Kid Klumsy – Spit Your Dummy Out

There is a new punkster in town with a fresh mischievously belligerent roar and it goes by the name of Kid Klumsy. Actually the band has been around for a few years just more in the background of recognition. Now though it is ready to grab a chunk of the limelight with debut EP Spit Your Dummy Out featuring six deviously tempting punk ‘n’ roll stomps which greedily have the body bouncing and attitude roaring.

From Coalville, Leics, Kid Klumsy as mentioned has been a stirring presence for a while with a couple of demos to their name. Spit Your Dummy Out is their first official release, coming through STP Records who can always be guaranteed to find the best punk rock around, as proven here with this storming introduction to a fresh incitement sure to draw a flood of new Kid Klumsy fans to those already in the know. The band is fronted by Weab, the frontman of inimitable punk rockers Dirt Box Disco, and upon the EP completed by guitarists Greg and Reidy, bassist Ali and Matt Wharton on drums. Almost automatically comparisons to Weab’s day job are sparked but swiftly Kid Klumsy reveals themselves a whole new proposition if one just as virulently infectious. The songs upon Spit Your Dummy Out also show an enjoyably varied character and just as potent whether snarling at the world, romping with rock ‘n’ roll devilment, or simply teasing with fun fuelled relish.

The EP opens with Grow up, an instantly boisterously energetic proposal with sinew strung tenacity. Of all the tracks it is the one which reminds most of Dirt Box Disco yet straight away bares its own steely breath and touch as hooks and rhythms almost battle for attention around Weab’s ever persuasive tones. Swiftly drawing eager involvement from body and voice, the track strings the listener up like a puppet, getting them dancing and roaring with zeal, our personal exhaustion proof.

The following 24 Hours has a predacious edge to its initial prowl and subsequent stroll. There is also a whiff of old school punk a la the likes of Suburban Subs and Slaughter And The Dogs to the rousing trespass which adds to its individuality rather than any familiarity before Bully Bullied The Bully creates a deliciously grumbling rumble in ears with its fiercely infectious confrontation. Embracing Sham 69 hues and twisting them with Kid Klumsy imagination into something as unique as it is ravenously catchy, the track is a glorious chant loaded temptation; just one of six similarly glorious incitations.

Sugar Junkies bounds in next with its anthemic charge and inescapable vocal manipulation. It too snares body and vocal chords in its contagion; a proposition to which belting out one’s own additives is unavoidable and very essential.

The growling tone and dynamic animosity of Pigs Ass is just as exhilarating; it’s no nonsense prowl and spiteful rhythms alone ensuring captivation but add vocal rapacity and a web of sonic enterprise and you have punk rock irresistibility.

The release concludes with the swinging escapade of Mr Bluey Man, a Rancid meets The Vox Dolomites treat which not for the first time on the EP has feet animated, hips weaving, and the throat crooning. It is a thickly magnetic end to a rabidly addictive encounter. Spit Your Dummy Out found the sweet spot of our passion for punk rock within seconds and continued to tease and fire it up from thereon in. 2018 will surely be the year Kid Klumsy becomes a household punk rock name and it is easy to imagine that rock ‘n’ roll will never be the same again.

Spit Your Dummy Out will be released May 27^th through STP Records with pre-ordering available now @ http://www.stprecords.co.uk/

https://www.facebook.com/officialkidklumsy     https://kidklumsy.bandcamp.com/

Pete RingMaster 18/04/2018

Copyright RingMaster: MyFreeCopyright

Shameless – Guilt

 

    With its well-received unleashing in Europe through Bords de Seine, Lion Records, and Last Rockers, and an even more recent uncaging as a 500 strong Limited Edition Picture Disk in the US via Rebel Sound Music, debut album Guilt from punks Shameless is an impressively solid and potent introduction to the French band. A feisty attitude drenched mix of old school and oi punk, the Lyon based quartet’s sound hits the spot forcibly and honestly, no overblown sonic theatrics or candy coated hooks cluttering their straightforward anthemic antagonism. Guilty is an album which does not hold many surprises or always gets the blood boiling but it certainly rouses and incites a healthy appetite for the promising sound and future provocations from the band.

    The seeds of the band go back to 2009 when vocalist/guitarist Pépito moves to Lyon and meets bassist Nico of the Rude Gones. They talk of getting a band up together, a suggestion which is given an opportunity to be realised when the Rude Gones split in the October of 2010. Writing together, the pair then recruit ex-Urban Gones drummer Scooter into their English Oi! inspired project. The band’s second gig saw them opening for La Souris Déglinguée, West Side Boys, and Warrior Kids to eager responses, a spark the band took into the making of their first full-length. Six months in the making the album came out to strong reactions swiftly followed by equally potent responses when the band around the time of its release played a show to celebrate the anniversary of the band Bad Gones with La Souris Déglinguée, Booze & Glory and Wayne Barrett of Slaughter and the Dogs. Unveiling second guitarist and ex-Urban Gones Gilles, who had already played as a guest with them on stage previously, as a permanent addition to the band at the show, Shameless show themselves ready and poised to take their DIY bred sound and presence to the punk passions of the world. A quest you feel if not with this album is a certainty within one of their near horizons.

    The title track arrives on sirens to open things up, public disorder soon sound-tracked by stirring riffs and crisp rhythms soaked in anthemic weight. The vocals of Pépito, gruff and slightly antagonistic, join the charge as the song stomps with addictive grooves and equally compelling hooks. Its prime bait has an essence of The Sweet meets Suburban Studs to it, the song as a whole an excellent and infectious doorway into the release.

     The following Friday Night Losers backs up the starter with its own incitement of riling rhythms and caustic riffery driven by uncompromising but welcoming vocals. There is little to surprise in the song though it avoids real predictability with ease, as does its successors 30 Years Tomorrow and Bastard!. The first taunts ears with a great throaty bassline and a quietly riotous stance around an irresistible chorus whilst the second instantly eyeballs senses and thoughts, bawling them out with another potently contagious chorus within abrasing sounds and vocals. As with most of the songs there are very few really striking hooks that viciously grip but it does not stop tracks like this from becoming a lingering and memorable pleasure.

    Both the unruly chant fest Oi! For My Nation and the outstanding We Are the Boys keep attention hungry for the release, the second of the two one of the major highlights of the release. With a delicious twang to the again predacious bass sound and a swagger to the vocal inducement, the track is a fiery encounter though like all the songs it is fair to say it does not explore or antagonise enough for personal tastes, almost holding itself in check for some reason.

     Men With Ties is a raw graze for the senses, its threatening to brawl approach a magnetic lure to spark up another flame of excited satisfaction whilst the next up Vote For Shameless has a reserved but definite Angelic Upstarts feel to its rebellion, a fight which is veined by a Buzzcocks like great hook and the only really attention seeking one on the album. From the pleasing recruitment drive Disappointing Friend steps in next to make a strong and enjoyable statement if without rivalling anything before its appearance. It is a decent enough song but lacks the spark and infectious suasion of others, though that toxicity is soon back fuelling the passions through Fashion Week. The track is a commanding and confronting bruising with the primal rhythmic combativeness and scolding riffery all the great punk songs unload on the senses. The best track on the album it is an invigorating barracking bringing the heart of the album to a close before final track provides an epilogue through its live version of Virage Nord, the Oi! hymn of Urban Gones.

     Guilt is a great rage parading the potential and punk voracity of a band it is easy to keep an eager eye upon. Once Shameless find their distinct voice and unshackle their reserve you can expect major fireworks ahead, whilst right now they simply provide a thoroughly pleasing and rousing experience…something never easy to refuse.

Shameless – oi band

http://www.shamelessoi.com/

8/10

RingMaster 19/03/2014

Copyright RingMaster: MyFreeCopyright

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The Cottonettes – DEMO 1

With the same instinctive infectiousness of early Undertones and the hook ability of Buzzcocks, DEMO 1 the debut EP from UK punks The Cottonettes is one of the most refreshing and invigorating genre releases this year. Grasped by a potent breath of nostalgia too, the four track stomp feeds all the needs and wants of any punk hunger whilst teasing with a pop contagion which is virulent and unashamedly anthemic. Sound wise the band transports you back to the likes of Television Personalities, The Shapes, and Swell Maps with a dose of the pop punkness of The Buzzards and The Lurkers to its charm, whilst equally carving out a presence set firmly in the audacious invention of the now. The result is a release and sound which is raw and honest, mischievous, and a wholly irresistible mayhem.

Formed in February 2012 by Guildford guitarist Ben Madle who soon recruited bassist Josh Young from Fleet into his master plan with Basingstoke based drummer Marty Dixon being brought in by the four string slapper, The Cottonettes has built a potent reputation and following around their immediate locale through their energetic live devilry and a series of cheek slapping singles. It is a presence which is stretching further afield and with the EP, and luck, will soon be igniting nationwide awareness and hunger for their unpolished gem of a sound.

Won’t Ya opens up the release and is instantly barracking the ears with thumping rhythms and antagonistic riffs. It is a magnetic introduction soon driven by the unpolished vocals and a prime punk probing of the senses; simplicity and a genuine intent to unleash pure fun fuelling the track whilst translating it all to a riveting and addictive persuasion which soon has feet and voice joining its brawl. With an oi whisper loudly showing its sinews, an essence of bands like Serious Drinking adding to the mix, the track is a delicious incitement of old school glories and memories alongside a modern day bruising.

It is followed by the exceptional For The Boys, a sure fire anthem which will have venues, terraces, and passions reaping its seeds. Senses bashing beats rile up the air first before the guitar starts slashing any remaining peace with discord clad riffs and ridiculously addictive hooks. Like a riot instigated by Peter and the Test Tube Babies and Suburban Studs, the track is an infestation of epidemic punk antagonism and raucous seduction which recruits the fullest enjoyment and wholehearted participation.

Entering on a confident swagger, Happy For You takes up the reins left by the previous song to stomp through the ear straight to the passions, big swinging rhythms and jangle coated guitars skirting vocal chants and a boisterous energy. It is a full-on punk persuasion which leads thoughts and emotions into nefarious anarchic ways before the closing Oh No! Yoko finishes the release off in a blaze of melodically rubbed pop punk. Catchy grooves and hooks make welcome bait amongst the caustic riffs and commanding rhythms, the mix especially with the more melody soaked voice of the song reminiscent of The Freshies.

     DEMO 1 is an excellent slice of essential punk rock and The Cottonettes a band who carve out a thrilling stance through distilling old school British punk with a more devious modern version which teases with varied flavours. This is a band and release which deserves the fullest attention and recognition within the genre and you suspect they will soon be getting it.

http://www.thecottonettes.com/

9/10

RingMaster 24/10/2013

Copyright RingMaster: MyFreeCopyright

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Fear God – God Bless The World, Not Just America

Continuing their knack at bringing prime punk rock in many guises to the world, Thumper Punk Records have done it again with God Bless The World, Not Just America the debut album from US band Fear God. A faith driven collection of songs which will spark the appetite of any old school punks no matter their beliefs, the album is a stirring and infectious slice of sincere and rowdy punk riots.

The solo project of veteran Orange County punk rocker Doug Jutras, the album is the result of its creator making a change in his life and finding a focus to all things through faith. Having struggled and recovered from severe back injuries and the challenges brought by his punk lifestyle from his early teens, Jutras found his clarity in life and wrote the album to hopefully inspire and give hope to others. Taking influences from the likes of Social Distortion, TSOL, The Damned, and Call to Glory, he has brought forth an album which works with the theme of the title whilst unleashing a dozen brawls of punk rock to satisfy the hearts of old school punk fans. As with a great many faith driven releases the constant heart of the album does inspire a little resistance to those with different thoughts and inspirations but God Bless The World, Not Just America does not preach and offers musically plenty to bypass that aspect and for like-minded souls and those open to the ideas and possibilities portrayed, it is a release which is likely to inspire as the artist hopes.

The raw energy of He Forgets rampages through the ear first, the great infectious bassline and thumping riffs a ready and hungry companion to the coarse riffs and catchy vocals. It is punk at its simplest and best offered with extra flair and invention, with especially the bass a magnet for the senses and primal rhythms inside. The great four string lure continues into the following Love God, the instrument and song recalling the early days of The Damned, Suburban Studs, and Circle Jerks. It is an impressive start which hardly fluctuates in quality and appeal as the album continues.

The release offers up some good surprises too amongst the more expected pink bruises starting with What Am I Doing Here, a track with Jutras narrating his thoughts and experiences through spoken word upon an emotive and suggested musical ambience. The song switches to a quick fire onslaught reminding of early Skids and then switches across the rest of the track with skill and pleasing imagination. It is an intriguing and evocative track as is the equally provoking Kelly Testimony. Consisting of a retelling of her life by a female voice over acoustic and again emotive sounds, the song is a tale which shocks and reassures. It is a clever and effective song which all can draw something from whatever their circumstances in the past and now.

Tracks like Devil’s Mark with its Misfits/Dead Kennedys breath and the garage blues lilted Can’t U Be There please and light nostalgic emotions with their uncomplicated and enjoyable sounds but the highest pinnacles come with God Bless the World and Closer He Gets to You. The first is a contagious pop punk graced slice of melodic rock with a female coaxing assisting Jutras which brings essences of Honey Bane to the pop dance of the track whilst the second is a fiery abrasion of harsh riffs and stirring intent offering a mix of Social Distortion and Angelic Upstarts and giving further variation to the album as a whole. This diversity brings a breath of different times and flavours from the genre which is as refreshing as the songs itself and adds to the overwhelming pleasure of the album.

The grazing energy of Dying World is another treat before the album closes what is a pleasing and energising encounter. If good original punk has been in short supply for your ears and heart lately then Fear God is the perfect tonic to restore your faith in punk rock and maybe more besides.

http://www.thumperpunkrecords.com/

RingMaster 09/01/2013

Copyright RingMaster: MyFreeCopyright

 

Philtrum: Rough Days EP

Making good punk rock is not rocket science though to make sounds which stay with the listener and inspire real reactions takes more accomplished imagination, something which UK band Philtrum does with ease. Following on from their well-received Needs Must EP earlier in the year, the Maidstone based trio have upped the game with their new release, the Rough Days EP. Consisting of four raw and bruising confrontations, the release offers punk rock in its barest and most compulsive form. It may not be ground breaking but it is a very effective and pleasing riot.

With the current and stable line-up of vocalist/guitarist Paul P, bassist Gavyn, and drummer James in place from the tail end of 2011, Philtrum has found an impetus and concentrated core sound which has brought them to the fore of attention. The new release also sees a step forward from its predecessor with tighter hooks and stronger crafted structures to the songs without losing their instinctive and barracking energy. It shows a band at its height of enthusiasm for what it does locked in with a blossoming creativity to honest catchy sounds.

Recorded with Greg Webster of Houdini at Sunlight Studios, Gillingham, the EP charges at the ear from the off with The Moment. Fiery guitars and thumping riffs begins the in the face encounter with the bass of Gavyn laying down riffs full of contempt to match the challenging vocals of Paul P. It is a classic approach veined with scorching sonic guitar flames and infectious dual anthemic shouts from guitarist and bassist. Simple and aggressive it is a formidable and deeply satisfying offering of punk rock brought just how it used to be back in the day.

The great beginning is continued with National, a track not too far in structure from the opener but with its own individual contagious insurgence of riffs, inciting vocals, and brawling energy. It is a song you could imagine the likes of The Damned, The Dead Boys, or Suburban Studs letting loose upon their fans, but soaked with a spite and attitude of the now. If you are not joining in by the end of the first round of choruses then punk just does not do it for you, the song an insatiable abrasion which is impossible to resist and best song on the release.

Switchstance and Gets No Better completes the quartet of cracking agitated punk fusions, the two tracks bringing different spices from the genre into their forceful charges. The first is a storm of barbed rhythms and consuming sonic guitar rubs which from its combative initial contact pulls out sing-a-long lures and a pop/ska swagger to leave passions grinning. It is not complicated or going to reinvent the music world but what true punk does, it just lights up the heart which is all one truly asks. The second is an uncompromising and quarrelsome slap around the head which without having the strong appeal of the other three still gets the job done of leaving a satisfying engagement for the listener.

With the Rough Days EP, Philtrum has continued their evolution into a band which is one to keep in firm view and the purveyors of honest original punk rock.

https://www.facebook.com/Philtrumpunk

RingMaster 14/12/2012

Copyright RingMaster: MyFreeCopyright

The DeRellas : Stick It To The Man Single

If you ever had the misguided belief that the heart and spirit of classic 1977 punk rock had dissipated and been lost over the years than stand by to be reminded and shown by the eager and mischievous new single from  UK rockers The DeRellas that it is alive and bristling to kick your butt. London based with members coming in from Brighton and Portland, The DeRellas do not take you back to the time when attitude and music raised its middle finger and stirred up more than just dust but bring it forth as if it had never laid dormant.

The two tracks that make up the Stick It To the Man single released through Dirty Water Records/Crushworld Records, badgers the heart and inspires urges of mischief with two varied songs reaped from and oozing UK and New York punk, dirty, belligerent and out for a good time any way they can. There is no pretence or attempts to be anything more than they are, just honest, irrepressible rock n roll. With a fine live reputation from playing with the likes of Hanoi Rocks and The Germs the band translate it into a rampant energy that fuels their recorded sound.

First song Stick It To The Man hijacks the ear with boisterous beats and gang chants before opening up the pace with stirring guitars and the baiting vocals of rhythms guitarist Robbie DeRella, who alongside lead guitarist Luca DeRella tease and taunt the essences with uncomplicated and sleazy melodies. It is the incessant bold rhythms of Alex Skinny DeRella alongside the moody bass of Timmy DeRella which capture and ignite the imagination with their glam rock open wantonness. Imagine Sweet or The Glitter Band in a booze addled union with The Dead Boys or The Flys and you have Stick It To The Man. The gang chants and rock n roll spine recalls the height of the great sounds heard at CBGB’s as it brings New York punk and 70’s sleaze/glam elements together to great effect.

Coupling the lead song is the excellent Go Go DeRellas, a scuzzy electrified Ramones homage/garage punk infection. A tongue in cheek instantaneous pleasure the track is simplicity at its best, easily accessible and an irresistible invitation to join in. The sound is equally powered with unrestrained rhythms and inciteful riffs that brings the original New York punks into a party blitzkrieg with Johnny Thunders, The Vibrators, and Suburban Studs.

The DeRellas wear their influences on their sleeve without an ounce of predictability or venturing into dullsville. Yes you can pick recognisable parts out and know their inspiration but it is brought with a flair and energy that sets the band as one of the most refreshing punk bands around and a band which is not only keeping the original sounds and intent alive but living and breathing it.

RingMaster 08/05/2012

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