K-Man & The 45s – Self Titled

Pic DannyDonnovan @bucketlistmr

This month sees the new romping stomping album from Canadian outfit K-Man & The 45s uncaged, a release which had the body bouncing and spirit roaring like a teenage boy after his first sexual adventure. The band creates a contagious proposition from a fusion of ska and rockabilly spiced classic rock ‘n’ roll with plenty more involved, a recipe providing their finest feast of sound yet within their self-titled full-length.

Hailing from Montreal, K-Man & The 45s has been a constant and acclaimed presence on the Canadian music scene; their records luring keen praise and support and live presence just as rich plaudits and a matching reputation. The band has shared stages with the likes of The Slackers, Big D and The Kids Table, The Satellites, The Original Wailers , The Planet Smashers, The Brains and so many more as well as graced and ignite a host of festivals across their homeland over the years. It is easy to suggest that their new album is their greatest moment yet and even easier to eagerly push it towards the attention of ska, punk and rock ‘n’ roll fans alike with the band embracing the inspirations of bands such as The Specials, The Beat, The Ramones, and The Cramps among their influences though it is fair to say K-Man and co have successfully nurtured their own individual character of sound as in thick evidence across the new record now getting its deserved push via Stomp Records.

Opener They Gotta Know had us hooked with its first breath, a classic rock ‘n roll guitar lure entangling ears and appetite before the song leaps into its punk rock swing. The jangle of Kman’s guitar flirts as the beats of Brian Smith arouse against the melodic dance of an organ; a potent enticement only enhanced by the dancing flames of Josh Michaud’s trombone and the trumpet of Seb Fournier. Bouncing along to the track’s body and stroll is inevitable, we can testify to that, as the song gets the album off to a rousing start.

The following Poppy’s Back In Town is just as manipulative, its rowdier rock colluding with the animated canter of keys and guitar with, as in its predecessor and every song, Kman’s vocal mischief leading the fun. Lively melodies and lustful hooks line its boisterous stroll before I Don’t Mind wheels in with an instantly appealing breeze easily reminding of The Beat. The band soon adds its own distinct colour to the song, adding a vocal backing in which participation is simply unavoidable. Smith’s clipping beats just get under the skin too, the brass n turn into the passions as the track lustily manipulates body and spirit.

Rudy Don’t Smoke equally had the body dangling from its virulent strands of sound and enterprise; its ska and punk collusion a devilish puppeteer with a glint in the eye of its imagination before Piece Of The Action bursts in with drama and intrigue which would not be out of place in the theme to a sixties TV spy/private detective show. With a Department S-esque hue to its theatre, the song is more than a match for the lofty heights of its predecessors as too the cosmic adventure of Space Thriller. Bringing the atmospheric prowess of The Specials into a surf rock spiced ska saunter the track has the same level of drama and intimation as the last song, its story a sultry seduction of lust and danger descriptively shaped by brass led enterprise.

Through the punk ‘n’ roll/ska bred stomp of Road Rage Randy and the fifties rock ‘n’ roll seeded ska spin of This Moment, pleasure only escalates with the album, each adding a new shade of sound and mischief to its party before a great cover of The Kingpins’ Party in Ja joins the fun. Giving its reggae nurtured catchiness a Ruts like dub makeover the track pulsates on the senses as again the body is lost to an instinctive bounce.

Next up is Johnny Thumbs a track which maybe did not inflame the passions as others around it but still made for the most enjoyable playmate before the outstanding Far Away Eyes Come Home simply became a love affair with ears. From its revolving hooks and melodic enticement to vocal and rhythmic invitation, the song devoured inhibitions.

The album finishes with another gem in What’s Inside A Girl, a glorious garage punk and rockabilly spun tease with a healthy psychobilly and surf rock glaze led by yet another delicious bassline among so many across the album from Frankie amidst the perpetual rhythmic incitement of Smith. The song epitomises the craft, sound, and contagious exploits of K-Man & The 45s perfectly whilst at the same time sealing its best track moment though that is debated with each and every listen.

K-Man & The 45s is a band which deserves the biggest attention within the ska, punk, and simply great rock ‘n’ roll world; all the reasons are in their new album so no hanging around go have fun.

Recently the sad news that drummer Brian Smith has terminal pancreatic cancer was announced and a Go Fund Me page set up to support him and his family. To help out this great musician and friend to so many go to https://gofundme.com/support-brian-our-brother

The K-Man & The 45s album is out digitally and on vinyl now @ https://k-manthe45s.bandcamp.com/album/k-man-the-45s

 https://www.facebook.com/kman45/   https://twitter.com/kmanandthe45s

Pete RingMaster 14/08/2018

Copyright RingMaster: MyFreeCopyright

The Howling Bullets – Ghoul County

photo: Lily Lemonpie

photo: Lily Lemonpie

With a blood thirst to their invention and predatory stench to their sounds, Canadian horror rock band The Howling Bullets return with new EP Ghoul County to resume their preying on the psyche. Following their excellent From The Public Domain EP of 2012, the new six track stalking is a ravenous expanse of horror rock, psychobilly, and country punk unleashed in diverse permutations and uncompromising passion.

Hailing from the darkest corners of Toronto, The Howling Bullets came together around 2011, DanO Villano and Jordan Sane coming together a little earlier to write and expand on songs the former had already been working on. Soon a full band The Public Domain EP brought the band to closer attention beyond their strong local reputation including an internet presence which brought them to hunger of shows like The Bone Orchard at www.audioburger.com. A line-up change brought in guitarist Seanbelly Sewell alongside the dual attack of vocalists and bassists Sane and Villano later that year with Alvin Lapp joining on drums. Shows and festival appearances alongside the likes of Christian D and the Hangovers, Owen Mays, Bloodshot Bill, The Brains, Koffin Kats, The House Of Haunt and many more, only enhanced their stature and the appetite for their fiery horror bred sounds. April of this year saw the current line-up in place with Elena Red taking control of the rhythms with her stick mystique and now September 27th sees the next instalment of The Howling Bullets bloody alchemy set loose.

The EP growls into view with Ghoul County Limits, a carnivorous bass riff drawing in the equally rapacious guitars and rhythmic lashing 1291623_10153251806110361_950545741_nof Red. A hunger driven intensity and stroll to the song provides an unrelenting temptation which is raised further by the great vocals, the two frontman trading verses, and the melodic flames which flare up across the contagious charge. Like a meat clad bone before a hound the horror punk introduction to the release is potent bait, its equally delicious psychobilly tonic only increasing its lure and grip on awakening passions.

The addiction causing start is followed by Zombie Bat, a rampage which takes its lead from its predecessor in showing no thoughts of restraint in the riffs and rhythmic enticement. In its gait and invention the song twists, turns, and stops at a whim to show immediate diversity whilst keeping the senses and appetite greedily attentive and wrapped in unpredictable seduction. There is a familiarity to the swagger and tone of the song it has to be said, and though saying Misfits is too easy but certainly there is a sense of that flavour of horror rock at mischievous play.

Cold Cold Skin shimmers from its opening breath with a sonic guitar mist which rains down on the emerging prowl and intimidation of the song whilst caressing the imagination. There is a Samhain growl and menace to the song from the start which only ignites greater rapture for the already impressive release. Equipped with blues fumes and an uncompromising snarl, the slowly stomping burn of the track traps the passions with a blaze of guitar blues excellence in the midst of the predacious smothering of the senses, the result a seizure of the passions from the persuasive offering.

The heat is turned up with the scintillating instrumental The Djinn, a middle Eastern surf rock blaze of grumbling rhythms and tight acidic enterprise coaxed and goaded by the ever riveting dual bass attack. Wrapped in chilling mystique and dangerous melodic enchantment the piece of music is another irresistible magnet making the perfect appetiser for the best track on Ghoul County, the ravenous New Age Hex. Adrenaline fuelled with a certain punk rabidity to its Cramps like gnawing of the psyche, the track is as virulently infectious as it is skilfully intimidating, and over far too soon for these greedy passions. Impossible for feet and voice not to join in its devilry, the song lands enjoyably somewhere between Guana Batz and King Kurt in sound and as mentioned The Cramps in its rawer lining of epidemic suasion.

The closing That Hellbound Train enters into the realm of country rock for its ghostly tale of a railroad haunting. Now country music for us is as welcome as an octogenarian stripper but with its more of an outlaw cowpunk spicing and excellent guitar work it is a very pleasing finale to an excellent release, even if not quite igniting the fires inside of other songs on the EP.

For prime rockabilly/horror rock with a multifarious depth of flavours and imagination, The Howling Bullets has crafted one of the true exciting dangerous adventures, but are you brave enough to enter Ghoul County .

http://www.thehowlingbullets.com/

9/10

RingMaster 26/09/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

The Brains – The Monster Within

The_Brains_Press_Picture_2013

Room for one more on the list of Album Of The Year candidates?

It may be full already but there is always a place for albums as irresistible and explosively potent as The Monster Within, the latest album from Canadian rockers The Brains. Fusing insatiable encounters of psychobilly and horror punk with straight down the line rock ‘n’ roll, the fourteen track release is one determined and virulently contagious ride before which resistance is futile, especially if the genre ignites furnaces of fire deep inside like for us.

The Monster Within is the band’s sixth album and stands before the ear to prove once again that The Brains just continue to get better and musically they are full bodied like vintage wine with each passing record. The band has lit up every corner of the world through their breath-taking live performances, which haves seen them play with the likes of Mad Sin, The Offspring, The Reverend Horton Heat, The Real McKenzies, The Creepshow and many more, no continent safe from their epidemic toxin of sound, but it might just be that their new album is their finest moment yet. Released via Sailors Grave Records and Stomp Records in Canada, its towering presence can be best described as Rezurex meets Grumpynators with Volbeat, Calabrese, and Tiger Army adding their juices to the mix. What emerges is a sound and release which is truly distinctive to The Brains and an incendiary device for the heart.

The trio of vocalist/guitarist Renè De La Muerte, bassist Collin The Dead, and drummer Pat Cadaver do not hold anything back from the Press_Cover_01opening note of the first up title track. Energy and riffs are immediately enslaving the ear with relish and hunger as a storm of rockabilly and heavy rock, from which you almost expect Lemmy to step out of, absorb the senses with the outstanding tones of De La Muerte holding court. The music embraces him in powerful and melodic enterprise, everything feeding the awakened passions before them. It is a storming mix of light and dark wrapped in an infection to which escape is impossible from song and subsequently the album as it unleashes more individual but just the same addictive alchemy.

Give It All takes over with a slightly more restrained attack though no less lethal for resistance, its anthemic chorus and full on rhythmic temptation just one of its many lures. The varied and textured mix of sound and flavours across the album ensures that every moment is ridiculously compelling and this track is no exception, in fact one of the most intensively submission ripping triumphs.

A Stray Cats tonic sprays out as Misery unveils its frenetic dance within a blaze of vibrant melodic flames, a cage of frenetic rhythms trapping the passions in a state of ardour whilst the swagger which drives the track home only lights stronger rabidity for what is to come, something which the likes of The Damned and Bleed only encourage further with their devilish teasing. The first of the pair is a smouldering melodic caress hanging onto a rapidly coursing rhythmic and energetic gait whilst its successor lays down a trail of schizophrenic beats and riffs for the melodic breeze of vocals and guitar seduction to light deeper far reaching flames. There is a heat to the song which transports the imagination to climes where sweat on the brow is a given, the same result as achieved by the driving predation of the excellent Stay Back, its uncompromising rock ‘n’ roll passion igniting another anthemic union.

There is not one moment of weakness or a lull in the flow of the album’s quality and glory, the scintillating Electrik Shock with its underlying teasing Cajun twang and the demonically tempting Rest In Pieces with its venomous narrative simply sucking greater rapture from the heart whilst the glorious surf rock instrumental Cucaracha In Leather  finds a somewhat carnivorous fascination for the senses and imagination to work with. The track is a shoe-in for a Tarantino movie somewhere surely.

Suddenly the album seems to lose focus and control…yeah as if. Both Kill Kill and Suffering And Pain seize their moment to ravage and simultaneously exhilarate the ear, their different but kindred charge of rhythmic rapacity and melodic paintwork adding another unique gloss to the emotions. The first finds a low whisper of Eastern mystique to its body whilst the second strolls confidently with a wily enchantment of those ever persuasive vocal harmonies and twisted mischievous guitar invention.

Devil In Disguise and Lies combine to ensure the album does not leave until a visit to their blood drenched sinister hop is taken, their exceptional control of the listeners limbs, voice, and energy surely meaning they are on the most wanted list of perpetrators. They leave Rolling Down to mop up the sweat soaked floor with its melodic, almost pop like croon, though all it wants to do is dance which it does successfully with guitar and drums expanding on the bass led potent diablerie.

The Monster Within is just magnificent, an album with all the majesty to be looked at as one of the true rock ‘n’ roll classics. The Brains has just become the new lust for the site, come join us.

https://www.facebook.com/TheBrainsMTL

10/10

RingMaster 06/09/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com