The Cavemen – Born To Hate

TC_RingMasterReview

It did not take the release of recent single Too High To Die/I’d Kill to stir up eager anticipation for the new album from The Cavemen, that instinct bred by the band’s debut album last year, but it certainly added to the energy of the lustful welcome offered to Born To Hate. Native New Zealanders now UK based within the “grimy streets of London”, The Cavemen is one of those proposals you naturally take to or not, but for raw and uncompromising spirit stirring rock ‘n’ roll, the quartet’s punk driven garage rock takes some beating.

That previously mentioned single suggested a new primal ferocity and trashy tenacity had been bred in the band’s sound, a lascivious urgency which again fuels Born To Hate. In many ways the release is a continuation of The Cavemen’s self-titled debut album; more of the same lo-fi devilry but with this fresh impetus of sonic corruption, the band breaches a new plateau in their salaciously dirty rock ‘n’ roll.

Savage is the first assault on ears, its blues scented impurity a swift involvement of ears and appetite as sixties garage rock puts on its punk pants for a stomping trespass driven by the rhythmic slaps of drummer Jake and the moody bassline of Nick. As with most songs from the band to date, involvement with feet and vocal chords is swift and full, its ease of persuasion just a warm up for the joys to come as I’m A Mess swoops in straight after. A teasing spicy hook starts things rolling, its inescapable lure soon backed by tenacious rhythms and the scuzzy enterprise of guitarist Jack, in turn his great unpolished vocal backing to the punk attitude bred delivery of front man Paul creating a rousing union hard to resist.

swamp-cover_RingMasterReviewI Hate Art romps in next, its raucous hook littered confrontation assaulting and exciting like a fusion of The Sonics and Eddie and The Hot Rods and quickly in control of hips and feet whilst stirring up a litter of trouble before Satan Is Her Name stalks ears and imagination with the same trashy deviancy and demonic wantonness as bound in its centre of attention. Fair to say floorboards bounce when the song is around, its infectiousness enslaving and instantly matched by that uncaged by the corrosive sixties pop bawdiness of In Love With You complete with eagerly chopping riffs and fab four inspired howls.

There is a taste of Motorhead to next up Speed Of Death, its harsh ferocity and virulent antagonism as catchy as anything taunting from within Born To Hate while showing a broader diversity within the familiar Cavemen sound. That variety continues across the album as songs like I Hope They Drop The Bomb On Me bullies and flirts with its sonically befouling seventies punk/power pop inspired antagonism and straight after the crazed punk ‘n’ roll of Ain’t My Baby ignites an even greedier reaction and union between listener and release.

The band drops down a gear for the excellent Dead To Me, its meaty croon though still loaded with muscular energy as it strolls rabidly through ears with its psychobilly laced garage rock before Nasty Girl Nasty Boy whips up the passions all over again with its The Pirates meets The Flys romp. Pure rock ‘n’ roll in its most primordial punk breeding, the track is irresistible; a certain pinnacle though closely chased throughout the album by songs like the psychotic UK Subs coloured C.H.A.R.L.I.E. and the ever glorious I’d Kill (To See You Dead). One of the tracks on the last single, it is a belligerent nagging of the senses carrying a great groan of The Saints and The Lurkers to its grouchy contagion.

Born To Hate is completed by the persistent fingering of Why Won’t You; a song as seventies pop glam as it is punk in its sonically ravaged way, and an inescapable infection to bring a thrilling release to a boisterously rousing close. The band’s songs might and will draw comparisons to others at certain times but every flavour is devoured, twisted, than corrupted again until emerging as part of a riot unique to The Cavemen and right here helping create an album which simply leads you into dirty habits.

Born To Hate is available via Dirty Water Records at https://thecavemennz.bandcamp.com/album/born-to-hate  and http://www.dirtywaterrecords.co.uk/shop/#!/The-Cavemen/c/18119001/offset=0&sort=normal

 

https://www.facebook.com/thecavemennz

Pete RingMaster 29/11/2016

Copyright RingMaster: MyFreeCopyright

Spunk Volcano & The Eruptions – Shit Generation

SV_RingMasterReview

As news that the next always highly anticipated Dirt Box Disco album is scheduled for a 2017 release, thoughts eagerly reflect on the fact that we now have a whole year to bask in and romp with the new and just as eagerly awaited Spunk Volcano & The Eruptions full-length. The side but equally essential and compelling project of DBD guitarist/co-songwriter Spunk Volcano, the band has already become one of Britain’s punk favourites through their previous EP and album, but with Shit Generation they have hit a whole new plateau with a sound revealing bigger and broader rock ‘n’ roll shoulders to cast energy inciting punk rock incitements from.

Bursting into view in 2014 with a self-titled EP, Spunk Volcano & The Eruptions quickly showed a more old school punk rock tone and ferocity to the band’s music compared to the anthemic punk ‘n’ roll of his ‘day job’. It was a boisterous and bruising flavouring which later that year helped drive debut album Injection into a waiting horde of greedy hearts and appetites within the UK punk scene. It also began revealing the variation to the band’s sound which did not have quite the room to show its prowess in the EP. Within Shit Generation it is in full flow, relishing the broad landscape of the songwriting. It is still prime punk rock, but bred with an array of anthemic twists and turns loaded with the spice of many flavours.

Alongside lead vocalist Spunk, The Eruptions consists of DBD colleagues in bassist/vocalist Deadbeatz Chris and drummer/vocalist Maff Fazzo, lead guitarist/vocalist Ste Lingard (Flat Back Four), and guitarist/vocalist Tom G Force Batterbee. Together they have created a tour-de-force of rock ‘n’ roll with Shit Generation, it getting off to a rousing and compelling start with Massive Mistake Masterclass. Fair to say, the opener had these ears from its first second, a grouchy bassline and equally gnarly riff instant seduction as jabbing beats move in alongside Spunk’s vocal introduction. In short time, the track is a blaze of aggression and incitement, a Stooges like flame colluding with the predatory nature of the song and its subsequently emerging melodic shimmer of a flirtation.

SHIT GENERATION - COVER_RingMasterReviewARTIt is a storming entrance into the album which is matched by its title track straight after. Mixing strains of garage and hard rock into its seventies punk toned defiance, the song as the first, has feet and voice involved in no time, a quality all tracks present with unwavering success as shown by the outstanding XR3. This is a track all certain car owners are obliged to blast out whilst on the road. It is a web of gripping grooves and emotions arousing vocals and simply another best friend in waiting within the release. Within the first four words of its chorus, vocal participation is a given, a quality which is repeated throughout Shit Generation as shown by DNA Failure and after that Send The Boys Round. The first of the two stomps in on another virulent chorus built on band chants; that same infectiousness infesting verse and the tenacious song’s cantankerous punk ‘n’ roll confrontation whilst the second uncages even thicker aggressive sinews to sculpt a heavy rock spawned challenge.

TV God reveals a glorious nagging on the senses with its predacious riffs and rhythms, the bass alone irresistible animosity. The song relaxes its intimidation a touch as Spunk brings in the narrative, raising it again to greater toxicity for yet another enslaving roar soaked chorus within the album. Immediately installing it as a favourite amongst favourites, it still gets eclipsed in ears and emotions by X Factor and its declaration of something we have all voiced with zeal over the past decade alone. As the diversity in sound has expanded between releases, so has the potency and design of the hooks gripping attention. The band has never been lightweight in that department, but as this song shows, Spunk and co have honed their invention into something as intrusive and lingering as a virus.

Through the feisty pop punk infused romancing of Tattoo and the snarling Motorhead-esque rampancy of Fist Fights, band and album has limbs flinging and throats bursting whilst Satisfaction Guaranteed brings a crabby yet fiercely catchy punk ‘n’ roll badgering into play before Shut Up Or Fuck Off takes control. From its first breath, the track is a brawly proposition; sonically fractious and quickly backed up by quarrelsome tones from the vocals. Of course allegiance is a given by the time the contagiously pugnacious chorus arrives and imagination seized by the wiry classic rock lined sonic enterprise which spreads throughout.

For all the might of each and every song, favourite honours eventfully go to I’m Not Sure. A canvas of infection loaded hooks, sultry grooves, and again surly riffs; the song is manna for the ears. Deadbeatz’s bassline is an irritable enticement which aligns perfectly with the harmonic tone of the vocals and Maff’s ever incisive anthemic beats. Add seduction lined melodies and another flush of pop punk suggested catchiness and you have a near on perfect piece of punk rock.

The album is brought to a mighty close by firstly the equally resourceful and creatively eventful Let’s Go With Your Idea. Baiting the passions with Lemmy like spicing to an UK Subs-esque adventure, the track leaves enjoyment full to bursting and energies exhausted though no time is allowed to regroup as its successor Together Forever As Ghosts, swoops instantly on the senses with another Class-A bass lure aligned to barbarously swung beats. As the song broadens its invitation and character, keen involvement is unsurprisingly inescapable and it is hard to think of many better ways to finish up what is, from start to finish, an embracing of rock ‘n’ roll across the ages with punk passion at its core.

Shit Generation is the album that guarantees a thrilling time and proof that punk/rock ‘n’ roll is best served hard, heavy, and with adventure in its heart. We predict that 2016 will be the year of Spunk Volcano & The Eruptions.

Shit Generation is released March 17th through STP Records @ http://www.stprecords.co.uk/page4.htm

http://www.facebook.com/svate

Spunk Volcano & The Eruptions embarks on the RELEASE THE BEASTS – ALBUM LAUNCH TOUR in March alongside Born To Destruct and Skurvi.

Dates are…

Sat Mar 12th – Abertillery – Dolls House

Fri Mar 18th – Cambridge – Corner House

Sat Mar 19th – Brighton – Prince Albert

Fri Mar 25th – Rotherham – Bridge Inn

Sat Mar 26th – Gateshead – The Black Bull

Sun Apr 2nd – Nottingham – The Maze

Fri Apr 8th – Birmingham – Flapper

Sat Apr 9th – Lancaster – The Yorkshire House

Pete RingMaster 01/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

The Kingcrows – Funland

 

Kingcrows_RingMaster Review

For all the exceptional punk releases and bands igniting the rock scene over recent years, there is no still no substitute yet for the special tingle which only lifts its head with a ‘77 found roar. As we all know, it is a never diminishing inspirational period for punk rock and the never ending torrent of bands spawning their own identity with its antagonistic hues. Some breed a sound which is as close a cousin as you could wish for, amongst them The Kingcrows who are simply a rousing bridge between the late seventies and modern punk ‘n’ roll. Their previous releases have already made that declaration but new album Funland sets it in stone, the UK quartet involving the listener in something energetically aggressive, attitude driven, and most of all undiluted sleaze wrapped fun.

Hailing from Leeds, the quartet of vocalist Phil E Stine, guitarist Lee J., bassist Rocco, and drummer Ratbag have been a bruising and thrilling live presence across the north of England moving outwards. Emerging in 2005, The Kingcrows has torn up stages with their filthy rock ‘n’ roll ever since, playing alongside the likes of Spear Of Destiny, UK Subs, The Rezillos, TV Smith, Anti Nowhere League, Tokyo Dragons, Vice Squad, The Lurkers, 999, The Vibrators, Red Alert, The Outcasts, Peter & The Test Tube Babies and many more legendary and emerging bands over the years. They have also released a clutch of attention grabbing EPs, which made an even bigger impression when collected together and released in the shape of Corvus Maximus through STP Records in 2013. The album awoke a broader focus and awareness of the band’s unfussy and virulent sound, which Funland should now push into new spotlights and recognition.

The album erupts with Here We Go, the first riot initially blooming from a fairground organ and its warm invitation. Soon rhythms rumble with attitude and riffs stir up the air as the opener’s eager rock ‘n’ roll seizes ears and attention. The song is quickly into its virulent and persistent stride, cruising with jabbing beats spearing grouchy guitar and bass tenacity. The track is like a mix of Spunk Volcano and The Eruptions and The Adicts, similarity and nostalgia colluding with fresh attitude and revelry.

cover_RingMaster Review     A potent start to the album is further ignited by the following She’s My Rock ‘N’ Roll and its thrilling tempting. An alluring rhythmic enticing sparks a rockabilly bred grooving flirted with by spicy harmonica, they in turn kick-starting a heavy anthemic canter of contagious rhythms and incendiary sonic enterprise led by the ever magnetic tones of Stine. The track is glorious, punk rock at its tenacious and riotous best, and again as old school as it is imposingly new. The album’s first major pinnacle is backed, if not quite matched, by On The Road Again, a swiftly engaging and infectious stomp which has ears, feet, and appetite locked in within a handful of chords and resourceful seconds. There are no big surprises within song and arguably Funland in general, yet they only provide a nonstop and fully satisfying stomp to get eagerly involved in.

A southern whisper lines the lure and rampage of Rock ‘N’ Roll Rebel Songs, the track aflame with sultry guitar endeavour, inviting group vocals, and the breath and atmosphere of ’77. Lyrically it also sparks memories of times past, it all colluding in one easy going and gripping persuasion, though outshone by Forgotten Son straight after. Its opening riff comes with dark intent and imagination igniting attitude, its bait continuing to enthral as the song grows and breeds new sonic colour and lyrical drama around it. There is a touch of Angelic Upstarts to the encounter though that is but one flavour within the emotive shadows and provocative narrative on offer.

The album’s title track kicks up a storm of attitude and insatiable rock ‘n’ roll next, the track forcibly prowling with essences of bands like Suburban Studs and Crisis in its armoury before making way for the irresistible presence of Kick ‘Em Down. The album is truly at its loftiest height at this point, the tasty provocateur, and its predecessor, unleashing welcomingly bullying and virulently infectious rock ‘n’ roll with the second also unveiling another tonic of harmonica belligerence, before the brilliant Apocalypso steals the whole show. Opening on a delicious throaty bass riff with tendrils of guitar adding their spice before the drums create a brooding and catchy confrontation, the track evolves into one seriously magnetic shuffle. The beats of Ratbag continue to incite song and ears with their anthemic swings, whilst around them voice, riffs, and contagion ebb and flow like virulent waves soaked in inescapable temptation.

Never Gonna Fall continues the album’s elevated and invigorating energy and enjoyment with ease, its thumping presence and gait luring many strains of rock into one bulging incitement whilst Sick Of Love Songs creates its own individual fusion of old school punk and new rock ‘n’ roll. The bass of Rocco breeds a bestial snarl to its tone whilst Lee J. once again leaves sonic vapours from his searing and ever to the point exploits. Led by the beckoning delivery of Stine, the track is another hitting the sweet spot whilst proving to be another proposition you only wish its two or so minutes was stretches longer.

Funland ends with Beer and Whiskey, arguably the weakest song on the album. In context though, with it holding ears and pleasure firmly in its rip-roaring escapade, it simply reinforces the might of the tracks which over shadow it. It is indeed a fine end to an excellent slab of rock ‘n’ roll, Funland rigorously feeding appetites for seventies punk and today’s punk ‘n’ roll from start to finish.

2015 has already been blessed with some mighty punk offerings which The Kingcrows now rival if not surpass with their new proposal, but few of those others will become as big a favourite as Funland is destined to be we suggest.

Funland will be released through STP Records at Rebellion on August 6th and then available @ http://www.stprecords.co.uk/page4.htm

http://www.kingcrows.com/     https://www.facebook.com/kingcrows

RingMaster 31/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Brassick – Self Titled

Brassick band_RingMaster Review

Building on a reputation earned from their first release and a live presence which has venues aggressively rocking, UK punks Brassick have released their self-titled debut album and fair to say whatever acclaim already garnered should be outshone by all offered this anthemic snarl. Raw and uncompromising yet loaded with a hardcore roar and fierce inescapable hooks to drool over, the release is poised to put the Birmingham quartet of the broadest punk maps.

Formed in 2012, Brassick quickly sparked local attention and support with their fusion of punk, ska, and metal essences. That presence soon gripped wider recognition through the band’s unrelenting live presence which has seen them play with the likes of GBH, Cock Sparrer, UK Subs, and Subhumans amongst many, and the release of the Broke And Restless EP in 2013. Last year saw the foursome continue to ignite the UK live scene, venues and festivals coming under their fiery growl and culminating in a highly successful spot at Rebellion alongside bands such as NOFX, Street Dogs, Stiff Little Fingers, Killing Joke, and The Duel. Already charging through Britain and Europe again this year with festivals and another Rebellion appearance on the schedule, Brassick have made 2015 their biggest year yet with the release of their rousing album.

Produced by bassist Jake Cunningham and guitarist Peter Macbeth, the album opens with Hollow Cries and sirens infusing cold portentous air. Punchy rhythms splinter the scenery next, all embroiled in a sonic mist before the song strides clear with anthemic riffs and rhythms sparked further by the instantly gripping vocals of Nicola Hardy. There is a great essence of attitude and snarl to her tones to match and incite the sounds around her, a pulsating bassline and inflammatory guitar enterprise colluding with the healthy swipes of drummer Jay Jay Khaos open evidence in two riveting and highly persuasive opening minutes.

Brassick cover_RingMaster Review     The punchy exploits of Same Sound bound in next, riffs and beats a feisty lure reinforced by the vocal defiance of Hardy. The metallic edge and texture of the track reminds of US punk metallers Mongrel, whilst the scything expulsions breaking up the song midway are the trigger to adventurous twists before the assault returns to its initial confrontation and sets ears up perfectly for the outstanding tempting of Media Faces. Like early The Duel with a Ruts like reggae predation, the track prowls and roars, forcibly stirring up appetite and imagination through the magnetic guitar craft of Macbeth and the irritable infection of sound and vocals.

Fall Because They’re Blind backs up the potent start to the album though it does not have that extra spark to match its predecessors. Nevertheless with Cunningham’s alluring bass enterprise and an old school punk leaning around Hardy’s ever inciting delivery, the track hits the spot before Drown takes over to stalk the senses. Bass and riffs are a deviously intimidating nudge whilst the beats of Khaos refuse to hold back on their provocation but it is the inventive atmospheric twists and varied vocal persuasion that gives the track an extra impressing potency.

The lyrical and emotional charge of the band pulls no punches on political and social commentary, and breeds a strong and impacting landscape in Sirens where authority wails and anarchic ambience wash over ears as bass and guitar spin their evocative and dramatic web around Hardy’s spoken and accusing narrative. It is a powerful proposal which stands alone or works as the turbulent lead in to the brawling antagonism of Free For All and its UK Subs/Angelic Upstarts like old school growl. The song in turn allows no breath to be taken as it seeds the beginnings of the outstanding Cynical Ties and another stock of gripping irritancy, sharp hooks, and anthemic defiance. There is a great street punk dirtiness to the album and especially accentuates the power and addictiveness of this track and in turn its successor Let Us Go. There is a touch of The Objex to the heart and fire of the second of the two but equally a seventies breeding and modern fury come together to ensure another stirring up on the body and passions.

The grouchy tone and belligerence of Leeches nags and grumbles next, its angry belly bound in more of the unpredictable and striking imagination shaping songwriting and sound which to be honest the band does not use quite enough across the album. When they do it turns great songs into venomous enslavements as here, richly emphasizing the potential coursing through the whole of the album.

The fun and enjoyment comes to a close with the mighty Vagabond Smile. Instantly its rhythmic shuffle traps ears, the song is in control, tightening its grip and lure as vocals across the band come together in a middle finger raised defiance complete with virulent grooves, sharp hooks, and incendiary attitude. It is a riotous end to an invigorating and refreshing album. Brassick use their inspirations and the seeds of punk rock to create their own, not majorly unique, but seriously enjoyable rock ‘n’ roll. Already anticipation of bigger and bolder things from the band is ripe and right now thick pleasure full thanks to their first album.

Brassick is available now @ http://www.brassick.bigcartel.com/ and through STP Records @ http://www.stprecords.co.uk/page4.htm with CD version out September 18th.

https://www.facebook.com/brassickmusic

RingMaster 09/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

The Dead Betas – Siren EP

The Dead Betas Band

I am sure we all get excited and very often from new bands and introductions to their creative persuasions, but truly, really excited? Maybe much less so but that deep rooted tingle has certainly been inspired by the Siren EP from UK synth punks The Dead Betas. Our first encounter with the North Devon quintet but their third EP, Siren is a rioting, confrontational slab of creative and energetic agitation. Consisting of five in your face provocations of sonic anarchy as well as a trio of remixes, the release is middle finger raised punk rock cast in electro and alternative rock devilment, and quite compelling.

Emerging in 2010, The Dead Betas began whipping up attention with first EP Blast​-​Arcadecore at the end of that first year. The Dead End Habit EP three years later sparked a fresh and more intensive wave of attention, though some of us missed that invitation also. Having taken in stage sharing with the likes of Mindless Self Indulgence, UK Subs, Lethal Bizzle, Boomtown Rats, InMe and many more over the years and fresh from playing Goff Fest recently, the band explodes into view again with Siren, a cracker of an incitement uncaged just before the band go on a UK tour supporting The Birthday Massacre.

With its songs looking at “life, or the lack of, in small towns across the world”, Siren erupts into life with its title track, and instantly has body and emotions breeding a lusty appetite for its punk rock ruggedness. Riffs and rhythms gang up on the senses in an intimidating but anthemic way, keys hanging around in the background and almost smiling at the trespass under way before throwing off their own cloak and dancing vivaciously across the stomping landscape. There is a great old school punk essence to the track but equally a modern ferocity and imagination, like The Vibrators and Autopsy Boys meets a punk version of Young Knives.

Siren Artwork   It is an exhilarating start soon surpassed by the mischievous sounds and character of A Night On The Town. Synths and the tangy twangs of guitar strings open up the proposal, rhythms in close quarter with their own jabbing tempting. The aggressive vocal delivery only adds to the potency and fierceness of the electro rocker, as does an open inspiration of MSI, and as the keys continue to swirl venomously around the psyche, the punkish nature of the track reveals an aggravated intent to incite the deepest pleasure within the volatile adventure of the excellent song.

15. comes next and immediately has a flurry of catchy hooks and electro tempting teasing and firing up body and thoughts. Feet are tapping with rigour almost straight away whilst hips flirt with the enterprise of the synths as vocals roar and accuse simultaneously. Again there is an essence of Young Knives to the encounter, more openly through the vocals, whilst thoughts of Hadouken and Swound! add to the colourful and irritable energy of another exhaustingly thrilling offering. Adrenaline, as through all songs, surges within sound and delivery whilst contagiousness, well that’s a given.

From a broody bassline, Lotion steps forward for the rawest punk offering on the release, grooves and hooks as belligerent as the caustic vocals. Electronic melodies simmer away within the battleground of the song though for once they remain there adding alluring spices. Lyrically the song pulls no punches either and certainly this track has brought many lamenting on the juvenile immaturity of the writing. Here you can understand their thoughts though for us it feels, rightly or wrongly, like it is a character pouring out the coarse narrative, and if the latter it has done punk bands and indeed MSI no harm over the years anyway.

The release’s original tracks end with the brilliant tempest of Ego Song, the finest slab of electro punk you will probably hear this year. Like Rabbit Junk meets The Adicts with a splash of once more Swound!, the song twists and rages with a spiky attitude, sinister synth bred melodies, and addiction forging virulence. Punk does not get any more dynamic and bracing.

With remixes from Martron, Bear La Soul, and Alpha Project of the title track completing the release, all enjoyable interpretations though always you hanker for the original, Siren leaves energies breathless and emotions thrilled. If like us the EP is your wake-up call to The Dead Betas then a treat is guaranteed and for those in the know, the band just proves that no matter their claim, punk is not dead, just evolving again.

The Siren EP is available now @ http://www.thedeadbetas.bigcartel.com/

Tour dates for The Birthday Massacre with The Dead Betas and The Red Paintings.

April 21st – Classic Grand, Glasgow

April 22nd – Academy, Manchester

April 24th – Institute, Birmingham

April 25th – The Garage, London

April 26th – The Fleece, Bristol

https://www.facebook.com/thedeadbetas   https://twitter.com/tdbetas

RingMaster 15/04/2015

Copyright RingMaster: MyFreeCopyright

https://www.youtube.com/watch?v=YRDn-H7MHeQ

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Oh Captive – Two Mirrors

Oh Captive Online Promo shot

It is hard to supress a roar of frustration and disappointment when after enjoying a new and thrilling encounter from a band with all the tools and sounds to be a major presence in British alternative rock, they announce ‘on the eve’ of its unveiling they are to be no more. That is what has happened with Bristol quartet Oh Captive. Just a couple or so weeks before new EP Two Mirrors is released to light up ears and appetites, the band announced it had called it a day, though it might emerge to be more an internal evolution resulting in a name change and new direction rather than a full departure. Time will tell but whatever the outcome, they leave behind two impressive releases and a collection of vibrant and inventive songs, their latest the most captivating yet.

Formed in 2012, Oh Captive swiftly lit their local music scene and subsequently set about the whole UK scene with their energetic live presence, playing with the likes of Sonic Boom Six, UK Subs, Straight Lines, Max Raptor, Sharks, Blitz Kids, I Divide, Fighting With Wire, and Scholars along the way. Their sound has drawn comparisons to the likes of Biffy Clyro and Twin Atlantic, open and potent spices in the band’s debut EP Advance Creature, which was released in the March of 2013. It was a stirring and dynamic offering rippling with a potential which has been realised with sizeable success within Two Mirrors. The past year has seen Oh Captive supporting the likes of Marmozets and Arcane Roots, and make highly successful appearances at festivals such as Leopalooza and New Age, whilst media attention has grown as potently too. Now it may be over, but if so the band has gone out with a bang and ensured attention for their next exploits will be eagerly attentive.

Oh Captive - Cover Artwork   Two Mirrors opens with Recover, an instant ear grabbing proposition as vocalist Tim Kelly and a tangy rub of guitar combine a minimalistic but highly tempting bait to bring the song into view. It is not long before the heavy throated bassline of Tom Hitchins and the punchy beats of drummer Chris Hill leap in, accompanied by sonic flames cast by the guitars of Curtis King and Kelly. Immediately there is a drama to song and sound, light and dark textures colluding in an imposing but inviting web. Settling down a little for the continuation of the narrative from Kelly, the song increases its lure as it builds to energetic crescendos and an anthemic chorus. There are no major surprises in the melody soaked track but there is a bold invention to match its gait, which leaves expectations and predictability absent protagonists in the outstanding encounter.

The impressive start is backed with similar strength by Motion / No Motion. The second song is a rhythmically raucous stomp from its first breath with Hitchins offering a magnetic lure of a bassline. It is a dark coaxing surrounded by the concussive stick ability of Hill, a thick drawing of attention never wavering even as they are immersed in the sonic and melodic blaze of the guitars and the ever impressing tones of Kelly. There is something missing compared to its predecessor though, a small element just stopping it drawing the lustier satisfaction bred by Recover, but nevertheless the song has feet and imagination leaping in tandem with its resourceful enterprise.

Live Fast Don’t Last explores more of a croon for its creative shape and emotive intensity next. It has a slower flow and a more immersive canvas than the last songs with melodic tenacity and evocative expression from the vocals providing a deeper reflective colour and emotion to the encounter. It smoulders and tempts pleasingly as it shows another side and depth to the band’s songwriting and its creative realisation, though again cannot quite emulate the success of the first track and indeed its successor.

The EP’s title track brings it all to a lively and impressive close. Two Mirrors bounds along with another invitingly dark bassline aligned to eagerly swung beats, whilst their union is drenched in an anthemic energy and charm which the band seems to conjure at ease. Veined by richly enticing and tenacious guitar craft, the song makes a pungent end to a fine and enthralling release. If this is to be the end of Oh Captive, song and EP has seen them go out on a high and will leave fans saddened and newcomers kicking themselves for not discovering their promise and quality before.

The Two Mirrors EP is available from March 23rd through all digital outlets.

https://www.facebook.com/ohcaptive

RingMaster 23/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

dragSTER – Dead Punk

Photo by Uglypunk —

Photo by Uglypunk

 

Not sure about you but the quality of British punk rock right now is inspiring tingles not that far removed from those felt when its first generation of sounds and bands were in their heyday. This is all down to bands like Coventry quintet dragSTER and ridiculously exhilarating releases like Dead Punk. Rampaging with thirteen riots of hostile punk ‘n’ roll, the band’s third album is a tempest of feet inflaming, passions rousing ferocity with a strength of invention and virulence to match. There has been some extraordinary rock ‘n’ roll storms in recent times but few can be said to have come close to the fire and flare of Dead Punk.

Formed in 2006, the Coventry hailing dragSTER built, on a love of 50’s iconography, sci-fi and B movie horror, and ‘dirty, fast and energetic music’, their own punk turbulence which was soon stirring up a nest of attention with its voracious energy and aggressively forceful sounds as pungently evidenced on the Rat Scabies produced Trailer Trash EP. Extremely well and greedily received by fans and media alike, the band reinforced their emergence with first album Step Into The Deathray in 2007. It was swiftly devoured upon release whilst subsequent shows with the likes of The Damned, The Buzzcocks, Sham 69, Eighties Matchbox and Electric Frankenstein only enhanced and increased their reputation before second album Here Come The Meat Robots in 2010 had its impressive say. Released as Dead Punk on STP Records, the release marked out the band as one of the most exciting prospects in UK and European rock ‘n’ roll. Featuring ex and current members of bands like UK Subs, Texas Terri Bomb, Criminal Class, and Pigface, dragSTER has pushed on again in both songwriting and sound to now uncage one of the modern punk classics.

A slither of an intro leads ears into the opening fury of Gatecrasher Hostage as Dead Punk begins consuming ears. The song is an instant roar, expelling abrasing riffs and thumping rhythms around the fiery confrontational tones of vocalist Fi Dragster. Ears and appetite are immediately seduced by the onslaught, especially as potent hooks and spicy grooves add their bait to the straight forward but already juicy sound. The machine gun bursts of beats from drummer Ryan Murphy only inflame the intensity and addictiveness of the encounter, leading the listener into a predacious web of dark temptation from guitarists Diesel and Ben Kelly, the latter following up with a short toxic solo of magnetic enterprise. It is a delicious bellow of a song and entrance by the album, a triumph straight away surpassed by its title track.

Dead Punk is, as all tracks to be honest, an addiction forging anthem of belligerence and cantankerous endeavour bound in grooves and hooks to lose inhibitions over. With nostrils flared and dragdradramuscles giving ears a thorough going over, the track compounds its might with a chorus even the deaf and deceased would be drawn to engage in. There is no escaping the slavery of the song, a potency grabbed by Drink You Pretty next and twisted into a new furnace of tangy grooves and chorus placed vocal roars. The song growls and rages with a raw infectiousness and diversely flavoured enterprise, squalling like a mix of X-Ray Spex and Midnight Mob with a healthy dose of  Distillers added. Also repeating and increasing its prowess and bait is the bass of Tom AK, the throaty and at times grizzled tones conjured bringing a perpetual primal lure to this and surrounding tracks, bait again is impossible to resist.

Through the broader dirt clad hard rock spicing of Cattle Prod, band and album keep the variety and thick attraction of the album blazing before Evil Craze provides another massive thrill with its balls to the wall punk rock savagery quipped with another seriously habitual roar of a chorus. The protagonist bursts from the speakers with an almost physical and certainly visceral presence, Fi raging over it like a Queen of attitude and defiance whilst vocally and musically the band beside her unleashes their individual and creative furies to equal intensity and glory.

Such its magnificence, there is an instant fear or feeling that maybe the next track has a mountain to climb to impress but that is soon dismissed by the rampant fifties seeded rock ‘n’ roll of The Dead Are Out In Droves. Garage and old school punk meets horror punk with metal bred venom for company; the track casts its own unique anthem of quarrelsome and addict making sounds, passing on the same challenge to compete to Terminal Loser. Opening with a Generation X like lure of guitar courted by a demonic bass temptation, the song is soon rumbling and grumbled with every note and swiping beat. That antagonistic intent is matched by the fearsome and ever captivating Fi as she opens up the pop tainted heart of the song. A Spinnerette whisper adds to the rigorously seduction at work whilst the guitars scowl and tempt with a canvas of vicious and riveting endeavour which ensures that the track easily matches the potency of the previous storms.

The furiously caustic sounds of Just Wanna Fuck provides one minute of unbridled punk lust next before Liar Like That stamps its raucous authority on ears and emotions with a volatile union of vocals for the chorus the final key in the corrosive passions chaining encounter. Both leaves ears exhausted and spark a serious greed for more, a want and need fed copiously by firstly the Misfits stroked raging of Death By A Thousand Cuts and straight after by the stalking temperament of Indonesian Buzz Cut. The first of the two seizes ears with a raw wind of riffs and bass grievances splintered by the crippling swings of Murphy whilst the second, from a prowling gait of an entrance is soon a viper’s nest of incendiary rhythms, stabbing riffs, and vocal incitement. The pair also come with their own breed of contagion posing as choruses and a lack of thought of using their toxic hooks and inflammatory grooves sparingly.

The refreshing melodic and mellower tones of Fight Fire With Gasoline infuse more new spicery to the album, though that is not to suggest it lacks the same unforgiving attitude in sound and voice as any other proposition with Dead Punk. Thoughts of Penetration come to the fore as the fascinating encounter croons and blazes within its inventive presence before leaving final track Skull Ring to bring it all to a highly satisfying end. The closer is a dark protagonist openly sculpted from the gene pool of seventies punk, The Adverts a suggested spicing, and a bracing and ravenous bruising of unfriendly and irresistible rock ‘n’ roll impressively completing an outstanding provocateur of a release.

Dead Punk is not only one of the finest if not best punk release of recent times but stands on the front line of any emotionally and energetically charged slab of rock ‘n’ roll heard over the past twelve months or so.

Dead Punk is available via STP Records now on CD @ http://www.stprecords.co.uk/page4.htmn and digitally @

www.dragsteruk.com

RingMaster 16/01/2015

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