Taco Mouth – A Deafening Silence

If you ever get the feeling that the spirit and feisty devilment of the old CBGB hey days was a distant memory than rush over to the debut album from Nashville bred rockers Taco Mouth. Uncaging ten tracks which has the body bouncing and spirit roaring, A Deafening Silence is a punch of nostalgia and fresh enterprise which pretty much had us enslaved from the first listen of its first song.

The heart of the band is vocalist/guitarist Erica Sellers and drummer Angela Lese, a friendship and musical partnership which goes back to 2011 and the former’s new band at the time, CatFight. Lese’s relocation from Kentucky to Nashville brought that outfit to an end but a regular pleading for her former band mate to join her led to Sellers moving and with three other girls, the formation of The Dead Deads. After several national tours and two full-length albums, Sellers and Lese left the quintet in the October of 2017, quickly forming Taco Mouth with lead guitarist Shawn Hammer (engineer of Chevelle, Conor Oberst, Cursive) and bassist Flip Cooper (Damon Johnson, Brother Cane) completing its line-up.

Earlier this year, the band released the W.G.A.F. EP, a very well-received taster of the band’s punk fuelled, pop infested, ebullient rock ‘n’ roll now making one virulent holler from within A Deafening Silence. With defiance and attitude wrapped in hook ridden contagion, the Michael Wagener produced album immediately sets about getting under the skin with opener You Say. Flames of guitar instantly consume ears, a catchy rhythmic trespass in close pursuit before Sellers’ vocals join the swift coaxing. Within seconds an underlying hook teases but captivation is truly set with the song’s irresistibly rousing chorus. Like a hybrid of The Donnas, Spinnerette, and Sleater-Kinney but urgently enforcing its own individual character, the song as the band’s sound and enterprise sets the tone, manipulation, and adventure of things to come.

Romero follows, almost unwinding its lures as guitar and rhythms stir with predacious intent. The dual invitation of Selles and Lese’s vocals accentuate its temptation until breaking into a calm but determined stroll, bass and drums continuing to challenge as they entice. A sixties pop adds to the raw seduction, a radiant reflection on the track’s rawer observational edge before Burn This City Down springs its own flirtatiously imposing canter led by flesh whipping beats alongside a great bass grumble. Again defiance and catchy exploits collude in a slice of pop ‘n’ punk which had the body and vocal chords worked like a puppet.

Taking its predecessor’s strong mix of pop and punk, Let’s Get a Little Bit brings it to an even richer and keener boil, the song a tenaciously devious proposal orchestrating body and spirit with primal yet imaginative incitement soaked in infectious enticement while Queen of the Stags has a rapacious lining to its individually conniving contagiousness. Both outstanding tracks resound with the band’s skilful mix of flavours and creative cunning, and the pleasure an already greedy appetite was keenly devouring.

If both tracks are scheming, Simmers is pure unscrupulous seduction, the track a slowly evolving temptress with feline moves and inescapable devilment where every moment builds on the one before with darker intent and greater magnetism before the galvanic punk ‘n’ roll of Fighting for Today explodes in ears. An arousing call to arms and battle cry against a certain political leadership but applicable to all, the track just commanded lust and participation for its melodic howl.

The melodic serenade of You Can’t Stop Me is just as compelling, its intimate echo and smouldering uprising irresistible with next up Katie casting a pop hued incitement for ears and instinctive involvement through a rowdy yet inescapably catchy nature awash with crafty hooks and creative antics.

The album concludes with Waiting for the Sun, a song swinging with hip grabbing grooves while invitingly taunting with imagination firing hooks. It is a track epitomising the strengths and personality of the album and the band’s sound, the ever enticing shadows of the rhythms and the seriously magnetic vocals equally adding to its strength and overall to a release impressing more and more by the listen.

This year has seen quite a few striking punk nurtured treats unleashed; A Deafening Silence just might be the juiciest one of them all.

A Deafening Silence is out now and available @ https://tacomouth.bandcamp.com/album/a-deafening-silence

https://tacomouth.com/   https://www.facebook.com/tacomouthband   https://twitter.com/tacomouthband

Pete RingMaster 14/11/2018

Copyright RingMaster: MyFreeCopyright

The Dollyrots – Whiplash Splash

There are inescapable feel-good encounters and there are others which lead you into lustfully energetic engagements but there are very few which has the body and spirit engaged in a full on party of endless physical endeavour equipped with mischievous behaviour.  Whiplash Splash is one of the few, a feverish riot of sound and inhibition squashing incitement virtually tattooing a broad smile on face and mood.

Uncaged by Californian duo The Dollyrots, the band’s sixth studio album is a new wave of their bubblegum flavoured pop infested punk ‘n’ roll. A year ago, the pair invaded a new plateau in their sound with the Mama’s Gonna Knock You Out EP, itself continuing the new bloom of growth started by previous album Barefoot and Pregnant two years before that. Now the ‘invader’ has become the conqueror, Whiplash Splash owning the new level of creative maturity and instinctive contagion in the pair’s sound leaving the body exhausted and emotions flying in its wake.

If last year was a truly busy time for the couple of vocalist/bassist Kelly Ogden and vocalist/guitarist Luis Cabezas, with the release of the EP and a sold out UK tour with Bowling For Soup backing up the birth of their child, 2017 has the potential of being even hungrier on their time and virulent revelry with Whiplash Splash leading the way. As Mama’s Gonna Knock You Out, the crowd funded album was produced by John Fields with the duo and immediately has ears and attention enslaved with a proposition maybe best described as The Donnas and The Crystals meets Australian band Valentiine infused with Bowling For Soup mischief, a hint which covers all the album though really it is all best pinned down as simply The Dollyrots.

With the album’s title, imagery, and writing spun from Ogden’s passion for and longing to be a mermaid, as well as working as a metaphor for the band’s spilt time living in downtown Los Angeles and coastal Florida, Whiplash Splash just rips itself from the speakers with opener I Do. A squeal and coaxing beats hit ears before a swaggering stroll of Ramones like riffs and further tenacious rhythmic exploit punk instincts led by the catchy vocal lures of Ogden and the equally enticing throb of her bass. Feet and hips are just as quickly involved as too voice and appetite, the song simply punk pop devilry refusing to be ignored.

The following Babbling Idiot is just as virulent, Ogden’s harmonic romancing warming the angular surge of guitar and the sparking of solitary rhythmic seduction before it all boils up into another seriously addictive and physically persuasive chorus. The song has a slim seventies/eighties scent to it, occasionally bringing thoughts of bands like The Photos and The Waitresses, but roars with a punk ‘n’ roll zeal borne of today’s agitation and energy.

Next up is Mermaid, the song pure seduction from its harmonic caresses and flirtatious hooks to a sonic blaze fuelled by just as forceful bait. It is a creative collusion built for the listener’s slavish captivation, success captured within a handful of breaths with similar rewards sought and found by Just Because I’m Blonde straight after. With Cabezas’ guitar jangle the first chain of temptation, Ogden’s probing bassline the second, the track quickly prowls the senses with a lively confident swagger and a throbbing almost salacious backbone. Again hooks escape from each creative twist with B52s inspired keys just adding to the imagination igniting drama.

From its first breath, the album is a puppeteer to body and spirit, continuing its manipulation in fine style with Squeeze Me. Its initial rockabilly hued bass groove is alone enough to tempt submission, an almost taunting tempting soon fondled by sonic invention and subsequently joined by Ogden’s vocal saunter.  As words and song make an increasingly pop punk proposal no red blooded rocker can refuse, kinetic dynamics ensure class ‘A’ catchiness before This Addiction serenades ears with its own boisterously infectious swing and harmonic invention; its croon sliding melodic caresses across the senses like a sultry lover inflamed with lust borne energy.

Dance Like a Maniac more than lives up to its title as a persuasion, its bold and bruising punk rock a bully for feet and body swerves driving song and listener into zealous union while Saturday Morning with a great opening bass groan offers its own headstrong physical temptation. Riffs and rhythms alone are sparks for instinctive compliance and only assisted by the blend of hard and pop rock surging through the song’s imaginative tapestry of sound and ideation.

Both tracks leave lungs gasping for breath and pleasure over flowing, yet still get slightly eclipsed by the hip swinging incitement that is City of Angels; imagine The Runaways and Bikini Kill mixing with The Go-Gos and you have a sense of its mighty romp before things mellow out with the graceful Jump Start This Heart, a song lined with an electro pop shimmer and bound in melancholic beauty as a sonic fire burns in its heart.

The rawer pop ‘n’ roll of Pack of Smokes steps forward next, bouncing along as a caustic air hugs its fiercely catchy enterprise and energy, and though it does not quite match those before it, the song leaves satisfaction pumped before the outstanding Other Trucker with its reggae hinted, attitude soaked summer canter again has pleasure brimming over. As throughout, Cabezas’ vocal backing and unity with Ogden’s is superb, often understated but always a complimentary hue to her almost siren-esque presence, especially on this treat.

The album closes with Walking on Sunshine, The Dollyrots giving the Katrina and the Waves classic their distinctive craft and energy. To be honest, it is a song which has never lit our fires but that does not stop the twosome causing bodies to bounce in the office as the album ends in fine style.

Ogden and Cabezas have hit another high with Whiplash Splash, their loftiest yet in all aspects and fair to say, when put together by The Dollyrots pop and punk has never been more tempting.

Whiplash Splash is out now through Arrested Youth Records and is available digitally and physically @ https://thedollyrots.bandcamp.com/

Upcoming Live Dates

Mar 28 The Rebel Lounge Phoenix, AZ

Mar 29 The Hideout San Diego, CA

Mar 31 The Hi Hat Los Angeles, CA

Apr 01 The Slidebar Rock-n-Roll Kitchen Fullerton, CA

May 11 The Saint Asbury Park, NJ

May 12 Firehouse 13 Providence, RI

May 15 Cafe Nine New Haven, CT

May 16 Ottobar Baltimore, MD

May 17 Kung Fu Necktie Philadelphia, PA

May 19 Sunnyvale – Brooklyn Brooklyn, NY

http://www.dollyrots.com/    https://www.facebook.com/thedollyrots/    https://twitter.com/thedollyrots

Pete RingMaster 25/03/2017

Copyright RingMaster: MyFreeCopyright

Sassy Kraimspri – Cock Fight

SassyKraimspri3

Bringing the band’s trilogy of Cock Fight EPs in one riotous slab of essential rock ‘n’ roll, multinational rockers Sassy Kraimspri have unleashed a must have punk ‘n’ rock album of 2015 for all those yet to lay their destined to be lustful paws on the band’s previous releases. Consisting of musicians hailing from Norway, America, and Australia, the Stavanger hailing quartet have a sound to turn a party into a riot and a riot into unbridled debauchery, as evidenced in full explosive might by Cock Fight.

Sassy Kraimspri now consists of vocalist/guitarist Ida Collett Belle, guitarist Richard Belle, bassist Linda Pedersen, and Etienne on drums, the band itself emerging in 2006 with a sound which is part heavy rock, part punk, part rock pop, and all merciless seduction on body and soul. 2008 saw the release of debut album Dirty White Lies, the band just a duo back then of Ida Collett and drummer Tash Adams, who found success in Australian band SheRex. Three years later The Pussy Magnet EP was uncaged from the foursome, a well-received encounter recorded, as the Cock Fight EPs with producer Russ Russell (Napalm Death, The Wildhearts, Dimmu Borgir). Alongside these and the subsequent releases now making up the album, the band’s live presence has only grown and drawn continual acclaim, Sassy Kraimspri sharing stages with the likes of Skambankt, Melissa Auf der Maur, Casiokids, and Djerv along the way whilst playing in countries such as Canada, Norway, Australia, China, Germany, and the UK. The Cock Fight EPs awoke a new blaze of support and recognition in 2014, but together as Riot they forge one inescapable persuasion breeding full pleasure and in turn anticipation for the band’s sophomore album they are currently working on.

Looking at the songs in the order of the promo sent over (the actual order may differ on the release), the energies are ignited straight away with opener When It Rains, It Pours. Instantly gripping beats set ears and appetite off, their bait swiftly reinforced and matched by a heavily throated bassline. They alone set the tone for the enjoyment to be found across the release, but are a mere teaser for the rest of the track, and its subsequent companions, as guitars and vocals engage in magnetic enterprise and invigorating incitement. The song is a contagious affair, relatively restrained compared to some but an unrelenting weave of grooves and hooks that takes a firm hold of ears and appetite before making way for the outstanding Like a Drug. A spicy bass groove sets the lustful fun in motion, its gravelly twang the spark to a rhythmic swagger and similarly striding riffs. Like a blend of L7 and Breeders with the virulence of Spinnerette and punkish unpredictability of The Raincoats included, band and track bounce through ears like a sonic epidemic, infecting senses and psyche with its ferocious devilry.

COCK FIGHT coverReputation Radio/RingMaster Review     Current single Riot brings its riveting brawl forth next, again grooves and hooks an almost salacious flirtation as fiercely enticing beats and a grizzly bassline set down a primal lure. As its predecessor, the track has its claws in body and vocal chords quickly, it’s anthemic drive and roar a puppeteer under the influence of Ida Collett’s bellowing voice. The exceptional incitement is followed by the punk rock tenacity of Bad Disease, a track expelling antagonistic beauty like a mix of Bikini Kill and The Donnas with a little touch of The Slits to it. Submission is immediate and long term as it is with the punchier and more predatory Clay Pigeons. Again it is an offering with a virulent swing as it heads towards a delicious crescendo posing as a chorus where an excellent mix of raw vocals burst from across the band.

Addiction is a full flooding by this point of the release and only intensifies as the song Cock Fight snarls and launches its predacious provocation on ears. With harmonically seductive vocals glancing off its muscular stroll, the track roams ears and emotions with a hard rock adventure to its tempestuously hued landscape. It does feel like it is ready to swing aggressive rhythmic punches and sonic causticity at the drop of a note or syllable but stays in check for another prowling infection, which also best describes the spicier lure of its successor Dig It. A bluesy tinge adds to the drama and resourceful adventure of the song, and though it does not quite match up to the plateau of those before it, a meaty bassline and rumbling rhythms beneath that ever enthralling vocal temptation, ensures it is another unmissable stomp.

Say What is pure rock ‘n’ roll manna, sonic endeavour from the guitars winding around ears as a sultry air hugs smouldering vocals to seduce senses and passions. The song is aural eroticism; a reason to immerse in Sassy Kraimspri all on its own, though that is something you can lay at the romping feet of most encounters within Cock Fight.

There is one last blaze of rebellious revelry on the release, a storming cover of Great Balls Of Fire which lives up to its name in heat and energy whilst taking the punk of Jerry lee Lewis to a new and modern ferocity. It is simply a great end to an outstanding rock ‘n’ roll uproar. If you have the previous EPs making up Cock Fight, you will have to wait a little longer for a new thrill whilst enjoying the encounters you already have but for newcomers to Sassy Kraimspri  or part owners of their last trio of offerings, this is all your birthdays for the next decade in one exhausting and thrilling rampage.

Cock Fight is available from June 1st via Lady Luck Records digitally, on CD, and on vinyl.

http://www.sassykraimspri.com/   https://www.facebook.com/SassyKraimspri

RingMaster 01/06/2015

Copyright RingMaster: MyFreeCopyright

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