The Kut – Rock Paper Scissors

The Kut Promo

More captivating with every listen, Rock Paper Scissors is one of those encounters which make a bigger impact in four songs than many bands can in a handful of song loaded releases. The new EP from UK rockers The Kut; it is a ferocious yet alluring mix of grunge, alternative rock, and punk. Each of the tracks offers something different to those before it without departing from the core heart of the band’s sound. It is pop, punk, grunge all at once, but predominantly it is anthemic rock ‘n’ roll to rage and romp with.

Taking inspirations from bands such as Deftones, L7, Hole, Incubus, Placebo, Nirvana, and Faith No More, the London trio whipped up keen attention with their first EP Make Up last year whilst singles and songs like No Trace, Mario, Closure, and Doesn’t Matter Anyway have bred keen support and appetites for their emergence in fans and media alike. Now is the turn of the more dramatically imposing yet virulently contagious James LeRock Loughrey (Skindred,White Zombie, My Vitriol, Page & Plant, Bjork, Def Leppard) produced songs of Rock Paper Scissors to make their persuasions, and there seems little will stop them awakening an even hungrier spotlight upon the band.

Artwork- The Kut RPS   Immediately opener I Want You Maniac treats ears to a scuzzy riff matched by punchy rhythms and an inviting vocal confrontation from guitarist Maha. Just as swiftly there is a sense of a more aggressive, angry even, feel to the tone and music of the track which is supported and realised in broader visceral fashion across the rest of the EP. The infectious qualities which marked the previous release are just as prevalent too, hooks and anthemic vocals a virulent persuasion against the fuzz lined enterprise of Maha’s guitar and the thumping beats of Violet Cannibal aligned to the predatory lures of Alison Wood’s bass. As mentioned the track has a new aggressive and raw belligerence in sound which without doubt benefits band and release. The song hunts the senses like a mix of L7 and Distillers but with the punk toxicity of early Damned and the catchiness of The Ramones to its potency.

   Alekhine’s Gun steps up next and has a mellower more relaxed touch to its opening, though again there is menace in the rhythmic framing and atmosphere shadows surrounding the excellent vocals and infectious melodic tempting. The rage which seems to fuel the EP erupts in abrasing vocal bellows throughout the encounter but persistently it manages to return to a less volatile and equally compelling state, subsequently offering great unpredictability and adventure throughout.

The best tracks on the EP complete Rock Paper Scissors, the first coming with the rock/punk pop excellence of I Don’t Need Therapy. Brewing essences of bands like Spinnerette and Valentiine into its own distinct landscape of dirty rock ‘n’ roll, the song strolls boldly with simple but voracious riffs speared by gripping hooks whilst the bassline running through all is sheer grouchiness. The track has an inescapable familiarity to it but that only adds to the rich flavouring offered and enjoyed.

The closing Bad Man emerges as the favourite, everything about it preying on ears from scything rhythms to caustic riffery. Even its melodic passages have a sultry yet sinister occult/psyche rock colouring which would not be out of place in a Jess and the Ancient Ones or Blood Ceremony offering. The track is outstanding; the pinnacle of The Kut’s invention for personal tastes and a fine way to leave the listener with a long and lingering excited impression of the release.

Listening to Rock Paper Scissors it is still easy to feel there is plenty more to come from the threesome, in songwriting and sound as well as invention, to truly set the band aside from the rest and give the UK a band to rival the statures of bands like Hole and L7. Right now The Kut provide a thoroughly enjoyable and impressive proposal which goes just down a treat.

The Rock Paper Scissors EP is available now via Criminal Records digitally and on CD at https://thekut.bandcamp.com/album/rock-paper-scissors

Upcoming live dates for The Kut…

2nd May: Hell Fire Club, Redhill, Surrey

Saturday 16th May: Elektrowerkz, Angel, London

Saturday 24th May: Mainstage, Glastonbudget, Leicester

Saturday 23rd – 24th May: Strummercamp Festival, Manchester

Saturday 30th May: The Harvest Home, Haughton Regis, Bedford

http://www.thekut.co.uk/   https://www.facebook.com/thekutgirlsrock

RingMaster 15/04/2015

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

 

 

dragSTER – Dead Punk

Photo by Uglypunk —

Photo by Uglypunk

 

Not sure about you but the quality of British punk rock right now is inspiring tingles not that far removed from those felt when its first generation of sounds and bands were in their heyday. This is all down to bands like Coventry quintet dragSTER and ridiculously exhilarating releases like Dead Punk. Rampaging with thirteen riots of hostile punk ‘n’ roll, the band’s third album is a tempest of feet inflaming, passions rousing ferocity with a strength of invention and virulence to match. There has been some extraordinary rock ‘n’ roll storms in recent times but few can be said to have come close to the fire and flare of Dead Punk.

Formed in 2006, the Coventry hailing dragSTER built, on a love of 50’s iconography, sci-fi and B movie horror, and ‘dirty, fast and energetic music’, their own punk turbulence which was soon stirring up a nest of attention with its voracious energy and aggressively forceful sounds as pungently evidenced on the Rat Scabies produced Trailer Trash EP. Extremely well and greedily received by fans and media alike, the band reinforced their emergence with first album Step Into The Deathray in 2007. It was swiftly devoured upon release whilst subsequent shows with the likes of The Damned, The Buzzcocks, Sham 69, Eighties Matchbox and Electric Frankenstein only enhanced and increased their reputation before second album Here Come The Meat Robots in 2010 had its impressive say. Released as Dead Punk on STP Records, the release marked out the band as one of the most exciting prospects in UK and European rock ‘n’ roll. Featuring ex and current members of bands like UK Subs, Texas Terri Bomb, Criminal Class, and Pigface, dragSTER has pushed on again in both songwriting and sound to now uncage one of the modern punk classics.

A slither of an intro leads ears into the opening fury of Gatecrasher Hostage as Dead Punk begins consuming ears. The song is an instant roar, expelling abrasing riffs and thumping rhythms around the fiery confrontational tones of vocalist Fi Dragster. Ears and appetite are immediately seduced by the onslaught, especially as potent hooks and spicy grooves add their bait to the straight forward but already juicy sound. The machine gun bursts of beats from drummer Ryan Murphy only inflame the intensity and addictiveness of the encounter, leading the listener into a predacious web of dark temptation from guitarists Diesel and Ben Kelly, the latter following up with a short toxic solo of magnetic enterprise. It is a delicious bellow of a song and entrance by the album, a triumph straight away surpassed by its title track.

Dead Punk is, as all tracks to be honest, an addiction forging anthem of belligerence and cantankerous endeavour bound in grooves and hooks to lose inhibitions over. With nostrils flared and dragdradramuscles giving ears a thorough going over, the track compounds its might with a chorus even the deaf and deceased would be drawn to engage in. There is no escaping the slavery of the song, a potency grabbed by Drink You Pretty next and twisted into a new furnace of tangy grooves and chorus placed vocal roars. The song growls and rages with a raw infectiousness and diversely flavoured enterprise, squalling like a mix of X-Ray Spex and Midnight Mob with a healthy dose of  Distillers added. Also repeating and increasing its prowess and bait is the bass of Tom AK, the throaty and at times grizzled tones conjured bringing a perpetual primal lure to this and surrounding tracks, bait again is impossible to resist.

Through the broader dirt clad hard rock spicing of Cattle Prod, band and album keep the variety and thick attraction of the album blazing before Evil Craze provides another massive thrill with its balls to the wall punk rock savagery quipped with another seriously habitual roar of a chorus. The protagonist bursts from the speakers with an almost physical and certainly visceral presence, Fi raging over it like a Queen of attitude and defiance whilst vocally and musically the band beside her unleashes their individual and creative furies to equal intensity and glory.

Such its magnificence, there is an instant fear or feeling that maybe the next track has a mountain to climb to impress but that is soon dismissed by the rampant fifties seeded rock ‘n’ roll of The Dead Are Out In Droves. Garage and old school punk meets horror punk with metal bred venom for company; the track casts its own unique anthem of quarrelsome and addict making sounds, passing on the same challenge to compete to Terminal Loser. Opening with a Generation X like lure of guitar courted by a demonic bass temptation, the song is soon rumbling and grumbled with every note and swiping beat. That antagonistic intent is matched by the fearsome and ever captivating Fi as she opens up the pop tainted heart of the song. A Spinnerette whisper adds to the rigorously seduction at work whilst the guitars scowl and tempt with a canvas of vicious and riveting endeavour which ensures that the track easily matches the potency of the previous storms.

The furiously caustic sounds of Just Wanna Fuck provides one minute of unbridled punk lust next before Liar Like That stamps its raucous authority on ears and emotions with a volatile union of vocals for the chorus the final key in the corrosive passions chaining encounter. Both leaves ears exhausted and spark a serious greed for more, a want and need fed copiously by firstly the Misfits stroked raging of Death By A Thousand Cuts and straight after by the stalking temperament of Indonesian Buzz Cut. The first of the two seizes ears with a raw wind of riffs and bass grievances splintered by the crippling swings of Murphy whilst the second, from a prowling gait of an entrance is soon a viper’s nest of incendiary rhythms, stabbing riffs, and vocal incitement. The pair also come with their own breed of contagion posing as choruses and a lack of thought of using their toxic hooks and inflammatory grooves sparingly.

The refreshing melodic and mellower tones of Fight Fire With Gasoline infuse more new spicery to the album, though that is not to suggest it lacks the same unforgiving attitude in sound and voice as any other proposition with Dead Punk. Thoughts of Penetration come to the fore as the fascinating encounter croons and blazes within its inventive presence before leaving final track Skull Ring to bring it all to a highly satisfying end. The closer is a dark protagonist openly sculpted from the gene pool of seventies punk, The Adverts a suggested spicing, and a bracing and ravenous bruising of unfriendly and irresistible rock ‘n’ roll impressively completing an outstanding provocateur of a release.

Dead Punk is not only one of the finest if not best punk release of recent times but stands on the front line of any emotionally and energetically charged slab of rock ‘n’ roll heard over the past twelve months or so.

Dead Punk is available via STP Records now on CD @ http://www.stprecords.co.uk/page4.htmn and digitally @

www.dragsteruk.com

RingMaster 16/01/2015

Copyright RingMaster: MyFreeCopyright

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

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The Creepshow – Life After Death

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With a shakeup in the band line-up having marked the past year or so, Canadian rockers The Creepshow unleash their new album to easily answer any questions, or doubts which may have risen over the period concerning the change. Life After Death is a thumping treat of a riot, a bruising and seductive blaze of multi-flavoured rock ‘n’ roll which feeds all the constant hunger for the band’s distinctive sound within fans whilst expand their sound to its fullest adventure yet. The eleven track stomp sees the Toronto quintet sculpting songs from a fiery mix of rockabilly, psychobilly, punk, and hard rock, a rangy blend which stretches the imagination and energy of the band arguably to its greatest potency to date. It is a storming encounter which ignites the senses and passions as only The Creepshow can.

Formed in 2005, the band has built a formidable place within psychobilly bred adventure through their impressive albums and dramatically riveting and raucous live shows which has seen the band alongside the likes of Rancid, Tiger Army, TheUnseen, Agnostic Front, Mad Sin, Demented Are Go to name just a few and ignite numerous festivals such as like Ink’n’Iron, Festival Of Fear, Mighty Sounds, and Rebellion over the years. Their releases from debut album Sell Your Soul of 2006, the exceptional Run for Your Life two years later, and the equally incendiary They All Fall Down in 2010, have helped thrust the band to the frontline of rock ‘n’ roll bred voraciousness but certainly the departure of vocalist Sarah “Sin” Blackwood to focus on her involvement with Walk Off The Earth last year raised some questions about the band’s future sound. The truth, as shown by the new release, is that the change has only drawn a fresh breath into and energy from the band, a new appetite which has honed Life After Death into an exceptionally vibrant and compelling confrontation.

Stepping into the gap left by Blackwood is Kendalyn “Kenda” Legaspi, her vocal fire and guitar craft a stylish hungry presence which takes the snarl of the band into a fresh rapaciousness and devilry to match the movement of the band’s sound. Life After Death also sees new drummer Sandro Sanchioni and guitarist Daniel Flamm (Ski’ s Country Trash) alongside Legaspi, bassist Sean “Sickboy” McNab, and Kristian “The Reverend McGinty” Rowles on keys, a fresh union which finds The Creepshow arguably at their most powerful and gripping.

Opener See You In Hell storms through the ear with a greedy charge of badgering rhythms and adrenaline coaxed riffs, the track a Press_Cover_03psychobilly contagion which without creating new realms for the style provides a predatory thrill which ticks all the right boxes for the passions. The vocals of Legaspi on this song have initially a voice close to that of Blackwood but as the album expands she shows her distinct and unique presence potently alongside the musical adventures. With the upright bass craft of McNab as delicious and inciting as expected with the band’s invention, the track is a stonking start to the album which is soon backed by The Devil’s Son. The song from its opening second has a sultry lure and heated breath to its rockabilly prowl, keys a smouldering glaze over the rhythmic caging of the imagination and the seductive Wanda Jackson hinting vocals. Insistently infectious the song merges a fifties swagger with a sixties keys narrative which with the excellent vocal harmonies just captivates and mesmerises the imagination.

The first single from the release Sinners & Saints bounds into view next, the song a feisty energetic dance of juggling rhythms and bass provocation beneath a melodic flame of easily accessible and inventive temptation. For personal tastes it is not the strongest or preferred song to tempt people into the album but it is still a pleasing and enticing encounter which sets up an even greater appetite for the following gems of Born To Lose and Settle The Score. The first is a song which maybe should not work but does magnificently. Like a merger of Jerry Lee Lewis and Meatloaf, the fusion of classic rock ‘n’ roll and seventies hard rock with glam tendencies leaves the senses breathless and intrigued. A track which walks the fine line between being crazy and sparking total adoration, it is ultimately a riveting slice of invention which challenges and explores the imagination for the strongest satisfaction. Its successor like the first song of the album, is less adventurous rather sticking to a straightforward rockabilly stance but at the same time has no lack of punch and virulent bait to continue the impressive body of the album.

Failing Grade makes a grab for the passions next, its brawling intensity and confronting energy caged within a rhythmic irresistibility sheer magnetism. There is a punk rabidity to the song which urges it on whilst vocally, Legaspi backed again by great band confirmation steals prime attention. Like a mix of Spinnerette and Tiger Army it is a major joy with the keys of Rowles casting an absorbing evocative weave over the heart of the song with his imagination. One of many highlights upon the release it is not standing alone for long as immediately both Second Chance and Last Call state their claims for top spot on the release, the first an elegant stomp soaked in sixties inspired keys and veined with rockabilly punctuation whilst its successor is a glorious fire of punk and blues rock ‘n’ roll. Like a blend of Flogging Molly and Bill Haley with King Kurt the Ringleader, it is a terrific unpredictable gem with McNab leading the vocals across a scintillating brass flame of inventive temptation.

Just as right across its length the album closes by unloading another mass brawl of mighty allurements, Take It Away first igniting the ears with its anthemic rockabilly antagonism before making way for the outstanding punk ‘n’ roll predation of Can’t Wait To See You Fall. The song with another psychobilly and punk explosiveness within a sweltering melodic sky leaves the hunger rabid for more, with the sensational vocals of Legaspi a sirenesque temptress which she repeats upon the closing title track. An exceptional conclusion to an equally immense album, the song ensures that Life After Death is a lingering battling enticement of pleasure.

The Creepshow just go from strength to strength and have not let a little matter of changing front ladies diffuse their invention, imagination, and might. Punk ‘n’ roll album of the year…it just might be.

http://www.thecreepshow.org

9/10

RingMaster 22/10/2013

Copyright RingMaster: MyFreeCopyright

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

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Deathcrush – Skool’s In

deathcrush pic

As instantly impacting as a right hook to the jaw, Skool’s In from Norwegian band Deathcrush easily shows what the buzz covering the band right now is all about and proves it is more than justified. A seamless collage of sounds and invention brought with a primal growl and uncompromising hunger, the 12” debut from the Oslo trio is a scintillating and passion gripping tour-de-force, and one you only feel is scratching the surface of the band’s depths and future.

Released on the back of their limited flexi disc release within a double poster magazine, Skool’s In is a four track vinyl temptress which is devilishly seductive and mercilessly addictive, and again that is only the tip of the sonically and rhythmically carnivorous bewitchment. Since forming the threesome of vocalist/guitarist Linn Nystadnes, bassist/vocalist Åse Røyset, and vocalist/drummer Vidar Evensen has garnered potent acclaim and fanbase through their live performances across Norway, Europe and beyond with their thick and magnetic noise rock originality. Recording a bundle of songs with Billy Anderson (Swans, Melvins, Mr. Bungle) and Jørgen Træen (Datarock, Annie, Sondre Lerche), the band is with Skool’s In starting off a much anticipated series of singles, the first a mighty scintillating beginning it is.

Opening track Lesson #3 for Gina Kikoine / You Now takes no time to unleash a bass snarl which preys on the ear whilst the drums stalk a1169124254_2with their own teasing design. Across it the vocals of Nystadnes and Åse Røyset either alone or together enchant with charm and menace whilst the guitar splits and sculpts the air with flesh singing sonic narrative. It is a powerful insidiously sirenesque persuasion which brews an intensity and smothering embrace which defies escape and breeds addiction whilst the electronic teases and taunts only excite the senses further into greater lustful submission. Like a mix of Melt Banana, Spinnerette, and 4 Non Blondes, but not, the track is a blistering almost disorientating sabre swipe of noise rock with acidic pop infectiousness and an exceptional start to the EP.

The immediate pinnacle is soon followed and matched by Lesson #4 for Wharton Tiers / Strauss, a track which explores even darker intensive shadows and the sonic creative destructive depths of the band and their craft. The first soundscape of the song is an apocalyptic like burning corrosive flight which takes a breather for the vocal almost childlike kisses to sooth and strap the passions in before making another fall through a synapse scraping imagination poking tempest. Nor as easily accessible as its predecessor but completely equal in impacting strength, aggressive persuasion, and unbridled excellence, the song leaves no doubt to the extensive intent and expanse of the band’s sound and ideas. It helps pile on the rabid anticipation for future singles and releases, something which is just as easily fed by the next up track.

     Lesson #13 for Nanker Phelge / Fire was the song which featured on the flexi-disc and within such immense company stands as potent and unique as before whilst increasing further the band’s reputation and stature. A track which from the start stalks and prowls the senses providing ammunition for heart and mind whilst feeding the senses and emotions with a slow romp of ridiculously contagious sound and imagination, the track just traps and enslaves with its ear bracing synapse eroding guitar and bass crawl within a rhythmic herding of the passions. There is a post punk charm and punk voracity to the song which reminds a little of the Au Pairs and The Raincoats whilst the noise slicing of the atmosphere is Pixies/ Valentiine like, yet again these are slight references  to something unique to Deathcrush.

The outstanding release is completed by the Fire remix of the third song by James Njie. It is a pop /dancefloor igniting electro stomp with a breath of J-Pop to its mesmeric and irresistible dance. Still managing to retain an element of the carnivorous side of Deathcrush the track is a crystalline treat which makes us almost reassess our thoughts on the point of remixes.

Released via Norway Rat Records, Skool’s In is just magnificent, a raptor of brilliance within a noise and mental examination, and the undeniable debut of a band which is going to coax and command our attentions and passions for horizons to come.

http://www.deathcrush.no

10/10

RingMaster 07/10/2013

Copyright RingMaster: MyFreeCopyright

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Valentiine: Self Titled

valentiine pic

With the single Love Like having already teased and lit up our senses a few weeks back it is fair to say that anticipation for the debut album of Australian band Valentiine had a real hunger to it, especially after the unveiling of the brilliant new single Chucky in the past few days. The self-titled release has now stepped forward to not only live up to the suggestiveness of the pair of aural temptresses posing as singles but elevated the trio to one of the most thrilling and still richly promising bands to emerge this year. It is a predator of an album that toys with and manipulates the passions for a riotous and magnetic flame of bruising seduction.

Hailing from Melbourne, the threesome of Vanessa V (guitar/vocals), Erica E (bass/vocals), and Shelly K (drums/vocals) have a sound which is to simplify things a blend of garage rock and punk. Direct and emotively intrusive it also has a grunge seeded melodic fire which sears senses and thoughts whilst rhythmic badgering deviously diverts the attention. It is a sound which has a strong familiarity but equally lays a distinct hand on the passions directly bred from the band. Since forming Valentiine has not only left their homeland enamoured but persuaded fans across Europe and the UK with their powerful and contagious sounds. A successful 22 date European tour last year was followed by the band signing with UK independent, Integrity Records (Million Dead, Reuben, Katastrophy Wife), the two singles and now album a following potent step towards world domination one suspects.

Imagine a mix of The Breeders, Spinnerette, and Veruca Salt with a healthy snarl of L7 as well as a strong pop imagination, and you artworks-000050495136-39ybnn-t500x500get a strong impression of what Valentiine ignite the passions with. As mentioned it is a sound which has a welcoming familiarity but infuses it into their singular potent invention musically and lyrically. The songs hold narratives of everyday life and situations, honestly and often starkly presented with a dark mischievousness, and all veined with addiction causing hooks and infection sparking enterprise which is impossible to resist.

     Love Like opens up the encounter, the track an even paced roam through the ear with intimidation and steel to its riveting presence. Rhythmic sinews cage the senses as the guitar unleashes sonic fire, the combination gripping attention as the excellent and varied vocals of Vanessa V coax further with a mix of riled attitude and melodic seduction. It is an outstanding introduction to the album, a caustic caress seeded in fire borne intensity and a song that secures instant attraction, though it is soon surpassed by new single Chucky. Recounting the ladies own ‘morning after’ hangover blues in graphic detail, the track first teases with guitar and vocals before stomping into a fascination of bubble gum pop and shadow clad punk ‘n’ roll. It is ridiculously addictive; its easy yet perfectly honed enticement a blend of Green Day and The Shangri-Las which leads the listener into an insatiable dance of rhythmic temptation and pop punk wantonness.

Now into the stride of the release it begins to stretch out its darker tones and imaginative ingenuity, both Birthday and Finch opening new diversity to songwriting and sound. The first is a slow burner with the grunge growl of a Nirvana or Hole, its lingering and building intensity a dramatic smack across the senses, whilst the second tenderises with a sonic niggle and drum battering within restrained emotive incitement and sirenesque cheerleader like sultry harmonies. Both are again rich and drama clad musical treats though they do have to surrender to the even greater triumphs of firstly the smouldering When You Want, a track with a more than loud Pixies whisper to its inventive crawl, and secondly the venomous Hates Me. This track is pure L7 meets Puddle Of Mudd filtered through a malevolently spiced vat of spiteful punk, its bite dangerous but alluring with epidemic charm.

As the musicianship and imagination of the band conjures more insatiable devilment and virulent enticements it is impossible not to fall for the call of the album, though when it continues to offer such glories as the scintillating Never Forget You and its twisting metallic tentacles of guitar and bass entrapment, and the rapacious and brilliant Animal, submission was always a done deal.

As the variation and thrills keep coming with further major highlights coming from the Pixiesque Better For Me and the gnarly Kick It, the album stakes its claim as on of the most impressive releases this year. Every song leaves a lingering branding on the passions and thoughts whilst satisfaction and entertainment are delivered aural manner by the twelve, it has to be said, brilliant triumphs. Valentiine will be a major band, no doubts, and their debut album destined for the classic shelf.

http://www.valentiine.com/

10/10

RingMaster 22/06/2013

Copyright RingMaster: MyFreeCopyright

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Forgery Lit – Onamacritus

Forgery Lit pic

Listening to Onamacritus, the new EP from UK band Forgery Lit, the overriding feeling is that tingle you get when you feel like you are in on the beginning of something rather special, an awareness which not many others have had the taste of yet, though it would be a real shock if the trio from Bristol were not echoing around the senses of a great many in the very near future. Their four track release is simply scintillating, an inspired and imaginative temptation bred from distinct invention and unique aural mischief. Sounding like the tantalising offspring from an orgy between Blood Red Shoes, Breeders, and Penetration with the Au Pairs and Spinnerette offering their juices, and yet sounding something completely different, Forgery Lit is a fire waiting to happen, and their new release we suggest the irresistible spark.

Consisting of Ami Amp (vocals/drums), Gareth Jones (bass/backing vocals), and Niko Mar (guitar, backing vocals), the three friends from three different parts of the world (Greece, South east and South west of England), take inspirations from the likes of Juliette and the Licks, Mogwai, No Doubt, Nirvana and more, spicing up a sound which defies tagging and stands loudly distinctive to the band. As shown by the EP, it is a fusion of indie and rock which employs breaths from many other ventures for one new thrilling experience.

As soon as Dirty Life throws a mesh of sonic dust at the ear senses are opened up and appetite wide eyed in anticipation. It is a 27934_607200582626200_832823740_nbrief scrub soon replaced by a teasing groove and strolling rhythms hand in hand with a swagger lit bassline. The vocals of Amp confidently coax and seduce with slight menace and total persuasion adding to the provocative temptation which subsequently reacts to the listener’s submission with a sonic crescendo of squalling greedy energy before going through the whole incendiary lure again to cement the deal. The drift into blues soaked tempting within a bedlamic ambience makes for an unexpected and exciting aside whilst the returning earnest tempest confirms the already incited ardour. The lead track/video from the release it makes a potent introduction to the band.

She Said has a reggae whispering walk to its opening embrace with the vocals and rhythmic enticement of Amp waving a beckoning finger at the ear before bass and guitar light up the scenic embrace with feisty passion and evocative colour. A more gentle engagement than the previous song it still grabs thoughts and emotions by the scruff of the neck and leads them into an excitable dance of discord teasing melodic blistering crafted with a post punk enterprise. It has an uncompromising invention which is hypnotic in its invigorating ingenuity but is never afraid to drench it in a surge of heart sculpted energy bleeding ferocity.

With just two songs the EP has won its case but with the remaining pair of Bicycle and Fairweather, there is nothing less than more eclectic weaves and rapture igniting quality to devour and drive those thoughts and expectations that Forgery Lit is poised to become a new force in UK rock. The first of the two stands eye to eye with the senses, a riff guided groove searing the synapses to enslave their focus before beats cage their escape and Amp lays out her narrative with a seductive wantonness.  It is with the expulsion of sky bound sonic flames with acidic melodic fuel and a deliciously broody bass assistance that the track finds another plateau of excellence. X-Ray Spex meets Karn8, it is a sizzling and beguiling confrontation and the best track on the EP, a creative devilment which says as much about the immense invention as the other three songs together.

The closing Fairweather is a slowly smouldering caress which is as gentle as it is caustic in its predatory surges, a final piece of passionate and expansive excellence setting the band up as one of the most exciting and promising bands of recent years. Recorded at AudioBeach Studios with Forbes Coleman, Onamacritus is one release all need to invite into their ears, your hearts it will find by itself soon after.

https://www.facebook.com/forgerylit

9/10

RingMaster 28/05/2013

Copyright RingMaster: MyFreeCopyright

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Chantal Claret – The One, The Only…

by Anna-Franziska Milanollo

by Anna-Franziska Milanollo

With big boned rhythmic seduction and even more tempting melodic suggestiveness, the debut album from Chantal Claret is one delicious romp of sixties pop and modern insatiable inventive hunger, a release which makes the term having a good time as a description seem rudely limiting. The former vocalist for the excellent Morningwood, Claret has crafted her own soulful and enchanting not forgetting vivacious sound, into a larger than life treat which brings femme-pop from five decades ago in a feisty and thrilling union with attitude drenched indie pop. Think Imelda May meets Brenda Lee with strong whispers of Wanda Jackson, Gwen Stefani, and at times essences of Brody Dalle’s Spinnerette, and you get the unique presence of Chantal Claret. The One, The Only… is an album which has feet and emotions pumping in time and passion with the forthright sounds it offers, a release which quite simply and persistently thrills with each and every enthralling note.

    The One, The Only… is something very different from anything Morningwood unveiled though there is still a visible thread The One, The Only. . . Chantal Claret by Nick Walker Photography 2between the two due to the stand alone vocals of Claret who arguably upon her first full length solo release has found an even richer and expansive depth to her tone and delivery. Following up the acclaimed Pleasure Seekers EP whose four tracks also grace this album, the new release dances with the passions and ear to send a rapture marauding through the body like a tide of raucous melodic energy which ebbs and flows yet never leaves anything less than captivated seduction roaming its presence.

The opening intro introduces the artist like you would have found at an authentic live performance or TV show of the sixties, or so my Dad told me… an audience excited and drooling as the artist takes her spot in their eager spotlight. It leads right into the muscular rhythms and initial crafty tease of Bite Your Tongue, a song which sways with devilment whilst coaxing the passions into its instantly infectious embrace. The rhythms continue to dominate from the drums and bass, even in its quietest lure, whilst the keys add smokey whispers to stand side by side with the blaze of horns. It is a terrific start with a female snarl and wile to its magnetic temptation.

The thrilling start continues with Pleasure Seekers, a track which has the fire of the band of the same name in the sixties and the gentle pop artfulness of Nancy Sinatra, through the contagious Pop Pop Bang Bang and on to This Time. The second of the trio is one of the highest pinnacles, its arrival on a nursery rhyme like coaxing opening moving into a riveting stroll of woman scorned devilry with accompanying violent intent. Not the most involved song in its construction but certainly the most dramatically mesmeric and energetic, the track enlists the listener into its revengeful mischief with enigmatic craft and arcane breath. The third of the trio leads the senses into a wealth of bulging rhythms and enchanted melodies coated in a sinister design which sparks an ardour as potent as the sacrificial seduction of a siren, both inescapable and unrelenting.

Arguably there is a constant surface shine and glow to the songs which shades the variety at work initially but with songs like the Crystals/Yeah Yeah Yeahs prompting No Love Lost and the Aretha Franklin/Gwen Stefani call to arms of Real Girls and their curves and swerves, any similarity in the coating is soon dispelled with their individual voices, the latter of these two a hip hop/pop fusion which makes it impossible not to hungrily enlist in its cause.

Further flames of pleasure come with the fifties gaited Black Widow, a song which is as tricky as it is insatiable, its aural tongue licking its lips as it seizes the heart with the appetite of its subject. The Mari Wilson sounding Honey Honey stands alongside the song as another real high point its sixties energetic kiss from keys and passionate vocals leaving thoughts and emotions into unbridled mischief before handing over to the excellent Song For The Sinners, the best song on the album. It stomps with guileful invitation and addictive charisma whilst the licking flames of the again irresistible horns incite further temptation into its cute yet dangerous heart.

The One, The Only… is an outstanding album which guarantees nothing but full and breath-taking pleasure, and who could want to share those moments with anyone other than the temptress Chantal Claret.

http://chantalclaret.com/

9/10

RingMaster 03/04/2013

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