Dirt Box Disco – Immortals

UK punksters Dirt Box Disco have this enviable knack of unleashing something inescapably fresh with every record whilst retaining a trademark sound which makes the band one of punk’s most individual propositions. It is a success which is not only repeated with their new album but escalated for their finest moment to date.

Immortals is the sixth studio album from the Midlands hailing quintet and comes with more twists and turns than a swatter hunted fly in a cream cake shop. From song to song it romps with various shades in the spectrum of punk and rock ‘n’ roll; pop, old school, hardcore, and many more voracious hues embraced and given the DBD creative deviancy. It has proven near to impossible to settle on our favourite thirty DBD songs to date let alone choose a top ten but right now you can expect plenty from Immortals to feature in both.

Album opener Ready Or Not is a declaration of their return, though their ravenous live hunger ensures they are never far from a town near you and that they have more of the goodness and madness which has made the band one of punk’s essentials. It’s opening rally of beats and string of la-la-las signal prime DBD is here and eager to get us all bouncing and roaring. Manipulative catchiness has always been swift enslavement in the band’s sound and simply virulent within the first throes of the first song. The rousing incitement of vocalist WEAB.I.AM quickly works its persuasion, its ‘lock up your daughters ‘n’ hide the loot’ message a warning and promise of their insatiable sound and intent.

Its irresistible punk ‘n’ roll is followed by the just as ravenous pop punk lusting of Teenage Lovestruck Blues; a wonderful confusion of sixties, seventies, and modern punk and power pop honed into one swinging stomp ripe with riffs and hooks uncaged by Spunk Volcano and Danny Fingerz in collusion with a tangle of vocals and harmonies. As its predecessor, it unerringly hit the spot as too the melodic seducing of You’re The Only One For Me. It opens with the nervousness of a first date before hitting a confident stroll with the beats of Maff Fazzo the pump to its instinctive excitement of song and romance. Deadbeat Chris’ growling bass is a perfect contrast to the infectious double prong vocal lure, the song sharing gentle incitement fuelled caresses to stir eager involvement from those around and indeed listening.

A whiff of old school lines next up Caveman.com, the excellent feral stomp something akin to The Vibrators meets Turbonegro but distinctly DBD while Stop Shouting similarly taps into seventies punk for its core hook and riffery, draping it in the band’s inimitable anthemic rock ‘n’ roll instincts. Only the deaf could evade its physical and persuasive holler though even Fazzo’s incisive rhythms could probably stir their senses. Both tracks get body and spirit bouncing though maybe not as hungrily as 11th May or the following Mummy’s Boy. The first jabs and harries with beats and riffs, vocals commanding participation as the body throws itself around to the sounds while its successor flies through ears with seventies punk ferocity and DIY aggression to stir even greater involvement.

Done & Dusted is the kind of arousal you might expect The Pirates to come up with if starting out now, their own style of punk and rock ‘n’ roll an echo past of the contagion DBD seemingly effortlessly conjure. Like so many tracks it steps in, lays an instant creative glove on ears and has the body dancing to its whims before leaving at its height of temptation.

Box Of Tapes mixes hard rock and metal with its punk heart, the track a raucous compulsion for ears and appetite before Mirror Mirror shares its reflective croon with energy and tenacity, again hooks spun recalling some of punk’s glory days but revelling in their creator’s own modern uniqueness.

Rock ‘n’ roll comes no more masterful and incendiary than in the riotous charge of Box Set Addict; its raw urgency and attack infused with one delicious bassline and riveting sonic enterprise. The track is superb but still eclipsed by the album’s finest moment, Joyce’s Voices. The initial lure of haunted guitar is a tease of the unpredictable from which melodic infection winds around ears as WEAB.I.AM introduces the spirit guesting world of Joyce. Everything about the song is captivation, rock music which has body, voice, and appetite wrapped around its inventive fingers whilst reminding of people we have all come across in presence or legend.

Immortals leaves as sonically vociferous and rowdy as it began with firstly Pint Kamikaze Jaeger Smash, a sing-a-long bruising and stomping, and lastly through the attitude hurling Shut The Fuckin’ Door. The pair just epitomise the adventure and addiction brewed by the album, the first a lung bursting incitement with its companion a middle finger raising riot woven from various thick threads of rock ‘n’ roll and both reasons alone why DBD are so revered and greedily followed.

With every release Dirt Box Disco evolve, uncaging something new each and every time yet they never deviate from their insatiable honest sound. It is a skill and craft which sets them apart, keeping fans deliriously stomping and the band at the head table of punk rock.

Immortals is released April 27th via STP Records with an Ltd Ed vinyl version released July 28th.

http://www.dirtboxdisco.co.uk    http://www.facebook.com/pages/DIRT-BOX-DISCO/129060477115572    http://twitter.com/dirtboxdisco

Pete RingMaster 30/03/2018

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

Saint Apache – Wolf Machine

The suggestion of a bold new roar within the British alternative rock scene came with a self-titled debut EP last year, now Eastbourne hailing quartet Saint Apache confirm their potent emergence with its ear grabbing, spirit sparking successor. Wolf Machine is a blaze of muscular and tenacious multi-flavoured rock ‘n’ roll, a proposition often as bruising as it is rousing taking the potential of their first encounter to new creatively accomplished and energetically hungry heights.

Formed in 2015, Saint Apache weave their blaze of sound with an array of influences said to include the likes of Every Time I Die, Buckcherry, and Rage Against The Machine. It is a fiery mix with a volatility of thought and intensity which catches the imagination with ease within Wolf Machine. As mentioned, their debut EP was a potent opening encounter with the band; a promise fuelled introduction swiftly pushed and eclipsed by the rapacious presence of their new creative challenge.

The release opens up with a richly enticing hook; You’re Not A Slave instantly laying down a rich scuzzy lure quickly joined by imposing riffs and thumping rhythms. The equally compelling tones of vocalist Thom Meredith soon roar from within the magnetic nagging tide of sound, Saint Apache stirring up the senses and spirit with persistent and boisterous enterprise. Familiar and fresh hues collude within the fire, unpredictability brewing and grabbing its moment as the track slips into a restrained passage with post punk and invention nurtured twists dancing on the ears. The guitar of Leo casts a tapestry of endeavour and imagination, every second a web of hooks, grooves, and spikiness matched by vocals and the rhythmic predation of drummer Adam Oarton and bassist Luis T.

It is a tremendous start to the release, stoner and heavy rock mixing with punkier intentions and continuing to unite their elements within the following exploits of The Story Doesn’t End Here. The wiry tendrils and fuzzy breath of the guitar brings in a psych/stoner-esque smog, grooves shooting from its midst with again a recognisable yet invigorating character. The growling tone of the bass is a physical addiction all on its own, with an irritable presence just as enticing within Meredith’s vocals and snarling lyrical expression. Rage Against The Machine essences within the first song are a thick spice within the second, giving its swagger thicker liquor to intoxicate the listener with.

Halfway Dead similarly weaves a trap of closely acquainted grooves and hooks for the appetite but again with a tenacity and enterprise which has ears and bodies greedy and bouncing. As with all tracks, it is hard to say that originality is an overpowering essence yet in the bold and craft sharing hands of the band, everything comes in an unworn design and with unique nature. Previously mentioned inspirations again can be grabbed from the track but equally there is something of bands like Damn Vandals and Turbonegro to the raw and virulent attack.

The EP’s title track brings things to a close offering a drama coated, intensity loaded temptation from its first breath which may lose some of its threat as things ‘calm’ a touch and vocals become entangled in spicily wiry grooves but never loses its intrusive touch or creative appetite within its thrilling attitude loaded incitement. It is a gripping end to a continually galvanic proposition hard to find anything other than real pleasure with.

The Wolf Machine EP is audacious and impulsive in character and sound if admittedly not so much in major originality but even there the seeds are openly being sown and bred within its four songs for blossoming further down the line. Saint Apache is ready to make their mark and if Wolf Machine is a hint to the things to come, bring it on.

Wolf Machine is out now across most stores.

https://www.facebook.com/saintapache  https://www.instagram.com/saintapache   https://www.twitter.com/saintapache

Pete RingMaster 25/07/2017

Copyright RingMaster: MyFreeCopyright

Spunk Volcano & The Eruptions – Ram Raid

As if the early excitement of 2017 could not get better with the release of the new Dirt Box Disco album, it undoubtedly did with news of a new EP from DBD guitarist and his cohorts, Spunk Volcano & The Eruptions. It was a year ago that the band released their acclaimed second album Shit Generation, though it seems only a couple of months back thanks to its constant airing in the offices. It and the band’s punk rock rebel rousing firmly set the band not only as a wholly different proposition to Spunk’s ‘day job’ but on the British punk scene full stop. Ram Raid cements that uniqueness whilst revealing the most aggressively raucous and virulently dirty sound from the band yet.

Ram Raid also sees new guitarist Stu Page alongside lead vocalist Spunk, fellow guitarist Tom ‘G Force’ Batterbee, bassist Deadbeatz Chris, and drummer Maff Fazzo, the latter pair also part of the DBD devilry. With the band in the midst of a run of live stomps sure to confirm the band’s reputation as one breath-taking and bruising live proposal, Ram Raid simply brings a fresh incitement and spark to the UK punk scene.

Its title track opens things up, almost stalking the listener from its first breath as its predatory riffs and imposing rhythms prowl the senses. Having sized things up it bursts into a muscular stroll with Black Flag like animosity and the infectious aggression of The Damned.  As already established over previous releases though, SV & The Eruptions embroil ears and imagination in their own unique exploits, an enslaving rather than inviting chorus demanding participation as riffs and rhythms trespass and punish the senses respectively. It is one thrilling encounter, an outstanding start to the EP which already has itself and listener all fired up.

There is no moment to calm down either as the belligerent punk rock of Stop Looking At Your Phone roars in ears, its antagonistic charge and dispute irresistible. It is a wall of sound and protestation, a torrent of violent riffs and equally uncompromising rhythms driven by the vocal antipathy of Spunk and the band. At barely a breath over a minute in length, the song is like being given the juiciest steak and only allowed one bite before it is whipped away, but what a mouthful it is.

Hanging Round The Shops is a collusion of punk and hard rock with a metallic lining and just as vociferously seductive and uncompromising as those before it.  It also has a pop punk devilry to its swinging grooves and lusty chorus; body and throat swiftly enjoying subservient participation before sharing just as much zeal with the contagion fuelled clamour of I Think Her Name Was Tracey?

The two tracks alone, but just like the EP, have something for all rock ‘n’ roll fans; whether of bands like Dead Kennedys, The Ramones or UK Subs, Turbonegro or Motorhead, indeed even New York Dolls to Gene Vincent there is plenty to relish. Ultimately it is punk rock at its voraciously ballsy best as proven one final time by EP closer Snap Backbone, a seriously catchy and tenacious slab of hook lined rip-roaring enticement.

Though only five songs running at twelve minutes, Ram Raid is the band’s most stirring and rabid yet rounded creative howl yet putting so many others and their offerings firmly in the shade.

The Ram Raid EP is out through STP Records on March 31st with pre-ordering available @ http://www.stprecords.co.uk/page3.htm

Upcoming Live Shows:

Fri March 31st – Rotherham – Cutlers Arms

Sat April 1st – Uttoxeter – The Old Star

Fri April 28th – Gateshead – Black Bull

Sat April 29th – Glasgow – O2ABC (Scotland Calling)

Sun April 30th – Wakefield – Warehouse 23

Sat July 1st – London – Tufnel Park Dome (Wonkfest)

Fri July 28th – Derby – Hairy Dog

Sun July 30th – Manchester – Star and Garter (Rebellion Warm Up)

??? August 3-6th – Blackpool – Rebellion Festival (day tbc)

Sat August 19th – Cambridge – Portland Arms

Sat September 30th – Northumbria Students’ Union (NE Calling)

Sat December 23rd – Manchester – Star & Garter (STP Xmas Show)

http://www.facebook.com/svate   http://spunkvolcanoandtheeruptions.bigcartel.com

Pete RingMaster 16/03/2017

Copyright RingMaster: MyFreeCopyright

Thirteen Shots – Self Titled

13 Shots_RingMasterReview

Though the band is no longer active, the hunger and want for Thirteen Shots continues to be vocal. The new release of a self-titled compilation album is a dose of their raw and voracious horror punk sure to be devoured and earn many more belated fans as it treats ears to the best of the band as a free proposal. Bringing together fifteen tracks spanning the band’s releases, one previously unreleased track, and an irresistible live take of the band’s mighty track Graveyard Stomp, the album is an offer no fan or horror punk loving newcomer to the British outfit should and will be able to resist.

Formed by the now Hamburg, Germany residing Johnny Rose and featuring Lewis Manchip, George Chick, Joe Dempster, Chelsea McCammon, and Tom Fenn in its line-ups, the Birmingham hailing Thirteen Shots unleashed a distinct and rousing form of rock ‘n’ roll as seeded in sixties garage rock and blues as horror punk itself. From debut album Vaudeville of 2012, through subsequent releases such as Tales That Start With A Whisper the following year, the 2014 White Noise EP, and their final outing through second album Black Smiles last year Thirteen Shots pushed their boundaries and expanded their sound without losing the incisive rough diamond roar which marked them out from day one. The new compilation brings it all into one thrilling place; all together for one final stomp.

First track is the fiery rock ‘n’ roll of Cobradeer, an encounter which flies from the traps, drops into a predacious prowl before bursting into a rush of fiercely slapping rhythms and ferocious riffs led by the distinct vocals of Rose. It provided a rousing introduction to Black Smiles originally and makes the same attention grabbing impact here before passing ears over to the flesh dropping infections of band classic Zombies From The USSR. Cored by a delicious Caped Crusader like hook, the track expels raptorial grooves and vocal incitement in a battle cry/warning rising up against undead hordes which just gets under the skin and into the psyche.

cover_RingMasterReviewThe variety in the band’s sound has been an open book and illustrated in the garage blues blaze of Nekrosexual and the following drama of Bewitched as well as across the album. The first is a scuzzy roar while the second again uncovering a hook which just fits an eager appetite, uncages predatory basslines and irritable riffs as Rose scowls in the colourful horror punk confines of the excellent encounter.

Within the Thirteen Shots catalogue numerous tracks were like beacons to their presence and sound, arguably the most tempting being Danzig. A tribute to the obvious, the song is a swinging punk brawl wearing its influence clearly but casting is own horror punk ‘n’ roll character with more hooks and temptations than a stripper at a fishing convention.

Punk rock in varying degrees is also an ever present in the band’s sound, Get In My Crypt for example simply fuelled by it in its virulent charge wrapped in metallic flames while other songs like Night Of Sin infuses it into their own individual imaginations, it a liquor soaked blues rock proposal with searing grooves and restrained but heavy rhythms. The outstanding Dead Girls Don’t Scream takes the vital essence into a psychobilly spiced romp, like Misfits meets Resurex while wearing a New York Dolls t-shirt. It is also another of those songs which the band is particularly memorable and noted for, a rock ‘n’ roll stomp to get lustful over.

Through the writhing blues grooved Padded Cell Blues, the scuzzy heavy metal Sabbath-esque riff loaded crawl of Doom, and the severely infectious rockabilly lined stroll of First American Sweetheart, the album does what all good compilations should do; reveal and celebrate the depth and invention of its focus. The last of the trio especially whips up the spirit with its hard rock grooves and garage punk contagion offering something akin to Turbonegro meets The Heartbreakers.

Grooves are equally a major tempting within next up Tales That Start With A Whisper, twisting within ears with salacious intent as the track shares classic/glam rock misbehaviour equipped with the spiciest hooks before Black Eyed Girl enters with a flirtatious and slightly sinister prowl like a dark dusted feline seductress swinging melodic hips to blues bred flames.

There have been a few songs from the band too which have blossomed to greater heights over listens rather than with an instantaneous convincing; the raw shuffle of Black Smiles being one which proves its point perfectly amongst its companions on the album though gaining its first ever outing here, Creak’n The Coffin needs little time to grab ears and the passions. A contagious punk driven slab of rock ‘n’ roll, it stomps and roars with all the flavours the band has consistently shown itself so adept at weaving into their raucous proposals.

The album is completed by the sultry blood red romance of Lost Soul with its mariachi laced smoulder and finally that stomping live roar of Graveyard Stomp, which while drawing eager participation, reminds us what we are all missing from the band at each and every venue they graced.

There are certainly tracks we would have added to the album, This Looks Like A Job For Batman for one, but Thirteen Shots is undoubtedly the life and creative voice of the band to a tee and a certain must for all punk ‘n’ roll fans. Go check it out and grab a rare and free treat @ http://thirteenshots.bandcamp.com/ with a possible very ltd edition CD possible if demand is high and similarly a final UK tour from the band if they are wanted; so go tell them @ https://www.facebook.com/thirteenshotsband

Thirteen Shots is also available for FREE from Google Play and available to stream from Spotify and Deezer from Undead Artists.

Pete RingMaster 09/11/2016

Copyright RingMaster: MyFreeCopyright

Dr. Hell – Apocalypse Boobs

dr-hell_RingMasterReview

Once more confronting ears with sounds suitable to voice an eager resurrection of the undead in a zealously riotous rampage, Dr. Hell unleash a new death dance of blood strewn horror punk going under the notoriety of Apocalypse Boobs. The German quartet’s mini album is a carnival of infectiously decayed punk rock and ravenous enterprise weaving familiar and individual exploits into their finest offering to date.

Since emerging from their respective North Bavarian mausoleums in 2010, though rumours are they actually formed in 1812 a secret place known as “The Bloody Islands”, Dr. Hell have released two albums of their raw and predatory horror punk, When I was just a little ghoul … in 2012 and Drunken Zombies two years later, and shared stages with the likes of The Meteors, Demented Are Go, KoffinKats, Blitzkid, The Other, and BananeMetalik to name just a few. Set to uncage their live ferocity on the UK this November, the band whets the appetite and scars the psyche in anticipation with the Undead Artists Records release of Apocalypse Boobs.

drhrll art_RingMasterReviewFrom its melodic Intro, the album leaps at the senses with Dead Girl with hungry riffs and swinging rapier like beats on the frontline. Swiftly led by the growling tones of DanDan Delirious, band and song career through ears with contagious punk/hard rock revelry and though there are no major surprises it is irrepressibly addictive and soon gaining full and eager listener involvement before Hate launches its more venomous and fiery tirade. With a touch of Frankenstein Drag Queens From Planet 13 to its irritability and raw trespass, the track binds ears with a toxic groove as again the rhythms of bassist Ina Insanity and drummer Mike Maniac growl and bite respectively.

Both tracks spark an eager appetite for the album’s assault and each is quickly eclipsed by the riotous stomp of Zombie Zoundz. With a whiff of The Sweet like seventies glam and the invasive predation of The Damned to its character, the track stalks the imagination around unbridled bouts of virulent aural voodoo resulting in a track for which lustful participation is a given.

Shrunken Heads is just as irresistible next, opening with heavy metal bred grooves around rockabilly riffs which only increase their and the song’s potency with every passing second of catchy enterprise. As in its predecessors, the song has a chorus ripe with contagion while guitarist Podo Panic entangles it in greed sparking melody sick flames throughout. As impressive as it starts, the album is at its pinnacle over the two tracks and only reinforces the point with Wasted Horror Punkrock Princess and a caustic punk brawl resembling a mix of Angelic Upstarts, Blitzkid, and Turbonegro with just a touch of Madball to its inescapable catchiness.

Completed by the anthemic incitement of Zombies in Town, another track as captivating in its antagonistic nature as its web of enterprising flavours within a rousing punk roar, Apocalypse Boobs  is primal rock ‘n’ roll to get loudly enthused over. As suggested it is not always the most unique proposal yet every track is pretty much distinct to Dr. Hell, igniting a lusty reaction and greed for much more; reason alone to stand in its bloodlust we say.

Apocalypse Boobs is out now via Undead Artists Records and @ https://bloodypunkrock.bandcamp.com/album/apocalypse-boobs

https://www.facebook.com/bloodypunkrock

Pete RingMaster 28/10/2016

Copyright RingMaster: MyFreeCopyright

The Senton Bombs – Mass Vendetta

SB_RingMasterReview

There is nothing better than watching a band which catches the ear build on previous successes whilst pushing themselves and sound. UK rockers The Senton Bombs is a band which consistently manages that impressing trait and has so again with new album Mass Vendetta. The band’s most diverse and boldly adventurous offering yet, the eleven track stomp sees the band pushing into feverishly imaginative and variety spun territories whilst still rocking like a bitch in season incited hound.

Formed in 2004, the Blackpool quartet seemed to hit the ground running in sound and attention, become a greedily devoured live proposition matched in support for their early releases including a pair of well-received albums. Fair to say though as successful as they were, the band really hit the spot on with Chapter Zero in 2013. In many ways it was a landmark in the band’s growth, The Senton Bombs honing their persistent embracing of varied flavours and styles into something which really set the band apart from the crowd. Various singles and the excellent Phantom High EP of 2014 saw the band pushing their fusion of hard and blues rock fired punk ‘n’ roll on again; their rousing and inventive stomps heavily nudging on worldwide awareness which this fourth album will surely only ignite.

Such its bold step forward from its predecessors in imagination and character, though hindsight shows the seeds were already openly audible in past releases, it took ears a first listen to get to grips with the Ronnie Bomb produced encounter. From there though, it was full steam ahead as body and imagination got eagerly involved with the album’s dramatic roar which starts with recent single Trailblazer. From its initial percussive coaxing, spicy grooves spiral out, wrapping eager ears as rhythms add their thick thump. The potent start is soon stirred up further by the recognisable grainy vocal tones of bassist Joey Class and his bass’ similarly familiar throaty sound. Equally, the imaginative twists and turns which emerge as melodic calms and clean vocals collude with fiery expulsions and energetic tenacity only increase the song’s potency. Further encasing ears in a blues lined sonic web cast by guitarists Damien Kage and Johnny Gibbons, the great track is a pungent hint of things to come with its entwining of unpredictable and dynamically varied textures.

art_RingMasterReviewMainstream comes next, a track already soaked in acclaim as a single last year. It opens on similar blues laced grooves to its predecessor, they entangling the rampant swings of drummer Scott Mason before things relax a touch as bass grooves join those of the guitars and Class’ always alluring and anthemic vocal delivery. Rising strands of creative theatre and rousing energy adds to the brewing drama and contagion of the track, the album itself increasingly gripping an already eager appetite as it heads towards an even headier plateau through the following pair of Train Wreck and Out West. The first of the two grips ears straight away through Mason’s rolling beats alone; only increasing its persuasion as flirtatious riffs and grooves joins the rapacious energy fuelling a rockabilly courting slice of bracing rock ‘n’ roll. Like Turbonegro meets The Pirates, the track has the body bouncing and appetite greedy before its successor explores a melodic and emotively enticing landscape. The song is as virulently catchy as anything on the album but takes the band into new creative scenery with its melody evocative and emotively inspired alternative rock balladry with a definite Midnight Oil feel to it.

The album’s title track strolls boldly in next, its feisty punk ‘n’ roll a rebel rousing exploit for body and spirit led by the scything beats of Mason and Class’s attitude soaked tones. The track is simply rock ‘n’ roll to lose control to, a mosh pit inciter and rebellion instigator which just needs to be the next single. Then again that can apply to numerous tracks within Mass Vendetta, as the contagion bulked 13 Days instantly proves. Riffs and hooks dig deep, anthemic vocal and energy infests, and rhythmic predation only excites as the track throws itself around like a creative dervish.

Allowing a breath to be taken, Avalanche saunters in next, sharing surf rock flames across its sultrily ambient skies and gravelly smouldering vocals. Unsurprisingly, the song also has an edge to its heart and creative nature which magnetically contrasts with the almost exotic hues and bracing emotion sharing their tempting.

Back to next single choices and the blazing romp that is Pretty Tricky makes a loud shout. Hard and punk rock meets classic and glam spiced rock ‘n’ roll, the track has feet involved by the end of its first torrent of chords and burst of rhythmic rampancy, the voice on board within the first round of the seriously addictive chorus.

Wedlock Horns brings another irresistible twist to the album, its reserved but eager entrance providing eighties rock/new wave flirtation from which Class and band swing with a southern blues infused revelry which again has restraint but stronger zeal in its lively heart. If without leading the body into bad habits, the song enthrals just like the folk punk lined Red Shield. With Class’ cleans tones as compelling as the lyrical drama and incitement, the track sublimely grips ears and imagination whilst sharing its emotive snarl.

Mass Vendetta closes with the highly enjoyable Apex, another imposing and predacious slab of infectious hard/punk rock brawling giving the album a rousing finale and the listener one last reason to hit the play button again. As in some ways expected, the band has moved on again in sound and invention but this time with their biggest leap in creative diversity and bravery yet. If it did not already, the world is about to know all about The Senton Bombs.

Mass Vendetta is released April 15th via 7Hard @ http://sentonbombs.com/store

http://www.sentonbombs.com/   https://www.facebook.com/thesentonbombs

Pete RingMaster 05/04/2016

Copyright RingMaster: MyFreeCopyright

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