Spunk Volcano & The Eruptions – Not Wired Up Right

Always a dirtily feisty and rousing mix of punk and raw rock ‘n’ roll, we can announce that Spunk Volcano & The Eruptions has managed to breed an even more ravenously incendiary fusion of both within their new and third album Not Wired Up Right, a proposal living up to its title in character and intent whilst stomping around like a bull elephant in heat.

Having set their 2017 off in fine style with the aggressively raucous Ram Raid EP, Spunk Volcano and co devilishly finger  its raw virulence and fresh whiff of bruising rock ‘n’ roll to a new aroused state within Not Wired Up Right. It has been a riotous clutch of years since Dirt Box Disco guitarist/co-songwriter Spunk unleashed his own project with the aid of drummer Maff Fazzo, bassist Deadbeatz Chris, and guitarist Ste Lingard; a time kicked off in striking style with a self-titled EP and an insatiable persuasion only perpetuated by debut album Injection that first year, 2014, its successor Shit Generation two years later and the aforementioned Ram Raid EP a few months back. Each release has had the body stomping and a defiance driven attitude roaring; a triumph unsurprisingly just as rampantly repeated with Not Wired Up Right.

With its current line-up completed by guitarist Tom ‘G Force’ Batterbee and newest addition in lead guitarist Stu Page alongside vocalist SV, and fellow DBD members Maff Fazzo and Deadbeatz Chris, the band gets straight down to it with contagious antagonism and bare arsed rock ‘n’ roll through the album’s opener and title track. Not Wired Up Right instantly preys on ears with its corrosive metal bred riffs, a hungry tide of guitar soon driven on by the senses battering swings of Fazzo as SV unashamedly roars. It is a minute and a touch of hook lined punk manna, a storm of balls swinging rock ‘n’ roll swiftly backed in listener manipulation by Nobhead. With a title like this you just know at some point you will be bellowing in zeal fuelled unison with the song and that point comes within thirty seconds of a vocal and riff set up breeding eager anticipation for that incoming moment. The infectious lure of Chris’ bass courts the unspectacular but seriously compelling riffs of Batterbee in the meantime; together laying down the landscape over which the melodic scythes of Page lure and of course the moment to leap on board with vocal energy to match that of SV erupts.

The following Shutdown offers its own collusion of punk and metal lined rock ‘n’ roll next; prowling riffs and biting rhythms a predacious incitement matched in success and intrusive magnetism by a litter of hooks and vocal unity. Standing at the fore SV is the trigger, his tones a belligerent yet welcoming cause to get on board with whilst the bass simply seduces the appetite with its devious groove. The track rocks the joint with ease, bodies and speakers rocking just as tenaciously through the more corrosive presence of Gatecrash and in turn by the seriously irresistible of Fuck This For A Game Of Soldiers. The first of the two lacks some of the sparks of its predecessor, such the former’s inventive bent, but still has full command of again throat and physical participation with its dirty punk ‘n’ roll while the second simply snarls and invades the senses with its primal hearted, melodically catchy antics. Initially a predator in sound and invention, it evolves into another SV anthem which chews up the listener whilst stirring them into an outpouring of unbridled energy. Not Wired Up Right features a special guest in Ginger Wildheart on guitar and backing vocals on three tracks and it would be no surprise if this superb dirt-fest of a romp was not one of them such its unsterilized gutter nurtured rock ’n’ roll.

Next up, Your The Bastard has the same kind of seeding in its punk clamour, a Motorhead meets Grumpynators fuelling which makes its minute and a handful of seconds irrepressible and irresistible before Out Of The Blue reveals to its inescapable tempting a poppier nature contaminated with the band’s ear grabbing stag rock ‘n’ roll. Across all tracks Page adds a broader styled enterprise ranging from melodic metal, punk rock, and of various rock ‘n’ roll seeding but here afforded a clarity which really shines alongside the band’s infection loaded harmonies and chorus. His presence has certainly brought a new fresh air of flavouring to the band’s sound without defusing its distinctive character and presence, Dementia Hurricane another prize example within the release; an encounter which if you are not boldly hollering with its chorus by its second round, deafness of worse may have descended.

Smack In The Teeth is just the same, an eye balling prospect of getting battered which of course the senses do with the rhythmic antipathy and caustic riffery backing up SV’s threat. You can just imagine venues chasing fear into surrounding streets as band and fans inevitably vocally unite in the song’s virulent incitement live.

The album concludes with two of its major highlights amongst nothing but peaks. First up steps Knuckledusters & Scars with an initial surge of rancorous riffs and stabbing beats which alone ignites the passions; metal, heavy rock, and rapacious punk rock soon entangling in its delicious steely tempest with emotional rabidity and primal imagination just as prevalent in its gloriously uncompromising yet still ridiculously catchy howl. Somehow though it still gets eclipsed by the simply captivating Purely Medicinal, a song brilliant in its resourceful simplicity, inspired in its captivating croon as SV opens up heart and suggestion within a subdued but oh so potent web of sound.

It is a final two minutes epitomising the creative strength, new adventure, and instinctive epidemic like catchiness of the band’s sound. Sometimes when review after review of a band’s releases carry nothing other than drooling praise you almost set out to look for faults. Spunk Volcano & The Eruptions relish that challenge and from the first seconds never allow anything other than ardour to once again arise with us.

There are two bands which are making British punk n roll the most exciting it has been in a long time, maybe ever been, and both embrace the headstrong creative instincts of Spunk Volcano and indeed Maff Fazzo and Deadbeatz Chris. Enough said!

Upcoming live dates:

Sun August 6th – Blackpool – Winter Gardens (Rebellion Festival)

Sat August 19th – Cambridge – BOAT HOUSE

Sat September 30th – Northumbria Students’ Union (NE Calling)

Sat December 23rd – Manchester – Star & Garter (STP Xmas Show)

Fri December 29th – Birmingham – Venue TBC

 

Not Wired Up Right is released August 3rd on STP Records; for more info

http://www.spunkvolcano.co.uk    https://www.facebook.com/pg/spunkvolcano/   https://twitter.com/SpunkVolcano

Pete RingMaster 01/08/2017

Copyright RingMaster: MyFreeCopyright

Spunk Volcano & The Eruptions – Ram Raid

As if the early excitement of 2017 could not get better with the release of the new Dirt Box Disco album, it undoubtedly did with news of a new EP from DBD guitarist and his cohorts, Spunk Volcano & The Eruptions. It was a year ago that the band released their acclaimed second album Shit Generation, though it seems only a couple of months back thanks to its constant airing in the offices. It and the band’s punk rock rebel rousing firmly set the band not only as a wholly different proposition to Spunk’s ‘day job’ but on the British punk scene full stop. Ram Raid cements that uniqueness whilst revealing the most aggressively raucous and virulently dirty sound from the band yet.

Ram Raid also sees new guitarist Stu Page alongside lead vocalist Spunk, fellow guitarist Tom ‘G Force’ Batterbee, bassist Deadbeatz Chris, and drummer Maff Fazzo, the latter pair also part of the DBD devilry. With the band in the midst of a run of live stomps sure to confirm the band’s reputation as one breath-taking and bruising live proposal, Ram Raid simply brings a fresh incitement and spark to the UK punk scene.

Its title track opens things up, almost stalking the listener from its first breath as its predatory riffs and imposing rhythms prowl the senses. Having sized things up it bursts into a muscular stroll with Black Flag like animosity and the infectious aggression of The Damned.  As already established over previous releases though, SV & The Eruptions embroil ears and imagination in their own unique exploits, an enslaving rather than inviting chorus demanding participation as riffs and rhythms trespass and punish the senses respectively. It is one thrilling encounter, an outstanding start to the EP which already has itself and listener all fired up.

There is no moment to calm down either as the belligerent punk rock of Stop Looking At Your Phone roars in ears, its antagonistic charge and dispute irresistible. It is a wall of sound and protestation, a torrent of violent riffs and equally uncompromising rhythms driven by the vocal antipathy of Spunk and the band. At barely a breath over a minute in length, the song is like being given the juiciest steak and only allowed one bite before it is whipped away, but what a mouthful it is.

Hanging Round The Shops is a collusion of punk and hard rock with a metallic lining and just as vociferously seductive and uncompromising as those before it.  It also has a pop punk devilry to its swinging grooves and lusty chorus; body and throat swiftly enjoying subservient participation before sharing just as much zeal with the contagion fuelled clamour of I Think Her Name Was Tracey?

The two tracks alone, but just like the EP, have something for all rock ‘n’ roll fans; whether of bands like Dead Kennedys, The Ramones or UK Subs, Turbonegro or Motorhead, indeed even New York Dolls to Gene Vincent there is plenty to relish. Ultimately it is punk rock at its voraciously ballsy best as proven one final time by EP closer Snap Backbone, a seriously catchy and tenacious slab of hook lined rip-roaring enticement.

Though only five songs running at twelve minutes, Ram Raid is the band’s most stirring and rabid yet rounded creative howl yet putting so many others and their offerings firmly in the shade.

The Ram Raid EP is out through STP Records on March 31st with pre-ordering available @ http://www.stprecords.co.uk/page3.htm

Upcoming Live Shows:

Fri March 31st – Rotherham – Cutlers Arms

Sat April 1st – Uttoxeter – The Old Star

Fri April 28th – Gateshead – Black Bull

Sat April 29th – Glasgow – O2ABC (Scotland Calling)

Sun April 30th – Wakefield – Warehouse 23

Sat July 1st – London – Tufnel Park Dome (Wonkfest)

Fri July 28th – Derby – Hairy Dog

Sun July 30th – Manchester – Star and Garter (Rebellion Warm Up)

??? August 3-6th – Blackpool – Rebellion Festival (day tbc)

Sat August 19th – Cambridge – Portland Arms

Sat September 30th – Northumbria Students’ Union (NE Calling)

Sat December 23rd – Manchester – Star & Garter (STP Xmas Show)

http://www.facebook.com/svate   http://spunkvolcanoandtheeruptions.bigcartel.com

Pete RingMaster 16/03/2017

Copyright RingMaster: MyFreeCopyright

Spunk Volcano & The Eruptions – Shit Generation

SV_RingMasterReview

As news that the next always highly anticipated Dirt Box Disco album is scheduled for a 2017 release, thoughts eagerly reflect on the fact that we now have a whole year to bask in and romp with the new and just as eagerly awaited Spunk Volcano & The Eruptions full-length. The side but equally essential and compelling project of DBD guitarist/co-songwriter Spunk Volcano, the band has already become one of Britain’s punk favourites through their previous EP and album, but with Shit Generation they have hit a whole new plateau with a sound revealing bigger and broader rock ‘n’ roll shoulders to cast energy inciting punk rock incitements from.

Bursting into view in 2014 with a self-titled EP, Spunk Volcano & The Eruptions quickly showed a more old school punk rock tone and ferocity to the band’s music compared to the anthemic punk ‘n’ roll of his ‘day job’. It was a boisterous and bruising flavouring which later that year helped drive debut album Injection into a waiting horde of greedy hearts and appetites within the UK punk scene. It also began revealing the variation to the band’s sound which did not have quite the room to show its prowess in the EP. Within Shit Generation it is in full flow, relishing the broad landscape of the songwriting. It is still prime punk rock, but bred with an array of anthemic twists and turns loaded with the spice of many flavours.

Alongside lead vocalist Spunk, The Eruptions consists of DBD colleagues in bassist/vocalist Deadbeatz Chris and drummer/vocalist Maff Fazzo, lead guitarist/vocalist Ste Lingard (Flat Back Four), and guitarist/vocalist Tom G Force Batterbee. Together they have created a tour-de-force of rock ‘n’ roll with Shit Generation, it getting off to a rousing and compelling start with Massive Mistake Masterclass. Fair to say, the opener had these ears from its first second, a grouchy bassline and equally gnarly riff instant seduction as jabbing beats move in alongside Spunk’s vocal introduction. In short time, the track is a blaze of aggression and incitement, a Stooges like flame colluding with the predatory nature of the song and its subsequently emerging melodic shimmer of a flirtation.

SHIT GENERATION - COVER_RingMasterReviewARTIt is a storming entrance into the album which is matched by its title track straight after. Mixing strains of garage and hard rock into its seventies punk toned defiance, the song as the first, has feet and voice involved in no time, a quality all tracks present with unwavering success as shown by the outstanding XR3. This is a track all certain car owners are obliged to blast out whilst on the road. It is a web of gripping grooves and emotions arousing vocals and simply another best friend in waiting within the release. Within the first four words of its chorus, vocal participation is a given, a quality which is repeated throughout Shit Generation as shown by DNA Failure and after that Send The Boys Round. The first of the two stomps in on another virulent chorus built on band chants; that same infectiousness infesting verse and the tenacious song’s cantankerous punk ‘n’ roll confrontation whilst the second uncages even thicker aggressive sinews to sculpt a heavy rock spawned challenge.

TV God reveals a glorious nagging on the senses with its predacious riffs and rhythms, the bass alone irresistible animosity. The song relaxes its intimidation a touch as Spunk brings in the narrative, raising it again to greater toxicity for yet another enslaving roar soaked chorus within the album. Immediately installing it as a favourite amongst favourites, it still gets eclipsed in ears and emotions by X Factor and its declaration of something we have all voiced with zeal over the past decade alone. As the diversity in sound has expanded between releases, so has the potency and design of the hooks gripping attention. The band has never been lightweight in that department, but as this song shows, Spunk and co have honed their invention into something as intrusive and lingering as a virus.

Through the feisty pop punk infused romancing of Tattoo and the snarling Motorhead-esque rampancy of Fist Fights, band and album has limbs flinging and throats bursting whilst Satisfaction Guaranteed brings a crabby yet fiercely catchy punk ‘n’ roll badgering into play before Shut Up Or Fuck Off takes control. From its first breath, the track is a brawly proposition; sonically fractious and quickly backed up by quarrelsome tones from the vocals. Of course allegiance is a given by the time the contagiously pugnacious chorus arrives and imagination seized by the wiry classic rock lined sonic enterprise which spreads throughout.

For all the might of each and every song, favourite honours eventfully go to I’m Not Sure. A canvas of infection loaded hooks, sultry grooves, and again surly riffs; the song is manna for the ears. Deadbeatz’s bassline is an irritable enticement which aligns perfectly with the harmonic tone of the vocals and Maff’s ever incisive anthemic beats. Add seduction lined melodies and another flush of pop punk suggested catchiness and you have a near on perfect piece of punk rock.

The album is brought to a mighty close by firstly the equally resourceful and creatively eventful Let’s Go With Your Idea. Baiting the passions with Lemmy like spicing to an UK Subs-esque adventure, the track leaves enjoyment full to bursting and energies exhausted though no time is allowed to regroup as its successor Together Forever As Ghosts, swoops instantly on the senses with another Class-A bass lure aligned to barbarously swung beats. As the song broadens its invitation and character, keen involvement is unsurprisingly inescapable and it is hard to think of many better ways to finish up what is, from start to finish, an embracing of rock ‘n’ roll across the ages with punk passion at its core.

Shit Generation is the album that guarantees a thrilling time and proof that punk/rock ‘n’ roll is best served hard, heavy, and with adventure in its heart. We predict that 2016 will be the year of Spunk Volcano & The Eruptions.

Shit Generation is released March 17th through STP Records @ http://www.stprecords.co.uk/page4.htm

http://www.facebook.com/svate

Spunk Volcano & The Eruptions embarks on the RELEASE THE BEASTS – ALBUM LAUNCH TOUR in March alongside Born To Destruct and Skurvi.

Dates are…

Sat Mar 12th – Abertillery – Dolls House

Fri Mar 18th – Cambridge – Corner House

Sat Mar 19th – Brighton – Prince Albert

Fri Mar 25th – Rotherham – Bridge Inn

Sat Mar 26th – Gateshead – The Black Bull

Sun Apr 2nd – Nottingham – The Maze

Fri Apr 8th – Birmingham – Flapper

Sat Apr 9th – Lancaster – The Yorkshire House

Pete RingMaster 01/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Born To Destruct – Devasteight With Destruction

BTD_RingMasterReview

There are many forces of nature, especially within punk rock and a few which really relish turning the world upside down whilst offering rich rewards for those in the way of their tempest. Destruction rock ‘n’ rollers Born To Destruct are one, a UK band which unleashes their own individual form of punk and uncompromising heavy rock in a confrontational fury of anthemic hell-raising which rouses the spirit as it bruises the senses.

Hailing from Cambridge, Born To Destruct stomped into the punk scene in 2007; formed by one of the forces of seventies punk, vocalist/guitarist Woodstock PunkRock who was returning after a decade away from performing and playing. Originally female fronted, the band soon made a potent mark live and with their contagious punk rock sound across many well-received releases. With vocalist Kat Destruct leaving to study at university, 2010 saw Woodstock take over lead vocals and a new version of Born to Destruct emerge. Further successful releases followed to back their ever potent live presence which brings us up to the now and the band’s storming new album Devasteight With Destruction. Released on the persistently impressing STP Records, the album is fifteen tracks of gloriously invasive rock ‘n’ roll to get shirty alongside, to rampage with, and to get inescapably addicted to.

Devasteight With Destruction opens with its title track, immediately laying down a grouchy lure of riffs which just as swiftly blossom into an addictive coaxing where grooves and rhythms collude to tempt and invade ears within the tow of a deliciously carnal toned bass line. Once in full cantankerous flow, the track shows itself a web of heavy and hard rock infused with punk seeded predation. It is a gripping start with the bass of Stu Spider Fingers continuing to seduce an already awoken and keen appetite as the brawly vocals of Woodstock prowl and growl.

art_RingMasterReviewThe excellent start and flavouring carries on into the raucous and cranky charge of Eufuckinphoric, where initially choppy riffs funnel into ears this time around as Woodstock adds bearish vocal weight and coaxing. The riffs and hooks of Paul Moose and guitarist Daiv Tap bite and serrate the senses with sonic hostility all the while too whilst the rhythms of drummer Jack Destruct swing with contempt. It is a unity which should send you running but instead simply whips up an impossible to resist call to arms.

All The Gear But No Idea has a slightly mellower air next, well more melodic anyway with its Generation X like spicing to grooves and an accompanying infectiousness. Around them the song barracks and presses all the right buttons in antagonistic pleasure before Lets Get Rowdy obviously does what it says on its tin. There is a touch of Crashed Out meets 4 Past Midnight to the song as well as another dose of unstoppable virulence to its seventies spiced punk ‘n’ roll uproar.

Across the hard meets punk rock blaze of Do You Wanna Know, with its great line in nagging hooks, and the thumping incitement of Release The Beasts, the album turns the screw on ears and the passions. It is always hard to say no to instinct raising, vociferous rock ‘n’ roll and both songs have it in thick abundance, the second with an extra pleasing slither of classic rock to it also. Smile comes similarly equipped, though truthfully that applies to all songs within the album. It is arguably more formula in presence than the encounters around it yet shares only the strongest persuasion and the enticement of eager participation.

The surly roistering of Sixty Seconds is next to step up, the minute long clamour leaving ears almost punch drunk from its zealous revelry whilst We Bring The Noise, as expected, again lives up to its name in physical and impassioned kind. Actually the track probably does not devour ears as forcibly expected but no complaints as it leads another moment of chest thumping enjoyment before Get Your Head In The Game becomes the inspirational ringleader to further lusty involvement, especially through its addictive chorus and vocal bellow.

You can almost feel the roar of the crowd as What A Bastard unfurls its magnetic defiance and muscular intimidation next; from title alone easy to sense becoming a fan favourite. Of course its particular brand of ear pleasing obstreperous rock does it no harm in inciting keen emotions either, a success more than echoed by the outstanding We Love It quickly after. Swinging in on a caped crusader-esque groove, in no time the track is a snarling torrent of riffs and tenacious rhythms laying the groundwork for the equally testy and rousing vocals. In your face rock ‘n’ roll does not get much better than this, though it can get matched as shown by Today, a song emerging as a personal favourite. There is a great contagious scent of The Vibrators to track, additional magnetism to its hook lined slab of near perfect punk rock. Some songs just hit the sweet spot, Today does dead centre.

The album concludes with the rollicking stomp of I’m Too Rock N Roll and finally the raw and irresistible anthem that is Destruct For You. Both tracks epitomise the tenacity and rampageous potency of Born To Destruct’s heady rock ‘n’ roll and equally the unstoppable addictiveness of the band’s album.

Though some tracks of course rise to loftier heights than others, from its first moment Devasteight With Destruction is one robustly imposing and exhilarating brawl very easy to get greedy for. Admittedly we have not come across the band’s previous offerings yet but if Devasteight With Destruction is not one of their finest moments yet, hard to believe it will not be, we have missed some other major treats.

Devasteight With Destruction is released March 17th via STP Records @ http://www.stprecords.co.uk/page4.htm

https://www.facebook.com/BORN-TO-DESTRUCT-246990948165

Born To Destruct embarks on the RELEASE THE BEASTS – ALBUM LAUNCH TOUR in March alongside Spunk Volcano & The Eruptions and Skurvi.

Dates are…

Sat Mar 12th – Abertillery – Dolls House

Fri Mar 18th – Cambridge – Corner House

Sat Mar 19th – Brighton – Prince Albert

Fri Mar 25th – Rotherham – Bridge Inn

Sat Mar 26th – Gateshead – The Black Bull

Sun Apr 2nd – Nottingham – The Maze

Fri Apr 8th – Birmingham – Flapper

Sat Apr 9th – Lancaster – The Yorkshire House

Pete RingMaster 01/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Vanilla Muffins – The Drug Is Football Double 7”

REB1051 front cover_RingMaster Review

Apparently Switzerland’s Vanilla Muffins have been the undisputed Kings of Sugar Oi! for the past 25 years or so. I am not sure about you but I have no idea who else has a sound which fits that genre; well actually maybe we do as the trio from Basel create a stomping proposition which blends pop infused punk with infectious rock ‘n’ roll. It is quite simply punk ‘n’ roll but a strain which indeed has a distinctiveness singular to the band whilst providing one rousing and thoroughly enjoyable escapade.

Driven by a passion for football and their home city team, Vanilla Muffins began in the late eighties, growing in presence, songs, and stature with each passing year. Now they have five albums, eleven EPs, and numerous compilation appearances under their belt, the latest being a re-issue of their classic and highly sought after 2003 album The Drug Is Football via Rebel Sound Music. Last year saw the band return with Best Of (Triumph of Sugar Oi!) via Bandworm/Spirit of the Streets and after it the A Little Night Music / Eine Kleine Nachtmusik EP on Sunny Bastards. Both re-ignited old and indeed sparked new appetites for the band’s insatiable infectious sound, as too limited edition single Goal of the Month earlier this year. Now for a limited edition Double 7″ offering, the band itself has plucked eight of the best songs from The Drug Is Football and if like us you are new to their presence, it is a must listen.

The trio open things up with No Punk Rock In My Car, and a rally off boisterous vocals and punchy rhythms aligned to bracing riffs. Instantly it is a virulently catchy affair with sinews as gripping as the warm and inviting melodies are infectious, slavery for feet, neck muscles, and vocal chords the result. There is a feel of UK rockers Spunk Volcano and The Eruptions to the encounter, a similar old school punk meets modern devilry at riotous and irresistible play.

The following Brigade Loco is just as magnetic and inciting, the grooved coaxing from the guitar of Colin Brändle an inescapable lure within the jabbing beats of Eddie Jr and the great bass groans posing as a bassline from Ian Norris. Equally Brändle’s vocals are nothing less than rich persuasion and though there are no major surprises in the song, as throughout all tracks, everything colludes in a power pop meets punk rock tempest of boisterous and seriously invigorating goodness.

Dirt Box Disco meets Weezer is a handy description for All Roads Lead To Rome which follows, the song sitting somewhere between the two as Vanilla Muffins swing riffs and hooks like a puppeteer to again command eager hips and reckless feet. Without quite matching the first two in drawing lusty reactions, the song is an easy going protagonist to get swiftly involved with, its success nicely setting up the appetite for the brilliant 3 Comrades. Rhythmically compelling and vocally inescapable, the song is pure anthemic rebel rousing and maybe the best thing on the release, though that fluctuates between a trio of songs daily.

The title track rampages through ears next; its steely punk attitude and intensity simultaneously tempered and urged on by the ever alluring vocals and melody rich hooks which just as potently rouse the spirit and spark unavoidable participation. It is a blood pumping call backed resourcefully by The Gang From Kannenfeldpark and its nostalgic look at the young years and more carefree times and straight after by The One And Only with its Buzzcocks like nag of a hook and fuzzy Vibrators like contagion. Both songs whip up more pleasure and hunger for the thickly enjoyable punk frolics, and the wonderment as to why it has taken this long to come across the slavery of the Vanilla Muffins sound.

The Mob From Kannenfeldpark is built on similar seeds as to its predecessor with another recognisable hook the lead into a slice of rock ‘n’ roll which finds a inspiration in decades further back than that of its original birth to spice up its own tenaciously imagined rock ‘n’ roll.

As the saying goes, better late than never and it certainly applies to finally get wrapped up in the Vanilla Muffins experience, a treat no punk and rock ‘n’ roll fan should miss out on. Watching FC Basel play on TV will come with a new soundtrack and fun from now on too.

The Drug Is Football Double 7″ is available from 30th September via Rebel Sound Music on Black Vinyl (200), Red A&B Side, Blue C&D Side coloured vinyl (200), and on Half N Half Blue/Yellow vinyl (100 and only exclusive to Rebel Sound)

https://www.facebook.com/VanillaMuffins

Pete RingMaster 30/09/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Spunk Volcano & The Eruptions – EP

 

Pic by Ste

Pic by Ste

    Stepping out from the punk ‘n’ roll shenanigans of the UK’s irrepressible masters of rock mayhem Dirt Box Disco, the band’s masked lunatic and guitarist/vocalist unleashes his own project of devilry, Spunk Volcano & The Eruptions. With a sound which is irresistibly contagious and riotous, Spunk and cohorts are poised to release debut EP called simply…EP on February 1st. Though arguably not a major departure from the DBD sound, the release provides a leaner and debatably stronger old school bred persuasion which emerges with a distinctive presence through five tracks of unbridled punk rock virulence, or as they call is spunk rock.

     Alongside DBD colleagues, drummer Maff Fazzo and bassist Deadbeatz Chris, and guitarist Ste Lingard from Manchester based punk band Flat Back Four, Spunk has sculpted an encounter which bounces and romps with exhaustive energy and merciless addictiveness, no second of the EP refusing to tempt with salacious intent or devoid of epidemically spawned infectiousness. It is a record which if you are not physically stomping with and vocally uniting with its anthemically cast songs at some point, then deafness of death has beaten it to your senses.

     The opener Sellotape makes a relatively subdued entrance, singular riffing nudging the ears before punchy beats and a coaxingSVEP_PROMO heavy bass sound move in to increase the enticement. It is not a fiery or dramatic start but rigidly compelling with a lure which increases as its intensity raises degree by degree and the great vocals of Spunk, aided by a strong backup from Chris and Ste across the release, start working on thoughts with an emotive narrative which again can be said to be a step away from the attack found with the day job. With a brew of hooks working independently and in tandem with each other and a dark menace to the rhythmic pressing, the song is a magnetic trampling through the ears and into the passions and the irresistible appetiser to even greater glories.

     The Devil Spits You Out shows its intent at the start with forceful beats and a raw guitar grazing laying lures before the Spunk’s vocals start working the imagination within growing sonic flames. Finding greater potency and contagion to its senses worrying riffs and the antagonistic but affirming narrative, the track soon has feet, voice, and passions in league with its call and suasion, a power the following She’s The Girl has little problem in replicating and accelerating. Within seconds a ring of na na na na’s recruits instant submission and alliance from body and heart, its entrance taking the already ripe aural addictiveness of the release into a richer stronger brew of irrepressible toxicity. Guitars and bass grab the ears by their lobes and thrusts them into a riot of insatiable roughhousing rock ‘n’ roll whilst the drums unleash a blast of tempered yet explosive sinews to frame the outstanding group vocal provocation; the result one exceptionally dynamic and irresistible slab of rascality.

     Matching its might and temptation Crossfire steps up next to rile up the passions, the song a rapacious look back at the times of real toys and the vicious board game of the song’s title, well it was violent how we played it. The band also musically dips back to the seventies, where the game was a must have alongside many other mentions in the track, to craft a roguish wash of old school punk sweat and pleasure. Impossibly addictive and demandingly anthemic, the song is a scintillatingly blast of punk ‘n’ roll alchemy. Probably the most DBD like song but again with that essence and bold character in sound and hunger to launch itself into the deepest corners of your passions and imagination, the track is another slice of mastery which makes you hope this is not a one off adventure by Spunk and the guys.

   SV - TOUR & EP promo  The rawer sound of the previous song is increased with a defiant nastiness and belligerence on the final song Superior Brain Damage. It has a harsher combative breath than its predecessors but does not short change on wonderfully toxic entrapping hooks and lung sapping energy. It is a towering conclusion to an outstanding explosion of the finest punk ‘n’ roll sculpting and the start of something which in the future could rival its creator’s main band in appeal and success. Released via STP Records on the first day of February and followed soon after by a five date UK tour, the EP thrusts Spunk Volcano & The Eruptions to instant ‘stardom’. To be honest using Dirt Box Disco as a reference brought assumptions that the EP would be something special, but it is nice to be proved right before being shown an even more impressive triumph which surely only those deaf or dead souls will ignore.

http://www.facebook.com/svate

http://www.stprecords.co.uk

10/10

RingMaster 31/01/2014

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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