Who Killed Nancy Johnson? – Flat Earth Theory

Having recently checked out their latest single, Dark Horse, and been definitely taken by it, it was a really welcomed treat to be sent over by the band itself the release the song came from. Its creators are UK outfit Who Killed Nancy Johnson?, a​ ​​​Reading-based quartet creating an eventful fusion of punk and rock with post punk imagination. It is a tenacious sound fuelling a new EP in the shape of Flat Earth Theory, four tracks of raw and devilish rock ‘n’ roll which just got under our skin.

Formed in 2015, Who Killed Nancy Johnson? has grown into one increasingly praised and devoured live presence across the south of England. Their debut EP, Cops and Robbers, released early last year only added to their rising reputation, one sure to be energised again by Flat Earth Theory. Musically the band embraces inspirations from the likes of The Stooges, The Ruts, Wire, Magazine, Black Flag, Buzzcocks, The Rezillos, Fugazi, Ash, Killing Joke, Lit, Rival Schools, The Drills, and 3 Colours Red; an array of flavours which if not openly echoed in the band’s individual enterprise certainly adds to its substance.

Flat Earth Theory is an eventful encounter, an affair coincidently echoed in its making with former bassist Paul Anthony leaving the band just before the EP’s mixing stage and preventing the basslines already laid down being used. A mystery bassist saved the day though, Who Killed Nancy Johnson? leaving the studio with four slices of ear grabbing rock ‘n’ roll.

The EP opens with Strip, a song which opens the band’s live show and to rousing success one imagines such its potent impact on Flat Earth Theory. From a dulled clang of guitar, spirit sparking beats launch their bait, Mark Wren whipping up song and appetite alike as Pete Moulton’s guitar continues to linger casting raw strokes. Quickly though the song surges through ears, its rapacious energy and disruptive intent manna to the imagination and capped by the distinctive tones of vocalist Stefan Ball. Old school punk meets post punk devilry, kind of like The Adicts in league with a Fugazi fuelled Gang Of Four, the track is irresistible and for us a must single. It is easy to see why their shows get off to a flyer with the song, its two minutes instinctive punk ‘n’ roll incitement.

The following Alien has a broader rock landscape, alternative and punk merging for a tenacious stroll which teases and lures the listener to one irresistible call of a chorus demanding eager participation. As in the first song, the band casts wicked hooks and anthemic persuasions which manipulate by the second, a great throbbing bassline accentuating their dexterity as the track matches its predecessor in hitting the spot dead centre.

Mouth and Trousers is next up, a more controlled song which almost prowls ears initially even as a rush of riffs crowd them. It calms down further as vocals join the shuffle, rhythms keeping their restraint in place too. There is a whiff of pub rock to the song, a Dr Feelgood breath to its punk ‘n’ roll which brings another potent shade to the EP’s sound and though the track did not ignite the passions as richly as its companions, it had the body bouncing and vocal chords indulging especially through another potent chorus.

The EP is completed by that latest single, Dark Horse. The song is a muscular affair of alternative rock which straight away springs a lure of firm beats and juicy hooks, building on their prowess with appetising grooves and a brooding bassline aligned to almost predacious beats. Recalling bands such as The Motors and Mind Museum, the track dances in the imagination whilst arousing the spirit.

With new recruit Julien Bruinaud completing their line-up on bass, Who Killed Nancy Johnson? are ready to build on their previous success with a real nudge on national attention, the thoroughly enjoyable Flat Earth Theory irrepressibly leading the persuasion so watch this space.

Flat Earth Theory is out now @ https://wknancyj.bandcamp.com/releases

 

https://www.wknancyj.com/     https://www.facebook.com/WhoKilledNancyJohnson/     https://twitter.com/WKNancyJ

Pete RingMaster 20/02/2018

Copyright RingMaster: MyFreeCopyright

Spaztic Robot – Skip Rope Rhymes

“On an empty sunny day in 1990, when I was nine years old, I saw two dead dogs. Each at opposite ends of the same street. One was big and brown, the other small and grey. Both greeted me with the exact same pitiful manner. Their sunburnt tongues bathing on the gravel gave the illusion of salmon rising from black tar rivers. As the odour began to rise with the dusty heat, I felt like I’d snorted fizzy pop. I chucked up. Through teary eyes I scanned the motionless street in which I stood. Nothing. Nothing but ugly new houses. Ugly new houses with identical square gardens laid out in front of them.

I wasn’t to know it at the time, but Spaztic Robot was born at that very moment. With no evidence offering itself to the mystery of the dead dogs, my nine year old self began to piece together his own chain of events…a different one lending itself to each house on the street. I was convinced that behind the bricks and mortar of one of these seemingly inconspicuous houses lay a dirty little secret.

Skip Rope Rhymes was created in the same vein. It’s a gathering of characters and stories. Characters and stories that could all easily exist, in one street, behind the closed doors of ugly new houses with identical square gardens laid out in front of them.”

This biography placed introduction to Spaztic Robot pretty such sums up the air and dark intensity which floods a myriad of sounds and imagination making up Skip Rope Rhymes, the band’s debut album. In a broad array of characters, songs offer shadowed adventures all equipped with intimate secrecy, like behind closed doors insights as dramatic and often cinematic as they are seriously captivating.

Spaztic Robot is the solo project of Robbie Sparks, vocalist/guitarist/songwriter of Stourbridge punksters Rebel City Radio. With the band taking a break from gigging and writing over the past year or so, Sparks has used the time to dive into the writing and creating of this his debut album. Recently released, Skip Rope Rhymes has taken little time in drawing eager praise. Its potent diversity means some tracks more forcibly connected with personal tastes than others but from start to finish it is one compelling exploration easy to hear why it has lured strong attention.

The album opens up with Robot Rape, metallic sounds immediately surrounding the senses as whispers in the dark outskirts of the piece share their paranoia. Samples and infectious rhythms soon join the enticement, varied vocal eruptions and a pulsating throb in tow as Sparks begin infesting the imagination in word, tone, and sound. It is an enthralling start which leads into the magnificent theatre of Walk The Long Way Home. Again bold ideas collude with a whiff of insanity as they lead the listener into a sinister noir lit drama of intent and emotion. Nagging and virulent in its catchiness, the track is like a bedlam bound Brian Brain (aka Martin Atkins of PIL, Nine Inch Nails, and Killing Joke fame), a contagious infestation of ears and psyche from repetitious invention and nagging imagination. It is off kilter, bordering deranged, and inescapably irresistible as waves of intensity and psychosis engulf the listener.

The Ants! follows sharing everyday observation in alignment with broader dangers. It sweeps over the senses with again heavily pulsing rhythms and electronic shadows suggestively courting thoughts as much as the intimacy of the vocal and guitar melody. Its low key but involving presence makes way for the pop toned exploits of Confetti Crowns, a song which was one of those not quite igniting ears and imagination as much as those encounters around it. Musically and in songwriting, the song does little wrong yet feels like it is there to provide an accessible doorway and infectious invitation into the real and challenging heart of the album where for us the major excitements lie. Nevertheless, the song does please before the Aphex Twin meets The Cure like Ugly Flower and the scuzzy neurosis of Fingered At The Disco steal their share of attention. The first is a shadow thick serenade of sorts whilst its successor again has a tinge of Brian Brain alongside essences hinting at the likes of Fad Gadget, Pere Ubu, and Wire. It is a glorious and disturbing slice of rhythmic dementia and sonic aberration matched in creativity and emotion by Spark’s schizophrenic vocal delivery.

The melancholy soaked embrace Birth (Goodbye Roggar) offers a collage of flavours and samples next, reminding a touch of Cardiff producer Conformist as it flows like melodic mist through ears with whirls of creative and emotional disturbance interrupting its tempestuous calm while This Is God! induces smiles and glances over the shoulder as the introspective story of death bound life comes with the nag of throbbing rhythms, repetition fuelled melodic temptation, and the stable reflection of its provocateur. Another pinnacle of the release, the track bewitches before Sparks infests the classic (Don’t Fear) The Reaper with his own haunting and acoustic imagination to fine effect.

Skip Rope Rhymes concludes with firstly the creative delirium of At Daggers Drawn, a song which absorbs ears in its society bred dementia and finally the invasive yet solemnly beauteous darkness Extinction Song. Both tracks ignite ears and imagination while challenging each, a quality which infests and shapes the whole of Skip Rope Rhymes in varying ways.

Only listening to Skip Rope Rhymes does it true justice though words like ours, as with Confetti Crowns, hopefully become an enticement to want to leap into the dark and thrilling realms of Spaztic Robot; the rewards are swiftly evident for those that do.

Skip Rope Rhymes is out now across most online stores.

http://www.spazticrobot.com/   https://www.facebook.com/spazticrobot   https://twitter.com/robbiesparks

Pete RingMaster 08/09/2016

Copyright RingMaster: MyFreeCopyright

Slow Riot – Trophy Wife

Photo by Steve Gullick Photography

Earning thick acclaim and attention with their Cathedral EP, Irish trio Slow Riot are now poised to release their new single and a fresh inventive colour to their already magnetic sound. Their previous release and singles worn an open post punk inspiration drawing likenesses to bands such as Gang of Four, Television, and Wire, as well as a shoegaze scented melodic charm. Though Trophy Wife is still embracing such seeds, it swiftly shows a new adventure of swinging rhythms and imagination tantalising hooks with a vivacity to match that of the driving energy fuelling its body. The result is a compelling affair which still springs from an eighties spawned heart but with the tenacious urgency of the now.

Formed in 2013, Slow Riot consists of vocalist/bassist Niall Clancy, drummer Paul Cosgrave, and guitarist Aaron Duff. 2015 saw the band release their first pair of singles in City Of Culture and Demons, two intrigue sparking songs which made a bigger impact as part of the attention grabbing Cathedral EP last October. The time between its release and the new single has seen a new twist and exploration in the band’s sound which Trophy Wife is already showing as being a great fresh step.

As the last EP, the single was recorded with Kevin Vanbergen (The Pixies, The Maccabees, Dinosaur Pile-Up, The La’s, Biffy Clyro) at Brighton’s Park Studios and quickly gets to work persuading and exciting ears with its initial surge of beefy rhythms and sonic incitement. Guitars spring a melodic web from there as the bass invitingly prowls, the first cradling the warm tones of Clancy and his harmonic delivery. Almost straight away, that previous post punk spicing emerges as a more new wave hued character, nudging thoughts of bands like B-Movie and Modern English whilst the pounding drive of the song and its intensive undercurrent of virulence offers a Doves meets Editors like tempting.

The track is a vivacious captivation accompanied by B-side Awake For Days; a more laid back proposition revealing another shade in the new palette of enterprise used by Slow Riot in songwriting and sound. Though hopes are that the band do not entirely free themselves of the darker post punk hues found in their debut EP, there is no denying that Trophy Wife offers something just as exciting and easy to find a healthy appetite for.

Trophy Wife is out on April 15th via Straight Lines Are Fine @ http://www.thegenepool.co.uk/artists/SLOW+RIOT.htm

Upcoming live dates:

18/04 – Opium Rooms, Dublin w/ Mission Of Burma

23/04 – Kasbah Social Club, Limerick

25/04 – The Waiting Room, London (free show)

https://www.facebook.com/slowriot.theband   https://www.instagram.com/slowriot.theband/   https://twitter.com/Slow_Riot_Band

Pete RingMaster 14/04/2016

Copyright RingMaster: MyFreeCopyright

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Lower Automation – Maps

You have seen those scenes in movies where people are strapped in front of a screen and bombarded with rapid brainwashing images; finally succumbing to the kaleidoscope of ravenous suggestiveness. Listening to Maps, the debut EP from US experimental punks Lower Automation, is like a sonic version of that; a proposition gripping the psyche with its quick fire and voracious onslaught of mathcore and noise rock trespasses. The difference is that Maps is a welcome infestation of ears and imagination which with every listen becomes more and more tenaciously seductive.

Hailing from Chicago, the seeds of Lower Automation begin with experimental/post-rock band Counterfeit I and Derek Allen who came from the band to form the new “kinetic frenzy” posing as Lower Automation  that is about to invade the rock scene. His former project found potent success which, from Maps alone, it is easy to suggest the threesome of Brian Sutton, Matt Walen, and Derek has the potential to eclipse.

Recorded with Sanford Parker (Pelican, Wovenhand), Maps instantly entangles the senses and a quickly eager appetite in the discord fuelled enterprise and sonic dissonance of opener Ring. It is a striking web of imagination which flirts and picks at ears with unpredictable and incessantly hungry dynamics; a creative dilemma for the senses  which plays like the mutated offspring of a liaison between At The Drive In, Devo, Wire, and The Dillinger Escape Plan. Fair to say though that the song quickly breeds its own unique character and devilment as frenetic bursts align with, and become tempered by, ‘mellower’ flirtatious passages as song and band reveals new sides to their rebellious adventure. It is when the creative ‘psychosis’ breaks loose though that lustful passions are especially sparked and further the track’s attempts to steal the whole show.

The excellent start though is more than matched by the band’s new single Decorated; the song swiftly showing itself another invasive tapestry of rhythmic agitation and raw sonic virulence. There is a much catchier almost pop element to the song too, the likes of Baddies and We Are The Physics coming to mind at times, though again as it warps into distorted spatial atmospherics Lower Automation show the fullness of their imagination and an invention which is all their own.

Break Room Curators offers a more noise rock sculpted venture; its body and features slightly more fluid in their infectious flow than certainly the first song but still casts a dark and sinister, not forgetting infectiously flowing, tirade of off-kilter and intrusive discordance in voice and melodic toxicity amidst scything rhythms. The track does lack a certain spark that its predecessors irresistibly carries but it still leaves enjoyment high and ears eager to devour more, which the following caustic maelstrom of The Cartographer feeds impressively. The track is a maze of sonic paradoxes and melodic toxins with an emotive angst to match as it rummages through the psyche, blisters on the senses, and fascinates the imagination.

Closing with the initially hellacious exploits of Scissor Lapses, the EP offers a final glimpse into the creative craft and aberrant imagination of Lower Automation. The song proceeds to explore a cacophonous and demandingly addictive landscape of sweeping hooks and inviting grooves within an ever evolving exploration of rabid sound and unpredictability; finally leaving on a senses invading sonic clamour.

It is a fine end to a thrilling debut from Lower Automation; a release which has certain familiar and welcome traits but is a whole new psychotic frenzy of invention ready to infect an as yet unsuspecting rock world.

Maps is released April 1^st @ https://lowerautomation.bandcamp.com

Upcoming US Tour Dates:

3/5 – Skeletunes Lounge | Fort Wayne, IN

3/12 – The Oasis | Grayslake, IL

4/8 – The Refuge | Pana, IL

4/10 – Bremen Cafe | Milwaukee, WI

4/13 – The Rockery | Wyandotte, MI

4/14 – Buzzbin | Canton, OH

4/15 – Spacebar | Columbus, OH

4/16 – Crofoot | Pontiac, MI

https://www.facebook.com/lowerautomation
Pete RingMaster 28/03/2016

Copyright RingMaster: MyFreeCopyright

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The Gaa Gaas – Close Your Eyes

It has been a long time in the waiting and an increasingly anticipated moment; that being the time when something new from The Gaa Gaas would step forward to infest ears. That occasion is now with the release of new single Close Your Eyes, an irresistible taster of the new evolution and adventure in the UK band’s exploration of sound. Showing a rich vein in flavour and sonic variety without losing the hypnotic insistence of their earlier successes, the track is simply going to have old fans drooling and a host of new followers entangled.

Formed after a garage punk night event at a venue in St Helier on Jersey in the Channel Islands, by vocalist/guitarist Gavin Tate, The Gaa Gaas spent their first two years honing their sound and becoming a potent live proposition on the island, before relocating in 2005 to Brighton, then later London from where they switch between the two. Their hunger to play live took the then trio, across the UK and Europe with shows and tours, a success in turn building an eager fan base stretching outside Britain as far as France, Italy, Germany, Poland, Lithuania, and Sweden. The following years saw the release of two EPs to strong success and the embracing by internet radio shows and stations alone, of songs like the 2010 James Aparicio (Nick Cave, Mogwai) produced and Robert Harder (Brian Eno, The Slits) mixed and mastered debut single Voltaire and the equally devoured Hypnoti(z)ed.

As suggested, recent times have been a quieter affair with the band though work on their first album has been an on-going adventure. Now with an inescapable new maturity to their sound and bold expansion to its tapestry, the foursome of Tate, keyboardist Peter Hass, bassist Jamey Exton, and drummer Stewart Brown, have a new piece of virulent temptation ready to entice and thrill. Like a gift placed in the hand by a loved one making that certain request to prolong the surprise, Close Your Eyes had an air of excitement to it even before a note is heard, something all their fans will no doubt equally feel.

The Ali Gavan (former member of The Electric Soft Parade) produced song strokes the ears with a single raw caress of guitar first, its resonance remaining as a sonic mist brews up around it. It is a swift and firm coaxing which soon parts from the inside, opening the way for the eager stroll of the song to bound through. With a punkish rockabilly like swagger to its rhythms and hooks, the track instantly has ears gripped; only strengthening its hold as Exton’s bass flirts with, Brown’s beats jabs, and the sonic web the band is renowned for envelops the senses. With Tate’s vocals potently leading the lure, a new melodic infectiousness reveals its growth within the band’s sound. It is a tempering to the caustic nagging potency the band has always shared but another compelling hue only adding depth and might to the great post punk/noise pop catchiness which coats the swing of the proposal.

Like a mix of The Horrors, Wire, The Adverts, and The Three Johns, yet openly individual to The Gaa Gaas, Close Your Eyes worms under the skin and into the psyche in no time. As suggested, it has the prime recognisable sound of The Gaa Gaas at its heart but feels like the key to a whole new adventure which the band has obviously been working on across that recent calmer period in their emergence.

Backing the single is the siren-esque Indian Giver. Originally composed as an instrumental, the track has become an even richer provocative embrace of the senses since Tate’s dissonance scented harmonic vocals have merged with the song’s sonic imagination and early Cure/Artery like atmospherics. The result another dramatic incitement of the psyche through seductive tempting and provocative majesty.

With both tracks taking the listener into unique and individual landscapes of suggestiveness , all that is left to say is roll on their new album set for later this year and roll on the big bold spotlights surely set to crowd in on The Gaa Gaas if the single is the sign of glories to come.

Close Your Eyes is released February 29^{th via} Movement-2-Records @ https://thegaagaas.bandcamp.com/album/close-your-eyes

For more info check out https://www.facebook.com/TheGaaGaas and to hear more of the band’s new songs head over to https://www.facebook.com/events/1034320063257409/1047980888557993/ at 23:00 GMT also on the 29^th February.

https://twitter.com/The_Gaa_Gaas

Pete RingMaster 29/02/2016

Copyright RingMaster: MyFreeCopyright

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Punching Swans – Nesting

How to describe UK trio Punching Swans?

You could say they are a carnivorous groove machine, a sonically schizophrenic rumble, or a rabidly twisted siren; all applying to the creative psyche and adventure that breeds the band’s irresistible sound and now their new fiercely virulent album Nesting. Maybe the best way to describe Punching Swans is a twisted union between The Fall, McLusky, The Fire Engines, and Maths and the Moon. It is a band which despite a clutch of similarly distinct releases has remained in the shadows of the UK music scene like the black sheep of a family which gets locked away in the attic away from prying ears. Now though, the door is unlocked and the band is about to infest British rock ‘n’ roll with their tempestuously deranged math punk, courtesy of the inimitably thrilling Nesting.

Punching Swans is the ravenous creation of producer (Sunlight Studios) Greg Webster, formerly of Medway greats Houdini, the equally impressive Frau Pouch’s Joe Wise, and Pablo Paganotto from The Explorers Collective. Formed in 2011 or 2012, depending where you read, by Greg and Joe from a one-off band called Laura Palmer and the One-Eyed Jacks they got together for a Twin Peaks night, Punching Swans quickly sparked ears with a self-titled debut album in 2012, and even more so with its successor Mollusc two years later via Skingasm Records. Each has inspired potent attention and praise across fans, media, and radio shows but it is easy to feel it has all only been the taster to reactions about to be triggered by Nesting.

Telling the “story of one man’s journey from self-imposed isolation to the skies”, Nesting takes little time in gripping attention and appetite as its opener, Cuckoo Cuckold K-killed, dangles sonic bait in front of ears before the robustly contagious beats of Paganotto get to rebellious work. His swings tempt and seduce with a tenacious grin, coaxing bodily involvement as vocals walk the rhythmic web into the imagination as tangy guitar and devilish bass lures begin to stir and add to the increasingly enthralling and incendiary stroll. Unsurprisingly there is a touch of Houdini and Frau Pouch to the delicious incitement but equally thoughts of Swell Maps and inescapably The Fall also flavour the first treat.

Seriously dynamic and gripping, the album’s superb start continues with Man Nest, an even more psychotic and caustically enterprising proposition that needs mere seconds to seduce and inflame the senses too. Wise’s bass shows it has probably the grouchiest textures in British rock ‘n’ roll at its disposal whilst Webster’s guitar trespasses show no qualms about infesting the senses and psyche, acidic grooves and fiery tempting a perpetual forte.

Pigeon Street toys with more restrained energies and urgencies for its enthralling exploits next, though it is all relative to what came before as the song, with the scything beats of Paganotto an inescapable trigger to get physically involved, blossoming into an insatiable almost predatory shuffle of searing grooves, thumping rhythms, and zealous revelry. Even its calm climax has an element of off-kilter ingenuity before the infectious rock ‘n’ roll of Ovulations rumbles along with the fervent vocals of Wise and Webster holding the reins. Again hooks and grooves steal the passions as rhythms jab deeply, the song entwining post and garage punk texturing into its fearsomely alluring landscape.

That great bass tone is at its crabbiest again in the following Beak Throat and its peevish stalking of the senses within a net of guitar spun wiry hooks and sonic delights around vocal dexterity. It is hard to imagine anybody able to resist the choleric grooves of the song or possible to see the track alone avoid sending rapturous waves across post punk/noise rock pastures with its gloriously savaging and exhilarating tempest.

The brief but again irresistible invasive seduction of Ostrituals comes next to forcibly arouse the passions. If Public Image Ltd had been The Wonderstuff or Wire been McLusky, you wonder if they would have sounded like this mouth-watering predacious stomp whilst its clamorous successor Headless Chickens suggests The Dancing Did or Stomp doing salacious things with Pere Ubu or Marc Riley & The Creepers. The outcome of both and all songs though, despite suggested spices, is always something unique to Punching Swans as proven by Pecked to Death which cantankerously sits between them. Snarky in tone and unhinged in character, the track meanders and twists into unpredictable and manic detours but returning all the time to its rapacious and concussively catchy directness.

The bulging rhythms of Egg Rock is an immediate and successful infestation of the passions, its sonic tendrils and testy Mark E. Smith laced vocal strains only adding to another senses searing, lust inducing incitement before Flight brings the invasive alchemy of the album to an end. The clamant finale to Nesting is a raw soar into noise pop infectiousness and magnetic sonic caterwauling which just lights the touch paper to rapture before retiring to leave ringing in the ears and euphoria in the heart.

Nesting is the first essential album of the year and Punching Swans one of the bands set to step out of the shadows in 2016 and become seriously shouted about.

Nesting is released via Skingasm Records on 22nd January digitally and on CD with a hand numbered limited edition of 30 with a 16-page book featuring drawings and notes from the story behind the album @ http://punchingswans.bandcamp.com/

 

— Punching Swans Tour 2016 —

JAN 28 CANTERBURY w/Mass lines, Death Pedals, Negative Space

JAN 29 CHATHAM Poco Loco – MEDWAY ALBUM LAUNCH w/Girlpower & Bear vs Manero

FEB 11 CAMDEN Unicorn w/Mayors of Miyazaki + Screen wives

FEB 16 BRIGHTON TBC

FEB 21 OXFORD The Library Pub

FEB 24 BRISTOL Stag & Hounds

FEB 27 LIVERPOOL Maguire’s w/ Robocobra Quartet, Jazzhands and Cal Banda

 

http://punchingswans.tumblr.com   https://www.facebook.com/PunchingSwans   https://twitter.com/punchingswans

Pete RingMaster 20/01/2016

Copyright RingMaster: MyFreeCopyright

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

The Tuesday Club – Boo Hoo EP

 

With the release of the Boo Hoo EP, The Tuesday Club has completed the release of their new album in fine style. The last in the quadrilogy combining to create the band’s 4 x EP Box Set second album, the ‘Heart’ section of the release presents three tracks as ever soaked in the UK band’s unique creative devilry. It is arguably the most diverse of the four EPs and in many ways the most low key yet it easily incites another greedy reaction in an ever keen appetite for the mischievous punk ‘n’ roll devilment of the Walmington-on-Sea hailing ‘concert party’.

With the trio of My Consciousness, Forbidden Kiss, and the freshly released Lady Gargar EPs having already stirred up attention and imagination for the fully body of the album, their releases backed by the band’s ever ravenous live presence around the country, the final piece of the captivating jigsaw gets the job done with its title track alone. Boo Hoo walks in with the recognisable Tuesday Club swagger and bullish mischief that has always fuelled their songs and releases since emerging back in 2011 wrapped in the echoes of the infamous home guard of their town and the in your face zeal of seventies punk. Over time the band’s sound has only evolved, taking on vaudevillian hues to go with its imagination as evidenced potently within that first song on the EP. Guitars and beats make the first temptation, bass a quick second, all leading to the distinct vocal tones of Andreas Vanderbraindrain whose entrance only inspires more revelry in hooks, riffs, and the warm mist of keys. As ever there is a whiff of bands like early Adam and The Ants and Albertos Y Los Paranoias to the romp, though to be honest body and soul are physically and quickly locked in to the swing and antics of the track to spend too much time contemplating comparisons.

    The track is typical Tuesday Club, a glorious enticement to get bold with before Beat Oven takes over. Handclaps line the way for a subsequent sultry guitar which in turn wraps the vocals of Vanderbraindrain and presumably The Minx who sadly left the band recently but we are assuming was in the thick of the recording of the new EP first. With a catchy but subdued sway, the song strolls along sharing its infectious chorus and gait, a tempting again hard to resist getting involved in. There is also an initially undefined familiarity to the lure of the song, especially in its chorus, which is revealed somewhat when the band breaks into a sample of Tainted Love to wink at and tease the listener. It is an alluring encounter if without the spark of its predecessor.

The release is completed by the wonderfully dour but magnetic prowl of Greyer Shades, its melancholic air and melodic post punk like imagination at first captivating and over time simply compelling. It has a stark design reminiscent of Wire, a melodic sparkle and psych rock resonance similar to XTC, and a rhythmic and vocal seduction carrying the healthy scent of The Fall or Young Marble Giants to it and though it takes its time to fully convince, by the end of the first listen and definitely the second or third, Greyer Shades gets right under the skin to ultimately stealing the passions.

The album is done and all out there igniting and corrupting ears and hearts with relish; Boo Hoo completing and summing things up nicely. If The Tuesday Club is already your cup of earl grey then the new EP is another must have along with its counterparts but if new to the band’s notorious off-kilter punk ‘n’ roll temptation it is time to enlist with the Boo Hoo EP the call up card.

Boo Hoo, as all the other EP’s, is available now @ http://thetuesdayclub.tmstor.es/cart/product.php?id=27053

https://www.facebook.com/thisisthetuesdayclub    http://thisisthetuesdayclub.co.uk/

Pete RingMaster 16/12/2015

Copyright RingMaster: MyFreeCopyright

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