as one of Britain’s most irresistible and essential punk ‘n’ roll adventures.” Well, while assuring you that nothing has changed, the band has revealed that previous success was just the beginning of bigger things; bold triumphs now presented by its successor. Parading their folk ‘n’ punk instinctive sound in all its glory, the new release is Headsticks at their boldest and most boisterous but equally with its richer kaleidoscope of styles and flavours it has equally nurtured its most defined character and individual adventure yet for the biggest pleasure.

Emerging late 2012, Stoke on Trent hailing Headsticks had built and earned a potent reputation through a rousing live presence and acclaimed debut album Muster in 2014; success only accelerated by the following Feather and Flame. That growth will only be escalated again by Kept In The Dark; the band’s finest moment to date as their socially and politically charged songs relish another striking spurt in diversity, imagination, and dramatic adventure.

The new release opens its bumper load of songs, with no filler in sight, with When. From its first breath, the punk ferocity and infectious incursion of the track gripped ears with vocalist Andrew Tranter masterfully steering the rousing trespass. Devious hooks and manipulative rhythms do their persuasive deeds with relish within a song which has echoes of bands such as The Vibrators and Angelic Upstarts to it.

The impressive start is immediately matched by I Love You and its ska natured saunter. As mentioned variety in the Headsticks sound is enjoyably no new thing but it is certainly at its most eager, bold, and fluidly unpredictable within Kept In The Dark. With a Ruts-esque lilt to its stroll, the song had little trouble in getting under the skin and luring participation from body and voice before Peace Or War erupts in a roar of punk ‘n’ roll carousing where the forceful but virulent swings of drummer Tom Carter collude hungrily with the brooding tones of Nick Bayes’ bass as the wiry melodic tendrils of guitar from Steven Dunn align with his rapacious riffs.

The following pair of Cynical and Mushrooms reinforce the album’s instant adventure and prowess; the first a seducing of acoustic punk with irritation fuelling its breath and its successor a mischievous ska pop swinging incitement easily leading hips and vocal chords into action. Both easily got under the skin but still are eclipsed by the superb Mr ‘I’m Alright Jack’. Bred on classic fifties rock ‘n roll, the track is a lure of swerving rhythmic hips and melody enriched rockabilly chords around riveting vocal incitement.

Through the rock driven reflection of My Own War, an easily relatable declaration, and It’s a Matter of Time with its equally melancholic intimacy and Americana twang, enjoyment only built while the hard rock flavouring of Smoke and Mirrors proceeded to add further diversity to Kept In The Dark.

Both aspects continued to blossom as classic metal and street poetry respectively shape the temptation and strength of What If They’re Right and Out of Fashion before Family Tree pounced on social and political unfairness and exploitation upon a reggae borne canter and All of the Trees captivated with its acoustic/punk rock dexterity.

The final trio of The Song For Songs Sake, When the Sun Turns Black, and Baboon Shepherd close the album out as masterfully as it began. The first is a contagion of folk rock irresistible to ear and body, the second a compelling apocalyptic rumble of voice and insinuation; each as magnetic as the other leaving the third to sign off the album with its eleven minute dub infused homage to the career and life of South African footballer Sam Shabangu and the aligning times and experiences of Tranter. It is a track which brings grin and reflection amidst nostalgia across a lengthy landscape which never outstays its welcome.

Headsticks continue to be one mightily engrossing and thrilling proposition which, as Kept In The Dark proves, just get better and better.

Kept In The Dark is out now via STP Records; available @ http://www.headsticks.co.uk/shop.html  or http://www.stprecords.co.uk/page2.htm and other online stores.

http://www.headsticks.co.uk   https://www.facebook.com/headsticksmusic   https://twitter.com/HeadsticksMusic

Pete RingMaster 05/03/2019

Copyright RingMaster: MyFreeCopyright

The Classy Wrecks – Bedrocksteady

 

If you are looking to get the feel good factor whilst giving body, spirit and soul a good work out then we suggest the debut album from Canadian outfit The Classy Wrecks. A collection of ska/rocksteady bred tracks, Bedrocksteady effortlessly had the body swinging and pleasure flowing from its energising first listen proving itself a tonic for any dull day.

Hailing from Toronto, The Classy Wrecks was formed in 2016 and quickly had ears and attention on board with the release of their first EP, Songs for the Extinct, the release seeing some of its tracks featured on radio stations around the globe. This led to the quintet of Daniel Mager, Bobby Shaw, Ian Herold, Roy Zada, and Alex Rodriguez signing with Trouble Town Records last year who released the Sociopath EP earlier this year and now the rousing Bedrocksteady.

A boisterous blend of ska, rocksteady, and reggae, the band’s sound makes for a proposition both familiar and fresh, an incitement persistently leading hips and feet astray with lusty endeavour as proven within an album which swiftly got under the skin and into the bones. Bedrocksteady opens with In the Evening and instantly the party is in full swing, the song a quickstep of ska flirtation and rhythmic temptation. Featuring the guest vocals of Cassondra Marie, the track strolls along with a pop fuelled swagger wrapped in a whiff of The Toasters. Vocally magnetic and musically manipulative, the track kicks the album off to a great start but within moments gets eclipsed.

The following One Drop Blues teases with its initial jangle, brass flames swiftly warming its lure as a Specials like hue breezes through ears. Its own lively sway soon seduced the same from the body, the track one of those where instincts to move take over, inclinations on constant alert across the album and especially next up If I Were to Tell You. The best track on the album, it has an eighties indie pop colouring entangled in its modern ska punk antics; a collusion of flavours which caught the imagination and appetite full-on with increasing tenacity.

Across the boozy pop romping of Superman (Is Going to Hell) and Keep Your Head Up Girl with its sultry saunter, album and captivation became further entangled; guitar jangles and brass flames alongside pulsating rhythms seductive enterprise so easy to succumb to with pleasure and eager motion and in full swing again with the rockier Time Moves On.

Across the release there is a hint of old school rockabilly to the fun, the last track teasing as too its successor, Little Baby Blues, especially when making its entrance. Again there is no escaping the almost devious wiles of its swing and sounds, the body naturally swinging to its canter before Northern Reggae springs its ska and melodic fervour from the speakers to induce a zestfully bouncing body.

Bedrocksteady finishes with firstly the Hub City Stompers like Sociopath, another of the album’s major highlights, and lastly the unscrupulous instrumental carnival that is Does Anyone Have a Patch Chord where even a graveyard would be pulsating to its kinetic alchemy.

They provide a fine end to a release which seems to become more tempting and enslaving by the listen. The Classy Wrecks have already made a potent mark across Ontario and beyond, more treats like this and a far broader landscape will soon be swinging to their musical manoeuvres.

Bedrocksteady is out now via Trouble Town Records across most stores and @ https://theclassywrecks.bandcamp.com/

https://www.facebook.com/TheClassyWrecks/  https://twitter.com/theclassywrecks

Pete RingMaster 15/11/2018

Copyright RingMaster: MyFreeCopyright

Bitter Grounds – Two Sides of Hope

Hailing from Utrecht, Bitter Grounds is a Dutch quartet that has a sound which could be best described as Hagfish meets The Vox Dolomites wrapped in the heart and breath of Bad Religion and Dropkick Murphys. But as swiftly evidenced within new album, Two Sides of Hope, it is a proposition with a bold and individual character that just demands keen attention.

Entangling the attitude and aggression of punk with the instinctive and raw attributes of ska, Bitter Grounds first stoked potent attention with their 2016 debut album Hollowlands. It emulated local support and praise across a broader landscape which now its successor should only strongly expand upon. Since that first release, the band has played numerous shows across Europe alongside the likes of The Real McKenzies and The Interrupters and earned plaudits for their performances at festivals such as like Punk Rock Holiday and Nice ‘n’ Sleazy. It is easy to suspect that Two Sides of Hope will spark an even bigger demand and time for Bitter Grounds such its stirring and virulent nature

As with its predecessor, the new album was recorded with engineer and producer Menno Bakker and immediately gets down to business with opener Lost. Instantly a spicy groove entangles senses rapping beats, highly catchy bait simply reinforced by bass, riffs and in turn boisterous vocals. The infectious attributes of the band’s sound and enterprise is as swiftly evident, coursing song and appetite with a viral quality whipping up eager participation. There is a familiarity to the track yet as with the band’s sound overall, it is a welcoming hue to something wholly individual.

The following Two Sides (of Hope) has a just as catchy lilt and swing to its tenacious swing shaped by a more intensive attitude. There is a defiant edge to every twist and turn, a rousing wind fuelling its incitement as the track swiftly got under the skin; a success more than matched by the contagious antics of Let Me See Now. Another which has a sense of an old friend returning with a new identity and intent, the song quickly had hips and feet doing its bidding as melodic and imaginative endeavour nurtured its brief but highly manipulative exploits.

As with its predecessor, the ska side of the band’s sound fuels next up Bad Dreams; its gait alone enticing physical involvement while the band’s potent dual vocal temptation works away on ears side by side with the jangle of guitar and the moodier stroll of the bass. Instinctively Bitter Grounds seem to conjure hooks and grooves which know what gets the juices going, My Time another addictive example with its melodic revelry and vocal dynamics.

Through the relatively calmer but just as infectious and mischievously woven Faded and the raucous holler of Let Them Talk, the album just reinforces its temptation and the band the creative dexterity of their songwriting and flavour rich music, the latter sparking thoughts that if Angelic Upstarts had embraced ska in their sound way back it would have been something akin to this inescapable trespass.

The album concludes with firstly Seven Nights, a Rancid scented stomp needing mere seconds to command limb and spirit, and finally the punk ‘n’ roll defiance of FML. With compelling rhythms battering the senses and riffs careering through ears as vocals spew attitude, the track is a tenacious and rousing end to one outstanding release.

From first breath to last, Two Sides of Hope hits the punk greedy spot, hungrily proving itself one of the best punk indeed rock ‘n’ roll albums of 2018.

Two Sides of Hope is out now, available @ https://bittergrounds.bandcamp.com/

http://bittergrounds.nl/   https://www.facebook.com/BitterGroundsBand/

 Pete RingMaster 16/10/2018

Copyright RingMaster: MyFreeCopyright

Millie Manders And The Shut Up – Shutup EP

It rapaciously rattles as it tenaciously rolls, aggressively snarls as it leaps around with viral infectiousness. No this is not a riddle but the sound of Millie Manders And The Shut Up on their new EP, Shutup; a proposition which had us instinctively drooling even before the first track of the inescapably mouth-watering release reached its finale.

London based, Millie Manders And The Shut Up stepped out in 2015, the band emerging from Millie’s solo career sharing ear grabbing acoustic enterprise which itself sprung from varied previous projects including Second Sense. With The Shutup around her vocal dexterity and prowess on the ukulele and alto saxophone, the band creates a punk rock bred incitement eagerly embracing varied flavours from pop punk to ska to aggression loaded alternative rock.  Similarly though, there are moments certainly within the Shutup EP, our introduction to the band, when essences of styles such as swing, new wave and R&B more than tease. It is truly an appetite rousing crossover flavour which with hindsight shows just why the first two EPs from the band, The Free-P and Obsession Transgression, were so warmly welcomed and praised by fans and media alike and now why, finding its fullest most adventurous character yet, it is a sound which seeds one of the year’s most exciting offerings.

The EP opens up with Right To Life, a shimmer of guitar caressing the immediately striking presence and voice of Millie as the song rises slowly but purposively to its feet. Its sepia jazz kissed sound is alluring enough, Lewis Slater’s guitar winding up the temptation, but it is just a smouldering kiss before the boisterous carnival of its stomp to come. A flick of its hips and the spontaneous burst of dancing flames from the trumpet of George Alan and the tenor sax of Dom Walker spring the track into contagious urgency; ska punk instincts entangling its more spiky rock endeavour as the track bounds along like a mix of Sonic Boom Six, No Doubt, and The Selector. Yet even with those easy to offer references, song and sound swiftly proves its own uniqueness with Millie herself vocally as individual as they come but with a  great whiff of Brody Dalle in league with Imelda May and Pauline Black.

The track is superb but instantly rivalled by its successors for favourite track honours here starting with Brave. The imposing ticking of a clock incites the muscular swings of drummer Alessandro Vitiello and as quickly the magnetic tones of Millie. Slipping into a slightly more restrained canter compared to its predecessor initially, the song carries a portentous air; an inviting threat which erupts with fiery blasts of brass searing its chorus placed expulsion. As with all tracks, the body was quickly manipulated by the captivating antics of the song, the imagination and appetite as quickly seduced and enslaved before the equally irresistible Lollipops launched its own compelling escapade. Again Vitiello’s beats thump away with relish and poise as the even grumpier bass of Matt Munford twangs with tenacity, the guitar adding its attitude lined riffery to the virulent slice of punk rock.

New single, One That Got Away, completes the creative scheming and magnificence. The coaxing of the fuzz lined guitar alone offers intoxicating hooks but every aspect of the song from rhythms, brass, and vocals breed their own distinctive barbs to be hooked and aroused by. It might be punk in its heart but as all tracks, it is pure rock ‘n’ roll; manna to the ear and instincts.

Millie Manders has been sharing the goodness for many years now but the Shutup EP is surely the moment attention explodes around the band; so just do what it says and get down to some serious inhibition free rocking.

The Shutup EP is out now @ https://milliemanders.bandcamp.com/album/shutup

Upcoming live shows:

October

25th – The Waterloo, Blackpool

November

9th – Pie Race, Warf Chambers, Leeds

10th – Breaking Barriers, Leuven, Belgium

December

1st – Fighting Cocks, Kingston

7th – The Harp Restrung, Folkestone

8th – Blueberry, Norwich

13th – Portland Arms, Cambridge

14th – Smokehouse, Ipswich

15th – Voodoo Lounge, Stanford

21st – Alma Inn, Bolton

22nd – The Bobbin, Lancaster

23rd – The Ainsty, York

https://www.facebook.com/milliemandersmusic/   https://twitter.com/milliemanders   https://www.instagram.com/milliemanders/

Pete RingMaster 03/10/2018

Copyright RingMaster: MyFreeCopyright

K-Man & The 45s – Self Titled

Pic DannyDonnovan @bucketlistmr

This month sees the new romping stomping album from Canadian outfit K-Man & The 45s uncaged, a release which had the body bouncing and spirit roaring like a teenage boy after his first sexual adventure. The band creates a contagious proposition from a fusion of ska and rockabilly spiced classic rock ‘n’ roll with plenty more involved, a recipe providing their finest feast of sound yet within their self-titled full-length.

Hailing from Montreal, K-Man & The 45s has been a constant and acclaimed presence on the Canadian music scene; their records luring keen praise and support and live presence just as rich plaudits and a matching reputation. The band has shared stages with the likes of The Slackers, Big D and The Kids Table, The Satellites, The Original Wailers , The Planet Smashers, The Brains and so many more as well as graced and ignite a host of festivals across their homeland over the years. It is easy to suggest that their new album is their greatest moment yet and even easier to eagerly push it towards the attention of ska, punk and rock ‘n’ roll fans alike with the band embracing the inspirations of bands such as The Specials, The Beat, The Ramones, and The Cramps among their influences though it is fair to say K-Man and co have successfully nurtured their own individual character of sound as in thick evidence across the new record now getting its deserved push via Stomp Records.

Opener They Gotta Know had us hooked with its first breath, a classic rock ‘n roll guitar lure entangling ears and appetite before the song leaps into its punk rock swing. The jangle of Kman’s guitar flirts as the beats of Brian Smith arouse against the melodic dance of an organ; a potent enticement only enhanced by the dancing flames of Josh Michaud’s trombone and the trumpet of Seb Fournier. Bouncing along to the track’s body and stroll is inevitable, we can testify to that, as the song gets the album off to a rousing start.

The following Poppy’s Back In Town is just as manipulative, its rowdier rock colluding with the animated canter of keys and guitar with, as in its predecessor and every song, Kman’s vocal mischief leading the fun. Lively melodies and lustful hooks line its boisterous stroll before I Don’t Mind wheels in with an instantly appealing breeze easily reminding of The Beat. The band soon adds its own distinct colour to the song, adding a vocal backing in which participation is simply unavoidable. Smith’s clipping beats just get under the skin too, the brass n turn into the passions as the track lustily manipulates body and spirit.

Rudy Don’t Smoke equally had the body dangling from its virulent strands of sound and enterprise; its ska and punk collusion a devilish puppeteer with a glint in the eye of its imagination before Piece Of The Action bursts in with drama and intrigue which would not be out of place in the theme to a sixties TV spy/private detective show. With a Department S-esque hue to its theatre, the song is more than a match for the lofty heights of its predecessors as too the cosmic adventure of Space Thriller. Bringing the atmospheric prowess of The Specials into a surf rock spiced ska saunter the track has the same level of drama and intimation as the last song, its story a sultry seduction of lust and danger descriptively shaped by brass led enterprise.

Through the punk ‘n’ roll/ska bred stomp of Road Rage Randy and the fifties rock ‘n’ roll seeded ska spin of This Moment, pleasure only escalates with the album, each adding a new shade of sound and mischief to its party before a great cover of The Kingpins’ Party in Ja joins the fun. Giving its reggae nurtured catchiness a Ruts like dub makeover the track pulsates on the senses as again the body is lost to an instinctive bounce.

Next up is Johnny Thumbs a track which maybe did not inflame the passions as others around it but still made for the most enjoyable playmate before the outstanding Far Away Eyes Come Home simply became a love affair with ears. From its revolving hooks and melodic enticement to vocal and rhythmic invitation, the song devoured inhibitions.

The album finishes with another gem in What’s Inside A Girl, a glorious garage punk and rockabilly spun tease with a healthy psychobilly and surf rock glaze led by yet another delicious bassline among so many across the album from Frankie amidst the perpetual rhythmic incitement of Smith. The song epitomises the craft, sound, and contagious exploits of K-Man & The 45s perfectly whilst at the same time sealing its best track moment though that is debated with each and every listen.

K-Man & The 45s is a band which deserves the biggest attention within the ska, punk, and simply great rock ‘n’ roll world; all the reasons are in their new album so no hanging around go have fun.

Recently the sad news that drummer Brian Smith has terminal pancreatic cancer was announced and a Go Fund Me page set up to support him and his family. To help out this great musician and friend to so many go to https://gofundme.com/support-brian-our-brother

The K-Man & The 45s album is out digitally and on vinyl now @ https://k-manthe45s.bandcamp.com/album/k-man-the-45s

 https://www.facebook.com/kman45/   https://twitter.com/kmanandthe45s

Pete RingMaster 14/08/2018

Copyright RingMaster: MyFreeCopyright

The Filaments – Look to the Skies

There are some sounds and records which may be firmly bred in a certain style or flavour but organically transcend boundaries to appeal to a diverse multitude of appetites. UK punks The Filaments and new album Look to the Skies epitomise that quality, its overwhelming energy, captivation, and simply rousing escapades posing as songs instinctive pleasure for almost anyone with a passion for creative fun.

With their debut album released in 2001, The Filaments has become one of punk’s finest and richly established propositions if not quite sparking the tide of success and awareness their songs and releases have deserved. Even the disbanding of the Chelmsford septet in 2005 has not diluted their creative prowess; in fact since reforming in 2009 the band has just tapped into a richer vein of writing and sound for our ears, with Look to the Skies their finest offering yet.

Bred from a punk heart as classic as it is bold, The Filaments’ sound just as keenly and instinctively embraces the rich hues of ska, 2-tone, Oi and more. Straight away Look To The Skies relishes this creative appetite and zeal, opener Fuck The Alt”-Right driving through ears with raw energy and attitude fuelled by its street punk breath. There is a great Stiff Little Fingers lilt to the short but explosive start to the album, its aural discontent mutually uncompromising and contagious.

Look To The Skies follows up its great start with its title track, another swiftly virulent encounter with a ska nurtured swing to its punk roar reminding of another of the UK’s finest in The Vox Dolomites. Hammond spiced keys add to its tide of lures, the duo of guitars and vocals a raucous incitement alongside and even more manipulative in next up Rip-Off World. More ska punk than ska spiced punk rock, the song had bodies bouncing and vocal chords blazing within seconds, only encouraging greater participation as it upped its magnetic enterprise and infection.

With barely a breath allowed from the listener between songs, album and band incite even greater involvement with the catchy punk ‘n’ roll holler of No Men To Parade. Something akin to Flogging Molly meets Spunk Volcano and The Eruptions to try and tag its individuality, the song is viral infection with a just as magnetic snarl and lyrical snagging.

As manipulative as their energy and catchy prowess is so is the diversity to the band’s sound which is emphasized by the emotive serenade and drama of the following Living In The Crosshairs. Like Rancid crooning with The Members, the song just got under the skin, brass and keys warm caresses to its rhythmic enticement before  Underdogs sets the album’s bounce at its loftiest. The track is superb, an invasion of invention and flavoursome fun which has every limb and deed locked in its sights and persuasion in quick time. It also echoes another great trait to the band’s sound, its seemingly familiar sounding uniqueness and relentless freshness; here a seductive Ruts DC scented dub twist adding to the lure.

Tread Carefully is just as insatiable in its hunger to get the listener leaping whilst snarling at the world; sounds, vocals, and words in rapacious league to infest and incite which it does with undiluted success for two breath taking minutes while its successor Ask No Favors shares four minutes plus of melodic flirtation lined with Madness-esque poppiness as drama builds syllable by syllable, note by note in tandem with pleasure.

The dirtier roar of All We’ve Ever Known leaves body exhausted and lungs empty next, another track hard to evade raucously joining in with, but somehow the album draws another burst of energy in both as within a breath of its predecessor, The Verge uncages its irresistible deeds and coaxing.

Killing Machine brings things to a mighty close, the track a punk driven rebellion with psychobilly devilry and ferocious virulence.

We could go on about the triumphs of Look to the Skies for numerous more paragraphs but the bottom-line is it is an album which attacks, consumes, and excites from start to finish with as mentioned barely a breath from release or listener being taken. It is not an album for punks; it is a release for anyone who loves rousing rock ‘n’ roll.

Look to the Skies is available now via Pirates Press Records and @ https://thefilaments.bandcamp.com/album/look-to-the-skies

 

https://www.facebook.com/thefilaments

Pete RingMaster 03/07/2018

Copyright RingMaster: MyFreeCopyright