Devils Teeth – Suki Yaki Hot!

Here to incite you to commit all the bad devilish habits your mother warned you not to is the debut album from Milwaukee trio Devils Teeth. It is an encounter which has inhibitions flying in the front of sensibility and fresh addictions forging new trespasses of ill intent. Quite simply it is a bad assed stomp sure to lead all into glorious rock ‘n’ roll wrong doings.

Out of an already in place friendship, the threesome of vocalist/guitarist Jon Hanusa, vocalist/bassist Eric Arsnow, and drummer Chuck Engel emerged in 2016 as Devils Teeth. By that October they were already sharing stages with the likes of Dick Dale, The Blind Shake, Local H, The Toxenes, and Left Lane Cruiser. Their sound is a diverse and unpredictable hybrid of punk and garage rock with surf and psych punk tendencies which song by song across their first album, Suki Yaki Hot!, shows that even those tags do not really tell the whole story of an inimitable feral proposition additionally “channeling inspiration from Brucesploitation and Herschall Gordon Lewis films as well as surf and psychedelic sounds from decades past.”

From its first breath intrigue accompanies Suki Yaki Hot!, the first sonic sigh of opener Diamond Rio a scheming lure but it is when the raw strokes of guitar kick in that ears and instinctive rock ‘n’ roll passions are ignited. The rhythmic trespass of Arsnow and Engel is as unapologetically contagious as the eager throes of Hanusa’s guitar, all colluding to bring the listener to their feet to induce uncompromising swings through their hips. A fusion of traditional garage rock, mutant rockabilly, and psych devilry, the track is undiluted contagion as magnetically raw as it is skilfully woven.

The Junction Street Eight Tigers follows, a track inspired by Bruce Lee’s gang when he was in Catholic school aged twelve years old. It enters on a rhythmic grumble awash with sonic shimmers, breaking into an infectious prowl built on attitude and temptation; threat and confidence lining its swagger as the heat of Caleb Westphal’s sax adds greater lures to the outstanding encounter.

The diversity in the band’s sound is in full expression by next up Death Is Nimble, the third song a mix of funk and psychedelic tendencies around an instinctive punk rock heartbeat. A noise rock breath springs up from time to time too as the sultry climate of the track smoulders like a mix of Rocket From The Crypt and The Bomboras; captivation held in its palms in swift time before eventually the dark climes of Dirty Tricks bound into view with predacious attitude and a hungry crawl to its lively swing. Echoing those earlier mentioned inspirations, not for the first or last time there is a great B-movie feel to the character of the song; dirty adventure veining and lining its every exploit.

The outstanding Party Shark Shake is next up, the song as the band’s actual name triggered by a book, no surprise here, about sharks by Susan Casey. You can almost feel the warm liquor soaked sand between the toes as the track stomps through ears, the swell of its melodic tides dragging the imagination and hips into the dangerous currents and depths below the biting dynamics of the song. Across the riveting attack, it builds up to rousing crescendos though at no moment is it anything less than an over powering incitement to body, spirit, and imagination. Imaging The Ghastly Ones and The Trashmen in collusion with The Damned and The Revillos and you get a whiff of the album’s greatest moment.

Every one of its ten propositions is a momentous moment within Suki Yaki Hot! to be fair though as proven by the slow slung psychotic swagger that is Understanding The Hands Of A Killer. Its swing is pure devilry accentuated by the flames of sax and the vocal rapacity of Hanusa and Eric Arsnow amidst the cries of victims while its successor, Jet Jaguar is the spark to lust fuelled movements from body and vocal chords where never being a puppet has been so much fun and exhausting.

Who’s Laughing Now? is just as deviously compelling, rhythms and guitar weaving an inescapable hook rich trap infested with the similarly and ever potent vocal incitement of the band. It was another which grabbed a loftier foot hold in the unrelenting peaks of rousing pleasures in the album’s stirring landscape continued by the grappling holds and rhythmic attack of Sakuraba, a song bred from the inspiration of the Japanese MMA fighter and wrestler.

The album is concluded by People Of Earth, calm in relation to its predecessors but a menace lined psych punk croon with mayhem in its genes and contagion in its relentless rhythmic persuasion and raw sonic toxins. It is a superb final shanghai into slavery by the Devils Teeth sound and imagination; a devious machination for salacious times and unbridled pleasure, both the rewards for letting Suki Yaki Hot! infest ears and attention.

Among some real undiluted pleasures this year, the Devils Teeth debut is there at the head of the field.

Suki Yaki Hot! is released August 24th via Triple Eye Industries; available @ https://devilsteeth.bandcamp.com/

https://www.facebook.com/devilsteeth/

Pete RingMaster24/08/2018

Copyright RingMaster: MyFreeCopyright

Gogo Loco – The GoGo Loco Twist EP

First the bad news, The Mobbs are no more. The UK band released some of the real treats we have had the pleasure to cover on the site and will be sorely missed. As with all things though there is a silver lining, in this case a trashy garage rock ‘n’ roll one as from the ashes of one great band rises another in the shape of Gogo Loco. Learning of one outfit’s demise through an email from drummer Cheadle and the introduction of another in his new project alongside fellow Mobb, vocalist/guitarist Joe B. Humbled, quick sadness was replaced by eager intrigue across a handful of lines; interest soon emerging as fresh lustful attention once the swinging throes of The GoGo Loco Twist EP infested ears.

Now reinventing their names as Cheadle GoGo and Joe Loco, the Northampton hailing duo have similarly evolved their sound. Certainly within the four songs making up their debut release there is a healthy Mobbs garage punk scent to things but one immersed in a new r&b and blues infused trash encrusted garage rock ‘n’ roll devilry. Something akin to a fusion of The Stargazers, Ronnie Cook & The Gaylads, and The Trashmen with that inimitable Mobbs touch, Gogo Loco provide something as distinct and as unique as you would wish.

It all begins with the EP’s title track. The GoGo Loco Twist needs mere seconds to have the body writhing and feet greedily shifting, its initial tendril of guitar winding around ears and burrowing under the skin before the swinging rhythms of Cheadle and the guest piano antics of Jon Martin, who also produced the EP, get involved. Like King Salami and The Cumberland 3 engulfed in the spirit of Chubby Checker after being infested with garage punk mischief, the song romps and stomps from start to finish inspiring the same in the listener. A virus to any rock ‘n’ roll dance floor, it pleasures and exhausts with glee.

There is no time to take a breath as the following Rattle Your Mind leaps on ears and body next, its crusty blues lining and fevered rock ‘n’ roll inescapable incitement driven by the energy and passion of its creators. As all tracks within the release, it is a short, sharp, and magnetic trespass manipulating body and spirit with ease; next up Go Loco proving the pointy as it insists the listener lives up to its title. Clunky yet fluid riffs welcome in infectious rhythms and in turn just as persuasive vocals, a mix again needing less than a handful of seconds to have the body bouncing.  Actually the song never quite bursts into the kind of frenzy its title suggests though its boisterousness increases by the chord but with a control which manages to forcibly increase the virulence in song and victim alike.

The closing Evil Woman is salacious rock ‘n roll with pouting hooks and rhythmic writhing, like a meeting between MFC Chicken and Sonny Burgess as imagined by Gogo Loco and far too easy and tasty to consume to be good for you. Like all tracks within The GoGo Loco Twist, there is a sense of being devilishly naughty and just a little dirty as you thrown yourself into its wonderful DIY temptation of sound and intent, but at the same time the feeling of not caring fuelling the fun.

Long live The Mobbs is a cry we will always offer up but alongside we roar Viva Gogo Loco as the potential of another new lust for us, and we expect a great many others, rises up.

The GoGo Loco Twist EP is out now and available as a free download @ https://gogoloco.bandcamp.com/album/the-gogo-loco-twist

http://www.gogoloco.uk/   https://www.facebook.com/gogolocouk/

Pete RingMaster 24/04/2018

Copyright RingMaster: MyFreeCopyright

King Salami And The Cumberland 3: Fourteen Blazin’ Bangers

With an interview with the high octane bundle of energy that is King Salami in the offing it is only right we take a look at the recent album from King Salami And The Cumberland 3. To be honest it came out in the tail end of last year but having looked for an excuse to delve back a few months and share this simply brilliant explosion of irresistible and excitable sounds an interview seems a good enough reason. Fourteen Blazin’ Bangers is music at its best and what it was invented for, to ignite the deepest pleasure and thrills possible within each and every one of us.

Formed in 2006 the quartet of one Japanese, one French, one Caribbean and one Spanish conjurors of fun, draw influences and flavours from the fifties and sixties and spice them up with their own contagious blend of insatiable ingenuity and energy. Consisting of former members of the Ulcers, Chinese Lungs and Parkinsons, The Cumberland 3 led by the irrepressible King Salami leave one breathless and over excited with their album. Released on Dirty Water Records Fourteen Blazin’ Bangers is a wonderfully agitated swell of movement, its brief to unleash an unrelenting explosion of infection and hyperactive melodic pleasure.

King Salami And The Cumberland 3 has riled up hearts and emotions all across Europe with the sharing of stages with the likes of The Pretty Things, The Trashmen, The Standells, The Mummies, The Bellrays, and The Cynics to name a few. Renowned for their irresistible live performances and sweat drizzled excitement, the band have translated that energy and insistent mischief into their previous singles and now this album. It brings the essence of having the band there in front of you as it plays with your senses whilst firing up the need and urgency to catch them on stage.

The album explodes into the ear with Do The Wurst, an instantaneous assault of punk fuelled rhythm & blues/rockabilly. The beats and rhythms assume full control of limbs like a maniacal puppeteer instantly whilst the guitars fire up the aggression and attitude expected from a meeting of Screaming Jay Hawkins and The Meteors. The track has one joining in with movement and voice within mere seconds and even has the most composed and reserved of us flinging a few air guitar chords into the heated air. It is the perfect opening and sets the album up for greatness no matter what follows. To be honest the album only took a couple of songs to make a believer and adoring fan of us here so excuse the drool dripping from each and every word we place upon it.

The excellent I Smell A Rat with its raw and hungry breath searches for the ear next. With garage caked intensity to the guitars it leaves a big grin on the face though not as wide as from the following Mojo Workout. If you could have improper thoughts about a song this would be the one at the centre, a bristling irresistible slice of naughtiness. King is supreme leading the thoughts and emotions into trouble like a mischievous big brother ably assisted and egged on by the rest of the band.

Every song deserves close attention as not once does the manic party within the album lull or slip into a reserved moment, but those pleasures are for you to find out and feel. The more fiery highlights though include songs like the wanton sax pleasuring of They Don’t Know, the tribal contagion that is Pawnee Stomp, the Big Bopper/Screaming Lord Sutch glory of Watcha Gonna Do Tomorrow, and Sweet Love To You where Gene Vincent meets Ray Campi and The Blue Cats in a salacious love nest.

A twisting and energetic boiling brew of rockabilly, rhythm & blues, punk, and explosive rock n roll    Fourteen Blazin’ Bangers is simply magnificent and the surest fullest pleasure one can have within the ear. With spices and passion from the likes of James Brown, Sonny Burgress, The Sonics, and The Frantic Flintstones to name a mere few you can easily tell the vibrant and pulsating sounds within the album. King Salami And The Cumberland 3 are the match to fire up every day and heart; you just need to say hi.

https://www.facebook.com/KingSalamiandtheCumberland3

RingMaster 23/05/2012

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