Frau Pouch – Biscuit Beard

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Having meant to do this a couple of weeks ago, we apologise to the band and to you all for the late lusty shouting out of one of the year’s most irresistible singles. The track is Biscuit Beard and comes from irrepressible noise post punks Frau Pouch. Since their outing with another of Medway’s essential bands Houdini in a split release, the trio of vocalist/guitarist Joe Wise, bassist Ollie Crook, and drummer Suzanne Freeman has invaded the psyche with the All Hail Space Chicken EP and invaded the senses with their lo-fi punk sound live. Their finest moment though comes now with Biscuit Beard, the kind of song and addiction we for one were born for.

From the first second of its insane grooving and rhythmic baiting, the track is in command of ears and imagination. It is a throwback to the late seventies/early eighties in some ways and a new unique beast of invention in others. Rhythmically the track is a cross between Gang of Four and The Mekons, Crook’s bass a deliciously grouchy growl infesting the psyche with its grooves whilst Freeman’s beats are a hypnotic tapping of the senses far too easy to succumb to. Alongside them the guitar of Wise teases and taunts with almost cancerous grooves and spiky cuts before spreading melodic discord over it all from time to time. With his vocals as distinct and wonderfully slim as the textures uniting for one rich incitement, Biscuit Beard is pure manna for ears and any punk heart.

To it all there are moments when eighties band The Dancing Did is parked in thoughts too, just one more rather enjoyable essence in easily a single of the year contender.

Biscuit Beard is out now via Skingasm Records on iTunes etc.

https://www.facebook.com/FrauPouch/   https://fraupouch.bandcamp.com/

Pete RingMaster 14/10/2016

Copyright RingMaster: MyFreeCopyright

Murena Murena – Shame Over

Pic © Jann Averwerser_klein

Pic © Jann Averwerser_klein

Genius or lunacy?

A question to ponder as Shame Over seduces ears and infects the psyche with its deranged carousel of dark imagination and off-kilter rock ‘n’ roll. The riveting aural amusement park of warped thrills and twisted adventures is the new album from Munich based Murena Murena. Though self-tagged as horror soul,  the release offers twelve tracks of unique imagination twisting alchemy embracing both genius and lunacy which, though hard to easily reflect in word, is maybe best described as Powersolo meets Wall Of Voodoo meets Nick Cave whilst lost in the realm of Twin Peaks.

Murena Murena is the creation of Daniel Murena, vocalist and writer/composer of some of the most irresistible cinematically lit murder ballads and sinister shuffles heard in a long time. 2014 saw the release of debut album Ghoaster Coaster, a slice of sonic and creative loco within which the seeds to Shame Over can be clearly heard. They are beginnings though which have blossomed into a proposal far more unhinged and seductively unsettling; an album of songs which work the ears and imagination of the listener like a puppeteer. With Albert Pöschl, Tagar, and Dizzy Errol alongside Murena, the band and Shame Over simply turn ears into an addict whilst sharing a cracked Sin City like comic book of noir fuelled escapades.

The album opens up with Newsflash Apocalypso, a dark romancing of ears with a rumble in its belly and a Yello-esque flirtation to its electro hues and devilry. Imposing in emotive dark and beguiling with a maze of vocals which trespass song and imagination, it is an attention grabbing start to the album and swift glimpse into the house of visceral shadows and provocative tales to come, starting with the outstanding Drag Race. Cowpunk rhythms and an appropriate swing quickly grip body and appetite with rockabilly devilment swiftly adding to the Cajun tinged stomp. Again vocals are a mesh of asylum bred incitement matched by beats and country hooks, an aligning of textures breeding a scent of Powersolo / Heavy Trash to its rascality.

The necrophilic romance of Le Van´s Wife immerses ears and thoughts in dank graveyard mustiness next, its soulful moon lit insight hosted by a sultry electronic glow framed by prowling rhythms. There is no escaping a Nick Cave hue to the excellent nocturnal disturbance and its smothering embrace of dark doings, or the invigorating diversity brewing in the album which continues with the reggae spiced bounce of Dancing Naked. The grouchy tone of bass enjoyably tempers the lusty shuffle of riffs and skittish beats hugged by the warm kiss of keys, a fusion of textures creating an addictively surreal surf/spaghetti western/ska flavoured hop

cover_RingMasterReviewCountry and rockabilly strands entwine the following Lovely Homes, skittery beats laying an eventful canvas for the smouldering dark charm of air and narrative of voice to conjure upon. Guitars and bass only add to the increasing drama, spawning a Helldorado like theatre that once having seduced ears and enjoyment, steps straight into the unbalanced horseplay of Pretty Please! which quickly has feet and thoughts  jumping like a psychotic mix of Th’ Legendary Shack Shakers and Johnny Kidd and The Pirates with an added twist of The Dancing Did.

The pair simply disorientates and ignites the senses before Peace swaggers in with its throaty Johnny Cash climate and vocal dexterity as rich sultrily hued melodies wind seductively and poetically around ears. The track epitomises the whole of the album and Murena Murena sound, there seeming little going on in the building of a thick array of textures yet every moment is a kaleidoscope of new noise and imagination which reveals more and more with every dark engagement.

A lighter dance is provided by Shy Goose, its sixties pop and electro rock dance a magnetic croon which gets right under the skin with bass and beats masterfully leading the infestation. It shimmers and erupts with increasing tenacity and bewitchment before being pushed aside by the addictive sonic and rhythmic agitation of Tu Tu. Sounds and textures almost seem to battle each other in the bedlamic stomp, but in the end they simply collude for a hyperactive rock ‘n’ roll waltz that leaves body and soul alive and ready to be drawn into the psych rock haunting of War Drugs.  In another twist to the album, it is a dark enveloping of the imagination which is alive with vocal psychosis and warped echoes of noise and emotion, and quite beguiling if equally disturbing.

Shame Over is brought to a close by the pair of Fossil Fuel and Fossil Fuel 2. The first is a throbbing draw of vocal resonance and ethereal electronic theatre with plenty of suggestive bite whilst its successor is a blues romancing equipped with nostalgic easy listening country-esque mesmerism. Both tracks sublimely bewitch with their individual imagination, a description which fits the whole of the quite unique and gloriously unpredictable, not forgetting wonderfully eccentric or should that be crackpot, Shame Over. Creative diablerie does not come much better or deliciously darker it is easy to say.

Shame Over is released globally by Totally Wired Records on April 15th @ https://totallywiredrecords.bandcamp.com/album/shame-over

http://murenamurena.com/   https://www.facebook.com/murena.munich   http://danielmurena.bandcamp.com/

Pete RingMaster 13/04/2016

Copyright RingMaster: MyFreeCopyright

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

Punching Swans – Nesting

artwork_RingMaster Review

How to describe UK trio Punching Swans?

You could say they are a carnivorous groove machine, a sonically schizophrenic rumble, or a rabidly twisted siren; all applying to the creative psyche and adventure that breeds the band’s irresistible sound and now their new fiercely virulent album Nesting. Maybe the best way to describe Punching Swans is a twisted union between The Fall, McLusky, The Fire Engines, and Maths and the Moon. It is a band which despite a clutch of similarly distinct releases has remained in the shadows of the UK music scene like the black sheep of a family which gets locked away in the attic away from prying ears. Now though, the door is unlocked and the band is about to infest British rock ‘n’ roll with their tempestuously deranged math punk, courtesy of the inimitably thrilling Nesting.

Punching Swans is the ravenous creation of producer (Sunlight Studios) Greg Webster, formerly of Medway greats Houdini, the equally impressive Frau Pouch’s Joe Wise, and Pablo Paganotto from The Explorers Collective. Formed in 2011 or 2012, depending where you read, by Greg and Joe from a one-off band called Laura Palmer and the One-Eyed Jacks they got together for a Twin Peaks night, Punching Swans quickly sparked ears with a self-titled debut album in 2012, and even more so with its successor Mollusc two years later via Skingasm Records. Each has inspired potent attention and praise across fans, media, and radio shows but it is easy to feel it has all only been the taster to reactions about to be triggered by Nesting.

Telling the “story of one man’s journey from self-imposed isolation to the skies”, Nesting takes little time in gripping attention and appetite as its opener, Cuckoo Cuckold K-killed, dangles sonic bait in front of ears before the robustly contagious beats of Paganotto get to rebellious work. His swings tempt and seduce with a tenacious grin, coaxing bodily involvement as vocals walk the rhythmic web into the imagination as tangy guitar and devilish bass lures begin to stir and add to the increasingly enthralling and incendiary stroll. Unsurprisingly there is a touch of Houdini and Frau Pouch to the delicious incitement but equally thoughts of Swell Maps and inescapably The Fall also flavour the first treat.

Seriously dynamic and gripping, the album’s superb start continues with Man Nest, an even more psychotic and caustically enterprising proposition that needs mere seconds to seduce and inflame the senses too. Wise’s bass shows it has probably the grouchiest textures in British rock ‘n’ roll at its disposal whilst Webster’s guitar trespasses show no qualms about infesting the senses and psyche, acidic grooves and fiery tempting a perpetual forte.

Pigeon Street toys with more restrained energies and urgencies for its enthralling exploits next, though it is all relative to what came before as the song, with the scything beats of Paganotto an inescapable trigger to get physically involved, blossoming into an insatiable almost predatory shuffle of searing grooves, thumping rhythms, and zealous revelry. Even its calm climax has an element of off-kilter ingenuity before the infectious rock ‘n’ roll of Ovulations rumbles along with the fervent vocals of Wise and Webster holding the reins. Again hooks and grooves steal the passions as rhythms jab deeply, the song entwining post and garage punk texturing into its fearsomely alluring landscape.

That great bass tone is at its crabbiest again in the following Beak Throat and its peevish stalking of the senses within a net of guitar spun wiry hooks and sonic delights around vocal dexterity. It is hard to imagine anybody able to resist the choleric grooves of the song or possible to see the track alone avoid sending rapturous waves across post punk/noise rock pastures with its gloriously savaging and exhilarating tempest.

The brief but again irresistible invasive seduction of Ostrituals comes next to forcibly arouse the passions. If Public Image Ltd had been The Wonderstuff or Wire been McLusky, you wonder if they would have sounded like this mouth-watering predacious stomp whilst its clamorous successor Headless Chickens suggests The Dancing Did or Stomp doing salacious things with Pere Ubu or Marc Riley & The Creepers. The outcome of both and all songs though, despite suggested spices, is always something unique to Punching Swans as proven by Pecked to Death which cantankerously sits between them. Snarky in tone and unhinged in character, the track meanders and twists into unpredictable and manic detours but returning all the time to its rapacious and concussively catchy directness.

The bulging rhythms of Egg Rock is an immediate and successful infestation of the passions, its sonic tendrils and testy Mark E. Smith laced vocal strains only adding to another senses searing, lust inducing incitement before Flight brings the invasive alchemy of the album to an end. The clamant finale to Nesting is a raw soar into noise pop infectiousness and magnetic sonic caterwauling which just lights the touch paper to rapture before retiring to leave ringing in the ears and euphoria in the heart.

Nesting is the first essential album of the year and Punching Swans one of the bands set to step out of the shadows in 2016 and become seriously shouted about.

Nesting is released via Skingasm Records on 22nd January digitally and on CD with a hand numbered limited edition of 30 with a 16-page book featuring drawings and notes from the story behind the album @ http://punchingswans.bandcamp.com/

 

— Punching Swans Tour 2016 —

JAN 28 CANTERBURY w/Mass lines, Death Pedals, Negative Space

JAN 29 CHATHAM Poco Loco – MEDWAY ALBUM LAUNCH w/Girlpower & Bear vs Manero

FEB 11 CAMDEN Unicorn w/Mayors of Miyazaki + Screen wives

FEB 16 BRIGHTON TBC

FEB 21 OXFORD The Library Pub

FEB 24 BRISTOL Stag & Hounds

FEB 27 LIVERPOOL Maguire’s w/ Robocobra Quartet, Jazzhands and Cal Banda

 

http://punchingswans.tumblr.com   https://www.facebook.com/PunchingSwans   https://twitter.com/punchingswans

Pete RingMaster 20/01/2016

Copyright RingMaster: MyFreeCopyright

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

Fight Like Apes – Self Titled

Fight Like Apes Cover _Reputation Radio/RingMaster Review

It has been as good as five years since the release of their second album, though there was a rather satisfying EP in between, so it is fair to say that anticipation for Fight Like Apes’ new encounter across the board has been bursting with hungry excitement. It is a wait now relentlessly rewarded by each of the twelve songs making up the self-titled proposition, offerings taking ears and imagination on a unique and rebellious exploit of indie pop devilry. It really only takes one listen to establish the album as a favourite and barely a couple more to suggest it is going to cast as one of the major triumphs of 2015.

Hailing from Dublin and formed in 2006, Fight Like Apes and their synth pop/alternative rock sound has been luring in keen and potent attention ever since the release of the EPs How Am I Supposed to Kill You When You Have All the Guns? and David Carradine Is a Bounty Hunter Whose Robotic Arm Hates Your Crotch in 2007. The following year saw them nominated for two awards at the 2008 Meteor Irish Music Awards, and it has only been a continuing torrent of support and acclaim since, though equally there have been moments to challenge as with any band. Debut album Fight Like Apes and the Mystery of the Golden Medallion that same year poked a keener, broader spotlight, attention emulated and pushed to new heights by second full-length The Body of Christ and the Legs of Tina Turner in 2010. Their sound and songwriting had already found uniqueness in presence and character which has consistently evolved from release to release, song to song at times, and it is again prevalent upon the new offering. The time between albums two and three saw the band dropped by their record label but they decided to go down the crowd funding route with quick success. This meant that it has been a length wait for their new epic of fun but as hinted at by the Whigfield Sextape EP last year; the band’s return has only brought new seductive and vivaciously eccentric pleasures.

Unleashed through Alcopop! Records, the album quickly has ears and imagination immersed in its pop alchemy through I Am Not a Merry Man. A quaint electronic coaxing jabbed by firm beats initially the song is soon sauntering along with a melodic swagger and lusty bassline, and lit up further by the ever bewitching vocals of Mary-Kate “MayKay” Geraghty. Moments of feistier endeavour also clad the constantly alluring stroll, the song an inescapable flirtation for ears and thoughts with the flowing keys and backing vocals of Jamie “Pockets” Fox just as magnetic as the pulsating rhythms and prime melodic roar of MayKay.

The following Crouching Bees from a single crisp rhythmic rap is soon engulfing ears in an elegant weave of melodies carrying a slight Altered Images air and once more badgered by thickly tempting rhythms. Vocally MayKay again is as potent in casting a mellow seduction or an impassioned raucousness, her heightened delivery a fiery incitement to the calmer waters of the keys, though they too at times provide an off kilter element of their own. The infection of sound and imagination of the album is already enslaving the psyche two songs in and only increases its bait through Pop Itch and The Schillaci Sequence. The first of the pair is a more ‘regular’ canter of indie pop design, though as it is Fight Like Apes there is plenty of sparkling vocal adventure and sonic twists whilst the second sways over the senses with melodic eloquence. It too initially seems a more reserved example of the band’s invention and creative exploration but with an agitated rhythmic shuffle and Devo-esque electro psychosis it soon puts expectations straight.

Fight Like Apes _Reputation Radio/RingMaster Review Both songs keep enjoyment keen and appetite greedy, though everything is soon eclipsed by the brilliant Didya. Easily our favourite proposition on the album, maybe from the band full stop, the song ambles in on a melodic hook which is Weezer like. That alone has lips licked but it is once Pockets takes the vocal lead with a punkish anxiety to his tone that things erupt into genius. The throaty bass and wilder tempered beats are belligerent whilst the voice of MayKay similarly has a challenging edge to it, the blend a spellbinding incitement though it is the vocal bedlam which follows that has these ears and passions are enslaved. It is like a warped mix of The Dancing Did and The Ting Tings, pure creative mania and manna, setting up the listener for a blaze of a finale.

Numbnuts calms things down a touch next, its persuasive croon persistently littered with stirring vocal snaps and musical twists on the way to creating an increasingly fiery climax whilst its successor Pretty Keen on Centrefolds has ears captivated with an eighties synth pop bubbling that nudges thoughts of Blancmange and Soft Cell. Of course things are never that simple, punchy and at times bedlamic beats adding a drama to match that of the vocals whilst keys whip up a contagious tempting for the dance-floor.

Like a mix of Morningwood and Yeah Yeah Yeahs but all Fight Like Apes, The Hunk and The Funplace sculpts another major pinnacle for the album. Rhythmically anthemic and imposing, melodically spicy and slightly nostalgic, the song easily has ears engrossed but it is the roaring chorus which takes a great song to the plateau of brilliance. It is pop at its most dynamic, provocative, and irresistible.

There is no let-up of the thrills and creative spills as firstly I Don’t Want to Have to Mate with You swirls around ears and leads expectations on a merry dance. It is a lively breeze of fascinating textures and rousing calm providing a spellbinding theatre of sound and voice, emulated in its own way by Baywatch Nights with its even slower smoulder, though again there is a snarl to vocal moments, spicy intrigue to keys, and dark shadows to surrounding scenery. Both tracks make riveting listening, a norm across the album to be fair and continued in the excellent Maevis Beacon: Annihilation, a song with more than a whisper of Young Marble Giants to it especially in its opening minute or so. All tracks make a quick and thick first impression but some reveal even more to their depths and beauty over time with this a prime example.

The mesmeric seducing of Carousel brings the release to an emotive and reflective close, and a dramatic one as epic rhythms and brooding melodies rise as the song progresses. Folkish theatre and heavy tribal rhythms break free too in the scintillating end to a sensational encounter. It may have been a while in the making and coming but Fight Like Apes has spent that time crafting their most vigorously inventive and exciting sound yet. This is a must have for all experimental and rousing pop enthusiasts, actually just every pop fan out there.

Fight Like Apes is available via Alcopop! Records from 18th May @ https://itunes.apple.com/us/album/fight-like-apes/id981566460

https://www.facebook.com/fightlikeapes

RingMaster 08/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

The Rattlin’ Doors – In A Tree House

Rattlin Bones pic

With their debut single, UK rockers The Rattlin’ Doors stand before us as a compelling and scintillating piece of devilment, a band with a sound which it would not be a surprise if it was claimed by the devil or any wickerman ceremony bred by pagan worship. In A Tree House is a riveting and thrilling shadow stomping slice of aural mischief, a song born of folk rock and cultured in a psychobilly, hillbilly, and garage punk vat of caustic revelry. Imagine the mutant offspring from a union of Eighteen Nightmares At the Lux, The Cramps, The Fall, and especially The Dancing Did, and you get a whiff of the psyched out rock ‘n’ roll of The Rattlin’ Doors.

Consisting of guitarist and vocalist Andy Teece, bassist Phil Elt, and drummer Leeroy Evans, the Worcester trio bring a fusion of rockabilly, punk, and blues into a unique recipe of their own and already have made a strong impression in the UK and over the pond. In A Tree House will only accelerate and enforce their striking and imagination capturing presence, their first introduction to the widest audience a tantalising almost niggling seed of triumph which truly ignites the passions.

The first of their ‘tainted tales of country life’ to be unleashed, In A Tree House charges up to the ear in a blaze of intense 582219_193591974104886_1351463910_nstrumming before breaking into a hungry stroll of expressive and sinisterly grinning vocals alongside slide guitar teasing and rhythmic prowling. It is an immediate recruitment with a sonic hook which seduces the passions instantly. Around that barbed lure the bass of Elt romps and crawls over the ear with a rapacious greed, its menace bringing dark corners to bear upon the country rock lined stomp to find a dark union with the equally nightmare seeded lyrical narrative wonderfully expelled by the vocals of Teece.

In A Tree House is an exceptional treat with the skills of Evans caging its contents and the ear in an inescapable and irresistible encounter of sacrificial caustic beauty, village life taken to extremes for a delicious dance of picturesque malevolence. The Rattlin’ Doors is destined to find a legion of eager victims for their startlingly fascinating cause as they take over UK rock, we are already a willing conspirator so come join the burning with us.

Released July 1st, In A Tree House will be available as a free download from The Rattlin’ Doors website.

http://www.rattlindoors.com/

https://www.facebook.com/TheRattlinDoors

Upcoming The Rattlin’ Doors gigs:

15th June @ Flapper & Firkin – Birmingham

16th June @ Himbelton Cricket Club – Himbelton

10/10

RingMaster 31/05/2013

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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