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

 

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Pete RingMaster 03/07/2018

Copyright RingMaster: MyFreeCopyright

Skurvi – Get ‘Em In

skurvi_RingMasterReview

Since emerging in 2008, booze and rebellion, belligerence and unbridled fun have been all potent elements to the punk rock roar of UK quartet Skurvi. Equally, inescapable hooks, voracious riffs, and a sing-a-long prowess second to none have shaped attitude loaded songs which nag and incite whilst lending themselves to insatiable partying. Nothing has changed in the Brighton band’s new album Get ‘Em In, though fair to say that every element has been turned up numerous notches for its thirteen tenaciously rousing punk anthems.

Creating contagious brawls of old school punk, oi!, and raw rock ‘n’ roll since day one, Skurvi has earned a potent reputation for their bracing anthemic confrontations and the 2014 released Pints Half Full EP. It has led to strong anticipation for the first album from the foursome of vocalist Jimmy Skurvi, guitarist Perry, bassist Liam, and drummer Craig; a wait quickly made very worthwhile with opener Till We Die. Straight away rhythms and riffs gang up on ears as a swinging hook lays down easy going but potent bait. Led by the rousing tones of Jimmy, the band is soon calling the shots with their gang shouts around as catchy a slice of punk rock as you are likely to hear this year.

It is a spirit inflaming start to the Pat Collier mixed and mastered album; not offering major surprises but commandingly fresh and virulent as it gets the listener to their feet with vocal involvement included and sets the appetite up for things to come starting with Skinhead. UK Subs like in many ways, the street punk toned track jabs and pokes with its jangling riffs and intrusive rhythms as Jimmy vocally challenges. There is no option but to get physically and vocally involved; a submission all tracks draw to be fair and majorly highlighted by the outstanding Snatch Squad with its rolling rhythms and deliciously throaty bassline entangled in more anthemic vocal incitement from across the band. With a ring The Adicts to it, the song as the first track upon Get ‘Em In, becomes a firm favourite with lingering persuasion.

art_RingMasterReviewDrunken Nights whips up attention with its harmonic vocal calls and niggling hook next whilst Alright follows with a great Stiff Little Fingers like character to its full throttle stomp. Both provide choruses which instantly spark eager participation; again a constant success which is just as inescapable in the likes of Isn’t Where It Ends, a seventies scented oi! bred track which might lack the final spark of previous tracks but still whips up nothing less than thick enjoyment.

Skum Rises brings a Spunk Volcano and the Eruptions to it which is no surprise as the track was written by Spunk himself, the only non Skurvi written provocation on the album. With its middle finger forcibly erect, band and song quarrel with ears whilst leaving them greedily satisfied before Better Way bounds in with sinew swung beats and a feisty attitude in sound and word to the fore. Again whether there is anything new in the song can be debated but with its refreshing urgency and cantankerous imagination, there is little care as it continues the album’s unstoppable infection of ears and the passions.

She’s Coming is a straightforward and seriously enjoyable stirring of punk instincts whilst Wanting More has a Crashed Out meets Royal Oi! scent to it; both tracks again only feeding an increasing greed for more though the pair do get outshone by the blistering assault of Geezer. Bruising and imposingly catchy, the song shows that punk comes best raw and without any graces before the closing pair of Work and Her leave release and listener on a breathless high with their own individual punk riots. Hooks and anthemic vocals are as keen and weighty as ever in both, their pairing providing a mighty end to a relentlessly enjoyable rock ‘n’ roll scrap.

Skurvi do not try to reinvent the punk scene with their sound and indeed Get ‘Em In but instead focus on having and giving bruising fun whilst creating invigorating spirit rousing proposals. It is punk rock to the core, boisterous rock ‘n’ roll as it should be, and boy is it fun.

Get ‘Em In is out now via STP Records @ http://www.stprecords.co.uk/page4.htm

https://www.facebook.com/skurvi   https://twitter.com/skurviband

Pete RingMaster 22/03/2016

Copyright RingMaster: MyFreeCopyright

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The Kingcrows – Funland

 

Kingcrows_RingMaster Review

For all the exceptional punk releases and bands igniting the rock scene over recent years, there is no still no substitute yet for the special tingle which only lifts its head with a ‘77 found roar. As we all know, it is a never diminishing inspirational period for punk rock and the never ending torrent of bands spawning their own identity with its antagonistic hues. Some breed a sound which is as close a cousin as you could wish for, amongst them The Kingcrows who are simply a rousing bridge between the late seventies and modern punk ‘n’ roll. Their previous releases have already made that declaration but new album Funland sets it in stone, the UK quartet involving the listener in something energetically aggressive, attitude driven, and most of all undiluted sleaze wrapped fun.

Hailing from Leeds, the quartet of vocalist Phil E Stine, guitarist Lee J., bassist Rocco, and drummer Ratbag have been a bruising and thrilling live presence across the north of England moving outwards. Emerging in 2005, The Kingcrows has torn up stages with their filthy rock ‘n’ roll ever since, playing alongside the likes of Spear Of Destiny, UK Subs, The Rezillos, TV Smith, Anti Nowhere League, Tokyo Dragons, Vice Squad, The Lurkers, 999, The Vibrators, Red Alert, The Outcasts, Peter & The Test Tube Babies and many more legendary and emerging bands over the years. They have also released a clutch of attention grabbing EPs, which made an even bigger impression when collected together and released in the shape of Corvus Maximus through STP Records in 2013. The album awoke a broader focus and awareness of the band’s unfussy and virulent sound, which Funland should now push into new spotlights and recognition.

The album erupts with Here We Go, the first riot initially blooming from a fairground organ and its warm invitation. Soon rhythms rumble with attitude and riffs stir up the air as the opener’s eager rock ‘n’ roll seizes ears and attention. The song is quickly into its virulent and persistent stride, cruising with jabbing beats spearing grouchy guitar and bass tenacity. The track is like a mix of Spunk Volcano and The Eruptions and The Adicts, similarity and nostalgia colluding with fresh attitude and revelry.

cover_RingMaster Review     A potent start to the album is further ignited by the following She’s My Rock ‘N’ Roll and its thrilling tempting. An alluring rhythmic enticing sparks a rockabilly bred grooving flirted with by spicy harmonica, they in turn kick-starting a heavy anthemic canter of contagious rhythms and incendiary sonic enterprise led by the ever magnetic tones of Stine. The track is glorious, punk rock at its tenacious and riotous best, and again as old school as it is imposingly new. The album’s first major pinnacle is backed, if not quite matched, by On The Road Again, a swiftly engaging and infectious stomp which has ears, feet, and appetite locked in within a handful of chords and resourceful seconds. There are no big surprises within song and arguably Funland in general, yet they only provide a nonstop and fully satisfying stomp to get eagerly involved in.

A southern whisper lines the lure and rampage of Rock ‘N’ Roll Rebel Songs, the track aflame with sultry guitar endeavour, inviting group vocals, and the breath and atmosphere of ’77. Lyrically it also sparks memories of times past, it all colluding in one easy going and gripping persuasion, though outshone by Forgotten Son straight after. Its opening riff comes with dark intent and imagination igniting attitude, its bait continuing to enthral as the song grows and breeds new sonic colour and lyrical drama around it. There is a touch of Angelic Upstarts to the encounter though that is but one flavour within the emotive shadows and provocative narrative on offer.

The album’s title track kicks up a storm of attitude and insatiable rock ‘n’ roll next, the track forcibly prowling with essences of bands like Suburban Studs and Crisis in its armoury before making way for the irresistible presence of Kick ‘Em Down. The album is truly at its loftiest height at this point, the tasty provocateur, and its predecessor, unleashing welcomingly bullying and virulently infectious rock ‘n’ roll with the second also unveiling another tonic of harmonica belligerence, before the brilliant Apocalypso steals the whole show. Opening on a delicious throaty bass riff with tendrils of guitar adding their spice before the drums create a brooding and catchy confrontation, the track evolves into one seriously magnetic shuffle. The beats of Ratbag continue to incite song and ears with their anthemic swings, whilst around them voice, riffs, and contagion ebb and flow like virulent waves soaked in inescapable temptation.

Never Gonna Fall continues the album’s elevated and invigorating energy and enjoyment with ease, its thumping presence and gait luring many strains of rock into one bulging incitement whilst Sick Of Love Songs creates its own individual fusion of old school punk and new rock ‘n’ roll. The bass of Rocco breeds a bestial snarl to its tone whilst Lee J. once again leaves sonic vapours from his searing and ever to the point exploits. Led by the beckoning delivery of Stine, the track is another hitting the sweet spot whilst proving to be another proposition you only wish its two or so minutes was stretches longer.

Funland ends with Beer and Whiskey, arguably the weakest song on the album. In context though, with it holding ears and pleasure firmly in its rip-roaring escapade, it simply reinforces the might of the tracks which over shadow it. It is indeed a fine end to an excellent slab of rock ‘n’ roll, Funland rigorously feeding appetites for seventies punk and today’s punk ‘n’ roll from start to finish.

2015 has already been blessed with some mighty punk offerings which The Kingcrows now rival if not surpass with their new proposal, but few of those others will become as big a favourite as Funland is destined to be we suggest.

Funland will be released through STP Records at Rebellion on August 6th and then available @ http://www.stprecords.co.uk/page4.htm

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

RingMaster 31/07/2015

Copyright RingMaster: MyFreeCopyright

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Spunk Volcano And The Eruptions – Injection

7

After the insatiable brilliance of their self-titled debut EP, expectations for the first full-length from Spunk Volcano And The Eruptions was demandingly high and anticipation irritably impatient once news of its release was known. Though there was never really any doubts that Injection would live up to those hopes and wants, the thirteen track stomp swiftly offers much more with its heavyweight rampage of punk ‘n’ roll.

The solo project of Dirt Box Disco guitarist Spunk Volcano, with devilish help from DBD colleagues, drummer Maff Fazzo and bassist Deadbeatz Chris alongside guitarists Ste Lingard from Manchester based punk band Flat Back Four and Tom G Force Batterbee, Spunk Volcano And The Eruptions shows another side to the songwriting of the frontman. Certainly the band’s sound is bred from the same vat of devilry and punk ‘n’ roll as Dirt Box Disco but there is a leaner and more expansive essence to the songs, tracks also rewarding ears with a healthy seeding of old school punk rock. It is a virulently compelling and contagious mix which first ignited the imagination and passions with the aforementioned EP and continues in an even more adventurous and inventive vein across Injection. Released on STP Records on the opening day of this year’s Rebellion Festival, the album is an anthemic toxicity from start to finish, a release unafraid to please with recognisable and undemanding bait yet littered with lures and hooks which are as fresh and unique to the band as they are impossibly addictive.

From the first note band and album is surging through ears with bruising effect as opener I Am Gonna Kill Myself!! launches itself with pummelling rhythms and fiery riffs. The track is in no mood to show restraint even when it settles Injection - Coverinto a more even paced yet still forceful stride, though that too is unpredictable with its jagged scythes of guitar and beats. Spunk roars with his distinctive vocals, their suasion at times antagonistic but constantly embroiled in stirring up a riotous response with the storming sounds around them. It is an incendiary start to the album but only a teaser to the might of What You See is What You Get. The track saunters in with attitude to its air and raw riffery, an old school essence dripping from its flank as rhythms proceed to rap with agitated venom across the senses. It is a riveting provocation, the bass of Deadbeatz Chris gloriously throaty whilst the vocals of Spunk and band again lead an inescapable anthemic. With tasty sonic flames of guitar adding to the irresistible tempest of the song, it makes for an early pinnacle with its commanding slab of punk bred rock ‘n’ roll, elements of UK Subs and hard to ignore suggestiveness of Dirt Box Disco colouring its majesty.

It is with the following Platform 3 that the album starts spreading its flavour and imagination, the song producing a nagging punk spine of riffs and beats but crossing it with a power pop catchiness and melodic rock enterprise. The bass eagerly prowls the blend for another richly appealing hue whilst the aligning of raw and melody led tempting just flirts with ears and thoughts before making way for the excellent Another Nail In Childhoods Coffin. Fazzo shows little restraint in his initial swipes of sticks setting up an already hungry appetite for an expected fury to follow. That eruption does not really emerge but instead the song bounces with caustic energy and scowling riffs around another enthralling bassline. Lyrically the song is like a cousin of the more rabid Crossfire off of the previous EP, reflections of childhood revelry and losses easily sparking with listener’s thoughts.

As expected there is a huge grin to the sound and lyrical incitements which only adds to the lure of songs and release, the likes of Agree To Disagree and I Don’t Want To Have To Explain always carrying a wink or tongue in cheek to their still furiously designed and delivered propositions. The first of the two brings a potent melodic rock airing to its punky stroll, again resulting in a tasty mix of flavours within a catchy web of endeavour, whilst its successor snarls with a coarser attitude and sound. Riffs graze and lure whilst rhythms beat a submission with precise and eager definition but it is the excellent palate of vocals from Spunk and the band alongside a fine melodic enticing from the guitar which steals the limelight in the track. Neither song matches the heights of their predecessors but still spark an extra dose of hunger in ears and appetite.

The bluesy rock ‘n’ roll swagger of It’s Got Nothing To Do With Music thrills next, thoughts of bands like Turbonegro hinting in a song which, as all, only takes only a few chords to reveal it is a Spunk Volcano And The Eruptions stomping. The track is just another exhilarating twist in the diversity of the album. Its success is swiftly matched and left looking pale by Failure is Not An Option, a full on torrent of punk aggression with metallic intensity which scores and gnaws the senses for a lustful response. It might only be forty seven seconds in length but the song leaves a new greed awaiting the likes of I Can’t Stop Thinking About You and She’s Too Good For Me. The first of this pair brings a slight rockabilly toning to its invention, its opening coaxing alone finding a sense of Calabrese to its potent suasion. Once into its crisp rhythmic stride through a tenacious web of riffs, the song with vocals again commanding emotions, enlist feet and vocal chords to do its bidding, defying anyone to resist its melodic and infectious anthem. The second of the two is a slower paced encounter though the net of punishing beats from Fazzo has ears ringing whilst the enticing of the guitars in riffs and hooks is similarly imposing. It is another track which settles comfortably in the arms of satisfaction if missing the plateau of previous songs.

The final trio of songs take the album out on a lofty high. First up comes Oh For Fuck Sake, another scorching blaze of rock ‘n’ roll with a blues tint and ravenous bass sound veining punk rock animosity. It is followed by another major triumph in I Don’t Know Why. Opening with a Misfits toning and psychobilly like sultriness, the song is an immediate epidemic of warm harmonies, abrasing riffs, and inciting rhythms. It stomps purposefully around the imagination like a predatory seduction, every twist and dramatic idea irresistible as it takes best track honours on the album.

Injection closes with outstanding Rock n Roll Baby. Choppy hooks and Stiff Little Finger like riffs are to the fore as it instantly cages the passions before spreading out a stirring weave of controlled and richly enticing punk ‘n’ roll. It is a mighty end to an exceptional release which just gets more potent and immense with every listen. There has been a handful of punk releases in its many guises which have set new standards and inspirations for the genre as a whole, and Spunk Volcano has now been in the midst of two, coincidence? I think not.

Injection is released via STP Records on August 7th @ http://www.stprecords.co.uk and http://spunkvolcanoandtheeruptions.bigcartel.com

http://www.facebook.com/svate

9.5/10

 

Upcoming Spunk Volcano And The Eruptions live dates:

AUG 7-10 – Winter Gardens, Blackpool (REBELLION)

SEPT 12 – Hairy Dog, Derby

NOV 14 – Cottage of Content, Chasetown

NOV 15 – Zombie Hut, Corby

Nov 21 – Black Bull, Gateshead

NOV 22 – River, Glasgow

 

RingMaster 02/08/2014

Copyright RingMaster: MyFreeCopyright

 

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