Bad Mary – Glitter Bomb

These past three years has seen a greedily enjoyable annual expulsion of attitude and fun in the shape of a new EP from US rockers Bad Mary. This year’s riot comes in the shape of Glitter Bomb, an upcoming six track stomp of punk ‘n’ roll which knows all the right spots to tease, seduce, and turn into feverish submission.

Straightaway we can announce Glitter Bomb to be the Long Island, New York based quartet’s most infectious and belligerent offering yet embracing an array of styles and creative devilry which just sets the imagination and appetite aflame. Equally it is their most accomplished outing yet basking in another fresh step in maturity in writing and its realisation as well as even bolder adventure. Like the illegitimate offspring of an illicit affair between The Ramones and No Doubt as The Objex share their riotous juices, to simplify the bold confrontation, Bad Mary and Glitter Bomb explode on the senses with unbridled and fiercely enjoyable mischief.

The beginnings of Bad Mary came in 2009 with Hofstra University professor and guitarist David Henderson linking up with students for a covers band; something he regularly did. That year’s line-up included vocalist Amanda Mac and bassist/vocalist Mike Staub. As personnel changed the three remained with the current line-up eventually completed with the addition of Amanda’s father Bill Mac on drums. The quartet then began writing their own songs from 2012 with debut release Better Days drawing swift praise the following year.  The band has simply gone from strength to strength in all ways ever since, an ascent potently marked by their previous two EPs in the 2015 Killing Dinosaurs and last year’s We Could Have Saved the World. Both established the foursome as one of the truly exciting propositions on the pop/punk ‘n’ roll scene, a declaration confirmed and pushed forcibly on by Glitter Bomb.

Recorded with Brian Crowe at Kreischer Mansion Studios, their new release opens up with Motor Mouth needing little time to have the body bouncing and instincts to rock uncaged. Commandingly infectious from the off as riffs and rhythms frame the potent vocal presence and hooks of Amanda, the song is a punk rock bred pop infested persuasion soaked in attitude and rascality. There is nothing majorly remarkable about the track yet every second is instinctive temptation laying the grounds for a lusty adventure continued by next up Still Love Me. The outstanding second song swiftly shows more of the magnetically powerful tones of Amanda, her alluring roar superbly backed by those of Mike as riffs and hooks dance within the early No Doubt/hard rock spiced punk stroll. As its predecessor, the song infests ears and imagination with viral like efficiency, raising the temperature and involvement of the listener by the second while a roving bassline is the icing on the contagious cake.

The EP’s title track brings a riveting surge of raw rock ‘n’ roll which is something akin to Penetration meets Sharkmuffin before Hybrid Moments delves into Misfits like territory with its devious antics. Both tracks leave a grin on the face and lustful energy in the body and passions, the second of the pair especially appealing with the vocal union of Mike and Amanda. Their triumphs are soon more than matched by the hungry punk ‘n’ roll call of Soul Mate, a song oozing with the band’s organic creative attitude and an infectious virulence most bands can only dream of.

The EP concludes with Japan, an irresistible collusion of Ramones inspired riffs and Plastic Letters era Blondie pop contagion twisted with Bad Mary’s own individual devilry for a storming end to the band’s finest moment to date. Glitter Bomb is insatiable pop, irritable punk rock, and ferocious rock ‘n’ roll rolled into a proposal which quite simply is the business.

Glitter Bomb is out September 29th with pre-ordering available now @ https://badmary.com/shop/

https://badmary.com    https://www.facebook.com/badmaryband   https://twitter.com/BadMaryBand

Pete RingMaster 01/09/2017

Copyright RingMaster: MyFreeCopyright

The Guilt – Self Titled

Here to give your senses an abrasively bracing blasting and the body an irresistible work out is the debut self-titled album from Swedish duo The Guilt, a band which just might be the most exciting thing to happen to punk rock in recent times. Musically the pair of vocalist Emma and guitarist/beat caster Tobias create something angry and seductive from styles bred from electro punk to heavy rock and any flavour of rock ‘n’ roll your ears desire, or as they call it, laserpunk. Bottom line though is that The Guilt creates instinctive punk rock to rouse the spirit and assault the world in one of the year’s biggest treats so far.

The Guilt emerged in Helsingborg 2012, Emma and Tobias making a fresh musical start after the death of an old friend. Initially the pair used an iPod for synths and beats rather than replace the drummer before turning to a Roland synthesizer resulting in the fine mix assaulting the listener from within their first album. 2015 saw the release of their maiden EP on Heptown Records, who now release the album, with another outing for it last year through Suicide Records. It was a nudge on attention now being followed by a mighty slap courtesy of, as already suggested, one of the essential moments of 2017.

An electronic squiggle draws ears to the waiting clutches of opener Cunty Mess, the song swiftly taking advantage of intrigue with its scuzzy riffs and wandering groove. Once the voice of Emma saunters in, defiance reeking from every breath and syllable, the song just comes alive. Tobias conjures a web of hooks and unpredictability as a gnarly bass grabs its piece of an already lusty appetite for the track’s punk ‘n’ roll. Bouncing with catchy enterprise across its body but especially a pop infested chorus, the song seduces within its first spirit inciting roar.

The following Hate Hate Hate is swifter to unveil its antagonistic attitude, guitar and synth colluding in devious coaxing before Tobias unleashes a deliciously nagging groove as Emma stands hollering, irritation fuelling her presence and attack. She almost prowls song and listener, building her zeal loaded rage for the rapacious chorus; the sounds around her just as dynamic and predacious. Yet there is virulence to the repetitive groove and tenacious beats which has limbs and body as involved as energy and thoughts, dancing and rioting united in one song, though pretty much all the tracks within the album spark matching reactions.

I Don’t Care follows with its dose of crabby rock ‘n’ roll, the track simply punk rock to its core. Like L7 meets Midnight Mob, the song strolls along with a militant air; its middle finger raised under the defiance stoking shout of Emma and driven by the equally ferocious sounds of Tobias. The track is superb, maybe even eclipsing its predecessors before I Just Know It has feet and hips bouncing to its electro pop punk antics. With a touch of The Objex to it when it snarls and a whiff of The Knife in its calmer electronic shuffle, the song epitomises the band’s ability at fusing danceable pop and threat loaded punk rock if showing more restraint of its aggression than those tracks before it.

Having your senses crawled over; imagination fingered does not come much more potent or enjoyable than the start of Bad Things. It infests ears with its dark deeds and growling textures, the Roland popping away with its electronic spots to highlight rather than temper the irritated heart of the track; a union only blossoming to bigger exploits as the song boils over in another anthemic chorus surrounded by enjoyably corrosive flames.

The stunning Anomlays is next; the band’s latest single an incendiary eruption of punk and pop sounding like Animal Alpha leading Morningwood into a pit of hellacious body corrupting toxicity. One of the highest pinnacles in nothing but across the album, its success is closely matched by It’s Not Me It’s You. A little like Blood Red Shoes given a hefty dose of animosity but again emerging as something unmistakably unique to The Guilt, the song swings and grooves while spreading venomous fun and ravishing attitude; electro pop and punk has never sounded so delicious together.

That is another key thing about the album; for all the references we suggest or others different people may offer, The Guilt has a sound which stands alongside no-one. Its voice, imagination, and character is one of the most original around right now yet feels like a friend from its first hungry touch. Next up When The Honey Comes is proof, the track swaggering through ears with another grimace to its tone but is as quickly springing infectious flavours and hip provoking exploits as guitar and bass niggle away with their great persistence.

The release is brought to a fiery close with firstly the cantankerous stomp of Give It and lastly the psychotic hop of Ovaries. Both tracks leave exhaustion and instinctive pleasure in their wake, the first with its primal punk ‘n’ roll and its successor with its electro punk revelry though even with its kinetic web of sound and contagious consuming of the body there is something inescapably predatory to the album’s thrilling conclusion.

The Guilt is beginning to catch and excite new ears and passions in droves, their album shows exactly why. It assaults, infests, demands, and rewards in equal measure; most of all it gives music and its fans the kind of fun time and rebellious streak it has arguably been missing lately. We say let their album be your next port of call and as for us, they just might be your new favourite, probably obsessive passion.

The Guilt album is out May 5th through Heptown Records.

http://www.theguilt.se/    https://www.facebook.com/theguiltsweden/    https://theguiltswe.bandcamp.com/

Pete RingMaster 05/05/2017

Copyright RingMaster: MyFreeCopyright

Bad Mary – We Could Have Saved The World EP

BM_RingMaster Review

With the Killing Dinosaurs EP still regularly toying with ears, US rockers Bad Mary are poised to release its successor in the tasty shape of We Could Have Saved The World. Providing another half dozen slices of seventies pop punk merged with the broader adventure of alternative rock, the EP is a stirring roar for ears and emotions whilst continuing the band’s emergence as one highly flavoursome rock ‘n’ roll band.

From their early days as a band brought together by Hofstra University’s professor of drama and guitarist David Henderson, Bad Mary has grown into an attention grabbing proposal. In a regular process every semester, Henderson put together a band with students to play a bunch of covers. It was 2010 when vocalist Amanda Mac and bassist/vocalist Mike Staub were those invited to be part, a trio which has stayed together since. Madame X, as it was called then, did see a few changes before Amanda’s father, veteran drummer Bill Mac, linked up to swing sticks. Inspired by bands such as Blondie, The Ramones, Green Day, and No Doubt amongst others, the band then began working on its own material. A name change led to Bad Mary being officially launched in 2012 with debut album Better Days coming two years later to strong acclaim. Its release turned keen local attention into something embracing a broader landscape not only across the US but further afield. Last year’s Killing Dinosaurs EP only cemented and pushed on their breakthrough which We Could Have Saved The World can only ignite further.

art_RingMaster ReviewThe rock ‘n’ roll frenzy starts with Creeper, the track a feisty and energetic burst of punk ‘n’ roll with Amanda’s vocals as direct and alluring as ever. With punchy beats and fiery guitar, the song continues to stomp with attitude loaded feet and a hard rock like aggressiveness; perpetually involving body and appetite whilst setting the listener eagerly up for the excellent roar of Marz Attaqx. Like The Rezillos meets The Objex, it is a contagiously irresistible slab of pop punk, quickly getting full involvement from hips and voice as Amanda again rules the speakers whilst rhythms jab and riffs get under the skin, the track’s hooks digging even deeper to complete the virulent slavery.

The rhythmic coaxing opening up the following Trouble is equally irresistible, its lures leading into the fiery heavy rock throes of winy grooves courted by the melodic caresses of Amanda’s mischievous vocals. As it broadens its lively stroll and magnetic landscape, a rich No Doubt spicing tempts without defusing the Bad Mary character of the song. Again there is a lining of attitude which demands attention whilst the flames of classic rock guitar bring extra flavour before the rapacious rocker makes way for the gentler hug of Cloud 9. Shadow wrapped pulses of bass tempers enticing vocals, whilst firm yet respectful beats align to the sultry glaze of guitar, all uniting for an enjoyable if low key, in comparison to its rowdier companions, proposal.

Meanwhile is back snarling and creating a riotous time with its raw punk air and nature though hooks and rhythms again collude to create the catchiest of times led by the rebellious vocals of Amanda and Mike. Brief and to the point as it continues the bracing potency of the EP, the excellent encounter swaps places with the similarly anthemic and antagonistic When You Think of Me. It is a final punk rock roaring to beat chests and defy the world with, bringing We Could Have Saved The World to a tenacious and galvanic end.

Bad Mary continues to get stronger, bolder, and more essential in the modern realm of punk ‘n’ roll; the evidence is all there within We Could Have Saved The World.

The We Could Have Saved The World EP is released 1st February.

http://badmary.com/   https://twitter.com/BadMaryBand    https://www.facebook.com/badmaryband

Pete RingMaster 26/01/2016

Copyright RingMaster: MyFreeCopyright

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

Bad Mary – Killing Dinosaurs EP

Photo by Nick P Jiannaras of Nicolai Patrick Photography_

Photo by Nick P Jiannaras of Nicolai Patrick Photography_

When presented with a band name like Bad Mary mischievous thoughts of course spring up as well as hopes that they have a sound to back up the devilish allure of their name. The Long Island quartet has that and more on the evidence of new EP Killing Dinosaurs. It is six highly flavoursome and raucous slices of punk ‘n’ roll unafraid to be as pop catchy as they are belligerently irritable. It is steeped in seventies punk and power pop with the attitude and tenacity of modern rock ‘n’ roll, and quite irresistible.

Bad Mary’s beginnings sprung in 2010 from the regular happening of Hofstra University’s professor of drama and guitarist David Henderson putting a band together with students each semester to play a bunch of covers. At this moment in time vocalist Amanda Mac and bassist/vocalist Mike Staub were the students who became involved, with a time of turnover in drummers ending with Amanda’s dad and veteran drummer Bill Mac joining the band. Playing songs from favourite new wave and punk artists from several eras, initially as Madame X, Bad Mary was officially launched in 2012, and through each member’s individual love of punk and rock from different decades, the band’s own sound grew and blossomed. Debut album Better Days was the first offering, a 2014 release going on to garner three first-round ballot Grammy nominations, success matched by their live presence and their songs luring media and radio attention on both sides of the pond.

cover_RingMaster Review     With inspirations ranging from The Ramones, The Sex Pistols, and Motorhead to The Tom Robinson Band, The Police, Blondie, and Green Day amongst many, the band’s new EP is a non-stop stomp that growls as it invites, bullies as it sets ears and imagination alight. Recorded with producer/engineer Matt Storm and assistant engineer Francisco Botero at Studio G in Brooklyn, Killing Dinosaurs gets straight to the point with opener Soapbox. Amanda leads the confrontation from the off, her potent tones the first touch and fiery guitars around rampant rhythms the next. It is an infectious and grouchy start with the growl of bass alone a brooding impossible to resist temptation as the guitars release their similarly enticing caustic flames. The backing roars of Mike brings a fiercer texture to compliment the intimidatingly tantalising tones of Amanda whilst more metal bred hues add to the overall brawl of the excellent start to the EP.

Whereas the first track has a presence crossing years, the following Want What I Want carries a great old school punk character, strolling with a swagger which is part Vice Squad and part The Objex. The bass of Mike again captivates with its heavy swagger whilst David weaves a hook lined web of enterprise part venom part flirtation as Bill slaps the listeners’ proverbial cheeks around. Eclipsing its predecessor, it too is shaded a touch by next up Hanging Around, a boisterous canter carrying the glam rock of Sweet, the mischievous pop punk of the Rezillos, and the rapacious virulence of dragSTER. The track steals the show, leaving an already strong appetite greedier and already by this time an exhausted body more wasted but energised.

A cover of The Police song Next to You swings in next with a similar swagger and nature whilst delving into more classic heavy rock enterprise whilst adding a tasty scent of early No Doubt punk pop to it . Again physical involvement is a given as it spins its lures, a success emulated by the X-Ray Spex meets The Avengers like Sucks to Be You, another rousing middle finger of word and energy

Killing Dinosaurs is completed by One More Song, a compelling mix of fifties rock ‘n’ roll and sixties pop embroiled in power pop/punk rock imagination and dexterity. It is an infectious end to an increasingly enjoyable encounter; a collusion of old school and twenty first century punk ‘n’ roll to lift emotions from the doldrums and bodies into feverish participation.

The Killing Dinosaurs EP is out now @ https://badmary.bandcamp.com/album/killing-dinosaurs-ep

http://badmary.com/  https://twitter.com/BadMaryBand   https://www.facebook.com/badmaryband

Pete RingMaster 22/10/2105

Copyright RingMaster: MyFreeCopyright

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

Brassick – Self Titled

Brassick band_RingMaster Review

Building on a reputation earned from their first release and a live presence which has venues aggressively rocking, UK punks Brassick have released their self-titled debut album and fair to say whatever acclaim already garnered should be outshone by all offered this anthemic snarl. Raw and uncompromising yet loaded with a hardcore roar and fierce inescapable hooks to drool over, the release is poised to put the Birmingham quartet of the broadest punk maps.

Formed in 2012, Brassick quickly sparked local attention and support with their fusion of punk, ska, and metal essences. That presence soon gripped wider recognition through the band’s unrelenting live presence which has seen them play with the likes of GBH, Cock Sparrer, UK Subs, and Subhumans amongst many, and the release of the Broke And Restless EP in 2013. Last year saw the foursome continue to ignite the UK live scene, venues and festivals coming under their fiery growl and culminating in a highly successful spot at Rebellion alongside bands such as NOFX, Street Dogs, Stiff Little Fingers, Killing Joke, and The Duel. Already charging through Britain and Europe again this year with festivals and another Rebellion appearance on the schedule, Brassick have made 2015 their biggest year yet with the release of their rousing album.

Produced by bassist Jake Cunningham and guitarist Peter Macbeth, the album opens with Hollow Cries and sirens infusing cold portentous air. Punchy rhythms splinter the scenery next, all embroiled in a sonic mist before the song strides clear with anthemic riffs and rhythms sparked further by the instantly gripping vocals of Nicola Hardy. There is a great essence of attitude and snarl to her tones to match and incite the sounds around her, a pulsating bassline and inflammatory guitar enterprise colluding with the healthy swipes of drummer Jay Jay Khaos open evidence in two riveting and highly persuasive opening minutes.

Brassick cover_RingMaster Review     The punchy exploits of Same Sound bound in next, riffs and beats a feisty lure reinforced by the vocal defiance of Hardy. The metallic edge and texture of the track reminds of US punk metallers Mongrel, whilst the scything expulsions breaking up the song midway are the trigger to adventurous twists before the assault returns to its initial confrontation and sets ears up perfectly for the outstanding tempting of Media Faces. Like early The Duel with a Ruts like reggae predation, the track prowls and roars, forcibly stirring up appetite and imagination through the magnetic guitar craft of Macbeth and the irritable infection of sound and vocals.

Fall Because They’re Blind backs up the potent start to the album though it does not have that extra spark to match its predecessors. Nevertheless with Cunningham’s alluring bass enterprise and an old school punk leaning around Hardy’s ever inciting delivery, the track hits the spot before Drown takes over to stalk the senses. Bass and riffs are a deviously intimidating nudge whilst the beats of Khaos refuse to hold back on their provocation but it is the inventive atmospheric twists and varied vocal persuasion that gives the track an extra impressing potency.

The lyrical and emotional charge of the band pulls no punches on political and social commentary, and breeds a strong and impacting landscape in Sirens where authority wails and anarchic ambience wash over ears as bass and guitar spin their evocative and dramatic web around Hardy’s spoken and accusing narrative. It is a powerful proposal which stands alone or works as the turbulent lead in to the brawling antagonism of Free For All and its UK Subs/Angelic Upstarts like old school growl. The song in turn allows no breath to be taken as it seeds the beginnings of the outstanding Cynical Ties and another stock of gripping irritancy, sharp hooks, and anthemic defiance. There is a great street punk dirtiness to the album and especially accentuates the power and addictiveness of this track and in turn its successor Let Us Go. There is a touch of The Objex to the heart and fire of the second of the two but equally a seventies breeding and modern fury come together to ensure another stirring up on the body and passions.

The grouchy tone and belligerence of Leeches nags and grumbles next, its angry belly bound in more of the unpredictable and striking imagination shaping songwriting and sound which to be honest the band does not use quite enough across the album. When they do it turns great songs into venomous enslavements as here, richly emphasizing the potential coursing through the whole of the album.

The fun and enjoyment comes to a close with the mighty Vagabond Smile. Instantly its rhythmic shuffle traps ears, the song is in control, tightening its grip and lure as vocals across the band come together in a middle finger raised defiance complete with virulent grooves, sharp hooks, and incendiary attitude. It is a riotous end to an invigorating and refreshing album. Brassick use their inspirations and the seeds of punk rock to create their own, not majorly unique, but seriously enjoyable rock ‘n’ roll. Already anticipation of bigger and bolder things from the band is ripe and right now thick pleasure full thanks to their first album.

Brassick is available now @ http://www.brassick.bigcartel.com/ and through STP Records @ http://www.stprecords.co.uk/page4.htm with CD version out September 18th.

https://www.facebook.com/brassickmusic

RingMaster 09/07/2015

Copyright RingMaster: MyFreeCopyright

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The Objex – Super Charged Little Nova

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Just like its title suggests, Super Charged Little Nova the new album from The Objex, is a lean, mean punk machine. A fireball of antagonism and in your face passion which explodes with incendiary intensity and belligerence across its magnetic canvas, the third album from the Sin City dwelling band confirms the raw and insatiable might of one of the genre’s most colourful protagonists aurally and visually. It is a tougher more aggressive provocation than before from the quartet, one with a hostile punch to match its breath-taking toxicity. Quite simply the eight-track release is The Objex’s finest and dirtiest rock ‘n’ roll rebellion yet.

Formed in 2006, the Felony Melony (real name Melanie Troxler) and Jim Nasty led band has provided a forceful and virulently contagious proposition since day one, their first demo Bound And Gagged waking up the local scene before debut album Attack Of The Objex in 2007 gripped further afield as it led the band to acclaimed appearances at events such as the SXSW music festival and The Afro Punk music festival as well as subsequently support slots with Demob, Goldblade, and The UK Subs on UK tours. Second album Reservation For Debauchery hit the world in 2009 earning the band even greater attention around the globe as well as awards and nominations respectively at the Vegas Rocks Award for Best Punk Rock Band 2010 and Hollywood Music Award for best alternative song 2011 and best rock song 2012.Across the years as well as sharing stages with others such as The Dwarves, The Addicts, Agent Orange, Sham 69,The Vibrators, and Guttermouth, line-up changes have crossed the band but now with a stable team of drummer Chili (Joaquin Espinosa) and bassist Ivan Del Real alongside vocalist Felony and guitarist Nasty, The Objex unleash their most aggressive and virulently demanding release yet. It is a dive into their most hostile depths though the primal rhythms and deeply barbarous hooks which marked their previous releases still seduce and rile up imagination with their toxic infections. The album is nothing less than a brawling treat for punk rock.

Super Charged Lil Nova hits hard and potently with opener Burn, its opening sonic bait the trigger for a heavy stride of intensive rhythms and scarring riffs within a metal seeded intensity. Instantly the song grips attention like a Super-Charged covermix of UK’s The Duel and Mongrel from the US, plundering ears with a throaty bass line aligned to increasingly rapier like beats as Felony roams their frame with her ever fiery and magnetic vocals. The track continues to antagonise and flirt with thoughts and passions, reinforcing their swift allegiance as the guitar of Nasty conjures wicked hooks amongst the abrasive sonic avenging to ensure even deeper satisfaction.

The excellent start is straight away matched by the predatory Crush, again a muscular urgency and a carnivorous metal based temperament leaking into the voracious punk heart of the song’s fire. Felony and Nasty cast a web of ridiculously riveting temptation with their individual assaults across the song, enticements impressively stalked by the rhythms of Chili and the bass grouchiness of Del Real. As its predecessor, the track is an eye balling aggressor which inflames and incites the emotions with sublime ease.

A spice of salaciousness hits next through the equally tempting and irritable Queen Cobra, its instant scrub of guitar the gateway to a barrage of bone shuddering beats and caustic riffs, one again lorded over by the irrepressible vocal roar of Felony. A devil bred temptress with intimately devious designs to its sound and intent, the track is a furnace of vicious sonic enslavement and merciless melodic seduction, each extreme uniting for a ridiculously addictive and rapacious trap.

The band uncage their latest single GG (Get It Done) next, an ode to punk provocateur GG Allin which maybe does not thrust as big a pair of shock loaded balls into the face as expected but provides an old school punk rabidity and motivation to greedily devour before the ferocious blaze of Grrr steams at break neck pace across the senses. As with all the songs, there is an unpolished beauty to the core and thrust of the tempest but just as irresistibly a spine of inventive barbs and melody kissed underlining grooves poison the imagination and passions with the fullest rabid charm leading to a subsequent lustful submission from the listener.

Both Milk Man with its torrential flood of senses blasting rhythms and guitar sculpted predation, and the spiteful seducing of Thanx 4 Cumming keep album and its recipient raging with unrelenting energy. Each in their individual way light a match to old school nostalgia and modern animosity, the first oozing with discord charmed harmonies within the twisted seduction of its uncompromising musical and lyrical revelry whilst its successor does not pull its forceful jabs either as it boldly stands up and bitch slaps senses and emotions. The pair are pure punk rock and prime The Objex, reaffirming that Super Charged Little Nova is at a new pinnacle of invention and sound.

The album closes with Trainwreck Suicide, a sensational pop punk predation which if you imagine a mix of Sweet and Penetration led by the hybrid of a cloned union between Suzy Quatro and Wendy O.Williams, you would not be far from guessing the quality of the glorious closing triumph.

The Objex has never been a band which has left a bland or uneventful mark on rock ‘n’ roll but without doubt with a greater maturity and stronger antagonism to their craft and open alchemy in their sound, Super Charged Little Nova places the band on a new genre inspiring plateau.

Super Charged Little Nova is available now at http://theobjex.bigcartel.com/

https://www.facebook.com/objexlv

9/10

RingMaster 03/07/2014

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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Midnight Mob -These Days

 

MM

    The second in their range of very limited edition CDs helping to get UK coverage for bands from around the world, STP Records are releasing the excellent These Days album from New York City rockers Midnight Mob. Consisting of ten rousing tracks of punk and incendiary rock, the release is a feisty and thrilling showcase for an equally compelling band.

     Midnight Mob formed in 2009 and took little time in firing up audiences and passions with their seduction of passionate and bruising rock ‘n’ roll. A year later the band’s line-up became a stable confrontation, its frontline provided by the rich and feisty tones of Blackey Deathproof, sweetness and venom wrapped up in every unleashed syllable. Alongside her the guitars of Mickey Squeeze and Spydyr cast equally riveting and persuasive sounds whilst dangerous rhythms are bred from bassist Carly Quinn and drummer Catastrophe. A self-titled EP was uncaged in 2011 alongside a video for the track Overdrive. Both drew healthy attention to complement the band’s live reputation which has seen them play sizeable chunks of the US. Last year a second EP, Black Moon Rising, pushed the band further into the spotlight with the singles These Days and All For Nothing stand out opportunities, both subsequently receiving video releases filmed by Jarret Bellucci and Adam Bailey respectively. 2013 also saw the departure of Catastrophe but also interest from STP in bringing the band to the attention of a European appetite, which the new CD achieves with ease and quality. Bringing all the EPs and singles into one concentration of fevered rock music, it is hard to imagine that These Days will not make Midnight Mob a heavily talked about and sought after import for British passions.

     Overdrive starts things off and instantly has appetite and feet launching their support. From a distant vocal cry within an intriguing sonic breath, the song collects its sinews and fire in a brewing intimidation before unleashing a torrent of sonic bait, thumping rhythms, and rebellious riffs. Into full stride the track, ridden by the instantly provocative and enthralling delivery of Blackey, seduces and rages with hooks and grooves aplenty, all enslaving the imagination whilst frisking the passions. It is potent punk ‘n’ roll, a fire of enterprise and passion which nags and taunts for the fullest satisfaction.

     From the scintillating start, the album moves from a brawl to a wanton rock dance with All Or Nothing. More reserved in its gait and intensity though certainly not potency, the song romps with melodic majesty and a delicious vocal harmony which just caresses all the naughty places. Like a mix of eighties band The Photos and the early days of Blondie but with the snarl of The Objex included, the track is a contagious temptation instantly matched by Hit Or Miss and Perfect Crime. The first has a chorus which stands before you eye to eye, daring you not to join in with its ridiculously tempting chorus like calls from the first few seconds. Almost preying on the senses with its energetic stomp and virulently masterful persuasion, the song merges pop punk and hard rock for a quite magnetic encounter which may not fire up the emotions as the first pair but certainly leaves them grinning as broadly, especially that deviously addictive vocal enslavement. The second of the two takes a more straight on rock route to thoughts, its body as with so many of the songs familiar, though it might just be to the fact that we have listened to the album much more than anything else these past couple of weeks, and engagingly welcoming. Again infectiousness works its way into ears and passions for another persistently fun time.

    Through the belligerent rhythmic and riff driven stomp of Be Mine, a track which lays shadows on vocals and thoughts like a warm glaze, the band continues to light the fuse of rapturous hunger. At times the song, especially through its ratchet of guitar strikes, reminds of Penetration but also with its blaze of melodic rock enticement presses other thoughts of artists like Lita Ford into the blend, as does the following Walking Dead, it a masterful menacing seduction from Blackey matched by the melodic weave of Squeeze and Spydyr and the bass prowl offered by Quinn. Listening to the album is like indulging in an expanse of greatest hits tracks with this one of the biggest pinnacles.

   The twin musical growls of Black Moon Rising and My Undead Darling “You Still Haunt Me” push the listener into a darker diverse corner of the album, the first a sultry embrace with a bordering on psychobilly swagger and Danzig like drama. It is a riveting adventure abrasing and seducing the emotions in skilled and tempting style whilst its successor rolls in on a wash of rhythmic incitement soon aided by sonic and bass teasing, again a rockabilly essence seeding the magnificent stroll of rock ‘n’ roll. The band states as one of their influences Cheap Trick, and certainly this joy has that epidemic pop rock essence and passion stealing potency, to which you can adds tasty moments of The Creepshow.

    The title track leaves little time to compose your clothing and temptations, whisking the listener to their feet for a waltz through heat climates and smouldering emotions. It is an elegantly absorbing invitation with the charm to calm wild stallions and rioting crowds. Something the closing So Hard would achieve the opposite of, its sinews and boisterous intensity a punk rock provocation with melodic rock armoury. Though the track does not reach the same levels as the rest of the album it makes a powerful finale and only adds to the reasons why this side of the pond should join the Midnight Mob.

      These Days is not an album to push boundaries it is fair to say but for honest and give it all rock ‘n’ roll there are few better. Jump on board and grab a copy of Midnight Mob’s UK debut is the recommendation, before it is too late.

http://www.midnightmob.com/

These Days is available from http://www.stprecords.co.uk/page5.htm

9/10

RingMaster 12/03/2014

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