Coming together again a handful of years ago after first emerging in the early eighties, The Bronsons sow their music in the pub/garage rock sounds which laid the seeds for many of the punk bands crashing 1976/77. It is a style which they continue to embrace and nurture their own individual character of enticement from as evidenced by new single Girl from Outer Space.
The song is a cover of a track by Barrence Whitfield and the Savages which made its first appearance on their 1987 UK EP Call Of The Wild, the release expanded with additional tracks 
and released in the US as the album Ow! Ow! Ow! the same year. It was a track which vocalist Stefan Ball came across in the early nineties, a song he found impossible to find again since renting the aforementioned EP from a local library but one he never forgot. Hearing it again when Boston’s Four Piece Suit released their own version he brought the song to the band and subsequently they now our ears in the inimitable Bronsons style.
The current line-up of guitarist Ball, Tony ‘Chas’ Talman, drummer Phil ‘Chas’ Dourado, and bassist Jorge Polverinos backed by Zara Cannon and Giselle Nicholson aka The Bronsonettes, has evolved the blues rock toning of the original with a rich dose of their forcibly catchy rock ‘n’ roll, a blend which swiftly grips the appetite as Girl from Outer Space launches itself on ears. Like a mix of The Pirates, Dave Edmunds, and The Vibrators, the track infests the imagination. Guitars make the first raucous lure, the swagger of bass and beats quickly lining up alongside as Ball’s vocals share their own confident stroll. Together it makes for a fuzzy mischievous slice of rock ‘n’ roll, The Revillos like harmonic lure of The Bronsonettes icing on the contagion as eager involvement in its antics is inescapable.
The best rock ‘n’ roll has the face smiling, spirit rolling, and body rocking; Girl from Outer Space ticks all boxes.
Girl from Outer Space is available now @ https://bronsons.bandcamp.com/track/girl-from-outer-space
http://www.bronsons.uk/ https://www.facebook.com/BronsonsLive https://twitter.com/BronsonsLive
Pete RingMaster 12/09/2017
Copyright RingMaster: MyFreeCopyright
There is a touch of Psychedelic Furs to song and release, nothing concrete just a scent which continues in the more irritable rock ‘n’ roll of Things I Can’t See. At times, as beats jab and riffs bite, the song feels like it is slamming its fists down on the table temperament wise but discontent aligned to a catchy restraint ensuring great volatility in the rousing incitement of sound and enterprise. The track is one of two singles laying down potent teasers for the album earlier this year, the second following straight after. Still Searching sonically shimmers before laying down a trail of rhythmic manna, the brooding voice of the bass courting rapacious beats. The track’s post punk persuasion makes swift slavery of ears and appetite, its bait only accentuated by the subsequent acidic hook and swinging groove loaded gait of the song. Kind like a mix of The Jesus and Mary Chain and Sex Gang Children, the track, as the album, simply seizes ears and appetite with relish second by second.
A heavy bass groan opens up the following A Curse Ensues, melodic strands from Fido soon wrapping the senses as the track grows and blossoms into a proposal distinct to the band. The second track reinforces the thought that the band has discovered a sound which roars only Target:Renegades though inspirations from the likes of Deftones and Karnivool are additional hues in its canvas of imagination. Hulse excels as he shares the song’s landscape with earnest prowls and emotional roars, both backed by Fido’s potent tones and inventive guitar spun enterprise.
Psychobilly flavours the magnificent stomp of Get Outta My Face next, Bloomberg bringing his masterful slaps to the Batmobile meets Imelda May scented stroll with Pussycat like a punk Wanda Jackson. Fiery guitar and senses badgering beats bolster the seriously rousing proposal as the song shows another aspect to the album and the Pussycat and the Dirty Johnsons sound.
The excellent start and flavouring carries on into the raucous and cranky charge of Eufuckinphoric, where initially choppy riffs funnel into ears this time around as Woodstock adds bearish vocal weight and coaxing. The riffs and hooks of Paul Moose and guitarist Daiv Tap bite and serrate the senses with sonic hostility all the while too whilst the rhythms of drummer Jack Destruct swing with contempt. It is a unity which should send you running but instead simply whips up an impossible to resist call to arms.
East London bred False Heads made its first steps in the opening month of 2014 and quickly began enticing attention and whipping up a loyal and quickly increasing following. Around the summer of that first year, the trio released the Tunnel Vision EP, a rousing quartet of tracks more than doing its bit to lure further and greater focus the way of the band. It also provided a strong base from which the band could expand and explore its songwriting and sound, and that they had by the time its successor, the Wear and Tear EP, had leapt into ears this past April. Whereas the first encounter was a grunge hued affair, its successor revealed a dirtier and heavier rock tempest to its enterprise and invention. Steal And Cheat shows another strong twist in sound from those before it whilst carrying the increasingly distinctive False Heads character and voice.