Scant Regard – You Know The Drill

Pic Dave Cox

If its predecessor, Skipping Over Damaged Area, was an exploration and echo of the “apocalyptic destruction and devolution of the planet we live on”, then You Know The Drill is the bold new adventure in its escape; a sci-fi toned tapestry of intrigue and contagion wrapped in sounds which just infiltrate and enliven the body and imagination.

You Know The Drill is the new creative exploit from Scant Regard, the solo project of Will Crewdson; guitarist/musician/songwriter previously acclaim notorious for his work with Rachel Stamp, Adam Ant, The Selecter, Johnette Napolitano, Bow Wow Wow, and Flesh for Lulu as well as currently one half of the equally irresistible She Made Me Do It. It is an encounter which still sows its seeds in the decay and destruction of the modern world but within its body ventures into the hope and relief brought through space lit, sci-fi cultured escapades. Crewdson’s previous offering, the deviously magnetic Skipping Over Damaged Area, felt like the corruption of hope and light by a creeping darkness. You Know The Drill is the reverse in many ways, bringing light and respite to the sunless breath of the world; both encounters casting trips of sonic poetry and rich intimation drenched in uncompromising infectiousness.

 You Know The Drill opens up with Ulterior Motives, electronic pulsing instantly nagging on ears and attention before rhythms collude to pitch immediate contagion upon the senses. In swift time Crewdson’s vocals join the hungry enterprise, the knowing deception of the song’s sarcasm springing greater catchiness by the second before saving its thickest dose of virulence for the delicious throaty bass led groove which breaks out.

The album’s title track follows, blues liquor fuelling its opening flames before a surf kissed breeze courts the controlled but pungent rhythms at its core. As the opener sprung a lure of descriptive intimation in its sound alone so its instrumental successor weaves an even more stirring sonic tale of drama and suggestion to play with before No More follows suit with its shadow wrapped stroll into ears and thoughts. Again every hook carries creative revelation for the imagination to conjure with; the track nurtured in the same suggestive espionage and danger which marked the best themes tunes of sixties and seventies TV shows such as UFO, Space: 1999, The Avengers or The Prisoner.

Its dark temptation is followed by the thickly enticing lures of Projectile Comet, bait which erupts in another of those riveting hooks and grooves which Crewdson has proven so irresistible and diabolical with across the years. The intergalactic hue of the track brings threat and adventure, the concussive rhythms at its heart chased by voracious riffs and intoxicating grooves in a mix which hungrily got under the skin, an infiltration being quickly replicated by the post punk incident that is the outstanding Calamity’s Creation. Bass and guitar unite to project an instant infiltration of theatre and seduction, vocals riding the groove wired hook lined incitement with matching lust bugging enterprise. There is something of The Monochrome Set to the track at times, the scent of Lester Square creative prowess aligning to the inimitable craft and imagination of Crewdson as another momentous moment within the album is cast.

The swarthy southern hues of Nevertheless bring another hug of instrumental suggestion straight after, ears and thoughts united in their swift embrace while both A Process of Illumination and Charmed I’m Sure share thick fascination with their respective electronic web of insinuation and industrial rock incitement, the latter a piece as aggressively imposing as it is mentally manipulating.

Rogue Prototype similarly draws on industrial instincts, its cyber hull the host for pop tempting and dark post punk menace. The track proved pure fascination in its breath and imputation, suspicion and drama soaking every note boiling and erupting in its tempestuous body before leaving Heart Torn Blood Ratio to bring the gripping release to a close. Melancholic beauty and solemn radiance coat every second of the brooding serenade as darker heavier throes of enterprise rumble in its depths; the track an enthralling end to an album which danced with the imagination and provoked eager attention from start to finish with rich pleasure the outcome.

Look up the definition of fascination and you find the likes of captivation, attraction, intrigue, magnetism and obsession as similar meanings and all thickly apply to the also gloriously art wrapped You Know The Drill, Scant Regard’s greatest moment yet.

You Know The Drill is out now digitally and on blue vinyl effect CD @ https://scantregard.com/store and https://scantregard.bandcamp.com/album/you-know-the-drill

http://www.scantregard.com   https://www.facebook.com/scantregardpage   https://twitter.com/scantregard   https://www.youtube.com/user/willcrewdson

Pete RingMaster 29/02/2020

Copyright RingMasterReview: MyFreeCopyright

Bad Mary – Killing Dinosaurs EP

Photo by Nick P Jiannaras of Nicolai Patrick Photography_

Photo by Nick P Jiannaras of Nicolai Patrick Photography_

When presented with a band name like Bad Mary mischievous thoughts of course spring up as well as hopes that they have a sound to back up the devilish allure of their name. The Long Island quartet has that and more on the evidence of new EP Killing Dinosaurs. It is six highly flavoursome and raucous slices of punk ‘n’ roll unafraid to be as pop catchy as they are belligerently irritable. It is steeped in seventies punk and power pop with the attitude and tenacity of modern rock ‘n’ roll, and quite irresistible.

Bad Mary’s beginnings sprung in 2010 from the regular happening of Hofstra University’s professor of drama and guitarist David Henderson putting a band together with students each semester to play a bunch of covers. At this moment in time vocalist Amanda Mac and bassist/vocalist Mike Staub were the students who became involved, with a time of turnover in drummers ending with Amanda’s dad and veteran drummer Bill Mac joining the band. Playing songs from favourite new wave and punk artists from several eras, initially as Madame X, Bad Mary was officially launched in 2012, and through each member’s individual love of punk and rock from different decades, the band’s own sound grew and blossomed. Debut album Better Days was the first offering, a 2014 release going on to garner three first-round ballot Grammy nominations, success matched by their live presence and their songs luring media and radio attention on both sides of the pond.

cover_RingMaster Review     With inspirations ranging from The Ramones, The Sex Pistols, and Motorhead to The Tom Robinson Band, The Police, Blondie, and Green Day amongst many, the band’s new EP is a non-stop stomp that growls as it invites, bullies as it sets ears and imagination alight. Recorded with producer/engineer Matt Storm and assistant engineer Francisco Botero at Studio G in Brooklyn, Killing Dinosaurs gets straight to the point with opener Soapbox. Amanda leads the confrontation from the off, her potent tones the first touch and fiery guitars around rampant rhythms the next. It is an infectious and grouchy start with the growl of bass alone a brooding impossible to resist temptation as the guitars release their similarly enticing caustic flames. The backing roars of Mike brings a fiercer texture to compliment the intimidatingly tantalising tones of Amanda whilst more metal bred hues add to the overall brawl of the excellent start to the EP.

Whereas the first track has a presence crossing years, the following Want What I Want carries a great old school punk character, strolling with a swagger which is part Vice Squad and part The Objex. The bass of Mike again captivates with its heavy swagger whilst David weaves a hook lined web of enterprise part venom part flirtation as Bill slaps the listeners’ proverbial cheeks around. Eclipsing its predecessor, it too is shaded a touch by next up Hanging Around, a boisterous canter carrying the glam rock of Sweet, the mischievous pop punk of the Rezillos, and the rapacious virulence of dragSTER. The track steals the show, leaving an already strong appetite greedier and already by this time an exhausted body more wasted but energised.

A cover of The Police song Next to You swings in next with a similar swagger and nature whilst delving into more classic heavy rock enterprise whilst adding a tasty scent of early No Doubt punk pop to it . Again physical involvement is a given as it spins its lures, a success emulated by the X-Ray Spex meets The Avengers like Sucks to Be You, another rousing middle finger of word and energy

Killing Dinosaurs is completed by One More Song, a compelling mix of fifties rock ‘n’ roll and sixties pop embroiled in power pop/punk rock imagination and dexterity. It is an infectious end to an increasingly enjoyable encounter; a collusion of old school and twenty first century punk ‘n’ roll to lift emotions from the doldrums and bodies into feverish participation.

The Killing Dinosaurs EP is out now @ https://badmary.bandcamp.com/album/killing-dinosaurs-ep

http://badmary.com/  https://twitter.com/BadMaryBand   https://www.facebook.com/badmaryband

Pete RingMaster 22/10/2105

Copyright RingMaster: MyFreeCopyright

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Invoke : Edge Of Virtue EP

Let us start with the closing line of the review. The Edge Of Virtue EP from UK band Invoke is brilliant and you must go and get it and then bask in its glory.

The three track release really is something rather special, a refreshing and vibrant piece of songwriting, musical craft, and sound. Unaware of the band until now and having missed their previous two singles when they were unveiled which surely many others did too, the time is now to leap upon their exciting and inspiring sounds and feel the magic of what surely  will become one of the more important indie bands over the months maybe years ahead.

Formed in October 2010 the trio from Gateshead have been drawing increasing attention their way and now having heard the EP it is no surprise and that focus upon them is sure to increase over the time ahead. Consisting of Aidan Beck (vocals/guitar/ keys), Derrian Everett (bass/backing vocals/keys), and Wil Davies (drums/percussion), Invoke follow up their debut single Second Time Lucky and its successor Nothing’s Changed released January of this year and featuring on the EP, with an EP that easily sets them apart from a growing wave of new and exciting emerging bands.

What do Invoke do that makes them different? Well there is their definite skill at creating melodic and infectious music that also has a depth and feel which captures and inspires emotions and thoughts. Aligned with an invigorating enthusiasm to their sound and an energy that treats one like a long time friend and boisterous companion, the combination makes for songs that have immediacy and an eager infectious heart that captivates and seduces those of all who open the windows to their souls. Their sound has been compared to that of Muse, Red Hot Chilli Peppers, The Police and even Depeche Mode and one can see that somewhat but there are three eighties founded bands which ripple out from within the music of the band. Firstly there is the emotive and caressing sounds of Modern English that weave within Invoke and which are readily backed by the expert minimal craft and addiction melodic prowess of Comsat Angels. Thirdly there is the incisive and infectious hooks and melodic grip of The Cure from their first album time, Edge Of Virtue easily carrying the insatiable yet perfectly tailored mesmeric simplicity that formed the first release of the legends to be. I am sure this young band have only heard of the latter but whether coincidence or not the trio of flavours are perfect spicery to their sounds.

From the moment the brief addictive intro of the EP took to the ear submission was inevitable. It has a hook that acts like one of those excellent themes tunes to say The Avengers or The Persuaders, unforgettable and very addictive. This leads straight into Misfortune, the song continuing the captivation. With a great bass presence that almost croons the ear behind the incisive and sparkling guitar melodies; the song is instantaneous and delightful. The drums of Davies are pithy and persistently jabbing at the senses without laying out the surrounding graceful and appealing sounds. The song is perfectly constructed and with an ending that sets the pulse racing it is a glorious start.

The aforementioned previous single comes next. Nothing’s Changed sounds like another band from the past The Tea Set, with its picky hooks and instinctive rhythms before it emerges as a wonderfully emotive and easy flowing piece of songwriting, warm keys, invigorating rhythms and sharp yet restrained guitar play making the perfect mix.

It is impossible to pick a best song the release that impressive and consistent, but Restart with its razor sharp red hot melodies and insistent bass lines is as big a contender as the rest. The song is The Cure like, listen to the first album of that trio and see if you disagree, but always note that Invoke turn all these flavours intentionally or by luck into distinct and irresistible creativity of their very own. The song is mischievous but innocent and a joy to share time and the heart with.

Edge Of Virtue is sheer inspirational pleasure and already the anticipation of more from the band is impatient and irritable. If you only check out one band this month make it Invoke, they really are that good. Now you need simply go to www.invoke.bandcamp.com and go treat yourselves.  Go on…shoo!

Ringmaster 11/04/2012

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