Hands Off Gretel – Burn the Beauty Queen


Checking out the ear exciting single One Eyed Girl a few short weeks back, our closing line was “Roll on Burn The Beauty Queen”. That is the title of the debut album from UK grrl punksters Hands Off Gretel, and just a handful of days ago it was unveiled to quench hopes and anticipation for its potential riding on the back of its lead single. Burn the Beauty Queen is glorious, a feast of grunge fuelled punk ‘n’ roll snarling and barracking like a fusion of Die So Fluid, Spinnerette, and The Raincoats. It is an infestation of ears and psyche skilfully weaving recognisable flavours into its own distinctively imaginative exploits and more than fulfilling the promise offered by its first single.

Emerging from an early musical partnership between vocalist/guitarist Lauren Tate and guitarist Sean McAvinue and following the demise of the former’s Lauren Tate Band, Hands Off Gretel quickly started to draw attention with Tate’s ‘frustration songs’ as creative fuel. Late 2015 saw Sam Hobbins invited to play bass and drums on the South Yorkshire band’s album, subsequently become the permanent Hands Off Gretel drummer to join Tate and McAvinue, newest member bassist Joe Scotcher completing the current line-up.

In a year already seeing Hands Off Gretel release the single My Size as well as One Eyed Girl and play Whitby Goth Weekend, Camden Rocks Festival, Rebellion, Kaya Festival, and Isle of Wight Festival, Burn the Beauty Queen is the pinnacle and needs barely two minutes of opener Queen Universe to confirm the fact. Teasing, almost taunting with a lone riff initially, bait swiftly accompanied by the potent tones of Tate, the song is soon a cauldron of imposing rhythms, cantankerous riffs, and spiky hooks with bitchy harmonies adding their great snarl. It is a stunning start quickly reminding of those earlier references yet just as powerfully showing its own character of sound and invention as it stomps over senses and into the passions.

There is no chance of such a powerful bordering on psychotic beginning being followed by an antic-climax either as One Eyed Girl follows to confirm its position of one of the best songs heard this year. Grumbling in ears from its opening bassline, the track is soon aggressively challenging and seducing as Tate’s catchy yet confrontational tones align to the nagging and addictive exploits of McAvinue’s hooks and riffs as rhythms swing with venom. Again there is no escaping a Brody Dalle essence to vocals and indeed the sound but the song bounces around on its own unique terms to feed an already keen appetite for what is on offer.

art_RingMasterReviewBad Egg is next, coaxing ears with a singular hook wearing an early Adam and The Ants scent before things open up with wiry melodies and predacious beats as McAvinue’s guitar spins a web of tangy melodic intrigue. Less ferocious and imposing than its predecessors, the track is dangerously bewitching, leaving a lingering imprint before Teethin’ strolls in like a gunslinger, one hiding its bite behind catchy endeavours but perpetually gnawing away with post and old school punk invention. Its exceptional persuasion is followed by that of Little Man, a haunting ballad-esque canter seemingly as much inspired by the darker explorations of Siouxsie and The Banshees as bands like Hole and 4 Non Blondes, and quite irresistible.

From its dark shadows, Hands Off Gretel go for the jugular with the punk infested and simply brilliant Always Right. It is a rousingly irritable assault, like Bikini Kill meets Au Pairs and also fiercely addictive as its virulent enterprise and piecing hooks take hold before Under The Bed bares its cranky attitude and nature with creative zeal.

Through the barbarous Oh Shit with its predatory bassline and scything riffs and the raging fire of World Against She, Hands Off Gretel prove that even their least unique offerings simply ring true with ears and emotions and set the band well apart from the field whilst tracks like Eating Simon with its Three Imaginary Boys like Cure hooks and enslaving rhythmic rumbling offer evidence that the quartet just might be one of the bands helping steer British rock to new glories ahead.

Then we have Plasters, a superb and slightly deranged piece of imagination which drawls discord, musically and emotionally, whilst casting another highly addictive web of beats and sonic hooks. The song brings seventies punk, eighties new wave, and nineties grunge into the raw and twenty first century invention of Hands Off Gretel for something quite striking.

The dark amble and warning of Push The Girl and the climactic theatre of Awfully Miserable bring Burn the Beauty Queen to a powerful close; the first sublime creative drama in the ear and its successor, from an engrossing low key unleashing, a tempest of scything beats and grumpy basslines littered with electric grooves and spiky hooks as crescendos rise and fall.

It is a great end to one of the year’s most impressive and seriously pleasurable releases of 2016. Hands Off Gretel bring a fresh excitement to music, Burn the Beauty Queen the biggest thrill.

Burn the Beauty Queen is out now and available @ http://www.handsoffgretel.co.uk/_p/prd15/4533789831/product/burn-the-beauty-queen-album

http://www.handsoffgretel.co.uk/   https://www.facebook.com/handsoffgretel/

Pete RingMaster 21/09/2016

Copyright RingMaster: MyFreeCopyright

The Franklys – Comedown/Long Way

The Franklys_RingMasterReview

The Franklys create a sound as enjoyably nostalgic as it is fresh and individual to modern garage rock ‘n’ roll. They also uncage releases, like new single Comedown, which demand attention whilst sharing the suggestion that its creators has the potential to be one of the provocateurs that the future direction of modern rock ‘n’ roll might just hinge upon.

The band consists of Swedish born vocalist/rhythm guitarist Jen Ahlkvist and lead guitarist Fanny Broberg, America hailing Nicole Pinto, and British bassist Zoe Biggs. London is where the quartet met and the band is based though fair to say since emerging, The Franklys has been a blur on the live scene, persistently playing shows in and touring the UK, Europe, America, and Scandinavia as well as making prise luring appearances at festivals such as the Isle of Wight Festival, Strawberry Fields, and Camden Rocks. Their rousing and raw garage rock sound brings a mix of psych and punk rock from across the decades with plenty more to spice things up whilst inspirations range from The Hives, The Strokes, and Queens Of The Stone Age to Led Zeppelin, Mando Diao, Blondie, and The Who. Their self-titled debut EP whipped up intrigue and strong interest back in 2013 which the Bad News EP stirred up to greater success last year. Now it is Comedown making the potent nudge on broader spotlights and attention, and making an easy job of it so far since being recently unveiled.

Comedown instantly has ears under welcome siege with a blaze of fiery riffs soon joined by thumping beats and a raw wind of hungry energy to its invitation. The bassline of Biggs almost groans with relish as its stalks the web of bracing sonic and melodic flames escaping the guitars with Ahlkvist’s ear catching vocals adding further bite to the snarling temptation. It is a great blend which helps the song weaves something akin to The Raincoats and The Priscillas around a character which equally refuses to be majorly compared to another. Never taking a breath within its contagious confrontation, the track has body and spirit aroused and swiftly joining its rousing tempest of incitement.

Accompanying the outstanding track is Long Way; a far more subdued encounter with just as potent and seductive lures. Its climate is surf rock bred, its sultry shimmer sixties garage rock/pop coloured, and its scuzzy touch punk seeded. It simply enthrals from the off; beguiling ears and appetite whilst revealing another flavour and twist to the songwriting and sound of The Franklys. If The Shangri-Las were Spinnerette, or The Luv’d Ones were The Breeders, the results just might sound like Long Way.

Acclaim and The Franklys have already been more friends than strangers but it feels like things are going to get hotter and more flirtatious from hereon in as first Comedown and then the band take 2016 by the scruff of the neck.

Comedown is out now via Electric Wood Records and available @ http://www.thefranklys.com/product/pre-order-single-comedown-limited-edition-7-vinyl/ and through iTunes.

http://www.thefranklys.com   http://www.facebook.com/thefranklys   http://www.twitter.com/thefranklysuk

Pete RingMaster 26/04/2016

Copyright RingMaster: MyFreeCopyright

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Chasing Dragons – Faction:Prologue


Almost two years on from their forcibly impressive Checkmate EP, UK alt-metal quartet Chasing Dragons unleash its equally striking and rousing successor, the Faction:Prologue EP. The three track roar is a teaser to a forthcoming album from the Yorkshire hailing band and an incendiary confirmation that their contagious sound is one of the really fresh and dramatic proposals within the British metal scene.

Formed in 2011, the Leeds bred outfit has earned a powerful reputation for their dynamic live shows which over the years has seen the band share stages with the likes of Skindred, Pendulum, InMe, Death Angel, Betraying The Martyrs, Fearless Vampire Killers, Attack!Attack!, Skarlett Riot, and The Dead Lay Waiting among many. Early releases in the Take Flight For A Firefight EP of 2012 and the single Hindsight’s A Bitch the following year, marked the band out for attention though it is probably fair to say that Checkmate sparked the biggest acclaim loaded reactions until now. Faction:Prologue in many ways carries on where its predecessor left off with rhythmically imposing and melodically fiery proposals but equally the new trio of songs reveal a fresh richness in tone and intensity aligned to tenacious attention grabbing craft and emotive energy.

Faction-Prologue-Album-Art_RingMasterReviewwork-WebResFrom opener Devil In Her Eyes, band and release firmly seize ears and a swiftly nurtured appetite for their enjoyably imposing temptations. Straight away, the first track casts a web of melodic enterprise and bullish rhythms with matching riffs upon the senses. It is a forceful entrance as intimidating as it is inviting, especially once the recognisable and ever potent vocals of Tank spring into action. Her presence adds further drama and harmonic tempting to an already fiery mix driven by the tenacious rhythms of drummer Kate and bassist Murf. The track continues to infect ears and imagination with its swinging gait and sonic hooks; seemingly drawing on inspirations from bands such as Halestorm and Avenged Sevenfold but in its great unpredictable twists and creative turns sparking thoughts of bands like Spinnerette  and Flyleaf also, a foursome which probably most often comes close to giving a clue to the Chasing Dragons sound and individuality.

The outstanding start is matched in compelling kind by The Mutiny. As in the first, guitarist Mitch spins a spidery web of melodic imagination and intrigue which enticingly wraps the more volatile character of the rhythms and the rich flame of Tank’s commanding presence and voice. With backing vocals and siren-esque harmonies colluding with the raw snarl of the track and its lead vocal attack, the song beguiles as it sets ears and instincts alight with grouchy riffs and anthemic prowess, ultimately taking favourite song honours in the process.

Whitehorse closes off the EP, unveiling another side to the band’s maturing sound and of course the upcoming album. An electronic coaxing brings the track into view, its lure quickly joined by the hearty tones of Tank and subsequently a predacious prowl of stabbing riffs, antagonistic hooks, and rhythmic irritability. Harmonies and melodies soon temper the intimidation of the assault but without defusing the intrusive intent fuelling every note and beat.

Another tapestry of inventive endeavour and virulently catchy aggression, the song is a fine end to an excellent ‘return’ by Chasing Dragons to ears and speakers. There is no escaping that the band has got creatively bigger, bolder, and even more captivating; so roll on that album…

The Faction:Prologue EP is released March 29th @ http://chasingdragons.bigcartel.com/

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Pete RingMaster 29/03/3016

Copyright RingMaster: MyFreeCopyright

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Sassy Kraimspri – Cock Fight


Bringing the band’s trilogy of Cock Fight EPs in one riotous slab of essential rock ‘n’ roll, multinational rockers Sassy Kraimspri have unleashed a must have punk ‘n’ rock album of 2015 for all those yet to lay their destined to be lustful paws on the band’s previous releases. Consisting of musicians hailing from Norway, America, and Australia, the Stavanger hailing quartet have a sound to turn a party into a riot and a riot into unbridled debauchery, as evidenced in full explosive might by Cock Fight.

Sassy Kraimspri now consists of vocalist/guitarist Ida Collett Belle, guitarist Richard Belle, bassist Linda Pedersen, and Etienne on drums, the band itself emerging in 2006 with a sound which is part heavy rock, part punk, part rock pop, and all merciless seduction on body and soul. 2008 saw the release of debut album Dirty White Lies, the band just a duo back then of Ida Collett and drummer Tash Adams, who found success in Australian band SheRex. Three years later The Pussy Magnet EP was uncaged from the foursome, a well-received encounter recorded, as the Cock Fight EPs with producer Russ Russell (Napalm Death, The Wildhearts, Dimmu Borgir). Alongside these and the subsequent releases now making up the album, the band’s live presence has only grown and drawn continual acclaim, Sassy Kraimspri sharing stages with the likes of Skambankt, Melissa Auf der Maur, Casiokids, and Djerv along the way whilst playing in countries such as Canada, Norway, Australia, China, Germany, and the UK. The Cock Fight EPs awoke a new blaze of support and recognition in 2014, but together as Riot they forge one inescapable persuasion breeding full pleasure and in turn anticipation for the band’s sophomore album they are currently working on.

Looking at the songs in the order of the promo sent over (the actual order may differ on the release), the energies are ignited straight away with opener When It Rains, It Pours. Instantly gripping beats set ears and appetite off, their bait swiftly reinforced and matched by a heavily throated bassline. They alone set the tone for the enjoyment to be found across the release, but are a mere teaser for the rest of the track, and its subsequent companions, as guitars and vocals engage in magnetic enterprise and invigorating incitement. The song is a contagious affair, relatively restrained compared to some but an unrelenting weave of grooves and hooks that takes a firm hold of ears and appetite before making way for the outstanding Like a Drug. A spicy bass groove sets the lustful fun in motion, its gravelly twang the spark to a rhythmic swagger and similarly striding riffs. Like a blend of L7 and Breeders with the virulence of Spinnerette and punkish unpredictability of The Raincoats included, band and track bounce through ears like a sonic epidemic, infecting senses and psyche with its ferocious devilry.

COCK FIGHT coverReputation Radio/RingMaster Review     Current single Riot brings its riveting brawl forth next, again grooves and hooks an almost salacious flirtation as fiercely enticing beats and a grizzly bassline set down a primal lure. As its predecessor, the track has its claws in body and vocal chords quickly, it’s anthemic drive and roar a puppeteer under the influence of Ida Collett’s bellowing voice. The exceptional incitement is followed by the punk rock tenacity of Bad Disease, a track expelling antagonistic beauty like a mix of Bikini Kill and The Donnas with a little touch of The Slits to it. Submission is immediate and long term as it is with the punchier and more predatory Clay Pigeons. Again it is an offering with a virulent swing as it heads towards a delicious crescendo posing as a chorus where an excellent mix of raw vocals burst from across the band.

Addiction is a full flooding by this point of the release and only intensifies as the song Cock Fight snarls and launches its predacious provocation on ears. With harmonically seductive vocals glancing off its muscular stroll, the track roams ears and emotions with a hard rock adventure to its tempestuously hued landscape. It does feel like it is ready to swing aggressive rhythmic punches and sonic causticity at the drop of a note or syllable but stays in check for another prowling infection, which also best describes the spicier lure of its successor Dig It. A bluesy tinge adds to the drama and resourceful adventure of the song, and though it does not quite match up to the plateau of those before it, a meaty bassline and rumbling rhythms beneath that ever enthralling vocal temptation, ensures it is another unmissable stomp.

Say What is pure rock ‘n’ roll manna, sonic endeavour from the guitars winding around ears as a sultry air hugs smouldering vocals to seduce senses and passions. The song is aural eroticism; a reason to immerse in Sassy Kraimspri all on its own, though that is something you can lay at the romping feet of most encounters within Cock Fight.

There is one last blaze of rebellious revelry on the release, a storming cover of Great Balls Of Fire which lives up to its name in heat and energy whilst taking the punk of Jerry lee Lewis to a new and modern ferocity. It is simply a great end to an outstanding rock ‘n’ roll uproar. If you have the previous EPs making up Cock Fight, you will have to wait a little longer for a new thrill whilst enjoying the encounters you already have but for newcomers to Sassy Kraimspri  or part owners of their last trio of offerings, this is all your birthdays for the next decade in one exhausting and thrilling rampage.

Cock Fight is available from June 1st via Lady Luck Records digitally, on CD, and on vinyl.

http://www.sassykraimspri.com/   https://www.facebook.com/SassyKraimspri

RingMaster 01/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

The 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 @


RingMaster 16/01/2015

Copyright RingMaster: MyFreeCopyright

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The Creepshow – Life After Death


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.



RingMaster 22/10/2013

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