Cool Thing Presents: Alternative Occupations EP

ep-cover_RingMasterReview

There is no hiding that we have a lustful appetite for UK band Asylums and their feverishly inimitable sound, a hunger now being fed again by the Alternative Occupations EP. The Southend-on-Sea quartet have also shown through it that not only do they create some of the most essential propositions heard in recent times they have an eye and ear for other striking talent. Evidence comes in the trio of bands providing the other songs making up the EP released on Asylums own label Cool Thing Records; each an attention grabbing proposal just as ruthless on bodies and imagination.

asylums_RingMasterReviewAsylums set things rolling with a new previously unreleased track written and recorded as the busy wake of releasing acclaimed debut album Killer Brain Waves was settling down and the aftermath of Brexit consuming, that album still drawing plaudits and excited new fans the way of the foursome. Reflecting on “harsh education and health service cuts, post-Brexit Britain, and the running battle of grafting at creative efforts vs. grafting to keep afloat”, Alternative Occupations descends on ears with searing guitars and robust rhythms, openly sharing the creative traits which made the album and its songs such a rousingly infectious proposition. The warm and engaging vocals of guitarist Luke Branch increase the enticement, lyrical suggestion to the fore as melodies fly skilfully from his and fellow guitarist Jazz Miell’s strings. Feet are swiftly recruited in turn by the rhythmic tenacity of drummer Henry Tyler; it courting the seductive throb of Michael Webster’s bass as every element combines for another unique, memorable, and instinctively irresistible Asylums encounter.

The second track on the release comes from Petty Phase, an all-girl quartet also from Southend unleashing a fiercely infectious slice of punk rock

Petty Phase-photo kana waiwaiku

Petty Phase-photo kana waiwaiku

going by the name of You’ll Be Dead. Like a belligerent mix of L7 and The Kuts, the band pulls no punches with their attitude loaded sound in this their debut single, delivering one minute twenty of skilfully raucous invasively catchy rock ‘n’ roll for the EP. It is a snarling, hook swinging flirtation with riffs and rhythms as uncompromising and addictive as the melody lined snares gripping the imagination; though there is just one issue with it, the glorious strike is just so damn short.

The Horse Heads photo kana waiwaiku

The Horse Heads photo kana waiwaiku

The EP’s second side brings Essex punks The Horse Heads and their new single Castles to the party and as their companions the Chelmsford trio need little time to incite body and appetite with their post punk/punk rock trespass of the senses. Created by vocalist/guitarist Ronaldo Rodriguez, drummer George Young, and bassist Chad Worsley, Castles grumbles from the off, a deliciously throaty bassline the lure into a raw wash of biting beats, caustic riffs, and the similarly grouchy tones of Rodriguez. There is no escaping the old school punk air to the song and its components, an Angelic Upstarts/early Clash spicing flirting with scuzzy essences of bands like The Hives as its virulent assault equally stirs up nostalgia and fresh adventure. It too is over before enjoyment would wish, something applying to every song to be honest, meaning the replay button is well used across the EP.

Closing track I’m Still Here comes from Bait, a musician/visual artist we can tell you little more about except that he creates a tapestry of post punk contagion within his offering which is addiction in a speaker. Nagging hypnotic beats and rapacious riffs surround haunting predation lined vocals, an incessant tide of lures coaxing the listener deeper into the song’s tempestuous and imposing imagination coloured by lyrical suggestiveness. Artists like Brian Brain, Shock-Headed Peters, and Ministry are nudged across the compelling encounter but as all tracks within Alternative Occupations, it breeds its own uniqueness swiftly and dramatically while slipping unstoppably under the skin.

There has been numerous splits/multiple artist offerings in 2016 but few, if any, have induced lust like the Cool Thing Records proposal.

Cool Thing Presents: Alternative Occupations EP is available now on limited 12” white vinyl @ https://asylums.tmstor.es/

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Pete RingMaster 14/12/2016

Copyright RingMaster: MyFreeCopyright

The Franklys – Comedown/Long Way

The Franklys_RingMasterReview

The Franklys create a sound as enjoyably nostalgic as it is fresh and individual to modern garage rock ‘n’ roll. They also uncage releases, like new single Comedown, which demand attention whilst sharing the suggestion that its creators has the potential to be one of the provocateurs that the future direction of modern rock ‘n’ roll might just hinge upon.

The band consists of Swedish born vocalist/rhythm guitarist Jen Ahlkvist and lead guitarist Fanny Broberg, America hailing Nicole Pinto, and British bassist Zoe Biggs. London is where the quartet met and the band is based though fair to say since emerging, The Franklys has been a blur on the live scene, persistently playing shows in and touring the UK, Europe, America, and Scandinavia as well as making prise luring appearances at festivals such as the Isle of Wight Festival, Strawberry Fields, and Camden Rocks. Their rousing and raw garage rock sound brings a mix of psych and punk rock from across the decades with plenty more to spice things up whilst inspirations range from The Hives, The Strokes, and Queens Of The Stone Age to Led Zeppelin, Mando Diao, Blondie, and The Who. Their self-titled debut EP whipped up intrigue and strong interest back in 2013 which the Bad News EP stirred up to greater success last year. Now it is Comedown making the potent nudge on broader spotlights and attention, and making an easy job of it so far since being recently unveiled.

Comedown instantly has ears under welcome siege with a blaze of fiery riffs soon joined by thumping beats and a raw wind of hungry energy to its invitation. The bassline of Biggs almost groans with relish as its stalks the web of bracing sonic and melodic flames escaping the guitars with Ahlkvist’s ear catching vocals adding further bite to the snarling temptation. It is a great blend which helps the song weaves something akin to The Raincoats and The Priscillas around a character which equally refuses to be majorly compared to another. Never taking a breath within its contagious confrontation, the track has body and spirit aroused and swiftly joining its rousing tempest of incitement.

Accompanying the outstanding track is Long Way; a far more subdued encounter with just as potent and seductive lures. Its climate is surf rock bred, its sultry shimmer sixties garage rock/pop coloured, and its scuzzy touch punk seeded. It simply enthrals from the off; beguiling ears and appetite whilst revealing another flavour and twist to the songwriting and sound of The Franklys. If The Shangri-Las were Spinnerette, or The Luv’d Ones were The Breeders, the results just might sound like Long Way.

Acclaim and The Franklys have already been more friends than strangers but it feels like things are going to get hotter and more flirtatious from hereon in as first Comedown and then the band take 2016 by the scruff of the neck.

Comedown is out now via Electric Wood Records and available @ http://www.thefranklys.com/product/pre-order-single-comedown-limited-edition-7-vinyl/ and through iTunes.

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Pete RingMaster 26/04/2016

Copyright RingMaster: MyFreeCopyright

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Eureka California – Versus

EC _RingMasterReview

With songs as sonically dysfunctional as the lives in their themes, flavours and attitude at times bordering on dissonant, Versus is one of those albums which nags and pesters until it has attention involved in its mischievous challenge. The release is the new and third album from US garage rock/pop duo Eureka California, a band from Athens, Georgia who over the past three years or so has increasingly stirred up eager fuss for their sonic psychosis around an intimate and self-referential lyrical devilry.

Consisting of guitarist/vocalist Jake Ward and drummer Marie A. Uhler, Eureka California made its first mark with the Modern Times EP in 2011, the band at that point a trio. The following year saw the release of debut album Big Cats Can Swim; its awareness stoking success then potently built on by firstly a 7” split with Good Grief in 2013 but more so by well-received second album Crunch a year later. The pair of encounters also saw the band as the duo now luring fresh spotlights with Versus, their first offering recorded in a studio.

It opens with Eureka California’s Night In, a pop jangle with thumping beats and a hungry horde of riffs around the expressive tones of Ward. There is a seventies power pop/punk feel to the track and a raucous feistiness which sets the theme and tone for the album. Like The Undertones/Only Ones meets The Hives whilst spaced out on toxic pizza, the song is a rousing start to the album swiftly backed up by the just as addictive Sign My Name With An X. It too has rebellion in its creative belly and belligerence in its touch as it engineers another slice of bracing garage punk pop. Imagining Melvins and The Replacements colluding with The Super Happy Fun Club gives a hint at the spirit raising, imagination inciting exploit. As all tracks bar two, the song is a swift, psyche infesting shot of creative adrenaline barely touching two let alone three minutes; just diving in, rushing out, and leaving greed loaded exhaustion in its wake.

The fuzzy pop ‘n’ roll of Another Song About TV strolls in next, its initial lure a scuzzy blaze which settles down for a hook stocked flirtation of guitar and voice. Uhler’s rhythms have a less imposing nature to their swings this time around but certainly have meat to their jabs and devilment in their invention across the brief and contagiously sweet incitement before it disappears in an instant to be replaced by the dirtier and more sonically irritable Sober Sister. The track soon has ears bristling in pleasure and thoughts grabbing the lyrical prowess and tenacity which swings through digs and humour at the turn of a syllable whilst spotlighting moments and experiences seemingly twisted from the listener’s own.

art _RingMasterReviewThrough the grouchy bounce of Ghosts, growling sounds and vibrant vocals uniting to seriously captivate, and the acoustic off-kilter charm of Fear and Loathing in the Classic City, band and album just tighten their grip on ears and appetite. The following Cobwebs on the Wind then sees them uncage more rapacious riffs and chords within a muggy and forcibly enticing invitation to body and spirit before Caffeine lays its raw balladry on ears with initially melancholic causticity which brews up into a raucous tempest of noise and emotion.

Surf rock meets post punk is one aspect of the compelling Realizing Your Actuality which steps up next, its early sultry coaxing over steely rhythms irresistible and only reinforced by the corrosive crescendos which erupt then fall before taking over the track’s thick and inescapable persuasion for extended periods. Weezer-esque in its calm, Black Rebel Motorcycle Club toned in its predacious exploits, the track adds another big peak to the successes of Versus.

Another acoustic incitement in the reflective shape of Everybody Had a Hard Year steers eager ears the way of album closer I Will Write Mine Over Potomac and its own melodic caress leading to ravenous sonic and rhythmic ferocity. A song about “loneliness and fraying nerves”; the track ebbs and flows in intensity with thoughtful calms and a raw agitation which almost grinds on the senses. Though finding it a slow burner compared to others within Versus, it is an enthralling proposal which just gets under the skin as deeply as the album succeeds as a whole.

It might be pushing it to say that Versus is going to be the most unique album you hear this year yet everything about it is fresh and seeps Eureka California distinctiveness. Plus it rocks like a bitch and that is more than good enough for us.

Versus is out now via HHBTM Records and @ https://eurekacalifornia.bandcamp.com/album/versus

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Pete RingMaster 06/04/2016

Copyright RingMaster: MyFreeCopyright

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Virgin Kids – Greasewheel

VK_RingMasterReview

Having more than teased with their self-titled EP in the November 2014, UK garage rockers Virgin Kids have unleashed their full sonic flirtation with debut album Greasewheel. Breeding their off kilter rock ‘n’ roll from an entangling of garage and post punk with psych and fiery pop rock, the London based trio cast an intoxicating enticement posing as an album which swiftly arouses the spirit and colludes with the imagination.

Formed as a bedroom project by Asher Preston, Virgin Kids fully emerged as a band late 2014 with childhood friend Paul Rosser and ex-Fawn Spots drummer Sean Hughes alongside the band’s frontman. Since then and the release of the aforementioned EP, the threesome has gained a potent live reputation, an adventure which has seen them share stages with the likes of whilst Jacuzzi Boys, The Coathangers, Kim and The Created, and Dirty Fences amongst others to date. Numerous comments about the band on stage talks of a “fevered intensity”, an element Virgin Kids has seemingly tried and for the main succeeded in now representing across Greasewheel.

The album opens with Bruised Knees, a kinetic jangle of guitar and contagious vocal urging from the first second. In no time, the song climbs over the senses, dark rhythms mixing with a fuzzy entrapment of ears in something which provokes thoughts of The Sonics, early Horrors, and The Hives in devilish union. A lively spark for the spirit, the track provides a great start to the revelry of the album, quickly backed by the more reserved but no less magnetic Cracks In A Colour. The band’s new single, it immediately swings with a graceful gait infused with appealing bass cast shadows. Soon that sixties seeded enterprise becomes a busier eruption of sound and energy, returning to the song’s initial melodic and controlled romancing before alternating between the two from thereon in.

art_RingMasterReviewFrom one pinnacle to another as My Alone stands tall from the off with its own individual sonic flirtation and seduction of ears. Like The Dickies meets Love Buzzard meets Asylums with a touch of Buzzcocks to its hooks and melodic grooves, the song is a glorious blaze of garage rock/pop, with a virulent harmonic invitation as inescapable as the anthemic rhythmic tenacity the track rolls along on before Never Nude slips in with a healthy whiff of seventies punk to its Thee Exciters/The Fleshtones like scent.

Both tracks on their own make Greasewheel an epic must listen, and are powerfully backed by the chaotic punk ‘n’ roll of Crook and the acidic Horrors-esque smooching of Shrink. The first of the two is another high point, its scuzzy heart and raw crescendos delicious tempering and companion to addictive grooves and melody sculpted hooks. Its successor proceeds to writhe with sonic temptation from its first breath, mellowing out into a psych pop seducing seemingly brewed from a blending of shoegaze and psychedelic pop. Equally there is a darker lining to the track which emerges more as it develops and spins a tangy web of guitar crafted suggestiveness littered with heavier rhythmic trespasses.

After the melodic lure of Shrink Wrap, a very brief epilogue like follow-up to its predecessor carrying a Teardrop Explodes air to it, the album concludes with the feisty pop jangle of Be Your Friend. Whipping up energy in body and voice to unite with its own, the song is an irresistible close to a similarly thrilling release. Greasewheel builds on the dramatic introduction of Virgin Kids’ first EP whilst creating its own unique character of sound and potential for bigger and creatively rowdier things to come. We for one cannot wait for their fruition over future releases whilst being a perpetual companion for this treat of a proposition.

Greasewheel is out now on cd, vinyl, and digitally through Fluffer Records in the UK and Burger Records in the US.

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Pete RingMaster 14/03/2016

Copyright RingMaster: MyFreeCopyright

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POPULAR FRENCH POP PUNK OUTFIT, THE SHAPERS RELEASE NEW EP!

European trio ‘The Shapers’ set loose their spanking new EP ‘Reckless Youth’, through all digital platforms on Friday 26th February. Look out too as the gritty rockers prepare to tour the UK in 2016

The Shapers Online Promo Shot_RingMaster Review

Currently residing in Toulouse, France, Euro punk rockers ‘The Shapers’ delectably embrace the garage rock vibes of ‘The Hives’ and ‘Nirvana’, merged with the early urgent delivery of ‘Green Day’ and ‘A Day To Remember’. Born in 2009 and consisting of Anthony Cauvin (Lead Vocals/Guitar), Raphaël Bouissière (Bass/Backing Vocals), and Benoit Holin (Drums), this power trio have certainly undertaken the punk rock DIY ethos. With a keen zest for touring and adventure, the band headed out to China and Indonesia in 2011 to play a series of highly successful shows, and because of the response and support, the threesome returned the following year and again last year. In 2013, The Shapers won a ‘Best up-and-coming band’ competition, lapping up a prize to tour throughout North America where the alt-punks shared stages with punk rock legends NOFX and Pennywise. Last year, the band again toured, this time in Thailand. The three piece were overwhelmed with responses and will tour South East Asia again next year.

As well as a hearty diet for touring across the far reaches of the world, the band have also extensively played throughout France, and are currently planning their attack on the UK. Blessed with a CV that boosts support shows with The Flatliners, NOFX, Silverstein, Pennywise, Face To Face, and Dream on Dreamer, and critical acclaim for 2012’s debut album ‘Everybody Needs To Have A Dream’, which picked up rampant praise across the board, the band show no signs of letting up.

The Shapers dropped their video single “Can’t Forget”, directed by Mayol (media director of Vans, who has worked with successful bands like the Foo Fighters, among many others) this summer. The single is the opening track from the band’s hotly anticipated new EP ‘Reckless Youth’, which is unleashed this February. With six cuts of scuzzy punk, the record is a true calling to all fans of Punk in its varied forms. Drawing from the early vigour of Blink 182 and the raw power of Nirvana, marinated with a hint of The Subways, this EP is destined to break the band to the UK.

The_Shapers_Cover_Artwork.jpg_RingMaster Review

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My Cruel Goro – Self Titled EP

My Cruel Goro_RingMaster Review

Since its emergence a couple of weeks or so back, the debut EP from My Cruel Goro and its sound, has lured comparisons to bands as varied as The Clash, The Stranglers, and The Jam to the likes of Ash, Arctic Monkeys, The Fratellis, The Hives, the Libertines, Dinosaur Jr., and Weezer. For us the self-titled release brings a weave of Asylums meets Birdland meets New Bomb Turks to the table. That diversity across all references though is because primarily it is hard to pin down the My Cruel Goro sound; it seems bred from varied decades and through a vat of inspirations but with no particularly defined evidence to support any claim, everything just teasing whispers in something quite original.

cover_RingMaster Review     Hailing from Italy, My Cruel Goro is a currently Reykjavík in Iceland based trio which formed in 2014. Vocalist/guitarist Andrea Maraschi and bassist Andrea Marcellini had already been making music together for the previous nine or so years, meeting through a mutual friend, before My Cruel Goro rose from the ashes of their previous project, its demise according to Marcellini because “We couldn’t find reliable musicians to form a proper group with a stable line-up.” Then they met and linked up with drummer Tommaso Adanti, from whence My Cruel Goro stepped forward with now their new EP an introduction to broader awaiting appetites for their raw and virulent rock ‘n’ roll.

It opens with Clash and an instant blaze of enticing riffs and probing beats. A single breath of a ‘pause’ brings the throbbing tones of the bass in before the band strolls and swaggers with indie revelry, thick guitar incitement, and mischievous electronic enterprise. The song is a tapestry of fuzzy hues and blustery flavours colluding in a punk ‘n’ roll roar which is as creatively unpredictable and agitated as it is contagiously rousing.

Next up is Crapford, a song quickly endearing itself to ears and appetite with a wonderful opening melodic hook which is as Buzzcocks like as you can get without a touch of stealing. With tangy bass bait and crisp beats alongside, it is a gripping start which only gets stronger as warmer flowing vocals and pop punk hues add to the texture and richness of the song. As its predecessor, if without the final raucous spark, the track is an addictive anthem to get fully involved in before Glue Buzz takes over with its new wave meets garage rock devilry. A perpetual bounce with seventies punk attitude and tone, as well as a horde of spiky hooks, infectious swings, and a noise rock centre which simply transfixes as it meanders and evolves towards its scuzzy atmospheric climax, the song is a glorious end to a striking and thoroughly enjoyable stomp.

It is of course early days but if their first EP is the sign of things to come, My Cruel Goro could be making a hefty impact on rock ‘n’ roll ahead.

The My Cruel Goro EP is out now via Rebel Waltz Records as a free download at the My Cruel Goro Bandcamp.

https://www.facebook.com/mycruelgoro

Pete RingMaster 05/10/2105

Copyright RingMaster: MyFreeCopyright

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Atomic Suplex – Fourteen Inches of Fist

Atomicsupplex_RingMaster Review

Great rock ‘n’ roll always benefits from a good dose of creative dementia in its devilry and you get plenty of that and more in the bedlam that is Fourteen Inches of Fist. The new album from London quartet Atomic Suplex is nonstop ingenious lunacy, a dangerous riot for body and soul, and quite brilliant.

The UK quartet has been stirring up sonic trouble for a number of years now, earning increasing acclaim with every release and a reputation as one ferociously exciting and uncompromising band live. Stages across the UK and Europe, as well as Asia, have been shared with the likes of The Hives, Guitar Wolf, The Gories, The Adolescents, Nobunny, The Kids, Jet Boys, Armitage Shanks, Richard Herring, The Spits, The Fat White Family, The Buzzcocks, Theee Bat amongst many more whilst singles and EP’s over time, and certainly acclaimed 2010 debut album Bathroom Party on Crypt Records, have marked the band out as a must investigation for a growing horde of fans. Now it is Fourteen Inches of Fist raising a storm since its recent release, and declaring Atomic Suplex as not a must but the essential riot for all rock ‘n’ roll fans.

Sound and album is garage rock, punk rock, noise rock…any kind of dirty, insatiable rock ‘n’ roll you can think of and a torrent of fun from its first to last breath. One Man Party kicks things off with the announcement “When I say I’m a dick, you best believe I’m a dick! D- I- K.” It sets the aggressive belligerent tone which rousingly fuels the whole album, and a song which is soon erupting into a salaciously tenacious slab of punk ‘n’ roll driven by the rousing tones of Jim Suplex. A sonic web of noise is soon grasping ears through his and Emma Leaning’s guitars whilst a gloriously throaty bass sound is conjured by Dan Suplex amidst the wicked swipes of drummer JD Kickdrum. The track is pure attitude, like early Damned merging with The Sonics, and instant slavery.

The album’s title track comes next, it too a concussive explosion of sound but this time infusing honky-tonk piano, blues rock spicing, and garage rock ‘n roll devilry into its mix of raw sixties and seventies rock ‘n’ roll. Flames of brass only add to the theatre of the muggy scenery as too the gritty backing vocals of Emma behind Jim’s raw incitement. As its predecessor, the track has ears and appetite lustful, a success 14 Inches of Fist relentlessly achieves from first song to last.

Cover_RingMaster Review   Set It On Fire has limbs scything through air next with seventies punk antagonism meets psych rock contagion, its guitars and brass a resourceful scorching, whilst Wild Love invites naughty deeds with a Rocket From the Crypt meets Dick Venom and the Terrortones infestation of sound. Both tracks are ridiculously compelling persuasive yet find themselves outshine by the outstanding Firing Line. The song is manna for the ears and heart, its Mighty Mighty Bosstones like opening alone igniting the instincts to party before rhythms provide a jungle of unstoppable temptation frequented by wonderful squirts of sax. They develop into subsequent deranged toxicity further in, colluding with a just as rigorously arousing web of guitar and bass enterprise. As ever like a side show barker, Jim adds his vocal stirring to the mix for one slice of irreverent creative alchemy.

Fifties inspired and seventies coloured rock ’n’ roll gets the Atomic Suplex corruption next, the raw and caustic devilment of S. U. P. L. E. X. a tempest of sonic and vocal raucousness pierced by melodic bait and fiery hooks. It is less than a minute and a half of catchy mayhem before Two Girls flirts like a punk incarnation of The Shangri-las tutored by The Rezillos. As all songs though, air is raw, sound scuzzy, and the encounter as abrasive as it is virulent, and again thrilling.

   J.D. Attack pounds the senses like the bastard son of a Showaddywaddy and Reverend Horton Heat union, its thumping rhythms and heavyweight brawl of sound one party you know would welcome gate crashers with devilish relish whilst the corrosively scarring Ass Tecnica is noise punk knavery which, as in the previous song, twists anything from surf and r&b to garage rock into its ravenous bellow. The pair unsurprisingly leave exhaustion and exhilaration in their wake, as too the eighteen second punk assault of No Pain No Gain, a song more than backing up its title.

Like The Cramps meets The Mobbs, You’ve Got Some Nerve has the body throwing moves hips were surely not made for across its forty odd seconds, a wonderful physical test followed by some respite through the hex that is Pancho. Sultry sax caresses ears initially though in no time it is joined by a wall of sonic intrigue and adventure which has a whiff of Oh! Gunquit to it. Continuing to spill funky hooks, searing grooves, and a garage bred invention; the song is as psychotic as it is clear infection, and another pinnacle of a very lofty landscape to Fourteen Inches of Fist.

Chicken Rich is a ragtime hued haunt seeded in the past which descends into anarchy the further its nostalgia persists whilst closing track White Shoes is quite simply incendiary rock ‘n’ roll which manages to spin a tapestry suggesting everyone from Billy Haley to The Cramps, King Salami and The Cumberland 3 to Turbonegro, and Screaming Jay Hawkins to Johnny Thunders within its epidemic of unbridled energy and senses inflaming rock ‘n’ roll.

Fourteen Inches of Fist is one of the best real and organic rock ‘n’ roll album this year and of a few before, maybe the best, and Atomic Suplex the one band you were meant to lose your sanity with.

Fourteen Inches of Fist is available now via Dirty Water Records on 12” vinyl, CD, and digitally.

RingMaster 25/08/2015

Copyright RingMaster: MyFreeCopyright

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White Manna – Pan

WM_1Reputation Radio/RingMaster Review

There is something deeply irresistible about the White Manna sound, actually plenty of things, but definitely there is a primal invitation to their psyche rock induced spatial adventures which makes band and releases pure contagion. The Californians’ previous acclaimed offerings bear witness to its potency, each offering a blistering infestation of ears and imagination cultured in pungent riffs and searing grooves, whilst the band’s live presence is renowned for stripping the senses blissfully bare. Now the quintet of David Johnson, Johnny Webb, Tavan Anderson, Anthony Taibi, and Michael Dieter unleash their finest moment yet in the fiercely simmering shape of Pan.

As fans of the Humboldt hailing band will expect, the heart of Pan is poached in celestial explorations and fuzz sprung psychedelic breaths driven by garage rock tenacity. It offers broad and deep, almost supernal soundscapes inspired by the Northern Californian landscape; guitarist Johnson saying about the band’s sound that “…the trees, beaches, and open spaces where we live are all integral parts of our approach to music.” This time though there is a stronger intimacy to the earth we tread and emotions felt through Pan, as reflected in the title, and a new almost predacious creative appetite and energy to tracks which are aligned to expected rhythmic virulence and psychedelic ferocity.

The album’s title track sparks ears and imagination first, a sonic piercing the trigger to a smog of fuzz fuelled riffery and atmospheric causticity. Almost straight away within the smothering embrace though, there is an infectious garage rock swagger which infects rhythms and the scuzz grooves seeping from the magnet tempest of sound. The result is a song which is a brewing cauldron of intensity and scolding sonic heat, never erupting fully but providing a seriously engaging and bracing scorching of flesh and psyche.

It is potent and stirring start quickly outshone by Dunes I and subsequently Dunes II. The first of the two similarly emerges from a sonic kiss on the senses, rapidly turning into a blaze of seventies psyche rock laced rampancy driven by a tenacious rhythmic seduction. The garage rock lustfulness of the White Manna sound is again a loudly piquant source of irresistible persuasion as it consumes ears and emotions, the song after its great start an inevitable enslavement matched and contrasted in sound by its successor. The second of the two is a slow saunter through air and emotions. Its body is a fusion of surf and psyche rock with a shoegaze like energy to its smouldering tempting, and uncontrollably enthralling. There is still a dirty tint to its atmosphere though, the band as always challenging as they seduce, stirring up things as they embrace with imagination and sound.

Yet another lofty plateau is breached with Evil. The track is a proto-punk bred treat, a catchy stomp of garage rock and scuzz pop strolling through ears like a mix of The Stooges and The Hives with a dash of The Sonics, but ripe with the uniqueness that is the White Manna sound. There is relentless drive and incessant urgency to the song as well as a great repetitious essence at its core which simply leaves you wanting more. The track is exceptional, pop rock alchemy and instantly matched by Beta Travelers. A spatial climate hints this song initially, it soon becoming the suggestive backdrop to a masterfully alluring shuffle of drum rhythms courted by choppy riffs. Everything intensifies with each circle of the rhythmic rallies though, evolving and enlarging into a melodically fuelled flame of enslaving enterprise, vocally and musically. That reiterative element of the music is once more pure addictiveness within the sonic boil up; every riff, hook, and rhythm inescapable temptation bound in grooves which flirt like a temptress within the song’s skin and psyche permeating scuzzy air.

Pan is brought to a close by Eshra, a twelve minute sonic painting of instrumental adventure and craft. Crashing waves within a lonely climate builds the scene, a canvas slowly defined and pushed by guitar and keys. Every passing minute adds a new descriptive layer and tempestuous intensity to the broadening terrain until by around halfway, the song is a fascinating swamp of sonic droning, fiery melodic exploration, and rhythmic hypnotism, all within another sultry surf seeded space rock coloured atmosphere. It is a riveting end to a thrilling encounter, and the perfect way to leave a lingering mark on the listener.

The impression Pan itself leaves is indelible, the album simply one of the most memorable and provocative encounters this year so far.

Pan is out now digitally and on CD, both versions including the equally impressing bonus tracks Slow Dust and Master Of The Universe (Live), and on vinyl. All options are available through Cardinal Fuzz in Europe @ https://cful.bandcamp.com/album/white-manna-pan and Captcha Records Stateside via https://captcharecords.bandcamp.com/album/pan

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RingMaster 05/06/2015

Copyright RingMaster: MyFreeCopyright

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The Teamsters – Play Along With…The Teamsters

Photo by Mark Shackleton ©

Photo by Mark Shackleton ©

    A blend of sixties pop, indie, beat rock, and punk rock sounds an intriguing concept just on paper alone but in the hands of a band like British rockers The Teamsters it emerges as a frighteningly compelling recipe. The proof comes with the North London hailing trio’s new EP Play Along With…The Teamsters, a four track riotous encounter which enslaves feet and emotions to do its devilish bidding. The release is a tremendous party of precise yet organically bred sounds driven by imagination and unbridled passion, a mix which transfers its energy and incitement easily into its recipient. Simply it is one of the most exciting introductions to come along over recent years.

    Consisting of guitarist/vocalist Tom H. Wing, drummer/vocalist Bret Bolton, and bassist David Peter Jorgensen for the EP, The Teamsters grabbed the attention of Hamburg based label Moody Monkey who leapt in to release their debut. Play Along With… needs only a few seconds to steal attention and maybe a minute to fully ignite imagination and passions. From start to finish it has a wealth of enterprise to satisfy and excite fans of punk, mod, R’n’B, garage rock and plenty more. It is an excitable and insatiable stomp but one with a control which ensures it has a simultaneously clean and raucous impact.

     Diggin´ An Early Grave starts things off with a hefty roll of drums triggering a stroll through dramatically jangling riffs, a 1607057_233699483469843_267368660_nswaggering bassline, and instantly enticing vocals. The track dances across the senses with an unrelenting spring to its keen gait and near on wanton adventure to its guitar sculpted persuasion. There is a familiarity to the song too bringing forward the catchiness of sixties pop but just as strongly the track holds a modern raw causticity which only intensifies the stirring prowess of the song.

   From the excellent start, the similarly impressive Girl (How Could Ya?) takes things up a notch, its initial stabbing rhythms and guitar scythes an immediate incendiary fire for body and emotions. Like its predecessor the song has a contagiousness which flirts with the senses like a brewing epidemic, stroking and imposing upon them through two minutes of sixties beat meets rock pop, in a way like the Kinks meets Supergrass.

    The second half of the EP is even more invigorating and emotionally inflammatory. Don´t Come Back Home leaps at the ears with beats and guitars creating a magnetic web of lustful endeavour ridden by the vocals and harmonies. It is a spicy ball of voracious energy and senses searing sonic rowdiness bound to a tempest of flailing rebellion and eye balling contention. As mighty as it is, the track is surpassed by the closing A Girl Named Linda, the best song on the release. Imagine the R&B revelry of Bo Diddley in league with the garage punk rascality of The Hives aligned to that of Thee Exciters. Add a little Rocket From The Crypt in there and you edge even closer to the unique romp but still leave plenty of ingenious adventure to be imagined and discovered in song and ultimately the EP.

     Ensuring feet never have a moment to relax or emotions to settle into mere appreciation for its scintillating celebration the track is an irresistible infection on psyche and passions, a final triumph of a sensational debut. Expect to hear a lot more of and from The Teamsters, as shown by Play Along With…The Teamsters, one of the most exciting and ridiculously addictive bands to emerge so far this decade.

https://www.facebook.com/TeamstersMusic

10/10

RingMaster 18/03/2014

Copyright RingMaster: MyFreeCopyright

The Teamsters – Digging An Early Grave

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Honningbarna – Verden Er Enkel

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There has been a buzz about Norwegian band Honningbarna which has been hard to avoid going in to this review with their PR Company alone fervidly enthusiastic far beyond their paid agenda in the presentation of the band’s new album for coverage. Could they really be as impressive and exciting as admittedly a great many are claiming? Yes they are and then some. Their new album Verden En Enkel is a scintillating excuse for passions to riot and limbs to brawl, its unique and insatiable punk rock fire rich in potency and impossibly virulent contagiousness.  With dramatic flames of melodic fervour and hooks as barbed and addictive as any sexual favour, the thirteen track release thrusts the band into the heady heights of being the future of melodic punk and possibly the core elements of punk itself.

As fresh faced teens the quintet from Kristiansand took no time in grabbing intense attention with their debut self-titled EP of 2010 which was followed within three months by the band winning the Norwegian broadcasting’s annual unsigned band competition, Årets Urørt. The following year their first album La Alarmane Gå (Sound The Alarm) won Best Rock Album at Spellemannsprisen, the Norwegian equivalent of the Grammys as well as Honningbarna gaining a Best Newcomer nomination. Their rise has been strong and energetic to match their renowned live performances which have also marked the band as one of the most explosive and unmissable treats. The likes of Rage Against the Machine, Gallows, and The Hives have been slapped upon the band as comparisons and it is easy to see why but really they stand alone from the rest with only for us Russian punks Biting Elbows bred from the same distinctive imaginative well though you could probably also add The Fat Dukes Of Fuck too.

Produced by Swedish producer Pelle Gunnerfeldt, the Republic Of Music released Verden Er Enkel meaning The World Is Simple, 551283_10151283210191924_2033457083_nis the first album to have a wider release infiltrating further afield within Europe and the UK, something which can only trigger a mass euphoria one suspects if our reactions are any gauge. It is a record which fuses every aspect of punk old and new with melodic garage rock ferocity and breath-taking energy. It is also as is the band, loaded with political confrontation at times though with them welcomingly only using their native tongue its content is lost on limited linguists like us but the snarl and bite in the delivery and sound does offers plenty to be provoked and inspired by. Honningbarna is poised to ignite rock music to a level which will take the name around the world, well certainly if quality and invention is any benchmark.

The album opens on the sensational lure of Dodtid, the twisted guitar beckoning a sonic lasso around the ear gripping with the intensity of a hornet. Exploding into a barrage of rapacious grooves all sonically sculpted within enticing rhythms, the track then steps into a slow breath of vocals and drum framing before unleashing the turmoil of sound once again. The vocals of Edvard Valberg squall and challenge whilst being ably accompanied by the group gang locked harmonies to post an anthemic hook within the brooding maelstrom at play upon the senses. Harshly metallic with a hardcore abrasive edge the song is a deliberate entrapment for which there is no escape or hiding from, especially its final lingering sonic lancing of flesh as it evolves into the fire of the following Ikke La Deg Rive Med. It is a bruising encounter with muscular energy and scything guitar sinews from Christoffer Trædal and Fredrik Justnes working their caustic charms whilst the beats of drummer Nils Jørgen Nilsen cage and enslave with skill and mischievous purpose. With elements of The Bronx and Red Tape to its stance and drive the track continues the impressive start with inspired ease.

Through the likes of the mighty Velkommen Tilbake where bassist Lars Emmelthun gnaws and chews the ear with stirring potency whilst the song itself just stomps all over the emotions with old school devilry, the thrilling Tynn Is with its arguably unadventurous, compared to other moments on the release, yet enticing gait, and the exceptional God Jul, Jesus, the album fosters the rapidly brewing ardour for the album with irresistible craft and imagination. The second of these sees the added treat of Valberg and his shadow inspired skills with the cello, bringing another stunning bow to band and release whilst the third of the trio is a rampant swagger of growling rapacious rhythms from bass and drums within a corrosive energy and magnetic  blaze of vocal harmonies and feisty passion engulfing hunger.

The album holds its truly momentous moments in nothing but highlights for the latter part of its presence starting with Fuck Kunst (Dans Dans), the lead single form the album. A slice of dirty incendiary rock n roll with riffs and thought poking vocal delivery to incite the strongest reactions and an imagination and devilry to spark their fullest greed, the track is the perfect lead into band and album though easily matched by next up Offerdans and the best song on the album Ned. Whilst the first of these two dances with the ear like a punk dervish, perpetually moving riffs and barbed hooks sharing target practice on the passions with unerring accuracy its successor is quite simply a complete tempest of addict making melodic spiky grooves and equally catchy riffs ridden by coarse confrontational but anthemic vocals. At its core and partially hidden there is a groove the Buzzcocks would have been proud of  whilst the overall plundering of the ear is vintage punk rock given a modern makeover for a new breed of riot.

Before its end Verden Er Enkel confirms its majesty through the bass carved rock scrap of Si Nei, the brutally addictive title track, and the brilliant closing psyche altercation of Gi Oss Kick. It is a stunning and delicious spat from a band who more than justify the claims wrapped around them from the outside. Honningbarna is poised to ignite the appetite and passions of not only punk but rock n roll in general and across the world. It all starts here.

http://honningbarna.no/

10/10

RingMaster 07/05/2013

 

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