Lucy And The Rats – Self Titled

There are some things which are simply bred for temptation, propositions instinctively natured to lure like sirens. Among their numbers is the debut album from Lucy And The Rats. Deceptively unassuming but one virulent contagion, the release is an irresistible slice of pop punk with a snarl in its heart and the most disarming melodies and harmonies on its breath like a winning blend of The Shirelles, Honey Bane, and Spinnerette.

Lucy And The Rats is the new band from now UK based singer/guitarist Lucy Spazzy, formerly one third of Australian punksters The Spazzys. Once settled in London in 2015, she set about assembling a new band being “bored of playing at home by herself”, subsequently linking up with guitarist Joe To Lose (Los Perros, Johnny Throttle), bassist Mike Cannibal (Animal Cannibal), and drummer Manu (Thee Tumbitas). A pair of ear grabbing singles followed as the band made a stir on the live scene in the Capitol, in turn nationally and all over the world sharing stages with the likes of Buzzcocks and Paul Collins along the way. Produced by Johnny Casino and Jim Diamond (White Stripes, Dirtbombs), their first album is an inescapable tap on the shoulder of the broadest attention and recognition, a sweet sounding proposition so so easy to run off with.

Opening up with Pills, the album instantly had ears attentive and the body rocking. Soon the song strolls along with a summery glaze over eager catchiness as hooks collude with flirtatious riffs and rhythms. There is a whiff of The Shirts to the track as its heart embraces the instincts of pop and rock ‘n’ roll around the magnetic presence and tone of Spazzy.

The following Make You Mine wears a similar hue of sound but quickly reveals its own personality and The Waitresses meets The Crystals like temptation. Again feet were keenly shuffling and hips swinging as melodies seduced hand in hand with golden harmonies but all the while a punk edge stirs accentuated by the wiry enterprise of the guitars, they repeating that taunting prowess in next up Lose My Mind. Imposingly infectious, the song suggested involvement within seconds, manipulating it a few breaths later much to the lusty pleasure returned.

The likes of the surf kissed seduction that is So Simple, a mellow kiss on ears with the melodic smooch of The Dollyrots and rapacious touch of Valentiine, and the pop bouncing Melody just devour attention while the viral shadows of the bass grumbling Night simply danced with the imagination as the song took hold of the waist. It is truly hard to pick a favourite song within the album, all three among the options but the third makes an especially compelling statement.

Through Fall our passions pretty much echo their ardour as it swings with flirtatious grace and mischief, next up Hold On Me emphasising similar manipulation with rolling rhythms and deceptively controlled yet rousing energy with Spazzy tempting like a pop punk conjuring Pauline Murray. All three just leave a greed for much more, the latter laying on the temptation with some great hooks out of the Only Ones songbook, before Girl saunters along without a care in the world sharing the kind of creative snare addiction was invented for.

The album closes with Can’t Surf; a fifties inspired pop ’n’ roll romp which may have lost the heart for hitting the waves but had us riding its enterprising currents with zeal. The track is a thrilling end to one glorious encounter. Lately we have found pop punk to be a touch vacant on real uniqueness and though Lucy And The Rats have a sound which is much more flavoursome than that tagging, their album is the  fresh and inspiring breath within both pop and punk, indeed rock ’n’ roll we have been yearning for.

The Lucy And The Rats debut album is out May 25th digitally with Dirty Water Records and on vinyl through Surfin’ Ki Records, Monster Zero Records, and Stardumb Records.

https://lucyandtherats.bandcamp.com/  https://www.facebook.com/Lucy-and-the-Rats-817424101645809/

Pete RingMaster 23/05/2018

Copyright RingMaster: MyFreeCopyright

Doll Skin – Manic Pixie Dream Girl

As they grab a breath after successfully being part of the 2017 Vans Warped Tour, Arizona pop punk rockers Doll Skin continue to grab attention with their recently released sophomore album, Manic Pixie Dream Girl. The successor to their acclaimed 2016 debut, In Your Face (Again), the new album uncages more of the Phoenix hailing quartet’s aggressive punk fuelled infection and hard rock tenacity to continue the ear grabbing potency of its predecessor.

Meeting at the Phoenix School of Rock in 2013, Doll Skin have only flourished from the attention of Megadeth bassist David Ellefson who subsequently produced In Your Face (Again), and its acclaim garnering success which escalated the initial well received release of the outfits first EP, In Your Face on Ellefson’s own imprint Emp Label Group. Last year not only saw Doll Skin’s first album greedily received but the band hit the road and shows alongside the likes of Otep, Lacey Sturm, Fire From The Gods, Hellyeah, Dead Kennedys, Escape The Fate, September Mourning, Through Fire, and numerous more. It was a busy time continuing through this year and sure to intensify with the release of Manic Pixie Dream Girl.

Produced and Mixed by Evan Rodaniche from Cage9, the album opens up with Shut Up (You Miss Me) and instantly has ears bound in a hip stealing hook; that potent lure continuing through Nicole Rich’s bass as things calm and the alluring tones of vocalist Sydney Dolezal jump in. Soon the busy and energetic heart of the track rises again, jabbing beats and catchy vocal delivery lining its swinging infection loaded melodic punk gait. There are no major surprises within the song but everything about it has body and spirit involved before Daughter up the ante with its hard rock inspired declaration. Defiant in soul and adventurous in character, the song flows from calm reflection to anthemic ferocity with sublime ease; the guitar of Alex Snowden suggestive and inventive as Meghan Herring’s rhythms pure rock ‘n’ roll behind more irresistible vocal boisterousness, singular and across the band.

Its impressive incitement is matched by that of Road Killa, a track which straight away is prowling the senses with a predatory edge. With Dolezal equally as imposing yet richly endearing in tone and presence, things only escalate in quality and rapacity as spiky hooks and wiry melodies collude with emotionally aroused vocals and the rhythmic tenacity of Herring and Rich. A rock/punk trespass, the track hits the sweet spot before Boy Band exposes its instinctive rock ‘n roll heart with relish and energy. Familiarity and fresh traits unite within the contagion of the track, its recognisable presence bolstered by its ear gripping resourcefulness as the album continues to richly tempt.

The sultry hues of Rubi entice and please next, its rhythmic grumble adding extra intrigue to a warm often fiery nature while Sunflower has an equally agitated underbelly to its more irritable and lively stomp. Though neither track quite matches up to those before them, each confirms that Doll Skin know how to sculpt the most flavoursome of hooks and twists in their songs as well as brew some seriously infectious strains within their music.

Both songs have a hint of Australian band Valentiine to them as too the beguiling Sweet Pea which follows though its melodic shimmer and elegant smoulder quickly shows originality all of its own as it lays a best track hand on attention. It is a treat of an encounter swiftly rivalled by the punk moulded stroll of Baby’s Breath but a song embracing an array of flavours within its harmonic temptation and volatile undercurrent. Again imagination and body are taken on an eventful and highly enjoyable ride but then turned on even more by the outstanding roar of Persephone. Carrying an eighties pop punk feel reminding of bands like The Photos and a modern rock ‘n’ roll ferocity akin to the likes of Courtesans, the song stalks and seduces with equal invention and boldness.

From one major highlight to another as the pure punk grouchiness of Puncha Nazi consumes ears and attention; the track a spirit stirring, rebel rousing surge of sound and intensity which actually misses out on delivering the donkey punch killer blow it hints at but still makes for another pinnacle within Manic Pixie Dream Girl before the emotionally haunted and melodically bewitching Uninvited brings things to a magnetic close. Adding just one more new turn to the imagination of the album’s body and Doll Skin songwriting as it boils to an inferno of a climax, the song provides a momentous finale to another seriously compelling outing with the band.

Over the first couple of listens, it was hard to say that Manic Pixie Dream Girl majorly built upon that first triumphant album but it was a deception as from there the release only blossoms with time to reveal a new depth to the Doll Skin sound and pretty much match the former’s impressive presence and by giving that time another 2017 highlight is the reward.

Manic Pixie Dream Girl is out now via EMP Label Group through most online stores.

http://www.facebook.com/dollskinband    http://www.dollskinband.com

Pete RingMaster 28/06/2017

Copyright RingMaster: MyFreeCopyright

The Dollyrots – Whiplash Splash

There are inescapable feel-good encounters and there are others which lead you into lustfully energetic engagements but there are very few which has the body and spirit engaged in a full on party of endless physical endeavour equipped with mischievous behaviour.  Whiplash Splash is one of the few, a feverish riot of sound and inhibition squashing incitement virtually tattooing a broad smile on face and mood.

Uncaged by Californian duo The Dollyrots, the band’s sixth studio album is a new wave of their bubblegum flavoured pop infested punk ‘n’ roll. A year ago, the pair invaded a new plateau in their sound with the Mama’s Gonna Knock You Out EP, itself continuing the new bloom of growth started by previous album Barefoot and Pregnant two years before that. Now the ‘invader’ has become the conqueror, Whiplash Splash owning the new level of creative maturity and instinctive contagion in the pair’s sound leaving the body exhausted and emotions flying in its wake.

If last year was a truly busy time for the couple of vocalist/bassist Kelly Ogden and vocalist/guitarist Luis Cabezas, with the release of the EP and a sold out UK tour with Bowling For Soup backing up the birth of their child, 2017 has the potential of being even hungrier on their time and virulent revelry with Whiplash Splash leading the way. As Mama’s Gonna Knock You Out, the crowd funded album was produced by John Fields with the duo and immediately has ears and attention enslaved with a proposition maybe best described as The Donnas and The Crystals meets Australian band Valentiine infused with Bowling For Soup mischief, a hint which covers all the album though really it is all best pinned down as simply The Dollyrots.

With the album’s title, imagery, and writing spun from Ogden’s passion for and longing to be a mermaid, as well as working as a metaphor for the band’s spilt time living in downtown Los Angeles and coastal Florida, Whiplash Splash just rips itself from the speakers with opener I Do. A squeal and coaxing beats hit ears before a swaggering stroll of Ramones like riffs and further tenacious rhythmic exploit punk instincts led by the catchy vocal lures of Ogden and the equally enticing throb of her bass. Feet and hips are just as quickly involved as too voice and appetite, the song simply punk pop devilry refusing to be ignored.

The following Babbling Idiot is just as virulent, Ogden’s harmonic romancing warming the angular surge of guitar and the sparking of solitary rhythmic seduction before it all boils up into another seriously addictive and physically persuasive chorus. The song has a slim seventies/eighties scent to it, occasionally bringing thoughts of bands like The Photos and The Waitresses, but roars with a punk ‘n’ roll zeal borne of today’s agitation and energy.

Next up is Mermaid, the song pure seduction from its harmonic caresses and flirtatious hooks to a sonic blaze fuelled by just as forceful bait. It is a creative collusion built for the listener’s slavish captivation, success captured within a handful of breaths with similar rewards sought and found by Just Because I’m Blonde straight after. With Cabezas’ guitar jangle the first chain of temptation, Ogden’s probing bassline the second, the track quickly prowls the senses with a lively confident swagger and a throbbing almost salacious backbone. Again hooks escape from each creative twist with B52s inspired keys just adding to the imagination igniting drama.

From its first breath, the album is a puppeteer to body and spirit, continuing its manipulation in fine style with Squeeze Me. Its initial rockabilly hued bass groove is alone enough to tempt submission, an almost taunting tempting soon fondled by sonic invention and subsequently joined by Ogden’s vocal saunter.  As words and song make an increasingly pop punk proposal no red blooded rocker can refuse, kinetic dynamics ensure class ‘A’ catchiness before This Addiction serenades ears with its own boisterously infectious swing and harmonic invention; its croon sliding melodic caresses across the senses like a sultry lover inflamed with lust borne energy.

Dance Like a Maniac more than lives up to its title as a persuasion, its bold and bruising punk rock a bully for feet and body swerves driving song and listener into zealous union while Saturday Morning with a great opening bass groan offers its own headstrong physical temptation. Riffs and rhythms alone are sparks for instinctive compliance and only assisted by the blend of hard and pop rock surging through the song’s imaginative tapestry of sound and ideation.

Both tracks leave lungs gasping for breath and pleasure over flowing, yet still get slightly eclipsed by the hip swinging incitement that is City of Angels; imagine The Runaways and Bikini Kill mixing with The Go-Gos and you have a sense of its mighty romp before things mellow out with the graceful Jump Start This Heart, a song lined with an electro pop shimmer and bound in melancholic beauty as a sonic fire burns in its heart.

The rawer pop ‘n’ roll of Pack of Smokes steps forward next, bouncing along as a caustic air hugs its fiercely catchy enterprise and energy, and though it does not quite match those before it, the song leaves satisfaction pumped before the outstanding Other Trucker with its reggae hinted, attitude soaked summer canter again has pleasure brimming over. As throughout, Cabezas’ vocal backing and unity with Ogden’s is superb, often understated but always a complimentary hue to her almost siren-esque presence, especially on this treat.

The album closes with Walking on Sunshine, The Dollyrots giving the Katrina and the Waves classic their distinctive craft and energy. To be honest, it is a song which has never lit our fires but that does not stop the twosome causing bodies to bounce in the office as the album ends in fine style.

Ogden and Cabezas have hit another high with Whiplash Splash, their loftiest yet in all aspects and fair to say, when put together by The Dollyrots pop and punk has never been more tempting.

Whiplash Splash is out now through Arrested Youth Records and is available digitally and physically @ https://thedollyrots.bandcamp.com/

Upcoming Live Dates

Mar 28 The Rebel Lounge Phoenix, AZ

Mar 29 The Hideout San Diego, CA

Mar 31 The Hi Hat Los Angeles, CA

Apr 01 The Slidebar Rock-n-Roll Kitchen Fullerton, CA

May 11 The Saint Asbury Park, NJ

May 12 Firehouse 13 Providence, RI

May 15 Cafe Nine New Haven, CT

May 16 Ottobar Baltimore, MD

May 17 Kung Fu Necktie Philadelphia, PA

May 19 Sunnyvale – Brooklyn Brooklyn, NY

http://www.dollyrots.com/    https://www.facebook.com/thedollyrots/    https://twitter.com/thedollyrots

Pete RingMaster 25/03/2017

Copyright RingMaster: MyFreeCopyright

The Kut – Rock Paper Scissors

The Kut Promo

More captivating with every listen, Rock Paper Scissors is one of those encounters which make a bigger impact in four songs than many bands can in a handful of song loaded releases. The new EP from UK rockers The Kut; it is a ferocious yet alluring mix of grunge, alternative rock, and punk. Each of the tracks offers something different to those before it without departing from the core heart of the band’s sound. It is pop, punk, grunge all at once, but predominantly it is anthemic rock ‘n’ roll to rage and romp with.

Taking inspirations from bands such as Deftones, L7, Hole, Incubus, Placebo, Nirvana, and Faith No More, the London trio whipped up keen attention with their first EP Make Up last year whilst singles and songs like No Trace, Mario, Closure, and Doesn’t Matter Anyway have bred keen support and appetites for their emergence in fans and media alike. Now is the turn of the more dramatically imposing yet virulently contagious James LeRock Loughrey (Skindred,White Zombie, My Vitriol, Page & Plant, Bjork, Def Leppard) produced songs of Rock Paper Scissors to make their persuasions, and there seems little will stop them awakening an even hungrier spotlight upon the band.

Artwork- The Kut RPS   Immediately opener I Want You Maniac treats ears to a scuzzy riff matched by punchy rhythms and an inviting vocal confrontation from guitarist Maha. Just as swiftly there is a sense of a more aggressive, angry even, feel to the tone and music of the track which is supported and realised in broader visceral fashion across the rest of the EP. The infectious qualities which marked the previous release are just as prevalent too, hooks and anthemic vocals a virulent persuasion against the fuzz lined enterprise of Maha’s guitar and the thumping beats of Violet Cannibal aligned to the predatory lures of Alison Wood’s bass. As mentioned the track has a new aggressive and raw belligerence in sound which without doubt benefits band and release. The song hunts the senses like a mix of L7 and Distillers but with the punk toxicity of early Damned and the catchiness of The Ramones to its potency.

   Alekhine’s Gun steps up next and has a mellower more relaxed touch to its opening, though again there is menace in the rhythmic framing and atmosphere shadows surrounding the excellent vocals and infectious melodic tempting. The rage which seems to fuel the EP erupts in abrasing vocal bellows throughout the encounter but persistently it manages to return to a less volatile and equally compelling state, subsequently offering great unpredictability and adventure throughout.

The best tracks on the EP complete Rock Paper Scissors, the first coming with the rock/punk pop excellence of I Don’t Need Therapy. Brewing essences of bands like Spinnerette and Valentiine into its own distinct landscape of dirty rock ‘n’ roll, the song strolls boldly with simple but voracious riffs speared by gripping hooks whilst the bassline running through all is sheer grouchiness. The track has an inescapable familiarity to it but that only adds to the rich flavouring offered and enjoyed.

The closing Bad Man emerges as the favourite, everything about it preying on ears from scything rhythms to caustic riffery. Even its melodic passages have a sultry yet sinister occult/psyche rock colouring which would not be out of place in a Jess and the Ancient Ones or Blood Ceremony offering. The track is outstanding; the pinnacle of The Kut’s invention for personal tastes and a fine way to leave the listener with a long and lingering excited impression of the release.

Listening to Rock Paper Scissors it is still easy to feel there is plenty more to come from the threesome, in songwriting and sound as well as invention, to truly set the band aside from the rest and give the UK a band to rival the statures of bands like Hole and L7. Right now The Kut provide a thoroughly enjoyable and impressive proposal which goes just down a treat.

The Rock Paper Scissors EP is available now via Criminal Records digitally and on CD at https://thekut.bandcamp.com/album/rock-paper-scissors

Upcoming live dates for The Kut…

2nd May: Hell Fire Club, Redhill, Surrey

Saturday 16th May: Elektrowerkz, Angel, London

Saturday 24th May: Mainstage, Glastonbudget, Leicester

Saturday 23rd – 24th May: Strummercamp Festival, Manchester

Saturday 30th May: The Harvest Home, Haughton Regis, Bedford

http://www.thekut.co.uk/   https://www.facebook.com/thekutgirlsrock

RingMaster 15/04/2015

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

 

 

Sassy Kraimspri – Cock Fight 2

SassyKraimspri3

For dirty and sexy rock ‘n’ roll with little care for anything more flamboyant than virulent flirtation, Cock Fight 2 the new EP from Sassy Kraimspri, is a rigorous mischievous pleasure. Consisting of three tracks brewing up brawling storms of voracious rock with the antagonism of punk and salaciousness of grunge kissed garage rock, the release is a dirty contagious stomp reaffirming the impressive emergence of the Norwegian based band.

With the merged nationalities and skills of members from Norway, Australia, and the US, Sassy Kraimspri has been on a constant and attention grabbing rise since forming in 2006. They have played across the globe, impressing audiences from America, Canada, and Australia to China, Norway, and the UK to name some of the places hit, and earlier this year released the first in a trilogy of Cock Fight EPs. Cock Fight 1 roused ears and appetite for the band but now the second in the series thrusts the hunger bred for their presence into a new greed. It provides a blaze of hard hitting devilry which simply ignites the imagination and passions, making little more demand than you enjoy its adrenaline and invention brand of bruising revelry.

Recorded as its predecessor with Russ Russell (Napalm Death, The Wildhearts, Dimmu Borgir), Cock Fight 2 immediately lays down irrepressible and irresistible bait with the opening bestial bassline of Like a Drug provided by Cock Fight 2Lovely Linda Lustsalot. It is a primal lure soon joined by similarly addictive riffs and hooks from the guitars of Dick Deviant and Sassy Kraimspri, whose vocals blaze upon the ear the moment they touch. Driven by the resourceful and inciting rhythms of Etienne the Frenchman, the track swaggers with a defiant and saucy gait which itself enslaves attention. There is an instant indefinable familiarity to the song too, creating an old friend in new explosive clothes stance to make a recognisable yet fresh impact accentuated by the ridiculously anthemic chorus with its swinging hips and seductive lures. As the accompanying press release suggests there is a definite PJ Harvey edge to the vocals of Sassy whilst musically elements of L7 and Valentiine revel in the dusty hard rock and infectious punk exploits combined. The song is a riveting and extraordinarily thrilling encounter which puts the pressure of the other two tracks alongside it.

To be honest neither can match up to the first but each offers their own exciting and sweltering slabs of rock vivacity. Riot comes next taking a more deliberately even paced entrance punctuated by stabs of riffs and thumping rhythms stalked by again a deliciously sinister bass sound. The song prowls around ears as its settles into its intensive charm, melodies pouting and heavily stomping rhythms uniting for an incendiary persuasion led by the impressive fire of vocals. Bursting with rapacious expulsions of energy and coarse guitar adrenaline, the encounter ebbs and flows with a volcanic climate and ferocious enterprise, never leaving senses and appetite devoid of a tasty endeavour.

The closing Say What comes closest to matching the opening triumph with its outstanding adventure. Its first second brings a winding spiral of grooves and temptress bred vocals, each seducing with magnetic wantonness. The song continues to swerve with stirring melodic enticement and mesmeric vocal tempting, predatory riffs and rhythms urging full submission to which harmonies and those inescapable melodies bring mouth-watering rewards. It is a sultry and memory haunting end to a completely thrilling encounter.

As shown powerfully by Cock Fight 2, Sassy Kraimspri knows how to create and uncage rock ‘n’ roll to steal the heart and invigorate the soul, roll on EP 3 we say.

Cock Fight 2 is available via Lady Luck Records now.

http://www.sassykraimspri.com

9/10

RingMaster 0707/2014

Copyright RingMaster: MyFreeCopyright

 

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Deathcrush – Skool’s In

deathcrush pic

As instantly impacting as a right hook to the jaw, Skool’s In from Norwegian band Deathcrush easily shows what the buzz covering the band right now is all about and proves it is more than justified. A seamless collage of sounds and invention brought with a primal growl and uncompromising hunger, the 12” debut from the Oslo trio is a scintillating and passion gripping tour-de-force, and one you only feel is scratching the surface of the band’s depths and future.

Released on the back of their limited flexi disc release within a double poster magazine, Skool’s In is a four track vinyl temptress which is devilishly seductive and mercilessly addictive, and again that is only the tip of the sonically and rhythmically carnivorous bewitchment. Since forming the threesome of vocalist/guitarist Linn Nystadnes, bassist/vocalist Åse Røyset, and vocalist/drummer Vidar Evensen has garnered potent acclaim and fanbase through their live performances across Norway, Europe and beyond with their thick and magnetic noise rock originality. Recording a bundle of songs with Billy Anderson (Swans, Melvins, Mr. Bungle) and Jørgen Træen (Datarock, Annie, Sondre Lerche), the band is with Skool’s In starting off a much anticipated series of singles, the first a mighty scintillating beginning it is.

Opening track Lesson #3 for Gina Kikoine / You Now takes no time to unleash a bass snarl which preys on the ear whilst the drums stalk a1169124254_2with their own teasing design. Across it the vocals of Nystadnes and Åse Røyset either alone or together enchant with charm and menace whilst the guitar splits and sculpts the air with flesh singing sonic narrative. It is a powerful insidiously sirenesque persuasion which brews an intensity and smothering embrace which defies escape and breeds addiction whilst the electronic teases and taunts only excite the senses further into greater lustful submission. Like a mix of Melt Banana, Spinnerette, and 4 Non Blondes, but not, the track is a blistering almost disorientating sabre swipe of noise rock with acidic pop infectiousness and an exceptional start to the EP.

The immediate pinnacle is soon followed and matched by Lesson #4 for Wharton Tiers / Strauss, a track which explores even darker intensive shadows and the sonic creative destructive depths of the band and their craft. The first soundscape of the song is an apocalyptic like burning corrosive flight which takes a breather for the vocal almost childlike kisses to sooth and strap the passions in before making another fall through a synapse scraping imagination poking tempest. Nor as easily accessible as its predecessor but completely equal in impacting strength, aggressive persuasion, and unbridled excellence, the song leaves no doubt to the extensive intent and expanse of the band’s sound and ideas. It helps pile on the rabid anticipation for future singles and releases, something which is just as easily fed by the next up track.

     Lesson #13 for Nanker Phelge / Fire was the song which featured on the flexi-disc and within such immense company stands as potent and unique as before whilst increasing further the band’s reputation and stature. A track which from the start stalks and prowls the senses providing ammunition for heart and mind whilst feeding the senses and emotions with a slow romp of ridiculously contagious sound and imagination, the track just traps and enslaves with its ear bracing synapse eroding guitar and bass crawl within a rhythmic herding of the passions. There is a post punk charm and punk voracity to the song which reminds a little of the Au Pairs and The Raincoats whilst the noise slicing of the atmosphere is Pixies/ Valentiine like, yet again these are slight references  to something unique to Deathcrush.

The outstanding release is completed by the Fire remix of the third song by James Njie. It is a pop /dancefloor igniting electro stomp with a breath of J-Pop to its mesmeric and irresistible dance. Still managing to retain an element of the carnivorous side of Deathcrush the track is a crystalline treat which makes us almost reassess our thoughts on the point of remixes.

Released via Norway Rat Records, Skool’s In is just magnificent, a raptor of brilliance within a noise and mental examination, and the undeniable debut of a band which is going to coax and command our attentions and passions for horizons to come.

http://www.deathcrush.no

10/10

RingMaster 07/10/2013

Copyright RingMaster: MyFreeCopyright

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Valentiine: Self Titled

valentiine pic

With the single Love Like having already teased and lit up our senses a few weeks back it is fair to say that anticipation for the debut album of Australian band Valentiine had a real hunger to it, especially after the unveiling of the brilliant new single Chucky in the past few days. The self-titled release has now stepped forward to not only live up to the suggestiveness of the pair of aural temptresses posing as singles but elevated the trio to one of the most thrilling and still richly promising bands to emerge this year. It is a predator of an album that toys with and manipulates the passions for a riotous and magnetic flame of bruising seduction.

Hailing from Melbourne, the threesome of Vanessa V (guitar/vocals), Erica E (bass/vocals), and Shelly K (drums/vocals) have a sound which is to simplify things a blend of garage rock and punk. Direct and emotively intrusive it also has a grunge seeded melodic fire which sears senses and thoughts whilst rhythmic badgering deviously diverts the attention. It is a sound which has a strong familiarity but equally lays a distinct hand on the passions directly bred from the band. Since forming Valentiine has not only left their homeland enamoured but persuaded fans across Europe and the UK with their powerful and contagious sounds. A successful 22 date European tour last year was followed by the band signing with UK independent, Integrity Records (Million Dead, Reuben, Katastrophy Wife), the two singles and now album a following potent step towards world domination one suspects.

Imagine a mix of The Breeders, Spinnerette, and Veruca Salt with a healthy snarl of L7 as well as a strong pop imagination, and you artworks-000050495136-39ybnn-t500x500get a strong impression of what Valentiine ignite the passions with. As mentioned it is a sound which has a welcoming familiarity but infuses it into their singular potent invention musically and lyrically. The songs hold narratives of everyday life and situations, honestly and often starkly presented with a dark mischievousness, and all veined with addiction causing hooks and infection sparking enterprise which is impossible to resist.

     Love Like opens up the encounter, the track an even paced roam through the ear with intimidation and steel to its riveting presence. Rhythmic sinews cage the senses as the guitar unleashes sonic fire, the combination gripping attention as the excellent and varied vocals of Vanessa V coax further with a mix of riled attitude and melodic seduction. It is an outstanding introduction to the album, a caustic caress seeded in fire borne intensity and a song that secures instant attraction, though it is soon surpassed by new single Chucky. Recounting the ladies own ‘morning after’ hangover blues in graphic detail, the track first teases with guitar and vocals before stomping into a fascination of bubble gum pop and shadow clad punk ‘n’ roll. It is ridiculously addictive; its easy yet perfectly honed enticement a blend of Green Day and The Shangri-Las which leads the listener into an insatiable dance of rhythmic temptation and pop punk wantonness.

Now into the stride of the release it begins to stretch out its darker tones and imaginative ingenuity, both Birthday and Finch opening new diversity to songwriting and sound. The first is a slow burner with the grunge growl of a Nirvana or Hole, its lingering and building intensity a dramatic smack across the senses, whilst the second tenderises with a sonic niggle and drum battering within restrained emotive incitement and sirenesque cheerleader like sultry harmonies. Both are again rich and drama clad musical treats though they do have to surrender to the even greater triumphs of firstly the smouldering When You Want, a track with a more than loud Pixies whisper to its inventive crawl, and secondly the venomous Hates Me. This track is pure L7 meets Puddle Of Mudd filtered through a malevolently spiced vat of spiteful punk, its bite dangerous but alluring with epidemic charm.

As the musicianship and imagination of the band conjures more insatiable devilment and virulent enticements it is impossible not to fall for the call of the album, though when it continues to offer such glories as the scintillating Never Forget You and its twisting metallic tentacles of guitar and bass entrapment, and the rapacious and brilliant Animal, submission was always a done deal.

As the variation and thrills keep coming with further major highlights coming from the Pixiesque Better For Me and the gnarly Kick It, the album stakes its claim as on of the most impressive releases this year. Every song leaves a lingering branding on the passions and thoughts whilst satisfaction and entertainment are delivered aural manner by the twelve, it has to be said, brilliant triumphs. Valentiine will be a major band, no doubts, and their debut album destined for the classic shelf.

http://www.valentiine.com/

10/10

RingMaster 22/06/2013

Copyright RingMaster: MyFreeCopyright

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