The Domestics/Pizzatramp – No Life/This Is Your Life Split 12”

Back in 2018 UK outfits The Domestics and Pizzatramp lined up side by side for the striking 5” split release, Discipline, which offered on each band’s side three songs lasting less than a minute combined. Now the pair has linked up again but with a step stopping difference as unexpected as it proves striking and thrilling.

This time the hardcore punk protagonists have provided just one song each to the 12” offering but before you think that is nothing unusual let us add that each track is an eleven minute plus incitement which surprised and captivated as much as they ignited the senses.

Side one is consumed by The Domestics’ track, No Life and straight away the East Anglian quartet courted the imagination. Fuelled by vocalist James Domestics’ semi-autobiographical lyric and ever enjoyably challenge carrying vocals each with the inspiration of a corrupted world and the injustices of life within, the track immediately haunted attention and the senses as dark portentous strings rise up around ears. Their shadows are soon splintered by Simon Battery swiping beats, Ted Mint’s guitar in turn casting sonic smog within the imposing intense drama before more defined lures coax already eager ears. It is a compelling and inspiring start to the track which is only reinforced once the song erupts with the hardcore instincts of the band’s creativity.

With the bass of Rhodes a carnal pleasure within the caustic assault, the track stalks and attacks in equal measure. James’ tone and words are drenched in intimacy but with a worldly echo too whilst rhythmic catchiness underpins the raw ferocity of the encounter which is soon again revelling in its undiminishing unpredictability and imagination as it embraces strings, synths, and piano across its epic and feral emprise.

The track is superb, without question for us one of the best things the band has ferociously entangled our ears in and a proposition matched in captivation by South Wales hailing trio Pizzatramp.

This Is Your Life has an apocalyptic breath which immediately soaks its opening prowl around ears. It too makes for a magnetic introduction which easily drew us in, the subsequent bright groan of grooves and antagonism of skate punk nurtured riffs compounding the attraction as vocals share their aggravation. Its political incitement sparks alienation and vex on the lyrical and emotive heart of the track, one shared by its contagious but abrasive sounds driven by senses scything rhythms.

With an inescapable nagging to its riffs and grooves, the song continues to accost and stalk ears, evolving through differences of urgency without diminishing its animosity. An indictment on our corruptively damaged world, the song also carries an adventure which keeps attention and appetite enthralled throughout one becoming bolder with every passing minute.

Together the two tracks make up one of the year’s most arousing and galvanic encounters so far; one which will surprise a great many and thrill so many more.

The Domestics/Pizzatramp 12” split is out June 12th via Kibou Records (UK), TNS Records (UK) and Sick World Records (New Zealand).

https://www.facebook.com/TheDomestics/   https://www.facebook.com/Pizzatrampuk/

Pete RingMaster 11/05/2020

Copyright RingMasterReview

Brassick – 2.0

Ever since having our senses assaulted and bullied by an outstanding debut album, the wait for a successor from UK punks Brassick has been a long wait but now the moment has arrived though we can only warn you to be beware because the release is going to seriously leave you a wasted, delirious mess. As striking and impressive as what came before was, it was a mere appetiser to the gloriously belligerent riot on the world that is 2.0.

The Birmingham hailing quartet of vocalist Nicola Hardy, guitarist Peter Macbeth, bassist George Chick, and drummer Tom Fenn may have taken their time for whatever reasons to follow up their self-titled first album but the time between has only seen the band hone their writing, sound and imaginations for the rousing and striking beast that is 2.0. As ever their sound is a hardcore and punk bred antagonism embracing some of the most contagious melody entangled hooks and sly twists you can wish for. If that debut full-length hinted at other bands at times, its successor is as individual to Brassick as you could desire as it riles and roars at the world and its injustices and corruptions.

Also featuring guest appearances from GBH’s Jock Blyth and Chris Scott from Ska punks Sick Pins, 2.0 launches at ears with Vultures Of The Poor though the track first lures and entangles them in a seriously tempting sonic thread before stamping its authority on attention with heavy booted beats and a subsequent crescendo building up to its voracious roar. In no time the rousing tones of Hardy are abrasing and igniting the air too, the song by now storming the senses with its irritable hardcore attitude and instincts.

A warning to all and of what is to come; the compelling opener is soon outshone by next up They Say. The first single from the album, it dangles an old school punk hook before the listener; one easy to chew on as too is the infectious hook loaded stroll which brews though that, as the album itself, is never anything less than unpredictable and furiously animated. As rhythms flew and vocals scowled, addiction was a quick reaction and just as firm before next up It Could Have Been Any Of Us. From its opening rub of caustic riffs and the menacing rumble of Fenn’s beats, the track devoured the passions. The heavy grumble of Chick’s bass and Hardy’s vocal and lyrical antagonism equally hit the spot just as the metal nurtured exploits of MacBeth and the floating harmonies which did little to temper the ire but added to the pleasure all the same.

Two of our majorly favourite moments come next, They Saved Us with its sinister character and opening lead to anthemic uproar the kind of protagonist lust was made for while A Half Life is a glorious fusion of punk and power pop drenched in bile and magnetism. Male vocals make for a riveting union with Hardy’s raucously irascible holler; it matched in invention and captivation by the swinging riffs, lithe hooks and rapacious rhythms which shape the outstanding encounter.

At fourteen tracks the album dares attention to wander but there is never a moment for that possibility to take hold as the likes of the sonically and emotionally fractious Nobody, the slice of dirty and crabby punk ‘n’ roll that is Anslinger, and Peanut Gallery with its melody bound calm and ultimately tempestuous challenge perpetually proved gripping, manipulative incitements so easy to feast upon and get involved in.

There was no change with the aggression fuelled 39 Souls. To be honest all tracks are built on a certain depth of truculence even with the regular injections of mischief and tongue in cheek opportunities across the release, but this turns in into a rabid trespass which Stagnate echoes in its delicious half minute of concussive virulence and Pull Me Up hones into the breath of its old school punk nurtured catchiness; both tracks again especially inflaming an already firmly set appetite for the record.

The final trio of tracks ensure 2.0 is as powerful and thrilling as anything up to this point; No Longer a song entwined with melodic wiring as again male vocals stand eye to eye with the forcibly supportive Hardy which led the passions into greedy lust while Until It’s Gone casts a skilfully infectious and thoughtfully provocative raw temptation upon ears and imagination.

Closed out by Always Exist and its verbal goading surrounded by just as pugnacious sounds though equally there is plenty of irresistible melodic teasing to bask in, 2.0 from start to finish is quite simply magnificent; right up there with some of the best punk offerings heard in recent times. Not much more to say…

2.0 is out now on limited White 12” vinyl, CD and digital formats through TNS Records and Mass Prod; available @ https://www.tnsrecords.co.uk/shop/distro/cds/brassick-2-0/ and https://tnsrecords.bandcamp.com/album/20

https://www.facebook.com/brassickmusic

Pete RingMaster 24/04/2020

Copyright RingMasterReview: MyFreeCopyright

Pi$$er – Wretched Life

Music will never cease providing unexpected and major treats, moments of if not genius, true ear and appetite inflaming arousals to feed individual desire. Another for us is the debut 7” EP from Pi$$er, a ‘supergroup’ if you wish which devour and chew up the senses whilst inflaming the imagination across four slices of, which for simplicity we will call, hardcore punk.

The Wretched Life EP is a punk bred encounter but woven from a host of essences for rousing diversity. Its creator is the brainchild of vocalist James Domestic (The Domestics / Dis-Tank / Bring The Drones) who has drawn on the matching talent of drummer Charlie Claesson (Anti-Cimex / Wolfhour / The Partisans / Bring The Drones), bassist/organist Rhodes (The Domestics / Hobopope & The Goldfish Cathedral), guitarists Bri Talbot (Doom) and Matt Woods (Dissidents/ex-Revenge Of The Psychotronic Man), and saxophonist Eddie O’Toole (The Shitty Limits / The Filaments / Beat The Red Light / Personnel) to thrust Pi$$er upon a quickly, we suspect, welcoming world.

Wretched Life opens with The Lie is as Good as the Medicine, Rhodes’ keys an immediate dark sinister lure into the waiting arms of contagious punk ferocity. Rhythms show no respect as they infest song and listener alike, guitars equally ravening in their insurgence before the psychotically edged tones of Domestic spring intimidating temptation. As if that ravening mix was not irresistible enough, passions were completely bound with the emerging addition of O’Toole’s idiosyncratic sax enticement, though a thrilling element with a definite X Ray Spex meets Essential Logic psychosis to it. All together it is a devouring incursion which beguiled with its web of enterprise and ravaged with its tidal trespass of animated devilry.

The track Pi$$ER follows with a just as active fervent menace, rhythms thumping on submission immediately as Domestic’s vocals vent with his individual prowess before another scourge of contagious animosity erupts. Hooks and riffs collude in their deviously respective piercing and hostile catchiness, that infernal and glorious raving sax of O’Toole icing on the delicious toxicity escaping a swiftly established favourite release.

I Won’t Repent is next up and needs mere breaths to eagerly intimidate and wholly seduce. Its galloping stroll infests as it manipulates, its swinging groove and predatory instincts proving swiftly irresistible and the perfect incitement for vocals as riffs ravage thoughts and senses. It is two visceral minutes plus of insatiable attitude, virulent harassment, and merciless temptation; i.e. brilliance.

The EP’s title track concludes the pleasure, Wretched Life a harmful and invigorating scourge of punk corrosiveness, dissonance, and crazed contagion. Every element in its rabid character makes for a furious tempting, each moment in that appealing rabid incursion eclectically ravenous and unitedly unquenchable.

The only thing about Wretched Life which worries is that there might be the chance it is a one off affair. We truly hope not because there is already uncontrollable greed in our hunger for Pi$$er and their unique magnificent sound.

Wretched Life is out now through Kibou Records and TNS Records in the UK and Sick World Records in New Zealand; available @ https://www.tnsrecords.co.uk/shop/tns-releases/pre-order/pier-wretched-life-7/ and https://kibourecords.bandcamp.com/album/pi-er-wretched-life-7-e-p with Ltd edition black vinyl version of 300.

Pete RingMaster 02/08/2019

Copyright RingMaster: MyFreeCopyright

Casual Nausea – Demons

It has been a long wait for fans of Casual Nausea to get the chance to devour a first album from the Ipswich spawned quintet which formed in 2012 but time fully rewarded with what is destined to be one of the year’s finest, most irresistibly enjoyable moments. Demons is a carnival of punk rock embracing every angle of the genre imagined whilst getting its rabid teeth into the ills of the world. Street and crust punk unites with hardcore, pop, and old school punk across its belligerently devilish stomp and there is still room for plenty of other ear gripping flavours to deviously corrupt and manipulate in one unruly hook strapped triumph of a release.

Demons unleashes 19 tracks with dirty claws into themes such as “working pointless jobs and general pressures of society along with a few uplifting tunes celebrating the DIY punk scene” alongside equally rousing moments when the band is taking the piss out of us and themselves with relish. Maybe surprisingly there are no fillers in that tenacious mass of songs only prize punk agitation in its feral glory.

The album lustily launches at the listener with Vote, handclaps luring in listener and band as their voices arouse attention. It is a 3 barrel vocal machine gun led by the twin bore attack of Simon and Zoe but equally driven by the fierce tones of Ed; anxiety, anger and mischief colluding in every word shoved through ears from the opening breath of this opener to the albums final tirade. The latter’s guitar is not tardy in freeing up scurrilous riffs either, his hooks just as incisive here and thereon in. It is an outstanding start more than matched by the boisterous offensive of Cockroaches, the senses scything swings of drummer Shawn contagiously lethal as Matt’s bass magnetically groans with every throbbing line escaping its catchy stroppiness.

DIY or Die canters in next, an Angelic Upstarts scenting coating Ed’s hook spun coaxing before again the great vocal mix of the band descends on body rousing rhythms. Its proud declaration had the appetite drooling before letting the rapid incitement of Move On work on truculently animated limbs, fists, and vocal chords; its uncompromising spirit swiftly matched within the unapologetically quarrelsome Empty Rewards. Both of the latter tracks go for the jugular with a feisty intent, contagion fuelling each with the second of the two pop punk infested.

One minute of hostile hardcore scrapping under the guise of Another Way is next before Terminator leaps from its cowpunk teasing to harass and ignite participation with its vocal and continued country punk revelry; a pair of tracks which mercilessly got under the skin just as easily as Fuck Up in turn had the throat zealously ranting at the world. Maybe a song which did not quite rise up to the lofty heights of its predecessors there was still no escaping its forceful touch and incitement or the pleasure in the ready submission given.

The album’s title track bullies and seduces with a great blend of resolute aggression and melodic tempting, its virulent catchiness enslaving with the unity of the threesome’s vocal contrasts emulating the texturing of sounds increasingly invigorating the track.

It is hard to pick a best track within Demons but Blood In The Oil is a permanent favourite, its ska/ reggae nurtured stroll irresistible and a hue of The Members delicious while Predator swiped its fair share of the passions with its gypsy punk shaped antics; both tracks quickly harried for matching plaudits by the furious venom spilling assault of Corruption and indeed Defective with its touch in cheek self-deprecation to a pop swinging punk soundtrack.

As suggested there is no weak moment within Demons, just an ordering of favourites, Gonna Blow and Til The Day I Die cementing that success with their respective anarcho punk bruising and old school soaked defiance steeled assertion. Similarly Assembly Lines and Misery added further proof, the song another thick favourite with its raucous dexterity and manipulative prowess bringing hints of bands like 999 and Eater to mind within its more hardcore bred holler.

Attention is just as tightly gripped and enjoyment uncaged across the album’s final trio of tracks; Zombie niggling away with a devious hook throughout and Pay Your Sins Away simply lighting up the passions as Casual Nausea stomp like Les Négresses Vertes inspired guttersnipes. Built To Break finally brings things to a close with a punk fury which just epitomises the character, prowess, and persuasion of band and sound.

Actually show patience and one more treat emerges from the silence in the shape of an acoustic version of Blood In The Oil, a final pleasure to cap what is a quite glorious album. Punk continually gives us major moments to devour and the manic indeed deranged Demons is one real feast to get rabid teeth into.

Demons is out now via TNS Records; available @ https://casualnausea.bigcartel.com/ https://www.tnsrecords.co.uk/shop/tns-releases/pre-order/casual-nausea-demons/ or https://tnsrecords.bandcamp.com/album/demons-2

https://www.facebook.com/casualnausea

 Pete RingMaster 01/05/2019

Copyright RingMaster: MyFreeCopyright

Uniforms – Reasons To Breathe

Uniforms has a name which if not careful when searching out the band can lead you in the wrong direction, a single additional letter a spark to that deceit alone, but find the Scottish quartet and you will hear nothing  but an individual prospect not so easy to miss. The band has just released new 7” EP, Reasons To Breathe; three slices of earthy punk rock as infectious and rousing as they are emotionally raw and attitude laden.

Hailing from Dundee, Uniforms uncaged their presence and sound in 2011 and has since become one of Scotland’s most potent punk experts. Fresh from rousingly closing up the Manchester Punk Festival, Uniforms have now unleashed the successor to their acclaimed 2015 Pink Couch EP, to show they are still writing and banging out some stirring punk moments.

Though punk rock bred, their music and the new release also show a dab hand at bringing pop punk and additional raw hues to its sound. Opener Get Me Out Of Here immediately entices with guitar wires before rhythms bound in to escalate the song’s initial hook on attention. Swiftly the catchiness of the track aligns to its rawer instincts, an infusion of pop enterprise lining and breeding a chorus which soon has the body bouncing. In many ways it is akin to a collusion of Stiff little Fingers and Yorkshire Rats with a whiff of Top Buzzer pop rockiness but soon establishing its own individual roar and presence in highly magnetic proposal.

The following My Wise Friend is just as adept at getting the body bouncing, its own contagious exploits merging punk belligerence to organic infectiousness. Stabbing rhythms and sonic clashes of guitar magnetically align to a vocal incitement just as potent in rousing the senses. For two minutes, the track snarls and incites ears and imagination, a time of natural pleasure repeated in final song Searchlights. It too had limbs and hips flying in quick order, retaining their subservience as it revealed a revolving cycle of energy and enterprise, every twist, each turn, bringing fresh temptation to eagerly chew upon.

Inspiring an appetite from something larger from the band, Reasons To Breathe is Uniforms back better than ever and providing a trio of excuses why DIY punk is still one of music’s essentials.

Reasons To Breathe is available now via TNS Records digitally and on Ltd white vinyl (300) @ https://tnsrecords.bandcamp.com/album/reasons-to-breathe or https://uniforms.bandcamp.com/album/reasons-to-breathe-ep-2

 https://www.facebook.com/WEAREUNIFORMS/   https://twitter.com/weareuniforms

Pete RingMaster 31/08/2018

Copyright RingMaster: MyFreeCopyright

Nosebleed – Scratching Circles On The Dancefloor

The last four years has seen British trio, Nosebleed establish and declare their voracious presence on the UK live scene; time which equally has seen their sound honed and reputation built, it all leading up to the moment they launch themselves at nationwide recognition. That time is now with the release of their debut album, Scratching Circles On The Dancefloor. It is a brief but relentless stomp of garage punk nurtured devilry allowing no time for a breath but giving a wealth of insatiable moments to breed instinctive lust for.

Thirteen virulent songs over twenty and a small handful of minutes, Scratching Circles On The Dancefloor flies from the speakers flinging song to song hooks like confetti and springing inventive twists like a mad professor. It is a rock ‘n’ roll dervish but with a devious control and scheme which sees feet, hips, and the imagination merciless to its manipulation.

Recorded live across one weekend alongside producer Andy Hawkins (Hawk Eyes, The Pigeon Detectives), Scratching Circles on the Dancefloor sets its intent with its first lungful of breaths. The initial guitar lure of opener I’m Okay wags an inviting finger before being quickly joined by hungry rhythms and the vocal mischief of guitarist Eliott Verity and bassist Ben Hannah. For fifty odd seconds the song rigorously hops around, Dicky Riddims’ beats setting the tone for the punk infested romp.

As the excellent start lays its last jab, its successor I’m Shaking is in the starting blocks, loco grooves teasing away as the track bursts into manic life. As rhythms pounce and hooks infest, the song sinks its mania into the imagination like a fusion of King salami and The Mobbs; teasing and fingering the psyche with its viral appetite and character. Superb does not quite cut its magnificence; a height of bliss eagerly backed by the addictive antics of Time And Time Again which quickly entangles the listener in its swinging grooves and excitable rhythms.

The voracious design of the album simply continues with the next pair of Wrong and Start Again. Not for the first or last time across the album, there is a whiff of seventies punk band The Cortinas especially in the first of these two with its sharp almost spiky hooks and instinctive catchiness while the second uncages a riot of bullish rock ‘n’ roll as punk as it is fifties scented honed into another irresistible and individual Nosebleed infestation.

As soon as the rhythmic rumble of Everybody breaks the momentary silence between songs, body and greed was sparked here; the track trapping an easy submission with its web of grooves and hooks let alone vocal incitement while Slow Down does the complete opposite as it had hips swinging and limbs flying with its dirt stained rock ‘n’ roll. Both tracks not only get under the skin but deep into the blood taking over spirit and soul simultaneously yet still get outshone by Scratching Circles. Like a puppeteer, the song dictated movement and energy; its Stones kissed heat and tenacious enterprise delicious spice in its creative irritancy and riveting manipulation.

Can’t Stay Here harasses like a child which will not take no for an answer to what it wants, the song bouncing around with its eyes firmly on the prize before Psycho grabs best track honours with its psychobilly hued rascality. Like the bad kid your mother warned you to stay away from, the track leads to wicked habits and salacious antics and boy does it reward for going astray.

A sixties garage rock hue lines the attitude soaked Kick Me When I’m Down next; swinging grooves and agitated rhythms gripping attention from its first touch, flames of melodic seduction from the guitar adding to its rich lure while I Can’t Tell You Anything creates a maze of hooks and grooves impossible to escape from, not that you will want to; an intent which is seeded in the album’s first note and only intensified thereon in.

It all comes to a close with What You Have Done, a ravenous collusion of grumbling filth lined bass, intrusive beats, and predacious riffs all linked by the band’s persistently anthemic vocals. It too has rockabilly/psychobilly infested fuel to its roar as well as a mouth-watering Misfits seeded glaze bringing the album to a close in majestic but certainly rampantly salacious style.

There are encounters which just inflame the individual instincts of us all, Scratching Circles On The Dancefloor is one for us, a release leading us to drooling ardour. We will not be alone as quite simply the album is a garage punk classic, indeed a rock ‘n’ roll masterclass from a band surely about to take national attention by the scruff of its neck.

Scratching Circles On The Dancefloor is out now through TNS Records and available @ https://tnsrecords.bandcamp.com/album/scratching-circles-on-the-dancefloor

https://www.facebook.com/nosebleedband/

Pete RingMaster 11/04/2018

Copyright RingMaster: MyFreeCopyright

The Domestics – Cherry Blossom Life

The Domestics - Cherry Blossom Life - MPF2 (Charlee Ramsey- PNMT)_RingMasterReview

Pic Charlee Ramsey

A predator of the senses and the injustices infesting the world today, the hardcore furious sound of The Domestics has grown into one of the most riveting and compelling assaults within the British punk scene since the Suffolk outfit launched itself at apathetic barricades in 2011. Across two albums surrounded by a host of EPs, split releases, and compilation appearances, the band’s fusion of US hardcore, classic UK punk and raw Japanese influences has grabbed attention by the scruff of the neck. It’s ‘victims’ have been confronted with uncompromising lyrical commentary as a primal catchiness infects body and imagination. That being said, everything before has now been overshadowed and taken to a new level by third album Cherry Blossom Life, a release as viciously virulent as it is rapaciously antagonistic.

With The Domestics slimmed down to a quartet since the release of 2014 album Routine & Ritual, the band has equally stripped down their sound to simultaneously bring out and increase its venomous irritability and instinctive contagiousness. Its twenty minutes unleashes 16 tracks to challenge and stir up body and thought; a brief rewarding moment in a day which is proving to be almost as essential as eating and Cherry Blossom Life takes no prisoners from the first breath of opener Dead in the Dirt. The gnarly bass of Rhodes instantly has the appetite licking lips; its dirty grumble wrapped in a lurking sonic twine which blossoms into its own unclean temptation as the band uncages a tide of ravenous riffs ridden by the vocal animus of James Domestic. The senses and emotions are instantly on edge and the body roused as the album gets down to business in fine style.

The following Snuffed Out zooms in like a jet plane, the bolds beats of Simon Battery instinctive incitement as Ted Mint’s guitar spins a savage web around the equally catchy and pugnacious assault of voice and bass. Addictively inhospitable, the track’s imposing triumph is swiftly matched by that of Don’t Tell Me What Love Is, itself also less than a minute of unapologetic scrapping equipped with primal hooks and memorable causticity. The gang vocal bruising of Homegrown Violence proceeds to emulate and eclipse that gripping pair though, its brute force a deceit to skilfully spun hooks and infectious sonic tendrils.

cover_RingMasterReviewInitially, No Deposit, No Return allows a breath with its prowling entrance, the bass portentously courting the imagination before sparking a swinging canter which in turn bursts into a hellacious dispute of sound and voice. Unpredictable at every turn and adventurous with every twist, discord and animosity a superb combative mix, the song is irresistible before making way for the bare boned poetry of Human Ikizukuri; its visceral touch absorbed by the following sonic and lyrical rancor of Punch in the Guts.

Through the anthemic vendetta of Authentic Arsehole and the unbridled senses harrying tempest of Frustration, album and pleasure make kindred spirits while Guilty as Charged twists and turns with some of the most infectious hooks and inspired antics heard anywhere this year. Maybe its boldness is not pushed far enough, its fifty odd seconds not allowing time for further adventure, but the track leaves an indelible mark on ears and imagination.

Self Abuse scowls and feuds with the listener next, a richly satisfying assault with the creative dexterity of Mint and the feuding prowess of Domestic guiding the inescapable persuasion with Death Trap pushing pleasure to yet another level with its bearish bad blood and predacious stroll. Like a mix of Dead Kennedys, Angelic Upstarts, and Converge, the song simple hits the spot, its tenacious jaws a quick clamp on the passions. Its best track claim is then straight away rivalled by Bullshit Parasite, a bullish, balls swinging anthem impossible not to get physically and emotionally enrolled in.

There is no let up on enjoyment either as the home straight of Cherry Blossom Life is hit; A Poison Too Far a breath-taking ferocious declaration of sound and word harassing the senses and Stalinist Purge a corrosive squall of emotion and sound blustering around another glorious crunchy bassline and the creative agitation of the guitar.

The album finally closes with Happy, a piece of lyrical prose caught in a shaken snow globe of organic sound, and the only following thought is to throw oneself into its clutches straight away again. From word to music, Cherry Blossom Life is UK hardcore and The Domestics at their best, indeed the band at their finest yet.

Cherry Blossom Life is out now through TNS Records and Kangaroo Records; available @ https://tnsrecords.bandcamp.com/album/cherry-blossom-life   https://www.tnsrecords.co.uk/?product=domestics-cherry-blossom-life  and http://www.kibourecords.bigcartel.com/

2017 EURO TOUR DATES:

27/08: T. Chances, London, UK (Fuk Reddin Fest)

28/08: Vrankrijk, Amsterdam (Netherlands)

29/08: Tbc

30/08: Underwerkt, Copenhagen (Denmark)

31/08: Blitz, Oslo (Norway)

01/08: Snövit, Stockholm (Sweden)

02/08: Venue Tbc, Gothenburg (Sweden)

04/08: Tbc

05/08: Köpi, Berlin (Germany)

06/08: Stö, Leipzig (Germany)

07/08: The Pit’s, Kortrijk (Belgium)

https://www.facebook.com/TheDomestics/

Pete RingMaster 08/08/2017

Copyright RingMaster: MyFreeCopyright

Faintest Idea – Increasing The Minimum Rage

FI_RingMasterReview

Though understandably often tagged as a ska punk band, Faintest Idea definitely shows themselves to be a true punk band with a penchant for ska bred hip swinging revelry loaded with oi! inspired snarls upon new album Increasing The Minimum Rage. The eleven track stomp is an irresistible roar of politically charged songs that have no qualms in getting feet and bodies feverishly bouncing whilst thoughts and emotions are inspired by its lyrical bite. Most of all though, the British band’s new offering is simply one of the most rousing slabs of contagious rock ‘n’ roll heard in many belligerent moons and deserving of everyone’s energy and time.

Formed in 2008, the Kings Lynn hailing Faintest Idea initially was a jugular ripping punk band venting their political unrest and distrust. That attitude and defiance has never lessened even as the band began weaving in inspirations taken from two-tone, ska and reggae influences. 2013 saw the release of debut album The Voice of Treason on Manchester’s TNS Records to swift acclaim, soon potently backed by the videos for tracks such as Bull In A China Shop and Youth. Live the band has equally become an essential great time for many, the “rudeboy street punks” taking their rousing presence to shows and festivals across Europe and the UK, including in 2014, a 10 date tour of Russia.

Now the band is ready to uncage a new infectious call to arms in the shape of the Hieronymous Melchers (Capdown, Citizen Fish, King Prawn and Snuff) recorded and Massimiliano Giorgini (Anti Flag, Rise Against, Alkaline Trio, Common Rider) mastered Increasing The Minimum Rage. Featuring guest contributions from Vic Ruggiero (The Slackers) and Sean Howe (Random Hand), the album quickly reveals Faintest Idea to have a grouchier fire in their creative belly and a sound at its heaviest and angriest, musically and lyrically, yet with no detriment to their instincts to swing and inflame the listener’s body. The first track, Circling The Drain opens on a theme setting sample as horns meander in the background. From there as a guitar adds its vague musing, the song grabs a breath and leaps into a captivating stroll with Jack’s choppy riffs colluding with the flirtation of mischievous melodies amidst organ shared smiles. The brass flames of trumpeter Sara, trombonist Bobble, and tenor saxophonist Lil dan add to the infection quickly grabbing ears and imagination, creating a rich platform for the snarling vocals of bassist Dani and his dark throated bassline. There is a snarl to Jack’s guitar enterprise too and a firm hand to the beats of the other Jack but as the song’s climate gets feistier and more agitated, a rampant swing stills drives it and the listener before it slipping straight into the equally irresistible Cocktails.

Faintest-Idea-Front-Cover_RingMasterReviewThe second track similarly bounds through ears with rhythms and riffs as inescapable bait and a virulent catchiness to its energy and attitude equally matched by the band’s vocals. Throughout hooks grip and again flirt with the imagination as the song’s skittish gait takes care of the body, vocals in turn challenging thoughts at the same time as brass unveils a rich seducing in something akin to Rancid meets Random Hand meets The Members. Its mellowing departure simply simmers into the sultry embrace of Down Pressure, a funk infested and ska fuelled romp as light on its feet as it is antagonistic in voice. As its predecessors, the song defies the listener not to become fully involved, dares them not to offer their hips and support; a challenge impossible to win as the song leaps around with kinetic persuasion.

The power pop/ska punk exploits of Echo Chambre steals attention next, working its addictive charm on every aspect of a willing disciple as guitar jangles and pop punk rhythms act as ringleaders to another thrilling proposal embracing smouldering brass and lively shadows furthered nurtured by Dani’s vocal attitude. Its tenacious exploits lead to the thick energy and aggression of The Well Has Run Dry which, from its first breath, is a confrontational proposition equipped with spiky hooks and a flaming melodic coaxing courtesy of guitar and some emotive lip prowess. United it stirs up air and emotions before the outstanding Stick Em Up (Lords of War) takes a stand with its punk ‘n’ roll contagion. As jazzy and funky as it is ska and old school punk spun, the track tantalises and badgers in sound and tone. Female vocals bring a B52s spice to certain parts whilst other times the song rumbles along like a mix of early Specials and The Adicts, revealing itself as another enjoyably multi-textured adventure.

Through the Clash/ Serious Drinking like chest beating of the beguiling Throw Away The Key and the ballsy rock ‘n’ roll of No Consequences, greed and thick enjoyment for the album is only confirmed before being given another big shot in the arm by the brilliant pairing of Ouroboros and Corporation. The first of the two is a web of flavours and styles as surf rock spiced guitars entangle with ska spawned riffs and intrigue loaded progressive punk grooves whilst Dani and co take potent shots at political and social injustices. The track is glorious and swiftly matched by the dramatic theatre of its successor. With vaudevillian prowess to a sinister soaked sound, the band bring the exploits of the song’s villainous title protagonist into panto-esque but certainly not trivialised view before descending upon them with oi! fuelled animosity and anthemic incitement. The track is ingenious; pure creative theatre and heading numerous memorable moments within the album.

Closing on Tightrope with its strongly brooding persuasion of sound and imagination, Increasing The Minimum Rage makes it so easy to say it is destined to be one of the year’s highlights. From start to finish it has every aspect of the listener enthralled and involved; only increasing that hold with subsequent plays whilst showing that to stand up and be counted does not have to see an absence of unbridled fun.

Increasing The Minimum Rage is released via TNS Records on 1st April @ http://tnsrecords.bandcamp.com/album/increasing-the-minimum-rage

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Pete RingMaster 31/03/2016

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