Tommy And The Commies – Here Come

Entangling the addictive hooks of Buzzcocks, the pop contagion of The Undertones, and the punk irreverence of The Cortinas with the early mod punk instincts of The Jam sounds like one rather tasty aural recipe; a mix which the imagination does not have to merely ponder as it is at the heart of the irresistible sound of Canadian outfit Tommy And The Commies. Their debut release, Here Come, soon proves there is much more of an individual character and flavouring to the band’s sonic holler though, a sound which you just feel would have been as potent back in the late seventies as it will undoubtedly be now.

From Sudbury, Ontario, Tommy And The Commies is the united exploits of Jeff Houle (Strange Attractor), his brother Mitch, and frontman Tommy Commy. Together they create “hooliganistic mod-punk” as nostalgic as it is rigorously fresh and in raucous evidence within the Slovenly Records released Here Come. The album immediately erupts with opener Devices, vocals and guitar colluding in instant temptations as rhythms boisterously roll. Very quickly we found ourselves agreeing with the Howard Devoto spicing to Tommy’s vocals as suggested by the album’s press release, but as within the music individuality soon wins through. The track continues to romp and stomp with punk/power pop infectiousness inciting body and vocal chords from start to finish, success only matched and escalated across the remaining slices of viral boisterousness and tenacity.

The following Straight Jacket shares its own virulent catchiness; from its first breath getting under the skin with excited riffs and melodic enterprise. Slightly more restrained in urgency than its predecessor, the track is still an unbridled bundle of energy and creative uproar bounding along without inhibition before Permanent Fixture springs its Dickies scented revelry. Again riffs and hooks collude in its excitable endeavour as rhythms robustly stir and bite within a full fusion of the familiar and new.

Something akin to 999 meets The Vapors,  Hurtin’ Boys provides another major highlight in nothing but across the album; its jagged stroll swift and a constant incitement on body and spirit before new single Suckin’ In Your 20’s entangles raw seventies power pop with modern day indie dissonance to similarly manipulate hips and throat.

A definite hint of The Ramones teases within the wiry antics of Throwaway Love, the guitar laying a mesh of hooks and melodic niggling which just brought lust to the appetite as rhythms simultaneously worked away on a body just as much badgered and inspired by the infectious clamour of So Happy where a Pixies like hue adds to inescapable temptation.

The release closes up with Reggie Rocks, another irrepressible slice of mod infused pop punk which is all mischief and noisy attitude wrapped in instinctive enterprise and contagion; a track which throughout epitomises the fun and energy of the band let alone their creative animation.

For us the best releases leave you feeling alive and inspired; Here Come does that and more.

Here Come is out now via Slovenly Records; available @ https://slovenly.bandcamp.com/releases

 https://www.facebook.com/TOMMYSCOMMIES/

Pete RingMaster 06/10/2018

Copyright RingMaster: MyFreeCopyright

The Primals – All Love Is True Love

The outcome of a collision between the raw essences of crust lined garage punk and pop infused grunge accosted by noise baiting metal, All Love Is True Love is the fierce new album from LA based rockers The Primals. Though it bears hungry ferocity it is equally as infectious and catchy as it is invasive; it all making for one of the year’s most irresistible debuts.

The Primals is a trio made up of Darkest Hour vocalist/guitarist John Henry, former Dead To Fall member in bassist Chad Fjerstad, and drummer Andrew Black who previously was part of The Explosion, and Title Tracks. Exploits within those outfits has meant anticipation once The Primals’ first release was announced has been keen among a great many and we can say that though there have been a fair few introductions this year which have simply ignited attention and excitement with plaudits in close quarter, All Love Is True Love is ahead of most of the field.

Produced by John Reis (Rocket From The Crypt, Drive Like Jehu, Hot Snakes), All Love Is True Love immediately descends on ears with Hello Cruel World. Instantly a guitar gnaws on the senses, in turn triggering a caustic wave of noise as contagious as it is a visceral trespass. Even in its carnal insurgence there is an instant catchiness of pop sensibility which surges through the confrontation, vocals riding that temptation with a melodic snarl. Similarly soliciting is the predacious quality the band’s sound carries, one which permeates the whole album to compelling effect.

It is an outstanding rousing start as potently backed by the relatively gentler antics of Dead Predators. A web of noise fuelled clamour, earthy bass led swing, and sonic enterprise, the track quickly beguiles and tempts hips and imagination into an animated collusion before Another World To Call Your Own launches its own untamed will upon the listener. Across the three tracks alone there is no escaping a strong whiff of bands such as Nirvana and The Pixies, a breeze teasing throughout the release yet already there is a distinct character and presence which is all Primals as epitomised by their latest single which is next up.

Pity City saunters in on a rhythmic swing; flames of guitar crossing its lure as the melodic calm of vocals add infectious charm. The track simply becomes an insistent radiance spilling invitation where contrasting textures unite in imagination; a pop song in its rawest most accessible state before Fortune & Sons shares its punk ‘n’ roll animation with rapacious relish. It too has an inherent infectiousness which borders the viral and an equally belligerent breath which growls discontent as easily as it brews seduction.

Next up The Wayward Impaler is untamed pop rock which similarly melodically tempts as it shares sonic agitation while It’s Personal saunters in straight after with a heavy drawl and shadowed intentions before unveiling its own pop natured virulence within those persistent trespasses. Both tracks swiftly get under the skin, the latter especially laying a mighty hand on best track honours before Together Whatever has its say with its Sonics-esque, old school punk holler. Rhythms stomp and guitars abrase as the track incited body and the passion, another slice of quick addiction with a potent claim on the top dog title.

The album concludes with firstly the slow crawl of Save Me, Baby; a plaintively melancholic croon with rhythmic tempestuousness and lively pop rock animation, and through the rousing grunge punk ferocity of I’m Coming Home. The final track is pure threat and seduction, each in equal measure invading the senses in a “we are united, love you all and fuck the world” like declaration.

It is a stirring and tremendous finale to an album which has all the elements and deeds to re-invigorate already hungry or alternatively any stale appetites for rock music. It is a gem, simple as.

All Love Is True Love is out now via Southern Lord and available @ https://theprimalssl.bandcamp.com/releases

https://www.facebook.com/ThePrimalsLA

Pete RingMaster 24/09/2018

Copyright RingMaster: MyFreeCopyright

Eureka California – Roadrunners

With their 2016 album Versus one of our favourite encounters in recent times, there is always certain anticipation here when the name Eureka California crops up. What that album maybe lacked in uniqueness it more than made up in imagination and individual enterprise. Now its successor Roadrunners has arrived to explore real originality in sound whilst accentuating the band’s instinctive rock ‘n’ roll clamour and rumble amidst fresh intricacy of invention.

Consisting of the vocal and jangling sonic rapacity of Jake Ward and the rhythmic manipulation of Marie A. Uhler, Eureka California has become one of rock’s keenly embraced propositions over the decade and a year since first emerging from Athens, Georgia. Across their three previous albums, the duo’s garage rock/pop has evolved with their craft and experiences. Last year saw the release of the Wigwam EP, a proposal which blended a new rawness with the punk like aggression of Versus. It also suggested a greater subtlety and technicality to their writing and sound which has now been given its head within Roadrunners. That raw edge of the EP is less pronounced but still an ear grabbing texture in the band’s new release. It all makes for a proposition which maybe took longer to take to, compared to its predecessor, as its layers were explored but emerged as Eureka California’s finest moment yet.

Fourteen songs rich, Roadrunners begins with MKUltra and instantly a cloud of inviting jangle surrounds ears as rhythms build their own potent tempting. Once hitting its calm but clamorous stride, the vocals of Ward erupt with matching appetite and dexterity to the sounds around them. Like a garage bred dissonance fuelled Beach Boys, the track dances in ears to give the release an immediate high point.

The following Perfect Grammar is similarly bred and woven but with a raw angst and air which sears the senses as it seduces them. Uhler’s beats inspire a simultaneous swing to the track which has feet dancing to its mix of the wild and composed before Threads steps forward to forge a new high within Roadrunners. From its opening hook to its swiftly advancing rhythmic flirtation, the track had us licking lips and keenly bouncing. There is a great seventies DIY indie punk lining to the track recalling the likes of Television Personalities and ‘O’ Level, which surrounds an indie pop holler forged with hooks and beats which with its portentous heart just infested instincts and imagination.

It is followed by the calmer melodic seducing of Time After Time After Time After Time. It too has an immediate and organic infectiousness which worms into the psyche before its more feral side rises up in tenacious rock ‘n roll. There is a hint of The Monochrome Set to the song at times as it matches its predecessor’s triumph, both in turn equalled by the rousing antics and rhythmic dynamics of Over It. The trio all vie for best track honours, together providing the album’s pinnacle point.

I Can’t Look In Yr Direction is next, its sonic angst matched in lyrical reflection as its mellower contemplative complaints flare up amidst searing aural flames while Howard Hughes at the Sands is an acoustic saunter with caustic eruptions. Both tracks intrigued as they captivated, neither quite emulating the glory of those before but only adding to the album’s thick lure; bait only accentuated by the short but rich rock ‘n’ roll of following instrumental Buffalo Bills 1990 – 1993.

Through the excellent post punk wired JJT and the unpredictable poppier escapade of SWDs, Eureka California continue to unfold the new invention in their writing and music. The latter is a glorious slice of hook woven pop ‘n’ roll with a Pixies tint while next up Gila Monster just seduces attention second by second from its initial guitar scratching to its summery discord. Its swing and jangle is like hay fever, persistently nagging away but in contrast only pleasurable before in turn Telephone Tone shares its own infectious warm canter with zeal lined calm.

Concluding with the masterfully flirtatious and simultaneously fiery How Long Has This Been Going On? and the Frank Black meets Pere Ubu flavoured Mexican Coke, the continuously appetising Roadrunners swarms ears with its sound and imagination. It is easily the band’s most inventive and individual proposition to date and in turn their most compelling and enjoyable; simply one of the must check out highlights of 2018.

Roadrunners is out now digitally and on CD and Ltd Edition vinyl via Happy Happy Birthday to Me Records (HHBTM); available @https://eurekacalifornia.bandcamp.com/album/roadrunners and @ http://hhbtm.com/item.php?item_id=652

http://eurekacaliforniaband.com/     https://www.facebook.com/eurekacalifornia     https://twitter.com/eurekacalifone

Pete RingMaster 26/06/2018

Copyright RingMaster: MyFreeCopyright

The Twindows – Valkyrie 2.0

For most, musical bliss can come in various shapes and styles; creative adventures which just connect with personal instincts and tastes. It is fair to say that for us it recently came all rolled up in one hungrily tempting proposal going by the names of The Twindows and their debut album Valkyrie 2.0.

Hailing out of Philadelphia, The Twindows breed a rapacious sound which infuses essences of everything from noise and indie rock to metal and grunge to a punk across the decades borne heart. It is a bold and boisterous web of temptation as virulently infectious as it is ferociously imaginative and led by a voice truly we could listen to all day long. Vocalist/guitarist Aster Grimm has one of the most devilishly tempting voices and just as magnetically matched by the creative antics of guitarist Kyle Anderson, bassist Caleb Banas, and drummer Oskar Daoud across Valkyrie 2.0. Together they have nurtured a release which teases, seduces, and arouses across eleven lust inducing slices of musical diablerie.

It begins with Like My Music; raw and salacious pop infested punk rock roaring from aggravation with Damned like hooks and rhythmic rapacity to the fore. Grimm blossoms in the centre, her tones stirring song and attention further as for one minute and three quarters the track provides the album with one irresistible start.

The following Mosquito / Thick Skin swings in on a blend of grunge nurtured rock ‘n’ roll upon a ska seeded bounce. Fiercer textures with metallic toning soon sizzle and sear around the tenacious attack of Grimm, the track’s noise punk instincts just as vocal before it passed thick attention and an already keen appetite over to Forgiven. Instantly it entangles ears in rhythmic espionage; boisterously coaxing beats and a glorious bass grumble getting under the skin as guitars weave a sonic web around Grimm’s similarly magnetic lures. Something akin to Throwing Muses embroiled in the punk ‘n’ roll of Spinnerette and in turn fused with devilment of Die So Fluid, the track is sheer captivation; one as seductive as it is predacious and all feral temptation.

Dig Tree comes next, the track a bewitching slice of punk pop initially, nostalgically recalling bands such as The Chefs and 4 Non Blondes. It floats across the senses but has a sonic causticity which just adds to the song’s bait again headed by Grimm’s engagingly manipulative presence. Whilst adding a new hue to the album broadening adventure, the song has feet and hips involved just as easily as rock ‘n’ roll instincts.

That variety of flavouring across the release is encouraged again by next up Ska Death (Ska Death Lounge Death Ska), an unstoppable incursion of ska/noise punk which had the body eagerly bobbing along before expelling a hellacious sonic gas of aural volatility, a tempest returning with greater dexterity after the song relaxed again into its lively bounce, and with bolder imagination as sax flames sear the riveting bedlam. Imagine Animal Alpha infused by the spirit of The Jellycats and the punk revelry of The Mo-Dettes and you come close to the song’s infectious alchemy.

The Twindows let their punk instincts run riot in Reversals next, the track an insatiable rock ‘n’ roll charge with noise bred vapours crossing a kaleidoscope of twists and turns while Pulp within a similar but even more corrosive landscape leaps around with kinetic intensity and agility. All the while though as rhythms dance, sonic spices and melodic adventure simmers and rise up to temper and challenge the tempestuous nature of the track.

The inescapably catchy punk ‘n’ roll of Instigator unerringly worms into the psyche within seconds straight after, the song like a mix of The Kut and Daisy Chainsaw but as everywhere uniquely Twindows; a trait just as potently shown by the grunge rock of The Industry. Admittedly, the song did not quite hit the spot as those tracks around it within Valkyrie 2.0 but only added to the fun before The Pixies endowed Sleepycore had us licking our lips once more. With its almost somnolent swing and Grimm’s vocal bewitchment, the outstanding track simply transfixed, even more so when it’s deceitful gait unveiled a furious if still controlled intent.

Bringing things to a close Wire Mother surrounds its energetic croon with abrasive psych and indie punk imagination, the song another as unpredictable in sound and imagination as it is irresistible in persuasion. It provides a provocative and rousing conclusion to an album which just lit the fires of personal tastes while offering something completely fresh to ponder, taste, and devour.

We have nothing more to add except go and have a nibble yourselves.

Valkyrie 2.0 is out now and available @ https://thetwindows.bandcamp.com/album/valkyrie-20

https://www.facebook.com/thetwindowsmusic/

Pete RingMaster 21/03/2018

Copyright RingMaster: MyFreeCopyright

 

Astral Cloud Ashes – Dallas Knows the Reason

With the recent announcement of the release of second album Dear Absentee Creator early 2018, British alternative rock outfit Astral Cloud Ashes have provided a highly flavoursome teaser with new single Dallas Knows the Reason. The liveliest slice of rapacious rock ‘n’ roll from the band yet without losing the melodic enterprise and bold touches which has marked the band out as a very appetising prospect to date, the song grabs attention with ease, luring the body into similarly eager involvement.

Astral Cloud Ashes is the solo project of Jersey, Channel Islands hailing vocalist/songwriter/multi-instrumentalist Antony Walker, though he is someone unafraid to embrace other’s talents if needed, his forthcoming album proof in featuring James Elliott Field (Tubelord, Tall Ships) and Max Saidion on certain songs. Through singles and impressive debut album Too Close to the Noise Floor, the band stirred close attention and acclaim across 2016; a success, if Dallas Knows the Reason, backed by its just as magnetic predecessor Moonphase Bloom also taken from Dear Absentee Creator, is a sign of things to be soon discovered which could very well escalate.

Infused with lyrical content dealing with a gun-wielding girl from Texas, Dallas Knows the Reason instantly lures ears with vocal harmonies and lyrical suggestion, rhythms lurking with a firm hand as melodies meander just waiting to explode into life. That they do as the song quickly hits its tenacious stroll, rhythms now bounding through ears as the bass grumbles alongside the fiery exploits of the guitar. It is a highly infectious affair, its slight lulls intensifying the song’s swing once it erupts again.

Walker’s vocals are as distinct and warmly infectious as ever, leaping across the robust endeavours of the song with matching magnetism as feet and hips respond to the natural flirtation of the track’s rock ‘n’ roll. Increasingly more compelling with every listen, Dallas Knows the Reason sees Astral Cloud Ashes launching upon a new plateau of sound and imagination. Bands such as The Pixies, The Cure, Tubelord, and XTC are often referenced with Astral Cloud Ashes but song by song as shown here its sound is becoming more unique which makes the anticipation for Dear Absentee Creator all the keener.

Dallas Knows the Reason is available now @ https://astralcloudashes.bandcamp.com/track/dallas-knows-the-reason

https://www.facebook.com/astralcloudashes    https://twitter.com/AstralCloudAsh    https://www.instagram.com/astral_cloud_ashes/

Pete RingMaster 19/12/2017

Copyright RingMaster: MyFreeCopyright

Rat Fancy – Suck A Lemon EP

There is nothing artificial about the saccharine sound of Californian trio Rat Fancy or indeed excessively sweet yet a particular tooth is still a requirement for their sugary melodies and the intimate affability of their music. An instinctive almost sour look at life and its fake lures, often found in the Los Angeles climate the band springs from, ensures things never get too sickly and a similar underlying discordance to their music which ensures intrigue and unpredictability is a potent essence.  It all comes nicely together within Suck A Lemon; the band’s new captivating EP.

Consisting of vocalist/guitarist Diana Barraza (ex-Sweater Girls), guitarist/keyboardist Gregory Johnson, and drummer Gavin Glidewell and formed last year, Rat Fancy has already blessed 2017 with a trio of tracks via their Bandcamp. Each has been a fresh breeze of their shoegaze glazed indie pop now blowing even more eventfully within Suck A Lemon. Across the EP, the threesome resemble a fusion of eighties band Weekend and The Pixies with a light Belly-esque scent to it all; a mix emerging as something deceptively familiar yet distinct to Rat Fancy.

The release opens with I Can’t Dance To The Smiths Anymore and swiftly has ears drawn to its guitar jangle and the sweet tones of Barraza. Keys equally cast an amiable lure as the guitar weaves a magnetic twee toned melody; it all uniting in an infectiously lively serenade at times reminding of another British band from times past, The Freshies.

It is a bright and tempting start which is built upon by the more boisterous exploits of Five Fingers. Rhythms are a tenacious guide into the raw melody woven web of the song, everything from voice and sharp words to a wandering keys bred warble offering enticing hooks taking the EP to another level in no time.

It is a height backed up by the title track, the first of two versions found within Suck A Lemon. This first take has an energetic swing to its melodic carousel and bare sonic dance; a rawness which exposes all of their alluring attributes with honesty as Barraza’s vocals again captivate.

Beyond Belief is a gentle frank caress in sound and emotion with a smouldering melancholy in its charm while About You seduces with a Young Marble Giants like minimalism and beauty which with an emerging darker snarl to the guitars, takes best track honours. Both songs leave intrigue with a greedier focus; the second especially memorable even in its brief tenure of ears.

The EP closes with an equally impressive offering in a slower version of Suck A Lemon and boy does the already strong song blossom in this alternative guise. It is a siren of ears and imagination, so much more than simply a tempering of its earlier energy with Rat Fancy finding a richer presence and allure in its slimmer but more radiant variation.

Rat Fancy make a proper introduction to themselves with the Suck A Lemon EP, a thoroughly enjoyable encounter offering the promise of adventurously bright times ahead with the band.

The Suck A Lemon EP is out now through HHBTM Records and available @ https://ratfancy.bandcamp.com/album/suck-a-lemon and http://hhbtm.com/item.php?item_id=639

http://www.ratfancyla.com/    https://www.facebook.com/ratfancyla    https://twitter.com/ratfancyla

Pete RingMaster 12/07/2017

Copyright RingMaster: MyFreeCopyright

Little Lapin – Wake Up With The Sun

There are many obvious things which are evidence of being in the throes of a seductive summer, most you will need no reminding of but there is something else which equally has emotions wrapped up in the beauty of its warmth and that is a new release from British singer-songwriter Little Lapin. Just short of two years ago, the Cornwall based songstress entranced and impressed with debut album Remember The Highs, repeating the event a year later with its even more striking successor Holding Out For The Kicks. Their collection of heart bred, spirit stroking songs firmly imprinted their creator on the indie folk/ alt country scene. Now third album, Wake Up With The Sun, is a day or so away from living up to its title and sparking a new melodic summer for the senses and imagination to bask in.

Quite simply Wake Up With The Sun puts its predecessors in the shade; easily eclipsing both impressing releases as Little Lapin’s (Lucy Hill) reveals her most potent, accomplished, and creatively imaginative and elegant songs yet. She is no stranger to acclaim, those releases and surrounding singles as well as her live performances drawing eager praise and attention. From radio shows to the scribbles of music blogs and magazines, plaudits have gathered as too a worldwide fan base through her shows and tours across Britain and New Zealand as well as New York. Wake Up With The Sun is also the call to the rest of the world to take notice with its season of melodic seduction.

Initially and no doubt continued to be inspired by the likes of Regina Spektor, The Cranberries, Florence & The Machine, Laura Marling, PJ Harvey, The Cure, and The Pixies, Little Lapin has persistently nurtured her own character of sound and songwriting; its current pinnacle and uniqueness coming within Wake Up With The Sun. From its first breath, the album smiles and kisses ears; opener and album title track stroking ears with the tender touch of acoustic guitar. That in turn sparks a skip of eager guitar and bass, their perky stroll wrapped in the warm caress of LL’s ever captivating voice.  A slice of pop folk, the song proceeds to radiate like its namesake; rays of energy and senses inciting warmth infusing body and spirit.

My Complexion follows, swiftly sharing its own infectious gait and nature as LL courts ears and thoughts with her evocative words and enticing voice. Its unique spice adds a delicious tang to her melodic prowess, essences emulated in the blend of jaunty guitar and jazzy bass alongside.  An eruption of fiercely fragrant guitar only adds to the temptation, a one off moment not to be repeated but lingering as long as the song’s general spring and beam.

Just as potent in its reluctance to leave ears and thoughts is the delicious animated serenade of Isn’t Life for Living, a blossom of beauty simultaneously sharing a smouldering flame and frisky waltz as it ignites feet and hips as easily as a lustful appetite for its virulent pop.  As throughout the album, there is a sixties/seventies scent, a whisper but giving the song another endearing hue to get hooked on as it sublimely captivates with its keen and poetic vivacity before latest single Narrabeen adds its own catchy enterprise and bold imagination to the release. With the haze of harmonica and a suggestive rumble interrupting its tenacious country spiced swing, the track is a sultry and dusty Kiwi hued adventure and, as its predecessor, just riveting.

Through the delicate melancholy lit Luna and the reflective hug of A Song for Alex, the album lures the listener deeper into its majestic yet intimate arms while Need a Change of Scene has the body on its feet again shuffling round with tenacious versatility to the song’s wonderfully unpredictable invention and evolving landscape. Like a mix of Laura Marling and Imelda May, LL has ears and imagination enslaved whilst revealing another aspect to the diversity shaping Wake Up With The Sun.

LL simply bewitches once more within Radio Nocebo, her tang lined voice an appetite inflaming siren and storyteller within the sparkle of hearty and innocence spun melodies. Captivation is swift and inescapable as the song provides another peak to the loft range of the album; its triumph followed by the final wash of warmth and melodic intimacy provided by closing song I Told You So. It is a last kiss on the lips of pleasure as Wake Up With The Sun leaves the listener wistfully bound in the hug of creative grace.

It is probably fair to say that Little Lapin has yet to ignite the biggest spotlights so far but it is easy to suspect that global attention will be stirred, as the sun, by her new and quite simply gorgeous album.

Wake Up With The Sun is released April 14th across most online stores.

http://www.littlelapinmusic.com/    https://www.facebook.com/littlelapin/    https://twitter.com/1littlelapin   https://littlelapin.bandcamp.com

Pete RingMaster 13/04/2017

Copyright RingMaster: MyFreeCopyright