Spunk Volcano & The Eruptions – Ram Raid

As if the early excitement of 2017 could not get better with the release of the new Dirt Box Disco album, it undoubtedly did with news of a new EP from DBD guitarist and his cohorts, Spunk Volcano & The Eruptions. It was a year ago that the band released their acclaimed second album Shit Generation, though it seems only a couple of months back thanks to its constant airing in the offices. It and the band’s punk rock rebel rousing firmly set the band not only as a wholly different proposition to Spunk’s ‘day job’ but on the British punk scene full stop. Ram Raid cements that uniqueness whilst revealing the most aggressively raucous and virulently dirty sound from the band yet.

Ram Raid also sees new guitarist Stu Page alongside lead vocalist Spunk, fellow guitarist Tom ‘G Force’ Batterbee, bassist Deadbeatz Chris, and drummer Maff Fazzo, the latter pair also part of the DBD devilry. With the band in the midst of a run of live stomps sure to confirm the band’s reputation as one breath-taking and bruising live proposal, Ram Raid simply brings a fresh incitement and spark to the UK punk scene.

Its title track opens things up, almost stalking the listener from its first breath as its predatory riffs and imposing rhythms prowl the senses. Having sized things up it bursts into a muscular stroll with Black Flag like animosity and the infectious aggression of The Damned.  As already established over previous releases though, SV & The Eruptions embroil ears and imagination in their own unique exploits, an enslaving rather than inviting chorus demanding participation as riffs and rhythms trespass and punish the senses respectively. It is one thrilling encounter, an outstanding start to the EP which already has itself and listener all fired up.

There is no moment to calm down either as the belligerent punk rock of Stop Looking At Your Phone roars in ears, its antagonistic charge and dispute irresistible. It is a wall of sound and protestation, a torrent of violent riffs and equally uncompromising rhythms driven by the vocal antipathy of Spunk and the band. At barely a breath over a minute in length, the song is like being given the juiciest steak and only allowed one bite before it is whipped away, but what a mouthful it is.

Hanging Round The Shops is a collusion of punk and hard rock with a metallic lining and just as vociferously seductive and uncompromising as those before it.  It also has a pop punk devilry to its swinging grooves and lusty chorus; body and throat swiftly enjoying subservient participation before sharing just as much zeal with the contagion fuelled clamour of I Think Her Name Was Tracey?

The two tracks alone, but just like the EP, have something for all rock ‘n’ roll fans; whether of bands like Dead Kennedys, The Ramones or UK Subs, Turbonegro or Motorhead, indeed even New York Dolls to Gene Vincent there is plenty to relish. Ultimately it is punk rock at its voraciously ballsy best as proven one final time by EP closer Snap Backbone, a seriously catchy and tenacious slab of hook lined rip-roaring enticement.

Though only five songs running at twelve minutes, Ram Raid is the band’s most stirring and rabid yet rounded creative howl yet putting so many others and their offerings firmly in the shade.

The Ram Raid EP is out through STP Records on March 31st with pre-ordering available @ http://www.stprecords.co.uk/page3.htm

Upcoming Live Shows:

Fri March 31st – Rotherham – Cutlers Arms

Sat April 1st – Uttoxeter – The Old Star

Fri April 28th – Gateshead – Black Bull

Sat April 29th – Glasgow – O2ABC (Scotland Calling)

Sun April 30th – Wakefield – Warehouse 23

Sat July 1st – London – Tufnel Park Dome (Wonkfest)

Fri July 28th – Derby – Hairy Dog

Sun July 30th – Manchester – Star and Garter (Rebellion Warm Up)

??? August 3-6th – Blackpool – Rebellion Festival (day tbc)

Sat August 19th – Cambridge – Portland Arms

Sat September 30th – Northumbria Students’ Union (NE Calling)

Sat December 23rd – Manchester – Star & Garter (STP Xmas Show)

http://www.facebook.com/svate   http://spunkvolcanoandtheeruptions.bigcartel.com

Pete RingMaster 16/03/2017

Copyright RingMaster: MyFreeCopyright

Valensole – Where We Should Be

valensole-promo-shotSum 41, Green Day, Nirvana; all bands which have been an influence in an eclectic bunch on the Southampton trio. All are flavours easy to understand being used but for us just as potent, maybe even more so, are references to others such as Psychedelic Furs, Reuben, and Pennywise

The debut EP from British punksters Valensole has been recommended as for fans of the likes of Sum 41, Green Day, Nirvana; all bands which have been an influence in an eclectic bunch on the Southampton trio. All are flavours easy to understand being used but for us just as potent, maybe even more so, are references to others such as Psychedelic Furs, Reuben, and Pennywise. What it shows is that there are many rich essences in a sound which still is finding its feet and ultimate identity on the evidence of the band’s debut EP, Where We Should Be but a mix and imagination of sound which also ensures that their introduction is an impressive and thickly enjoyable one.

Embracing the punk DIY ethic, Valensole have unleashed their first self-released outing alone, vocalist/guitarist and primary songwriter Elliott Jones taking on mixing duties. The result is a raw and pleasingly dirty affair which it is easy to imagine captures the band’s live presence much more than most encounters do their creators. It leaps from the blocks in potent style with opener Staple Waster. Spicy riffs collude with concussive beats initially, their slim but irresistible bait the intro into a muggy affair of fuzzy riffs and biting rhythms. Jones soon gets involved vocally, that Psychedelic Furs spicing arising as his tones remind of Richard Butler from said outfit with a whiff of Billy Idol too. The track continues to impose and tease with attitude and flirtatious hooks; boisterous punk rock invading and pleasing ears and a quickly forming appetite for the Valensole sound.

valensole-cover-artworkSum 41, Green Day, Nirvana; all bands which have been an influence in an eclectic bunch on the Southampton trio. All are flavours easy to understand being used but for us just as potent, maybe even more so, are references to others such as Psychedelic Furs, Reuben, and PennywiseDon’t Follow Me leaps in next, its body and character just as aggressively relishing the trespassing of the senses. Managing to prowl around at the same time as devouring them with rapacious energy, the song snarls and growls with the hooks of lead guitarist Nick Jones inescapable and the bass taunts of Dave Parker gripping, his backing vocals to Jones just as persuasive.

An immediately tempting hook spears next up Believe, its salacious tease erupting amidst another scuzzy wash of sound and vocals with a tinge of The Heartbreakers to it. Rolling, rumbling beats are just as virulent in the fiercely infectious slice of rough ‘n’ ready pop punk quickly followed by the band’s new single and EP title track. Where We Should Be taps into an early Generation X scented countenance, riffs and rhythms a magnetically caustic and intrusive yet seductive trespass in a boisterous song quickly involving the listener.

Completed by the enjoyably abrasive and just as often melodically tempered Inside Out, a concluding slab of easy to devour rock ‘n’ roll, Where We Should Be only leaves a want and hunger for more. It is soaked in strength of potential matching its already very agreeable attributes, a mix providing a great first contact with Valensole and intrigue loaded anticipation for their subsequent growth and releases.

The Where We Should Be EP is released through all stores on March 3rd.

https://www.facebook.com/valensoleband/   https://twitter.com/valensole_band  https://www.instagram.com/valensole_band/

Pete RingMaster 02/03/2017

Copyright RingMaster: MyFreeCopyright

Thirteen Shots – Self Titled

13 Shots_RingMasterReview

Though the band is no longer active, the hunger and want for Thirteen Shots continues to be vocal. The new release of a self-titled compilation album is a dose of their raw and voracious horror punk sure to be devoured and earn many more belated fans as it treats ears to the best of the band as a free proposal. Bringing together fifteen tracks spanning the band’s releases, one previously unreleased track, and an irresistible live take of the band’s mighty track Graveyard Stomp, the album is an offer no fan or horror punk loving newcomer to the British outfit should and will be able to resist.

Formed by the now Hamburg, Germany residing Johnny Rose and featuring Lewis Manchip, George Chick, Joe Dempster, Chelsea McCammon, and Tom Fenn in its line-ups, the Birmingham hailing Thirteen Shots unleashed a distinct and rousing form of rock ‘n’ roll as seeded in sixties garage rock and blues as horror punk itself. From debut album Vaudeville of 2012, through subsequent releases such as Tales That Start With A Whisper the following year, the 2014 White Noise EP, and their final outing through second album Black Smiles last year Thirteen Shots pushed their boundaries and expanded their sound without losing the incisive rough diamond roar which marked them out from day one. The new compilation brings it all into one thrilling place; all together for one final stomp.

First track is the fiery rock ‘n’ roll of Cobradeer, an encounter which flies from the traps, drops into a predacious prowl before bursting into a rush of fiercely slapping rhythms and ferocious riffs led by the distinct vocals of Rose. It provided a rousing introduction to Black Smiles originally and makes the same attention grabbing impact here before passing ears over to the flesh dropping infections of band classic Zombies From The USSR. Cored by a delicious Caped Crusader like hook, the track expels raptorial grooves and vocal incitement in a battle cry/warning rising up against undead hordes which just gets under the skin and into the psyche.

cover_RingMasterReviewThe variety in the band’s sound has been an open book and illustrated in the garage blues blaze of Nekrosexual and the following drama of Bewitched as well as across the album. The first is a scuzzy roar while the second again uncovering a hook which just fits an eager appetite, uncages predatory basslines and irritable riffs as Rose scowls in the colourful horror punk confines of the excellent encounter.

Within the Thirteen Shots catalogue numerous tracks were like beacons to their presence and sound, arguably the most tempting being Danzig. A tribute to the obvious, the song is a swinging punk brawl wearing its influence clearly but casting is own horror punk ‘n’ roll character with more hooks and temptations than a stripper at a fishing convention.

Punk rock in varying degrees is also an ever present in the band’s sound, Get In My Crypt for example simply fuelled by it in its virulent charge wrapped in metallic flames while other songs like Night Of Sin infuses it into their own individual imaginations, it a liquor soaked blues rock proposal with searing grooves and restrained but heavy rhythms. The outstanding Dead Girls Don’t Scream takes the vital essence into a psychobilly spiced romp, like Misfits meets Resurex while wearing a New York Dolls t-shirt. It is also another of those songs which the band is particularly memorable and noted for, a rock ‘n’ roll stomp to get lustful over.

Through the writhing blues grooved Padded Cell Blues, the scuzzy heavy metal Sabbath-esque riff loaded crawl of Doom, and the severely infectious rockabilly lined stroll of First American Sweetheart, the album does what all good compilations should do; reveal and celebrate the depth and invention of its focus. The last of the trio especially whips up the spirit with its hard rock grooves and garage punk contagion offering something akin to Turbonegro meets The Heartbreakers.

Grooves are equally a major tempting within next up Tales That Start With A Whisper, twisting within ears with salacious intent as the track shares classic/glam rock misbehaviour equipped with the spiciest hooks before Black Eyed Girl enters with a flirtatious and slightly sinister prowl like a dark dusted feline seductress swinging melodic hips to blues bred flames.

There have been a few songs from the band too which have blossomed to greater heights over listens rather than with an instantaneous convincing; the raw shuffle of Black Smiles being one which proves its point perfectly amongst its companions on the album though gaining its first ever outing here, Creak’n The Coffin needs little time to grab ears and the passions. A contagious punk driven slab of rock ‘n’ roll, it stomps and roars with all the flavours the band has consistently shown itself so adept at weaving into their raucous proposals.

The album is completed by the sultry blood red romance of Lost Soul with its mariachi laced smoulder and finally that stomping live roar of Graveyard Stomp, which while drawing eager participation, reminds us what we are all missing from the band at each and every venue they graced.

There are certainly tracks we would have added to the album, This Looks Like A Job For Batman for one, but Thirteen Shots is undoubtedly the life and creative voice of the band to a tee and a certain must for all punk ‘n’ roll fans. Go check it out and grab a rare and free treat @ http://thirteenshots.bandcamp.com/ with a possible very ltd edition CD possible if demand is high and similarly a final UK tour from the band if they are wanted; so go tell them @ https://www.facebook.com/thirteenshotsband

Thirteen Shots is also available for FREE from Google Play and available to stream from Spotify and Deezer from Undead Artists.

Pete RingMaster 09/11/2016

Copyright RingMaster: MyFreeCopyright

Rathborne – Soft

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If you have not come across Luke Rathborne, or indeed Rathbone the band surrounding his songwriting skills, do not worry as the healthy buzz around both back in the US is sure to brew up a similar excitement over this side of the pond thanks to the release of new album Soft. An energetic package of tenaciously varied rock ‘n’ roll, the release shows itself to be as at home and accomplished exploring punk, garage rock and indie pop as it is reaping the essences of alternative and seventies American rock. It is a compelling and more often than not an irresistible stomp which will warm up any playlist given the chance.

Hailing from Brunswick in Maine and New York based, man and band make light work of enticing and exciting ears upon the Albert Hammond Jnr of The Strokes, co-produced Soft. Its title track is the first persuasion and swiftly surrounds ears with a dirty but melodically washed sonic temptation. It is raw and wonderfully distorted pop over a scuzzy slow prowl; the union almost Beck meets The Strokes like in its volatile and fiery enterprise. Immediately imagination and appetite are aroused, and given another incendiary spark with the following What More. Cleaner in its energetic pop revelry but still harbouring a great raw edge, the track is a mix of The Cars and Tom Petty and the Heartbreakers, and swift example of the diversity rife within the album.

I’m So Tired steps up next, its Americana like colouring blending with the seventies pop spiced infectiousness coursing through its lively balladry. Though the song does not quite match up to those before or right after, it leaves ears and attention engrossed ready for the outstanding Eno which steps up with its Tom Verlaine and Television like vocal and musical endeavour. A lively romp with addictive qualities, the track reinforces the already thick variety to songs, yet despite their seriously individual characters, each sits perfectly alongside the next as proven once again by the punk lined Low! which soon has feet and emotions bouncing around as if on a power pop trampoline. As many of the tracks, it is a short and insatiable provocateur which almost revels in mischievous intent as it lures, incites, and then runs before the listener can reach the pinnacle of its physical and emotional involvement.

A country breath embraces Little Moment which comes next, the song a radiant encounter hugging a great additional female vocal. It does not spark the same reactions as its companions but that is down to a personal dislike of country flavours and not any real issue with the agreeably crafted song. Particular tastes are soon back on board with the punchy Wanna Be You with its strong throaty bassline and melodic winery, and even more so after the Dylan-esque bluesy tang of Deal, with the rampant catchiness of Why. The track flirts with a bounding rhythmic gait and grungy sonic teasing from the guitars whilst vocally too there is a Nirvana like graze to the delivery. It is another inescapable treat within Soft leaving the garage/hard rock stroll of So Long NYC to close things out in highly satisfying style.

It is fair to say that Soft is one of those albums which are very hard to get out of the head. It might not elevate to being a heart embraced favourite but it definitely gets under the skin and stays with thoughts and emotions, returning whenever it pleases with certain hooks and melodies.

Soft is available now via True Believer and @ http://lukerathborne.bandcamp.com/

https://www.facebook.com/lukerathborne

RingMaster 16/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

Warped romances and deathly seductions: exploring the psyche theatre of Dedwardians

Dedwardians

The recent release of AA-sided single Love Sick/ Like An Animal reinforced UK garage punk/psyche rockers Dedwardians as one irresistibly primal and infernally seductive incitement. Breeding a raw and scuzz lit infestation of the senses and imagination from the essential essences of psychobilly, garage punk, psyche rock, fifties rock ‘n’ roll and plenty more, the London quartet has emerged as one of Britain and garage punk’s most exciting and flirtatiously inventive propositions. Already carrying a lustful appetite for the band’s sound we thought it was time to learn more about the dark sonic beast that is Dedwardians, so with thanks to drummer Ben Auston we explored the band’s origins, sound, new single and much more…

Hi and thanks for sharing time to come chat with us.

Firstly can you tell us about the background to the band and how you all linked up?

Hello there. Paul (vocals) and Gaff (guitar) found me (Ben, bass) via the bands manager at the time. We met up for a few drinks in Soho and we took it from there. We went through a couple of drummers before finding the boy wonder, Dan Bridle. As for our backgrounds, I can only guess that Paul and Gaff, being men of the North, were raised listening to Venom whilst working in a shipyard or something equally manly. We’ve all grown up playing in rockabilly, punk and rock ‘n’ roll bands….so we’ve all been cut from a similar cloth. …Faux leather.

The band members I believe hail from cities like Liverpool, Leeds, and London, but now all London based for the band. Why the choice of the Capital for the band’s home and would you Dedwardians Bencontemplate living anywhere not beginning with the letter L? 😉

We wanted to move to Aleister Crowley’s old dwelling, Boleskine House on Loch Ness, but the bedroom tax malarkey ruined that, so we settled on a 6 berth caravan in South London.

Many bands seem to start with one direction or idea of sound before emerging with or evolving to their true sound, Ministry maybe the biggest named example. With Dedwardians, I get the feeling you were all born to create the music you do, so was the sounds gracing your two singles it from day one?

Kind of…We started off with a bit more of a 1950’s rock ‘n’ roll sound with our first single – almost Jerry Lee-esque, but somehow we have gone a bit darker and twisted with the newer stuff…which I guess is more true to how we actually sound live. The name was a bit of a play on the Edwardian Drape Society/Teddy Boy thing, so we’ve not strayed too far off from the original ethos.

In our review of the new AA-sided single Love Sick/ Like An Animal we drew on comparisons to the likes of The Cramps, The Dropper’s Neck, and Eighties Matchbox B-Line Disaster, and we could have mentioned Gene Vincent, The Heartbreakers, early Misfits for example too. What are the predominate inspirations which have shaped your tastes and influenced your invention?

You’ve pretty much nailed it on the head with those, but The Cramps are the band we’d all agree on though if I had to pick one. We’re an eclectic bunch on the whole though. Glam through to Psychobilly, Garage Punk to Goth…we’ll borrow shamelessly from wherever. Might confuse some listeners, but hey ho.

As you just mentioned your sound really is a creative frenzy whipped up from essences of numerous styles. Has this diversity just come from all your varying tastes over time or always been there in the songwriting from day one?

It’s been there from the start. It’s becoming more diverse as things progress, which has been tricky in the past when it comes to picking what to play live as we’ve been worried about jumping too far from one style or genre to another. Somehow it always sounds like us nonetheless, so it can’t be too far off. I think we’ve got it down now though, so not too many perplexed looking faces in the crowd. Hopefully.

How would you describe your music to newcomers?

Errr, something along the lines of Gene Vincent, Lux Interior and Captain Sensible on a night bus home.

We love the band name, The Dedwardians speaking for itself and of course you touched on it earlier, but who came up with it?

I think it was Paul and his love for Teddy Boys…Or boys with teddies…Can’t remember. Good though.

Are both your singles Bang Bang Die/Stop Destroy and now of course Love Sick/ Like An Animal songs written around the same time or over different periods?

There was a bit of a gap, maybe a few months at the most. What delayed things was trying to find the right studio to get the sound we were after. Some studios we tried made us sound way too clean…completely not what we wanted, but then we didn’t want to sound too digital or heavy metal. We ended up picking Andy Brook to work with, who I’ve known for years. I wish we’d just gone to him in the first place. We’d have an album sorted by now…maybe.

Dedwardians2How are you seeing the evolution in your songwriting and sound as the band grows and matures together?

The songs are getting a bit more thought through and taking longer to sort out the final arrangements. I don’t mean in a Math Metal/Prog direction, we’re just trying to get the most out of the dynamics and avoiding becoming formulaic. Sometimes it’s tricky doing so with just one guitar, bass and drums. Saying that, Gaff is often louder than two guitarists…Sound men love him.

Is there a predominate inspiration to the lyrical and emotional side of your songs?

The only recurring theme I’ve managed to pick up on is DEATH. Which is odd, as Paul is generally a pretty cheerful chap.

Tell us about the recording of the new single. Did you have any particular intent with the tracks?

We wanted it to be loud; fuzzy guitars, big drums, over driven vocals and dirty bass. Andy Brook (engineer) pretty much got what we wanted straight away. He knew our influences better than the other studios we had recorded in, so that took a lot of the guess work out.

The songs have an instinctive, almost primal lo-fi breath. This edge makes them predatory and insatiably addictive, certainly for us drawing out the true heart of the tracks. Many bands seem almost afraid to tap into raw sounds, what lures you into this approach?

It’s probably the hatred for the opposite. We’re not Hi-Fi for sure. We’re really not about high end boutique guitar amps and overly compressed tracks. Our influences aren’t squeaky clean, perfectly auto-tuned performers. Raw is always better…Red raw.

It is fair to say you make music for you, sounds that you adore and then hope others feel the same?

Yep. Haha. Utterly selfish. When me and Gaff are writing together, we’re honestly not bothered about trying to please a certain scene or genre. If you go that route, you’d just end up sounding like you’re trying to suit a certain style.

Tell us about the video for Sick Of Love?

We shot it in a dark rehearsal room in a few hours, again, about as lo-fi as you can get. I shot most of it and edited it…DIY all the way. It’s not that we can’t afford something more grand though…we saved up enough cash to get Martin Scorsese interested, but we ended up blowing it on a night out in Skegness.

You have earned strong praise and acclaim for your live performances as well as the singles. Rampaging in front of the audience is where you really get a fire in the belly I am guessing?dedwardians3

Yep. We go for it on stage. Who doesn’t want to watch 4 sweaty blokes playing too loud for 25 mins?!

Where can people catch the band live next?

Butlins. No, err, The Finsbury, 18th December.

Any Christmas treats in store for fans with shows?

Yes, naturally. The venue’s ceiling will be so heavily adorned with mistletoe that it resembles stalactites. We have a list of all the naughty girls – Dan will be dressed as Santa for their pleasure. Paul will be dressed as an Elf. Me and Gaff will be head to toe in black leather, with tinsel detailing…humming Wizzard’s festive classic – I Wish It Could Be Christmas Everyday. We’re the gift that keeps on giving.

Thanks again Ben for sharing your time, anything you wish to shout out to finish off with?

A dog is for life, not just Christmas…and buy our fucking record!

Cheers Pete! Merry Crimbo!

Ben Auston

Read our review of Love Sick/ Like An Animal @ https://ringmasterreviewintroduces.wordpress.com/2014/11/22/dedwardians-love-sick-like-an-animal/

https://www.facebook.com/Dedwardians

Pete RingMaster

The RingMaster Review 11/12/2014

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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CodeJAK: Times Of Conflict

 

It is hard to not get a little over passionate about Times Of Conflict, the debut album from UK rockers CodeJAK. It is an album which just captivates the imagination and sparks an unbridled enthusiasm to throw off inhibitions and get dirty. Musically the band wonderfully is not that easy to pin down, at its core their sound is hard rock but rifling through its ranks there are vibrant veins of punk, metal, and a flurry of many more flavours. The album carries them all in to a thrilling and raucous explosion of invention; arguably the album does not stretch any existing barriers but it is hard to think of any one creating the same or an equally potent brew as this quartet.

Formed in 2009, CodeJAK is a renowned hard working energy inspiring band who through their first EP Hell Yeah, and impressive live shows which has seen them explode stages alongside the likes of The Buzzcocks, The Selector, Sham 69, light up numerous festivals, and most recently supporting Fozzy across the UK and into Europe, has drawn a robust and strongly growing fan base.

Early 2012 saw the band in the studio to create an album in Times Of Conflict which is as content in bruising the senses as it is triggering the inner devilment in us all with its unpredictable and imaginative mischief. The release is a riot of intrigue and insatiable teasing which leaves the heart as overjoyed as the ears. Right from the opening track The Ballad Of Jenny G one of the great things about the album is immediately to the fore, the unique tones of vocalist and guitarist Dan Turner. His voice drips expression and individualism to add a fiery and rasping depth to the already adventurous sounds. The first song is a thumping exchange of muscular rhythms and strident riffs which engage as firmly as a mantrap, their infectious lures irresistible. The sounds encroach like a union of Therapy?, The Heartbreakers, and The Wildhearts locked into a groove from Eighties Matchbox B-Line Disaster, and leave nothing but a vat of satisfaction in their wake.

The stirring ingenuity is continued through the following Hell Yeah and When I Fall, both rampant slabs of riotous diversity. The first has a stoner vibe to its sinewy charge, the band assaulting with a delicious mix of Kyuss, XII Boar, and Triggermen. The spoken delivery spikes the scorched sounds excellently whilst the furious chorus and further growling outpourings flare with caustic might to fire up the passions which have already been set on full alert by the fine manipulative play from lead guitarist Dan Clark. The second of the two is no less a titan in offering a rampant contagion, the guitars again holding sway over the heart whilst the beats of Dave Turner treat the ear like a punch ball beneath his skilful intent. The song has a seductive swagger to its melodic grooved taunting which makes it in many ways recognisable from the start but distinctly unique too. The ever impressive bass of Dave Fisher groans and pulsates with a shadowed hunger throughout the sensational punk groove confrontation.

Though the album is never less than enthralling and fully pleasing, it does undulate a little with the likes of the grunge gaited Sail Away, the emotive melodic rock coated Pull Out Your Knife, and the blues funk heat that is Serpentine, failing to match the earlier heights or further pinnacles set by songs such as Broken Man, a track which in its uncomplicated yet compulsive hooks and restrained presence just ticks all the right boxes, and the magnificent Sell My Soul. This track unleashes a punk and rock storm which easily shows why the band appeals and captures the passions of the fans of both genres. The track coats the ear in tight angular sonic enterprise and attitude driven riffs whist the vocals and rhythms ignite thought and emotion with their plaintive and firm handling of the senses.

Times Of Conflict is outstanding, an album which just improves with each and every contact. CodeJAK are a breath of fresh air, a band already lighting up British rock with their spicy sounds and set to drive it to new heady heights in the future.

http://codejakmusic.com

RingMaster 15/11/2012

Copyright RingMaster: MyFreeCopyright

The Haunting – Beyond These Doors

Though not quite veterans US hard rock/heavy metal band The Haunting has been around for just over a decade and is still relatively unknown outside of their homeland but with their latest album Beyond These Doors the chances of that changing are greatly raised. Displaying a straightforward blend of rock, metal and punk the Californian quartet have released an album that is simple pure rock ‘n’ roll without any complications or pretence. Uncluttered and direct Beyond These Doors just parties in the ear with heavy riffs and clean dark melodies that are as engaging as they are punchy.

Formed in 1999 by lead guitarist Randy Korstick and drummer Jessie “2 Feathers” Melendrez, The Haunting gained their current line-up the following year with the addition of vocalist/guitarist Raven Celata and bassist Mike Gjede. Two demos in 2000 and 2002 started gaining them attention alongside shows but it was not until 2009 that the band entered Dinky Music studio in Corona, California to work on and subsequently release their album No One’s Innocent. 2010 saw them spend the whole year writing and working on its follow-up Beyond These Doors to be released earlier this year with the singles from it ‘Crank Up the Amps’ and ‘The Loser in Me’ leading the way. 

The songs on Beyond These Doors are generally themed from horror movies and carry an attitude that challenges you not to like them but no one can win that test with the eager and addict forming tunes on offer. Musically the band is a hybrid of Misfits/Ramones punk metal, Alice Cooper classic rock, and Johnny Thunders and The Heartbreakers rock ‘n’ roll. The clean simplicity of all those bands in league with ear catching instantaneous riffs and hooks that demand attention combining into an irresistible mix.

The first track ‘Crank Up the Amps’ opens on a definite Heartbreakers type sound, its open rock ‘n’ roll directness eager to have fun. As the track declares “We got a rock ‘n’ roll party tonight” that is what it delivers without any qualms. The early Misfits toned ‘Creation’ takes over with Celata’s slightly Danzig like vocals and striking guitars teasing and taunting with riffs and razor sharp solos.  The song, as is eventually revealed across all songs on the release, is never going to offer up the intricacies of progressive guitars and complicated rhythms from a Mastodon or the rampaging violence of a Brutal Truth but honest music that is just as definite to excite with its dark compulsive rock sounds.

Each song is an intriguing and appeasing slice but ‘The Loser in Me’ with a sound bringing strong flavours from UK 70’s punk, another Misfits spiced burst of catchy rock in the shape of ‘The Knife’, and the addictive ‘Two O’Clock In The Morning’ blessed with more rock ‘n’ roll harking back to Johnny Thunders and a touch of New York Dolls, stand out from what are ten thoroughly enjoyable and fun tracks.

Beyond These Doors to be honest has nothing particularly new about it but that is its big positive in many ways. It’s bringing in of obvious influences which every metal fan will find something to reminisce over, but used in the band’s own dark themed and joyful horror homage is an inviting and deeply satisfying result. The Haunting may still be a band that has still to enter your shadows but once it does their wicked rock ‘n’ roll grip will feed your heart for a long time to come.

https://www.facebook.com/pages/The-Haunting/210527502303316?sk=info

RingMaster 15/12/2011

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