Dead By Monday – Almost Punk

Having earned a strong reputation for their live shows and energy, Scottish outfit Dead By Monday are out to spark similar praise on a broader scale with the release of debut EP, Almost Punk. Offering four slices of ferocious punk rock with an almost deceitful character as they reveal a far richer breeding of flavours once immersed in their roars, it is a release which not only warrants attention but pretty much commands it.

Formed in 2016 within the Glasgow music scene, Dead By Monday has as mentioned drawn great plaudits for their live dynamic and aggressive presence which has been rewarded with gigs alongside the likes of The Living End, Daggermouth, Annewrage, and WRCKG. Initially coming together with the intent of creating politically charged punk rock, the foursome soon found a harder, harsher, and heavier sound emerging but one still embracing their punk rock hearts alongside inspirations from the likes of Rage Against The Machine and The Dillinger Escape Plan, NOFX, and Gallows. Almost Punk is their first nationwide trespass and a very potent introduction it proved to be.

Certainly the EP was a slow burner with us, making a good first impression but really blossoming over time and listens as its creative depths emerged. The release opens with The First, and instantly had attentive ears with its simple but efficient opening punk bred riff. Paddy Chapman’s guitar is the lure, the throbbing bassline of Declan Buist a waiting trap before the song explodes into its rapacious and irritable stroll. The gruff tones of vocalist Murray Taylor are soon sharing its grievances as the swinging beats of Ciaran Whyte spark the track’s contagious gait and energy. There is little particularly unique about the track at first but with its mellower detours and sharp hooks grows into an ear grabbing proposal, those animated rhythms of Whyte particularly magnetic.

The following Dead Souls soon overshadows its predecessor, the excellent track a bruising slab of punk ‘n’ roll with a tasty line in hard rock to its twists and turns. Again Taylor’s vocals almost bully the listener as surrounding sounds work on their rocker instincts while spiky hooks and gang vocals make for an additionally tenacious incitement. Firmly the song took best track honours, though it was swiftly challenged by next up Our Doomsday. Straight away Whyte’s rolling punches had attention gripped, Buist quickly backing up the rich coaxing with its own throbbing bait. It is a magnificent start which in some small ways is followed by an anti-climax as the track opens up into its grouchy punk holler but it is a mere quibble as the track soon seduced the appetite with its snarling attack. There is something of Stiff Little Fingers to the song at times which does it no harm at all, indeed helps make it another bright spark in the growing potential and ready-made enterprise of the EP.

The closing Choke brings a post hardcore tone with its opening strains, clean vocals from Taylor strongly enticing with an underlying emotive warble well backed by the harmonic tones of Whyte. Eventually its captivation leads to the ferocious heart of the song, its hardcore instincts expelled with force and dexterity for a caustic finale. The most inventive and unpredictable track on the release it also challenges for top song honours, holding it for a while with its outstanding start and engaging imagination.

Almost Punk is an ear grabbing introduction to its creators but it is the potential and instinctive invention it carries and of which it suggests there is much more to come, that makes it more than just a great first encounter.

Almost Punk is released July 27th.

https://www.facebook.com/DeadbyMonday/

Pete RingMaster 25/07/2018

Copyright RingMaster: MyFreeCopyright

Hole In The Head – Primitive Love

HITH 2015 line-up

HITH 2015 line-up

It is always a negative when someone says they need something like a hole in the head, but when it applies to the Finnish rockabilly band of the same name the want is completely different, especially if talking about the band’s debut album Primitive Love. It is a ten track stomp bred in a rockabilly heart but involving spicy rhythm ‘n’ blues and broader rock ‘n’ roll adventure to create something not exactly unique but predominantly individual to Hole In The Head.

The Kuopio hailing band began in 1997, founded by vocalist/guitarist Sasse Savolainen. Two 7” EPs, Tornado Ride (2000) and Trouble Cruiser (2003) were well-received successes for a band also experiencing a few line-up changes. The summer of 2012 saw the quartet of Sasse, Brother Andy Liukko (guitar, harmonica, sax), Turkka (upright bass), and Laasanen (drums) begin recording Primitive Love with Tomi Leino at Suprovox Studio, Ikkala. In the wake of the recording though Laasanen left the band with Turkka subsequently leaving too. The remaining pair decided to carry on performing as the Sasse & Andy Duo and work towards releasing the album. New impetus to Hole in the Head after its near demise came with the recruitment of Tony Lehto (upright bass) and Joonas Hiltunen (drums), the band hitting the live scene again with force further backed by the 2015 release of Primitive Love.

A strong start to the album is made by Out of Hands, the opener coaxing ears with scuzzy guitar and the winy charm of Andy’s harmonica incitement. With punchy rhythms and inviting vocals, the enjoyable encounter is an easy to climb on board canter with swinging hips and excitable energy that has feet bouncing and attention aroused. Increasingly more virulent as it stomps into its dynamic climax, the track passes an already keen appetite over to the following Bad Luck Driver. Straight away a sultry and siren-esque psychobilly tang wraps ears as the bass of Turkka gets the instincts going with its delicious dark stroll. With beats just as enticing, the track only blossoms further as blues lined tempting escapes through a flirtatious sax as the potent tones of Sasse strike up further pleasure and satisfaction, each adding to the excellent Frantic Flintstones meets Ray Campi with a touch of Roy Hawkins like song.

picture By Ville Angervuori

picture By Ville Angervuori

From one big treat to another as the dark noir mystique of The Night Walk takes over, its blues/surf blend of temptation a smouldering seduction of spicy air and sound. The resonating elegance of the guitar comes with a great sinister swell to its tone whilst the rhythms perfectly temper that intoxication with understated but pungent repetition. Already song by song, Primitive Love gets thicker and bolder in adventurous invention, a trend continuing with the swiftly magnetic Let Me Be Your Heartbeat. Imagine The Stray Cats in collusion with Tiger Army without the haunting and you have the anthemic prowess of a gripping track only broadening in varied sound with each passing minute.

Vintage Kind of Fever leaps in with tenacious rhythms and an energetic swagger next, its fifties nurtured and robustly delivered rockabilly weave littered with flaming sax, scything guitar, and a rhythmic rumble to lose the body too. Addiction is inevitable as also through the bluesabilly romp of Rude Boy Blues, a mix of rousing enterprise and fiery flavouring at times reminding of The Shakin’ Pyramids. Both tracks are superb incitements to lose inhibitions to and quickly backed by the jazzy canter of Lonely Wolf, the song a Parisian touched harmonica wielding vagabond of a song which simply leads hips into an eager sway.

Rhythmic jabs and swinging hooks are the order of the day within Knock Out Boogie, bass and guitar hooks hypnotic bait as masterful vocals and bodacious sax lead the listener on a rebellious yet controlled dance before having to make way for the sixties R&B hued blues devilry of Wolf Girl. Bounding around with the scent of The Living End and Johnny Burnette to its insatiable energy and feverish character, the song just entices and incites like a frisky temptress.

The album is closed by Bondage Love, a track living up to hopes inspired by its title with its exotic melodic landscape and addictively nagging rhythms. Like a rapture driven shindig on the banks of the River Nile, further accentuated by the Madness like smooch of the sax, the track is pure manna for ears and rock ‘n’ roll passions; a claim easy to attach to the whole of Primitive Love.

It may have taken time to see the light of day, but Primitive Love hits the sweet spot with persistent ease whilst suggesting to the world that Finland has a rockabilly/R&B band which deserves real attention.

Primitive Love is out now @ http://hith.net/wordpress/shop/

http://hith.net/   https://www.facebook.com/holeintheheadfin

Pete RingMaster 12/01/2016

Copyright RingMaster: MyFreeCopyright

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Graveyard Johnnys – Dead Transmission

Ester Segarra

There has always been a fire in the belly of the Graveyard Johnnys’ sound, as well as a constant entwining of varied strands of rock ‘n’ roll, but the band has tapped into their richest vein of belligerent contagion yet for new album Dead Transmission. The release is a glorious incitement of punk and rockabilly, though as ever the Welsh band infuses plenty of additional rock bred spices in provocations impossible to pin down but very easy to greedily devour. If you had to make a comparison it would have to be The Living End, though Graveyard Johnnys, as evidenced by their new offering, create something a little dirtier and more unpredictable.

Formed in 2008, the Chepstow hailing Graveyard Johnnys has earned a massive reputation for their fiery and frantic live performances, an aspect also echoed as close as it is possible to ever achieve in the studio within Dead Transmission. It is fair to say though that starting with their debut EP Streetblocks and City Lights, the band’s releases have persistently been a voracious slab of energy, as epitomised by first album Songs From Better Days in 2011. These only emulated as mentioned a live presence which has stirred up audiences Europe wide over the years, persistently luring new and loyal appetites to their sound. Graveyard Johnnys has shared stages with the likes of Turbonegro and Hayseed Dixie, toured with bands such as Mad Sin, The Peacocks, and Nekromantix, and left crowds exhausted with their own headlining shows, all earning greater acclaim and increasing a potent reputation. Now the threesome of vocalist/upright bassist Joe Grogan, drummer Thomas E Lord, and guitarist Callum Houston, arguably the first really stable line-up within the band and its most potent, are poised to open a new storm of attention with Dead Transmission, a release which will not take no for an answer.

Album opener is The Poison, a song entering on the regimented stomp of marching feet, equally eager beats, and subsequently a rich lure of flavoursome enticement which is as much melodic rock as it is classic rock ‘n’ roll seeded. Settling into a landscape of catchy energy and invention, a blues air lays over melodies and dust coated vocals whilst hard rock revelry creeps into the hook lined swing of the encounter. Straight away the band has expectations perfectly defeated, the song bounding through ears like a mix of Turbonegro, The Hives, and The Black Keys yet not. It is a tasty appetiser for things to come, but quickly outshone by the following For Tonight, and indeed the rest of the increasingly virulent album.

Dead Transmission Cover   The second track spills a delicious hook straight away, one swiftly joined by the excellent voice of Grogan and a potent rapping of drum skin by Lord. The singer’s bass is also quickly stirring up ears and appetite, its pungent bait a dark temptation within the swinging enterprise of Houston’s fingers and strings. A great mix of restrained and keenly strolling energy, it has an essence of The Peacocks to it though again it is easy to suggest other styles and artists as references to something quite distinct to Graveyard Johnnys.

The album’s title track is next, static caressing ears before majestic and instantly rousing rhythms and riffs ignite body and imagination. Scythes of guitar and an open spillage of attitude soon join the punk bred incitement too, its snare drum rim clicking and thumping beats irresistible and matched in slavery by the constant adventure of inescapable hooks and brawling energy. Again the band keeps things too lively for expectations, its passage another mix of feverish fury and predatory reserve, and simply sensational.

One major highlight passes the passions over to another in the feisty shape of Because Of You, an old school rockabilly stomp with modern tenacity and attitude. It is the kind of song that if Gene Vincent was stomping around in his young leathers now he would be unleashing. It is one minute and a half of pure and spicy rock ‘n’ roll; a description applying to the punk seeded One Day Or Forever and its individual march upon ears and emotions just as easily. Its rhythmic stroll has feet shifting and head bobbing whilst its alluring Bad Religion meets Flogging Molly like melodies and tempting has ears gripped.

     A similar punk fired persuasion colours the next up Ready To Roll, riffs and rhythms instantaneous seduction reinforced by a tenacious enterprise of guitar which at times flirts with a seventies spicing a la Mud/Showaddywaddy, though blink and you miss it as like so many, the song is a busy cauldron of flavours and temptation which has attention solely in its grasp, much like the following pair of I Won’t Wait and Compromise. The first of the two merges raw punk and vintage rock ‘n’ roll resourcefulness for its decades fusing, passions firing riot. It snarls relentlessly, and expels a dirt encrusted breath of predation, but with the throbbing string slaps of Grogan, the hypnotic bait of Lord, and the ear entangling prowess of Houston, the song was never going to be anything other than an epidemic of infectiousness. Its successor swaggers in with its own appetite binding lures as well as the potently confrontational lyrical craft which flows across the whole release as impressively as the sounds. The Living End is an unavoidable comparison to the outstanding song but again the British three create something as unique from as it is similar to any references.

Fair to say by the end of the song the body is weak from the energy given to the insatiable romps within Dead Transmission, and seemingly sensing this Graveyard Johnnys offer Mothers next, a calm acoustic rock ballad with a country rock breath. It is an engaging and increasingly magnetic croon but admittedly before its increasingly lively end, feet and appetite greedily wanted to let loose again which they do with the closing Little Witch. A smog of sonic aggravation and rhythmic intimidation, the punk/ hard rock explosion is the perfect book end to the start of the album, a fiery and tempestuous maelstrom of fiercely flavoured rock ‘n’ roll with a flirtation of melodies and keys to keep things even more fascinating.

It is a blistering end to a thrilling proposition, Graveyard Johnnys at a new peak with songs which tap into every instinctive want of any rock ‘n’ roll fan, a broad genre which just does not get much better than this.

Dead Transmission is available now via Bomber Music @ http://store.bombermusic.com/products/545212-graveyard-johnnys-dead-transmission-cd-or-download or https://graveyard-johnnys.bandcamp.com/releases

http://www.graveyardjohnnys.com/   https://www.facebook.com/graveyardjohnnysUK

RingMaster 13/05/2015

Copyright RingMaster: MyFreeCopyright

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Dead Bundy and the Neat Neat Neats: Life Is Hard…Death Is Neat

Dead Bundy and ....

Providing a villainous canvas for the most essential of mischievous sounds Life Is Hard…Death Is Neat the latest album from Dead Bundy and the Neat Neat Neats has everything you could desire in a psychobilly riot. A collection of songs which are as compelling as they are the instigators of varied rock n roll flames, the album just grabs the heart and thrusts it into a bruising rampage of insatiable riffs, hungry rhythms, and heart borne passion. This is a record from a band which lives and breathes their sound and uses their open influences to corrupt and ignite the wickedest shadows within its willing victims.

The Minneapolis quartet is another band which lets the music do the talking with info about the band as scarce as the desire to behave within the album itself. The band does consist of Matthew Sprinkles, Chris Wilson, Cody Hillyard, and Matt Kalsnes, and employs influences from the likes of Batmobile, The Quakes, Reverend Horton Heat, Mad Sin, and Screaming Jay Hawkins amongst many, as well as a band which springs to mind often across the release, the Frantic Flintstones, to their own mastery. Life Is Hard…Death Is Neat is the follow up to 2011 album Bad Moon Death Trip, and was released last year making us late to its glory but better late than never right? They tag their sound as brundlebilly but whatever they want to call it their roguish conjurations are just essential treasures for all fans of rock n roll.

The eager and thrilling breath of Hexes And Hymns opens up the album, the track a brief instrumental charge which begins with 300gentle caresses before turning on the for pulsating guitar strokes, thumping rhythms, and a delicious whisper of discord throughout its twisted twang. It is a fiery start soon equalled and surpassed by the shadows gifted Evil Deeds And Demon Seeds. With a groaning hungry bass slapping resonance and an irresistible groove the song stomps through the ear with only thoughts of dragging the feet and passions of the listener into action, not that they need much persuasion when confronted by infection carrying sounds like this.

From there the album sets free one of its biggest pinnacles in a continual parade of highlights. Junglebella swings astride the senses with an insatiable energy and compulsive swagger, the vocals and guitar luring irresistible whilst the contagious chorus demands receives compliance from the throat of the listener with immediate effect. It is a sensational song which brings elements of The Meteors, Link Wray, and The Legendary Shack Shakers into play. The musicianship is as impressive as the viral persuasion at work throughout song and album and already only three songs into the release one feels the band is destined for the strongest recognition in their chosen genre if not further afield.

The sinew stretching Bruja with its crushing rhythms and flames of scorching guitar continues the now beyond simmering rapture, the track a muscular bruising with more addiction than primitive sexual urges…oh that is just us then…whilst the likes of the raw rockabilly furnace of Movie Monster and the country lilted evil of Bad Woman with its Dave Edmunds/Polecats like gait brings diverse enterprise and tingles to the release. The last of this trio starts as an old school toned treat which again leads one by the ear to embarrassing rhythmic expulsions on the dancefloor but midway intrigues and excites by twisting into a punkabilly storm which is a mix of Demented Are Go and The Living End.

As the album continues the songs Supernatural Man, She’s A Hellcat, and Road To Ruin only lead to further squeals of joy before another major triumph arrives in the graveyard romance of Bone Daddy. It is a glorious track which romps with sinister intent and deathly mischief. The irreverent vocal squalls and ever potent emotion playing bass prowl fires up the deepest passions whilst the heated hooks of the guitar conjurations pulls the heart into action like a satanic musical magnet.

Closing with the fine acoustic ballad Devils In The Dark, the album is an enthrallment with the highest rewards of pleasure attached to every note and rhythm. Only enthused acclaim can be laid upon Life Is Hard…Death Is Neat and a band in Dead Bundy and the Neat Neat Neats which makes the company of their nefarious creativity as essential as breathing.

https://www.facebook.com/DeadBundy

RingMaster 17/01/2013

Copyright RingMaster: MyFreeCopyright