Slumlord Radio – No Trick Pony

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Taking the dirty out of their previous impressive EP Tokyo Roadhouse Sonic Sex Castle, US punk ‘n’ rollers Slumlord Radio have caked it in further grime and scuzzy glazes for the new and equally compelling release No Trick Pony. The five track EP sees the Grand Rapids/Flint based band turn to the grimier side of their invention to unleash another brawling confrontation to incite senses and passions. Its sound twists and squalls with an antagonistic might which takes no prisoners and has no concerns with making friends, preferring to eyeball the imagination whilst brewing up a thick moonshine of sonic rewards.

Slumlord Radio was formed in 2010 and wasted no time in stirring up attention locally with their fiery mix of punk, heavy rock, and garage punk. Rich essences of sludge and hardcore also add their toxins to the uncompromising sound which sparked acclaim within 2012 debut release The Cats Pajamas EP. The following year saw Tokyo Roadhouse Sonic Sex Castle ignite another flood of attention and praise upon the band which No Trick Pony should only add to with its raw and raucous charm. The new EP like its predecessor does not break into new realms but similarly uncages a thrilling cluster of passionate and inventive endeavour which leaves the appetite greedy for much more. The trio of vocalist/guitarist Tommy Erickson, bassist Mike Todd, and drummer David Flynn, who has been left the band since the recording with Matt Claucherty replacing him to beat guitars laying down the living daylights out of rhythms, prey on the senses whilst treating them to aural riots which are not always an instant temptation but persistently end up a proposition eagerly devoured.

Devil You Know starts things off, opening up its presence with an early temptation complete with southern twang and expressive tone. The bass takes little time to join the coaxing before a vocal squall announces an expulsion of energy into a confident swagger which instantly recruits attention and appetite. With the coarse notes of Erickson similarly riling the air alongside the sounds, the track has an air of Joecephus and the George Jonestown Massacre to its country punk breath though one integrated in a dusty cloud of predatory rock ‘n’ roll. The track continues to prowl and stalk the senses, feeding it grooves and hooks as infectious bait whilst stirring up a dust storm with discord kissed and scuzz glazed voracity. It is a tremendous start to the EP which as mentioned earlier pushes the trio’s sound into its darkest dirtiest depths yet for thrilling results.

The following Scuzz delivers what you expect with its title but much more besides, it’s initial melodic enticement almost folk like in its touch and soon entwined in another punk bred canter of flailing rhythms and caustic riffs. It does come with restraint though which takes a firmer grip as the song dips into a magnetic stroll to flirt with the imagination. It is not allowed to play for long though as the fire in the belly of the track explodes into an abrasive and anthemic chorus before the mesmeric cycle begins again. The song was one which took a little longer than others to permeate emotions such its evolving intent, but with its masterful grooves and blazing aggressive energy, even in the quieter moments, and the stoner-esque twists which colour the outstanding imaginative encounter it emerged as the most potent and exciting proposition on the release.

Keeping the release on irresistible flight White Owls and Cheap Champagne comes in next with riffs and hooks blazing whilst rhythms beat their suasion with poise and skill. There is a weight to the track which smacks of a Sabbath-esque seeding whilst the corrosive air and vocal riling reminds of Social Distortion at times as the song proceeds to stomp, stalk, and incite the senses. Dirty insatiable rock ‘n’ roll at its most hellacious, the track provides another flavoursome antagonist to the release and spark for the passions even if against the previous triumphs it lies just behind.

The virulently contagious Riverboat Gambler stands toe to toe with ears next, the song another which enters on an epidemic of riffs and acidic grooves which seduce a submission within seconds before relaxing to expand its heart and narrative. The haze to the vocals and the resonating bass tempting grabs attention first whilst the guitars weave a distorted surface to their grooves and designs in a delicious merger of garage rock and grunge which is quietly ingenious. The track continues to seduce, employing a sixties punk spice to the agitated invention to stand side by side with Scuzz as the pinnacle of the release.

No Trick Pony closes with Freelance Viking, a vigorously captivating tapestry of sonic and scuzz lined intrigue. Easily the coarsest and rawest song on the encounter vocally and musically, it takes the longest time to convince though there is an addictive lure working away within the murky sound which ensures you go nowhere whilst it is offering its declaration. With a temptress of a sonically spawned melody and the scintillating bass sound courting its core, the track makes for an engrossing conclusion especially with the ferocious outburst of punk rock fury which comes in right at the very end.

Slumlord Radio continue to impress and stir up the passions as proven by the tremendous No Trick Pony; they are not for part time punk and dirt rockers but for those with a real passion for sonic bruises a prime joy on a steady and potent rise.

No Trick Pony is available now as a buy now name your price option at slumlordradio.bandcamp.com

https://www.facebook.com/SlumlordRadioMI

8.5/10

RingMaster 14/05/2014

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Slumlord Radio – Tokyo Roadhouse Sonic Sex Castle

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Just as likely to steal the final thrusts of your sexual exploits as they are your passions, US band Slumlord Radio show with their Tokyo Roadhouse Sonic Sex Castle EP that they know how to create magnetic brawls of dirty rock ‘n’ roll and abrasive provocation, songs which serve up a diet of irrepressible and thrilling sonic fire which exploit and taunt the senses and psyche. The five track release is a greedy and unruly confrontation but one that hunger was bred for. Raw and unafraid to rile up its listener just as gleefully as it pleasures them, the release is a raucous treat offering salacious pleasure and unmistakable promise.

Based in Grand Rapids/Flint, the trio of vocalist/guitarist Tommy Erickson, bassist Mike Todd, and drummer David Flynn, came together in 2010. Their scuzzed up, filth caked form of rock ‘n’ roll soon had attention locally as the band merged garage rock with sludge like essences whilst other whispers like hardcore, metal, and hard rock made their contribution, a sound best described as unbridled punk ‘n’ roll. It is an encounter which arguably is employing existing sounds and invention but turns it with their invidious alchemy into a distinct devilry of their own. The new release follows the well-received The Cats Pajamas EP and shows the band is moving very much in the right direction to earn themselves a potent place in current garage rock circles. Released via Silver Maple Kills Records earlier this year, it has already awakened a great many to the band, which is no surprise as the release stirs up the senses to give satisfaction a full meal.

Fort Knox opens things up with tall attention seeking fire spawned hooks soon accompanied by greedy riffs, probing rhythms, and squalling vocals. The slightly insidious nature of those early rising sonic flames is a delicious niggling temptation throughout the song and never meanders from their spicy temptation whilst around them the song flexes sinews and rapacious energy to engage the rest of the senses and thoughts. At times there is a mix of Kyuss and My Red Cell launching its suggestiveness within thoughts whilst a breath of Mudhoney is not far away either. It is an excellent start with Call Me Chief soon by its side, the song another caustic haze of punk intensity and garage rock fuzzy veined by a throaty bass croon which smells as predacious as it sounds. Its mix of slow stomps and frenetic bursts is pure contagion, the smouldering tease of the ear and outright sonic turbulence a riveting and pleasing union which leaves the appetite drooling for more.

Up next Old Zilwaukee walks in with a mesmeric shimmering to its air and hoarse breath to its core, vocally and in the scarring riffing once the track is in full stride. The gait switches from reflective musing to expressive tempest across the track and though it arguably takes longer to seize the emotions compared to its predecessors, the wilfully creative confrontation emerges just as vital and impressive, the guitar solo especially inflammatory.

As Second Hand Tank takes its time to scorch the ear there is a Psychedelic Furs lilt to the caress, especially vocally and through the bass suggestion, though once into its almost corrosive blues kissed sonic storm suasion you are more in the MC5 and Social Distortion territory. Without quite sparking the heights and success of the previous tracks, it still leaves you appreciating and enjoying the grunginess and carefree attitude of its charm.

The title track brings things to a roguish conclusion with infectious enterprise and variation. The most inventive of the tracks on Tokyo Roadhouse Sonic Sex Castle but again not as irresistible as the opening triplet of bruises, it nevertheless has a pull which has feet and voice playing their part in the fun.

Slumlord Radio is a band still finding its unique sound and stance one suspects but if the release is a portent of things to come; they will be a force we will be hearing plenty of. For promising emerging garage rock with a layer of dirt you just hanker for, Slumlord Radio is well worth taking a listen to.

https://www.facebook.com/SlumlordRadioMI

8/10

RingMaster 09/09/2013

 

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