Who Killed Nancy Johnson? – Flat Earth Theory

Having recently checked out their latest single, Dark Horse, and been definitely taken by it, it was a really welcomed treat to be sent over by the band itself the release the song came from. Its creators are UK outfit Who Killed Nancy Johnson?, a​ ​​​Reading-based quartet creating an eventful fusion of punk and rock with post punk imagination. It is a tenacious sound fuelling a new EP in the shape of Flat Earth Theory, four tracks of raw and devilish rock ‘n’ roll which just got under our skin.

Formed in 2015, Who Killed Nancy Johnson? has grown into one increasingly praised and devoured live presence across the south of England. Their debut EP, Cops and Robbers, released early last year only added to their rising reputation, one sure to be energised again by Flat Earth Theory. Musically the band embraces inspirations from the likes of The Stooges, The Ruts, Wire, Magazine, Black Flag, Buzzcocks, The Rezillos, Fugazi, Ash, Killing Joke, Lit, Rival Schools, The Drills, and 3 Colours Red; an array of flavours which if not openly echoed in the band’s individual enterprise certainly adds to its substance.

Flat Earth Theory is an eventful encounter, an affair coincidently echoed in its making with former bassist Paul Anthony leaving the band just before the EP’s mixing stage and preventing the basslines already laid down being used. A mystery bassist saved the day though, Who Killed Nancy Johnson? leaving the studio with four slices of ear grabbing rock ‘n’ roll.

The EP opens with Strip, a song which opens the band’s live show and to rousing success one imagines such its potent impact on Flat Earth Theory. From a dulled clang of guitar, spirit sparking beats launch their bait, Mark Wren whipping up song and appetite alike as Pete Moulton’s guitar continues to linger casting raw strokes. Quickly though the song surges through ears, its rapacious energy and disruptive intent manna to the imagination and capped by the distinctive tones of vocalist Stefan Ball. Old school punk meets post punk devilry, kind of like The Adicts in league with a Fugazi fuelled Gang Of Four, the track is irresistible and for us a must single. It is easy to see why their shows get off to a flyer with the song, its two minutes instinctive punk ‘n’ roll incitement.

The following Alien has a broader rock landscape, alternative and punk merging for a tenacious stroll which teases and lures the listener to one irresistible call of a chorus demanding eager participation. As in the first song, the band casts wicked hooks and anthemic persuasions which manipulate by the second, a great throbbing bassline accentuating their dexterity as the track matches its predecessor in hitting the spot dead centre.

Mouth and Trousers is next up, a more controlled song which almost prowls ears initially even as a rush of riffs crowd them. It calms down further as vocals join the shuffle, rhythms keeping their restraint in place too. There is a whiff of pub rock to the song, a Dr Feelgood breath to its punk ‘n’ roll which brings another potent shade to the EP’s sound and though the track did not ignite the passions as richly as its companions, it had the body bouncing and vocal chords indulging especially through another potent chorus.

The EP is completed by that latest single, Dark Horse. The song is a muscular affair of alternative rock which straight away springs a lure of firm beats and juicy hooks, building on their prowess with appetising grooves and a brooding bassline aligned to almost predacious beats. Recalling bands such as The Motors and Mind Museum, the track dances in the imagination whilst arousing the spirit.

With new recruit Julien Bruinaud completing their line-up on bass, Who Killed Nancy Johnson? are ready to build on their previous success with a real nudge on national attention, the thoroughly enjoyable Flat Earth Theory irrepressibly leading the persuasion so watch this space.

Flat Earth Theory is out now @ https://wknancyj.bandcamp.com/releases

 

https://www.wknancyj.com/     https://www.facebook.com/WhoKilledNancyJohnson/     https://twitter.com/WKNancyJ

Pete RingMaster 20/02/2018

Copyright RingMaster: MyFreeCopyright

The Sourheads – Care Plan For The Soul

Since forming in the Spring of 2016, UK rockers The Sourheads has drawn increasing attention and support through their live presence, singles, and most of all their dirty, multi-flavoured rock ‘n’ roll. Now the band has added another accelerant to their emergence with the release of debut album Care Plan For The Soul. Offering nine slices of rowdy but skilfully woven incitement embracing classic and fresh rock diversity, the release thrusts the listener into a grubby cellar of salacious intent and irreverent sound; a temptation the body gets the urge to dance to and appetite the need to increasingly devour.

Hailing from Wakefield, West Yorkshire, The Sourheads embrace an array of inspirations in their sound ranging from Deep Purple, Kasabian and The Doors to Kyuss and Clutch. It is a web of punk and garage to psych and classic rock which is just as grungy as it is melodically enticing and within Care Plan For The Soul an incitement which makes a potent first impression but really grows in persuasion listen by listen. Mastered by Pete Maher (The Rolling Stones, Depeche Mode, U2), the album swiftly grabs ears and appetite with opener Demon. Straight away it is enticingly grumbling in ears, bass and riffs an irritable lure soon bound in sonic tendrils as familiar and new endeavours collude in the blossoming growl capped by the slightly gnarly tones of Jake Coxon. The bass of Ben Taylor continues to be a belligerent presence in the caustic captivation, guitarist Mik Crone and drummer Chris Lambert adding their bold touches to the ever evolving roar maybe best described as Turbonegro meets The Senton Bombs meets Guns n’ Roses.

It is a great start to proceedings which Morally High continues with its spicily grooved stroll. Carrying similar essences and flavours to its predecessor in its own individual way, the track is equally as infectious and magnetic with again classic and modern textures rubbing excitedly again each other within its controlled yet salacious swing. As the music, Coxon has a snarl to his croon, attitude dripping from every syllable and note before My Rock And Roll steps up to coax bad behaviour with its blues skinned devilry entangled in more of the great guitar enterprise which veins the whole of Care Plan For The Soul.

Power Of Addiction shares some of that psychedelic influence next; keys and melodies a sultry tempting while Rag And Bone Man has a great scruffy feel and character to its predacious gait and rhythmically rousing proposal. The song alone sums up the variety of flavours within The Sourheads sound, a host of rock bred essences embroiled in its inescapable command of body and imagination. It all adds up to one of the biggest highlights of the release, one quickly matched by the voracious punk ‘n’ roll of Don’t Get Caught (I Am The Lotus). Like The Stooges and Eddie and The Hot Rods caught in the act by The Vibrators as AC/DC hold the camera, the track is superb, taking best song honours with its manipulative temptations and craft.

Both Secret Cigarette and Warbird take a firm grip of release and listener next, the first an invasive but seductive fire of blues and classic grooves with punk bred kindling while its successor merges sullied rock ‘n’ roll with some of the most addictive melodic hooks and enterprise within the album for another pinnacle. As with many songs, it openly draws on some classic punk hooks and teases but equally shares psych rock imagination for the album’s most imaginative moment to stand alongside its best.

Care Plan For The Soul concludes with Mad Dog, a song rising from an initial Queen/Skid Row like invitation into an invasive and volatile ballad which becomes more captivating by the minute and listen, much as the album itself.  Indeed just as many will take to the release within seconds many others will need time to explore and discover its qualities; the big rewards for the attention we can vouch for as too the finding of a potential of even greater fun and adventure ahead with the Sourheads.

Care Plan For The Soul is available now through Oak Island Records on CD, Vinyl and Digitally.

https://www.thesourheads.com/    https://www.facebook.com/thesourheads    https://thesourheads2.bandcamp.com/

 Pete RingMaster 23/11/2017

Copyright RingMaster: MyFreeCopyright

The Likkor Men – There Will Be Blood

There is something primal stirring in the depths of the UK rock scene, a lascivious force brewing up filthy attitude stained rock ‘n’ roll which is salacious and destructive, rabid and addictive and it goes by the name of The Likkor Men. The quartet from Redcar has just released new EP There Will Be Blood, a carnal beast of a release infesting the psyche as sonically it tries to live up to its declaration, and a fear breeding proposition it is truly hard to get enough of.

Formed in 2014 supposedly to “keep the members out of trouble”, The Likkor Men create a ravenous sound which is hard to pin down but openly corrupts everything from blues, garage, and punk rock to industrial, noise, and psychedelia. Most likely an introduction of the band to a great many, There Will Be Blood is their second EP but easy to feel the moment The Likkor Men asylum comes under true scrutiny.

The release instantly has the senses challenged with the outstanding Black Widow, noise and samples colluding to tenderise before heavy footed riffs stroll hungrily in as swinging beats bite. Blues grooves entangle the trespass as vocals prowl, a punk throated backing adding to the pleasure as the controlled chaos twists and turns. There is something of The Birthday Party meets Th’ Legendary Shack Shakers as Down fingers the union about the infestation but equally more than a whiff of bands like The Sonics and MC5 in the swamp of sound and dirt though what emerges is a scuzz storm all Likkor Men.

The opener remains the pinnacle of the release but is seriously harassed throughout with next up Young Blood needing little time to seduce and pervert ears and imagination. Ravishing the senses like a defiled fusion of Rob Zombie, Arthur Brown, and The Stooges, the track is wired rock ‘n’ roll as off-kilter as it is skilfully woven to invade and trespass the psyche. Deceptively catchy it is aural loco, a ruinous psych rock invasion infecting the listener like radiation.

Crazed easily applies to Sweet Talkin’ Mamma too, a sexual corruption built on the most addictive rhythmic strolls as fuzzy flames and toxic grooves like spewed by the pied piper like trespass. It is sonic bedlam, an insatiable lure of noise and rhythmic flirtation which maybe is a touch over long but teases and seduces from its depraved start to its libertine finish.

That sexual edge is taken to greater tension within closing song, Hunter. It is a nagging throb of rhythms and heavy riffs beneath sonic breezes of guitar. From the midst, gravel throated vocals, as throughout the EP, stir up the dirty business around them, grooves and hooks seeming to react decadently around them though everything is in its basest most single minded form to simply incite the listener’s rock ‘n’ roll instincts. Sixties garage rock is a rich fuel to the final assault, its contaminated strains sweet liquor within the soiled goodness.

There Will Be Blood will not be for the clean cut appetites among you but for those with wanton urges for rock ‘n’ roll in its grubbiest invigorating form no-one will be left wanting, only feeling very, very dirty.

There Will Be Blood is out now through Moon Skull Records @ https://moonskull.bandcamp.com/album/there-will-be-blood

https://www.facebook.com/TheLikkorMen/

Pete RingMaster 15/09/2017

Copyright RingMaster: MyFreeCopyright

Loom – Self Titled

Photo by Kurt Fairbairn

With quite simply raw rock ‘n’ roll nurturing its heart, the debut album from UK band Loom takes ears through every shade of punk rock you can imagine within its ten track confines. It is an adventure which has the imagination fired up, ears burning with ardour, and aggressive tendencies bubbling to the surface in a striking and rousing incitement of a self-titled proposal. Each song as suggested reveals a new aspect in its furious landscape yet brews a united character distinct to a band and release which just commands attention.

Leamington Spa hailing, the trio of Tarik Badwan, Matt Marsh, and Joshua Fitzgerald took little time in attracting ears and praise with their early releases including a pair of well-received EPs within their first year. The second of 2013 featured six covers of songs from the strongest inspirations for the band in its early days, The Jesus Lizard, Bad Brains, Pixies, GG Allin, Misfits, and Warsaw. Alongside the other encounters, it sparked support from the likes of Zane Lowe and Daniel P Carter at BBC Radio 1as well as laying the first steps in a springboard for Loom live to support The Rolling Stones at Hyde Park and tour the UK and Germany with artists such as Frank Carter & The Rattlesnakes, Queen Kwong, and Turbowolf.

The band’s first album is not slow in suggesting those influences in its multi-flavoured roar, as mentioned each song distinct from the next but there is a vein of unique Loom-ness running through all which we would suggest goes beyond the cohesion of aggression suggested by its press release. It opens up with Lice, a sonic itch you just cannot scratch enough to escape from. Its initial glaze to an instantly robust sound has a gothic/indie rock spicing, coming over like a blend of Leitmotiv and The Victorian English Gentlemens Club before its grouchy rock ‘n’ roll instincts burst free. It is a glorious nagging of the senses and imagination taking magnetic twists along its contagious enmity of sound and attitude.

The great start continues as firstly Hate imposingly shimmers with electronic radiance upon grunge bred antipathy to be followed by the rousing exploits of Get A Taste. There is a whiff of Pere Ubu for these ears to the first song but a thicker Nirvana like causticity to its nature and again niggling potency. Embracing garage punk confrontation too, the track stirs ears and appetite with ease, a triumph matched by its successor with its old school punk meets seventies garage rock growl as demandingly catchy as it is openly crotchety.

Grunge colludes with post punk for the feistily prowling Leopard, guitars winding spicy tendrils lined with delicious discord around ears as rhythms reveal a rapacious nature to their drive before Salt entangles the imagination in a fusion of Joy Division post punk and the irritable punk rock of The Stooges with just a tang of psych rock bewitchment. It is an enthralling mix opening new aspects with each passing flick of a chord and sonic detour yet throughout a fluid tart snarl never deviating from its quarrel.

Seasick bawls as its stalks ears with predacious intent straight after; indie rock merging with raw hardcore ill-temper in a track which steals the passions within seconds. Vocals are as unpredictable and instinctively volatile as the sonic flames cast by the guitar and indeed the rhythmic jabbing around them. With the bass a brooding threat within the tempestuous joy crowding and seducing ears, the track makes a big play for best track glory but is quickly challenged by the muggy grunge venting of Bleed On Me and eclipsed by the glorious dark deeds of the band’s latest single, Nailbender. The latter is a compelling caliginous seduction of gothic and punk metal; like Type O Negative fused with Descendents and 1919 yet still emerging as something unique and gripping to Loom.

The punk grouse of Barbed Wire grabs something from all decades of punk since the sixties whilst in finishing up the album Slowly Freezing Heart crawls across the senses in a kaleidoscope of sonic toxicity and shadow loaded rhythms united with vocal psychosis. Both tracks are treats greed gets the better of composure over while bringing one superb album to a memorable and rousing end. Listening to Loom you get the feeling that the band creates on instinct, not searching for a sound but letting it find them and infusing their music with its own unique character. The album reminds of numerous artists across its riveting body but never comes over as anything other than the offspring of Loom, the first of many more belligerently sculpted and physically visceral gems we hope and suspect.

The Loom album is released May 19th via Silent Cult across most stores.

https://www.facebook.com/Loomband/    https://twitter.com/loomband

Pete RingMaster 17/05/2017

Copyright RingMaster: MyFreeCopyright

Pink Pussycats From Hell – Hell-P

pink_pussycats_photo_RingMasterReview

Supposedly “A bizarre and unlikely alliance between one mad hunter and a dangerous rabbit gave birth to Pink Pussycats From Hell, a power rock duo formed decades ago just outside Hellsinki, not the capital of Finland, but a remote village buried deep in the forests of Portugal.” Whatever the origins, Pink Pussycats From Hell is a highly enjoyable invasion of the senses casting raw and scuzzy rock ‘n’ roll trespasses which only leave a want for more.

Debut album Hell-P growls and roars with abrasive lo-fi and viscerally raw sound, spreading blues and garage rock toxicity into the primal heart of their music and listener. It is fair to say that it is a challenge which is not going to be for everyone but whether the duo of guitarist/vocalist Mighty Hunter and drummer/vocalist Danger Rabbit simply wore us down or there was an instinctive appetite for their ballsy invasion of sound, by its close on just the first listen The RR was swinging and throwing itself around like a beast in heat.

Creating a caustic sound bound in essences recalling the likes of The Stooges, The Cramps, In The Whale, and Jackson Firebird, Pink Pussycats From Hell introduce themselves with Hello on the album, a fuzzy spillage of blues rock ‘n’ roll prowling the senses as vocals provoke attention. Initially subdued, rhythms soon become a punchy provocateur alongside the molten melodies and scavenging riffs of guitar.

Beats make a far livelier incitement in the following Hellmet, its blues rock straight forward but with the unpredictability which is swiftly revealed as a potent ingredient across the album and the Pink Pussycats From Hell sound. The song itself is a highly satisfying proposal if lacking the persuasion of the first or indeed of Hellga which follows which brings a smile to the face to match its own mischievous grin. The track is charred punk ‘n’ roll blessed with increasing irritability and bracing infectiousness which inflames ears and appetite ready for the even more heated and addictively enjoyable blaze of Hellvolution.

pink_pussycats_cover_RingMasterReviewThrough the baked or should that be half-baked stroll and declaration of Hellbow, the crunchy stomp of Hellephant, and the electrified blues blaze of Hellectric, the album continues to tempt and share more manic traits to its increasingly captivating character. The last of the three is equipped with the most irresistible hooks and pleasing rock ‘n’ roll cantankerousness subsequently matched in its individual way by those within Hellvetica, both tracks lava-esque rock to sear the senses.

Hellicopter pleases with its blues spiced garage punk assault next though it offers teases of mouth-watering enterprise and striking elements rather than actually releasing them to frustrate a touch. Its successor Hell Dorado is built on the same crazed imagination but is far more open as the track builds its schizophrenic rock ‘n’ roll but it too lacks the potency of earlier tracks though the sweltering Latin/mariachi hued melodies later on just hit the spot.

The next pair of tracks leaves ears and passions truly alive. Hell is Regina is first and unleashes a slice of dirty punk rock which just stays with the listener for hours after. A rousing celebration of personal differences with a snarl in its gut, the track is pure rock ‘n’ roll virulence you will find dancing around your head for ages after, especially its participation seizing chorus. Hellzheimer is the same in its own way, grooves and rhythms a familiar but rapacious invitation ridden by the pair’s catchy vocal trap.

The duo brings the album to a spirit inciting close with a raucous cover of the Berry Gordy and Janie Bradford written classic, Money (That’s What I Want). It is a galvanic senses roasting version ensuring Hell-P ends on another high, the listener too with an eager taste for the Pink Pussycats From Hell devilry in place.

Hell-P is out now via Raging Planet @ https://ragingplanet.bandcamp.com

http://www.ppfh.rocks   https://www.facebook.com/ppfhell

Pete RingMaster 07/02/2017

Copyright RingMaster: MyFreeCopyright

The Cavemen – Too High To Die/I’d Kill

burgos-11_RingMasterReview

It has been a busy year for New Zealanders The Cavemen from just releases alone. April saw the unleashing of their exceptional self-titled debut album followed in June by the just as rousing and wonderfully arrogant two track single Juvenile Delinquent. Now the quartet of vocalist Paul, guitarist Jack, bassist Nick, and drummer Jake Caveman have freed new offering Too High To Die/I’d Kill ahead of yet another album; the single two slices of the band’s distinctive garage bred punk ‘n’ roll which is impossible not to get lustfully off on.

Now UK based, The Cavemen have arguably unearthed their most primal and trashiest sound for their new single; breeding both tracks with the kind of punk rock which has ignited and corrupted rock ‘n’ roll since the days of Gene Vincent and Jerry lee Lewis, through the likes of Hasil Adkins and The Stooges, and on to the likes of The Cramps, Gun Club, and The Ramones and more. Raw and cast in lo-fi manna, the single sizzles on the senses as it infests the body and purges the psyche like a predacious attack of sonic leprosy.

too-high-frontcover-copy_RingMasterReviewToo High To Die rumbles and grumbles from its first sonic lancing of ears, rhythms cantankerously bouncing as deranged vocal urgency colludes with the winy enterprise of the guitar. The whole song is like one giant chorus such its rousing catchiness with the fiery guitar solo additional toxicity to greedily devour.

Companion I’d Kill is just the same, a virulent stomp from first note to last but even more soaked in seventies punk with a touch of bands like The Saints and The Lurkers to it. A belligerent snarl with more contagion to its persuasion than any plague, the track alone but definitely in union with Too High To Die sparks even more impatient anticipation for The Cavemen’s impending second full-length.

Too High To Die / I’d Kill is out now via Dirty Water Records @ http://www.dirtywaterrecords.co.uk/shop/#!/The-Cavemen-Too-High-To-Die-b-w-Id-Kill-download/p/70351208/category=18119001

https://www.facebook.com/thecavemennz

Pete RingMaster 23/09/2016

Copyright RingMaster: MyFreeCopyright

Archie and the Bunkers + PowerSolo Split Single

sleeve_RingMasterReview

Dirt Water Records are never slow in giving us a treat or two and they have set the bar with the recent release of the split single featuring US duo Archie and the Bunkers and one of our sonic favs, Danish trash rockers PowerSolo. Offering up a juicy slice of their distinctive sounds each, the two pairs of brothers stir the instincts and arouse the spirit in a release all punk, garage rockers, and rock ‘n’ rollers in general should grab a bite of.

Archie_RingMasterReviewWith their self-titled debut album still ringing in and exciting ears since its release towards the end of last year, Cleveland hailing Archie and the Bunkers offer up The Roaring 20’s for the single. Taking their name from the classic US television sitcom All in the Family and drawing on inspirations from the likes of Dead Boys, The Animals, The Stooges, The Screamers, The Damned, Jimmy Smith, and Richard ‘Groove’ Holmes, siblings Emmett (drums/vocals) and Cullen (organ/vocals) instantly involve ears in a barrage of meaty and eager rhythms as the Hammond-esque tones of Cullen’s organ dances alongside. An emerging and lively blend of sixties garage rock/pop and blues infested psych devilry; the song starts as a fuzzy yet relatively controlled proposal but the passing minutes see a loco element brewing and subsequently bringing even more riveting discord and unpredictability to a rousing song and climax. As well as a tasty part of the single, The Roaring 20’s also provides a myriad of reasons to explore Archie and the Bunkers more and to check out their first album.

The same applies to PowerSolo and their offering. The truth is that if you have not been bitten by their sonic bug yet you have been missing out for a fair while PwerSolo_RingMasterReviewnow. Coming out of Arhus, brothers and string distorting guitarists/musicians Kim Kix and the Atomic Child are one of kind. Musically they seem bred from the same genes and inspired by the likes of Hasil Adkins, Charlie Feathers, and the Cramps, but as proven by their handful of albums, the duo defy one style, a single sound, and any tries to pin them down. Powersolo get the body shaking and swerving while the senses and psyche are being violated, all with delicious effect, and Fuzz Face, their contribution to the split, is no exception.

A single hook teases first, an accusation of one’s face quickly following before riffs and rhythms join the devilish affair. That initial hook continues to tempt, its lure simple but virulent as vocals and beats dance around with flirty shenanigans. With a perpetual swing which alone grips body and heart, the song and duo cast a soundtrack suitable for everything rebellious, frivolous, and downright naughty.

Two wicked bands and two irresistible romps, what more could anyone want.

The Archie and the Bunkers + PowerSolo Split Single is out now via Dirty Water Records @ http://www.dirtywaterrecords.co.uk/shop/#!/Split-single-PowerSolo-vs-Archie-and-the-Bunkers-7-+-download/p/67128820/category=13761039

https://www.facebook.com/archieandthebunkersofficial   http://www.archieandthebunkers.com/

https://www.facebook.com/POWERSOLODK   http://www.powersolo.dk/  http://www.dirtywaterrecords.co.uk/powersolo

Pete RingMaster 24/08/2016

Copyright RingMaster: MyFreeCopyright