Halshug – Drøm

Temptation can come in a broad and varied landscape of enticement; it can be a warm seduction or a nagging teasing among numerous other incitements. In the hands of Danish band Halshug it is a challengingly fearsome proposal and as their new album proves one irresistible proposition.

Hailing from Copenhagen, the trio of bassist/vocalist Jakob Johnsen, guitarist Mathias Schønberg, and drummer Mads Folmer Richter create a voracious trespass of hardcore and noise punk but as their third full-length Drøm quickly establishes it is a sound which has evolved across previous releases to embrace industrial, post punk, and numerous other darkly bred sounds. Its title translated as ‘Dream’, Drøm is bred on the theme that dreams are “a succession of images, ideas, emotions, and sensations that occur involuntarily in the mind. And also sort of a vision or a wanting of something more than just what is.” With even richer depths and variations to that exploration, the album never leaves ears and imagination alone in thought. Whether nagging on the psyche, intruding on the senses, or manipulating body and imagination, a degree of emotive frustration almost lining it’s every moment, it harasses from start to finish and it has to be admitted, few moments shared here this year have been more rousingly thrilling.

From the moment album opener, Kæmper Imod, with its first breath begins clipping at ears, attention and appetite were stirred; Richter’s magnetic percussion almost teasing as it lured. Seemingly knowing when the listener should be hooked beats hold a momentary pause from which a punk scourge of sound and voice explodes. The band’s hardcore instincts fuel the eruption as the song continues to grip and captivate, its proposal just taking on a whole new character to its beginnings and escalating both by each raucous senses baiting second.

It is an outstanding introduction to Drøm yet quickly and continually eclipsed or certainly matched across the release with next up Dø Igen raising the ante in craft and temptation. Richter’s beats again make for an animated and compelling coaxing and more than equalled in enticement by the visceral growl of Johnsen’s bass. If the first song teased with a whiff of post punk amidst darker sonic deeds, the second track exploits their tenebrific coercion to ravish and inflame the senses. From within its voracious noise clad insurgency, essences of bands like Faith No More, Sex Gang Children, and The Three Johns tease which only adds to its inescapable seduction of ears.

Schønberg’s filth soaked guitar brings Fantasi to ears next; Johnsen’s similarly polluted vocal attack standing eyeball to ear on the tide of antagonistic punk riffs and rhythms. Devious twists and diversity only add to the excellent track’s evolving body and increasing prowess before Giv Alting Op swings in with matching animosity and discord. As with all tracks, there is a kind of psychosis which shapes its tone and invasion; one never allowing a moment for album or listener to relax within the infernal kaleidoscope of illusory or maybe real provocation.

Spejl hounds and disturbs next, riffs and rhythms chaffing on the senses as melodic toxins and scorched grooves seduce across a volatile gait which launches itself with nostrils flared and at times prowls with equally venomous intent. Once more there was no defence to the at times almost drone like quality of its urging as neither was there any barrier to prevent the industrial compulsion and intimation of the dystopia flooded 02.42. The track’s cold intense threat is as claustrophobic as it is galvanic; a web of intrigue and ravening malevolence greedily devoured, rapacious hunger just as forceful and rabid for its successor Tænk På Dig Selv. Again Richter had rhythmic claws in psyche and instincts from the off before all three musicians unleashed their enterprisingly tortured throes of sound and emotion. If that was not enough to embroil the passions, an X Ray Spex meets Essential Logic flavoured sax incursion only sparked lustier reactions.

Through the feral yet imaginatively crafted transgression of Ingen Kontrol and the virulent sonic appropriation of the senses by Et Andet Sted resistance was thread bare to the album’s continuing indeed increasing domination, not that defiance was actually contemplated or offered, a fact the closing majestic post punk incitement of Illusion seized with rhythmic and sonic devilment. The simply glorious instrumental is part nightmare part psyche haunting escape from reality and simply cathartic suggestion to, as we found, increasingly greedy ears and animated imagination.

It is an avidity flooded appetite which is just as ravenous for the album as a whole especially as every play revealed further aspects to its devious body. With a presence and sound which ultimately defies being truly pinned down Drøm has declared itself as one of the year’s essential moments.

Drøm is available now via Southern Lord @ https://halshugsl.bandcamp.com/releases

Upcoming Live dates:

7 Sep – Oslo, NO – Vaterland

12 Sep – Aalborg, DK – 1000Fryd

13 Sep – Aarhus, DK – Radar

14 Sep – KBH, DK Stengade

20 Sep – Gøteborg, SWE – Kulturhuset

27 Sep – Malmø, SWE – Plan B

28 Sep – Stockholm, SWE – Hus 7

http://halshug.blogspot.com   https://halshug.bandcamp.com   http://www.facebook.com/halshugcph

Pete RingMaster 24/07/2019

Copyright RingMaster: MyFreeCopyright

Fatty Cakes And The Puff Pastries – Self Titled

Primed to have you eagerly bouncing with a massive grin on your face, the debut album from Fatty Cakes And The Puff Pastries is a romp of glorious mischief and mayhem. The self-titled introduction certainly has no reticence in challenging prejudices and the bigoted standards so many live by but does so with a rousingly unapologetic sense of devilish humour. In other moments it is quite simply delicious grrrl riot misbehaviour and throughout instinctive often disdainful fun which we quickly bred greedy lust for.

Consisting of Amber Fargano (lead vocals/ukulele), Vishinna Turner (bass/backing vocals), Audrey Johnson (drums), Victoria Crow (back vocals/glockenspiel) and Staci McDowell (back vocals/chord), FC&PP hail from Fresno, CA. It appears they have kicked off a bit of a stir with their inimitable sound back home and listening to their first full-length it is easy to see why and expect that to spread far further. As soon as opener Panic Attack launches the release, ears are fronted up with a proposal which dares you not to have fun or get heavily involved, a taunt impossible to take up. Senses harrying beats and dirt laded riffs are the first lure, Fargano’s vocal incitement the swift second before the band’s soon established melodic and harmonic revelry gets involved. Just as quickly, the band’s music sets out its inescapable individuality though there is plenty which reminds and hints at bands such as 4 Non Blondes and Lunachicks and even more so here and across the album British artists such as Girls At their Best, X-Ray Spex, The Modettes and in certain moments The Rezillos.

It is an outstanding start easily backed by next up Fat Grl Tears. It is a compelling blend of guitar scuzz and melodic enterprise fuelled by mischievous shenanigans. As proven time and time again across the album though, that devilment cannot hide the fact that the band writes and craft some striking pop punk songs unafraid to involve a host of varied flavours and merciless hooks.

Petty Petty Princess is quickly a case in point, its core lure a jangling hook around which vocals, individual and en masse, tease as rhythms tenaciously canter. The fact the song did not grip as greedily as those sandwiching it is down to their magnificence only especially that of the following Alien Babe. From the delicious throaty bait of bass to the fuzzy wash of guitar amidst vocal incitement, the track got under the skin. Again The Rezillos came to mind as too early Blondie but mouth-watering spices in a unique Fatty Cakes recipe of rousing commotion and pop disorder.

Across the likes of the equally irresistible BFF, a slice of pop seduction with a calm but truly manipulative swing, and the gang fronted punk rock sorcery of Witch, band and album only further their enthralment of ears and appetite while Antifa Cakes (Not My Puff Pastry) provides a melodic intoxication which has the body instinctively swaying before it all breaks into feral punk turbulence and attitude; ingredients as proud within the relatively calm but thickly defiant Grrrl Gang.

The vocal harmonics within the band, whether bold or understated, are just as magnetic as any other aspect and are the delicious fuel to Magic Grl, a superb song which firmly hints at those earlier mentioned UK references before Feminist Gold 2k uncaged its punk ‘n’ roll exploits on an increasingly greedy appetite. As with all songs, it adds another potent hue to the album’s varied but melodic punk palette, a web increasing again through the loudly irritable stomp of Minimum Rage.

The release is closed up by Internet Bitch, a track which stole favourite track honours at the last breath with its rhythmically rousing and vocally animated rascality. With more than a passing echo of the Au Pairs, the track was manna to our ears; its emotional dissonance echoed in sound and imagination whilst springing yet another deviously infectious indeed viral temptation. It is a sensational end to a similarly thrilling encounter from a band before which global attention and ardour is surely on the way.

The self-titled Fatty Cakes and the Puff Pastries album is out now through Emotional Response Records; available @ https://fattycakes.bandcamp.com/album/fatty-cakes-and-the-puff-pastries

 https://www.facebook.com/FattyCakesPuffPastries/

Pete RingMaster 8/01/2019

Copyright RingMaster: MyFreeCopyright

Healthy Junkies – Delirious Dream

Two years on from the album Box Of Chaos outshining its impressive predecessor The Lost Refuge, which had started the trend by eclipsing the band’s debut Sick Note, UK punksters Healthy Junkies have again repeated the feat with their fourth album. Delirious Dream is a collection of tracks embracing the band’s broadest kaleidoscope of flavours yet over a punk ‘n’ roll landscape; a 15 song strong release which is for sure their finest moment to date keeping expectations clueless and the imagination enthralled.

Recorded with Brian O’Shaughnessy and mastered by Pete Maher, Delirious Dream is the songwriting and sound of the band at its boldest yet most intricately woven. With the founding duo of vocalist Nina Courson and guitarist/vocalist Phil Honey-Jones tapping into their most imaginative depths yet alongside the rhythmic prowess of bassist Dave Whitmore and drummers Pumpy and Adam Lewis, Healthy Junkies have created a new magnet of sound which needs mere seconds to demand attention through album opener When All Is Said And Done.

Instantly the track is strolling eagerly through ears with a rich melodic hook amidst eager rhythmic bait, all the while keys adding their intimation. Courson’s ever alluring vocals quickly join the mix, adding elegance and harmonic radiance to the earthier breath of the song. With drama soaking every note and syllable, theatre intensifying across the host of twists and turns making up the simply outstanding punk ‘n’ roll incitement, the track immediately sets the high creative bar and striking character of the release.

This Is Not A Suicide brings its own exceptional roar of sound and enterprise straight after. Dirtier and grumpier than its predecessor and driven by attitude fuelled riffs and senses biting rhythms, the track sets its own particular pinnacle within Delirious Dream. Nagging grooves and garage punk spicing also add their incitement to the bracing trespass before the even tempered rock ‘n’ roll of Juliet’s Call saunters in. Like a gothic rock nurtured punk inspired collusion between Siouxsie and The Banshees and In Evil Hour, the track is pure virulence.

The band embraces more hard rock like hues for next up Johnny Demented, its raw sonic haze magnetically tempered by Coulson’s angelic tones. The song did not quite raise the roof as its predecessors in appetite and the passions here yet from start to finish it is a full captivation raising the ante as its holler and breath erupt across its eventful body.

Through the infectiously tenacious croon of Some Kind Of Girl and Ghost Without A Soul with its shadow draped atmosphere, riveting sound and adventure abounds with unpredictability and rapacious enterprise while All Talk brews an emotive entanglement of old school punk and classic rock in its own individual recipe of temptation. All three tracks easily grip ears and appetite though the delicious punk instincts and pop flirtations of The Sound Of My Guitar outshine all. The track is Class-A addiction spurning late seventies kissed new wave/punk rock slavery as ripe with hooks and celebration as a festive holly bush.

The following Boy Or Girl is something akin to a meeting of early Blondie and The Photos and quite irresistible with its successor, Meet & Greet preyed on an already aroused hunger for what is on offer with its predacious escapade resembling a kind of X-Ray Spex/Spinnerette collusion as the band take a swipe at musical greed. It is simply another major highlight of the album echoed in success by the frisky indie/pop punk animation of This Condition with Honey-Jones leading and dueting on vocals.

The album’s worst track is next and These Boots Are Made For Walking is nothing less than full pleasure as Healthy Junkies make the classic their own by giving it a predatory breath as classic rock guitars blaze before James Dean rumbles with old school punk ‘n’ roll lust and uncontainable ebullience.

The album concludes with the pair of Theft and Part 2. The first is a rebel rousing protagonist vivaciously prowling the senses before breaking into a similarly ravening rock ‘n’ roll canter with erupting psych rock bred flames while the second is its dark but incandescent underworld where physical and emotion elements of the tracks shimmer, smoulder, and burn.

Together they make for a fascinating conclusion to Delirious Dream, echoing its title despite their brooding volatility and showing there is so much more to the creative palette of Healthy Junkies, one they have still yet to fully explore.

We always feel a sense of excitement when a new encounter with Healthy Junkies comes along as they have always manage to outdo themselves so far; Delirious Dream is no exception; in fact it pretty much outshines most other punk/rock nurtured offerings around this year too.

Delirious Dream is out now via Banana Castle Records/Cargo Records UK across most online stores.

http://www.healthyjunkies.co.uk/   https://www.facebook.com/healthyjunkiesband   https://twitter.com/HealthyJunkies

Pete RingMaster 17/10/2018

Copyright RingMaster: MyFreeCopyright

Ben Wood & The Bad Ideas – The Reveal

Luxurious in its temptation, haunting in its touch, The Reveal is the new single from Ben Wood & The Bad Ideas. The song is a proposition which tantalises as it seduces, every one of its creative threads uniting in a weave of real magnetism for ear and imagination. We have not every track from the band’s repertoire but we can be confident in suggesting that The Reveal is one of if not THE finest moment from them yet.

Ben Wood started life as a busker and acoustic guitarist in Essex scene. An opportunity to contribute to an X-Ray Spex charity album in the US, Wood and co one of only two British artists involved meant he had to find a band, record a track and get it sent over to the States in just 48 hours. Succeed he did and in 2012 Ben Wood & The Bad Ideas, its name inspired by his doubts over swiftly resolving that scenario, began going on to play Prince Charles’ Garden Party at Clarence House, headline the Yes To Life festival and releasing that compilation track, Obsessed With You as their first single.

Alongside Ben Wood in the band is Andy Duke of Top Buzzer, Cauldronated, and most recently Flesh Tetris fame; the two co-writing the new single. For The Reveal, the pair is also joined by Bruce Thomas from Elvis Costello & The Attractions on bass; a line-up which alone bred instant intrigue for the release with also features Cristabel Christo . It is an anticipation swiftly fed and pleasured by the song, keys and rhythms immediately teasing and wrapping ears respectively. The latter’s atmospherics caress the dark pulsing of Thomas’ bass as a post punk-esque resonance blossoms. Even at this early point there is feeling of The Sound to the song, a hue thickening and enriching its growing prowess and lure. It is a flavouring though which is woven into the track’s uniqueness and increasingly haunting majesty.

Wood’s vocals are just as captivating as every element entangled; the track a web of strands rather than a boiling mass but just as powerful in its emotion, intimation, and craft. From verse to chorus, note to rhythmic enticement, the track is pure captivation and for us simply one of the best tracks heard this year so far.

The Reveal is released on 25th June.

https://www.facebook.com/BenWoodTheBadIdeas   https://twitter.com/benwoodbadideas

Pete RingMaster 19/06/2018

Copyright RingMaster: MyFreeCopyright

Top Buzzer – Inside is a Room Vol. 1EP

top-buzzer-inside-is-a-room-vol-1_RingMasterReview

It has been two and a half years since British pop punk ‘n’ rollers Top Buzzer had us leaping around with the thrilling stomp of The Sprollie EP. It is a time though which has seen the band still a busy live proposition and its members, especially vocalist/bassist Andy ‘Dukey’ Duke, get involved in a horde of other projects and bands alongside the ‘day job’. Now to stir up and entertain ears at home again, the London based trio have uncaged the Inside is a Room Vol. 1 EP; four tracks of the band’s inimitable and contagious rock ‘n’ roll. It might be more recognisable prime Top Buzzer devilry but the release also reveals a broader embracing of punk and varied rock flavours within a fresh snarl and even keener hooks than ever.

Originally Jersey bred and formed in 2011, Top Buzzer has been a feisty punk proposition from day one, in sound and DIY attitude. Quickly they created their own label Back2Forward Records for first release, the Hands Up EP, and in turn the highly successful single Remission which followed. Praise and support followed across the written press, such as Kerrang, Rock Sound, and Big Cheese and on radio as UK and US shows and stations, terrestrial and online, took a shine to their mischievous pop punk revelry. Debut album Outside Is A World, again released that first year, grabbed greater and keener attention which was subsequently eclipsed by The Sprollie EP in 2013 and the band’s contribution a year earlier to the 2012 Rebel On The Underground – A Tribute To X-Ray Spex compilation.

As mentioned it has been a fair old gap between releases, but now Dukey, guitarist/vocalist Soni, and drummer/vocalist Welshy ensure the wait for something new is a quickly forgotten moan with Inside is a Room and indeed opener Trapped In The Room. Straight away ears are accosted by a swarm of riffs and rhythms, guitars and bass instantly lining that initial surge with sharp catchy hooks before expanding them further as the song settles into its tenacious stroll. Feet and hips are a swift blur to the equally animated nature and motion of the song. Dukey’s familiar tones adding to the recognisable air of the song but equally pushing the new lusty and punchy nature to the band’s sound. Like the ‘bad’ kid down the road your mother warned you about, the one destined to cause trouble and encourage develop bad habits, the track stirs up the spirit and an urge to lose inhibitions.

That same irresistible nagging arises with Meanwhile in San Francisco and its deliciously spicy melodic beckoning around Welshy’s enslaving anthemic bait. There is a touch of The Vibrators to the song as it settles and blossoms a thick lure of beats and bass temptation whilst on top Soni’s guitar uncages a blues frisked spiral of sonic enterprise. Ultimately creating a rousing proposal which at times is almost akin to Toy Dolls meets The Adicts, the track has body and voice firmly involved before allowing Denny’s Song the chance to run its grittier hard rock meets pop punk persuasion by ears for a matching success. Again resistance to getting physically and emotionally involved is futile once hooks and swinging rhythms seize hips and the imagination; the vocals across the band only stirring things up further with their boisterous encouragement.

The EP ends with the old school punk seeded Live is Blind where the three prong vocal attack alone is a riveting and thickly enjoyable incitement. Imagine The Ramones, Radio Stars, and The Wildhearts colluding for a riotous, rip-roaring stomp and Top Buzzer have that covered with the excellent closer to another thrilling incitement of ears and bold fun.

We have had a serious sweet tooth for Top Buzzer since that first EP, no denying that, and with releases like Inside is a Room EP, it only gets more acute. Pop infested punk ‘n’ roll does not get much more fun and to be honest better than this.

The Inside is a Room EP is out now via most online stores and @ http://back2forward.bigcartel.com/product/inside-is-a-room-vol-1-cd

http://www.topbuzzer.co.uk/   https://www.facebook.com/topbuzzermusic   https://twitter.com/topbuzzermusic

Pete RingMaster 18/03/2016

Copyright RingMaster: MyFreeCopyright

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Petrol Girls – Some Thing EP

PG_RingMaster Review

Originally formed for an international women’s day gig in 2013, feminist post-hardcore band, Petrol Girls have proved to be one fiery roar within British punk ‘n’ roll. Their attitude loaded, defiance fuelled sound has ignited many a venue across the UK and Europe as well as an ever increasing horde of eager ears, a success bound to be accelerated by the release of the Some Thing EP.

Inspired by the likes of Refused, White Lung, Bikini Kill, Fugazi, RVIVR, Propagandhi, At The Drive-In, and War On Woman, Petrol Girls create a ferocious brew of punk rock unafraid to embrace other spices. Certainly the six tracks making up Some Thing have varying echoes of those influences but equally there is a coincidental eighties punk/post punk essence which lures thoughts of bands like Au-Pairs, The Molesters, and Vice Squad. Lyrically too, the South East London hailing quartet pulls no punches in exploring and challenging sexism and other themes such as politics, alienation, the migrant crisis, and mental health. It all unites for one stirring and invigorating incitement and an EP which attacks, inspires, and rouses body and thoughts from start to finish.

PetrolGirls_SomeThing_Cover_RingMaster ReviewProduced by the band and Marta Salogni at Strongroom Studios, London, Some Thing embraces ears with fiery directness straight away through Slug. The guitars of Ren Aldridge and Joe York dance as they sizzle on the senses whilst the jabbing pokes of drummer Zock reveal a swing and relish which only sparks stronger involvement in the swiftly contagious and dramatic encounter. The darker prowling tone of Liepa Kuraite’s bass adds weight to the thick lure of the song too, a tempting enhanced further by the potent vocals and expression of Aldridge backed as potently by York and Kuraite.

The strong start kicks up another gear with Protagonist where short spicy grooves aligned to piercing sonic and rhythmic hooks instantly prey on ears and imagination. As in the first, a contagious energy and flirtation is a persistent beckoning, this time within a hardcore ire that has a Red Tape meets Billy Talent feel to it before an X-Ray Spex meets The Raincoats like confrontation shows through to stir up song and enjoyment even more.

Separated strolls in next, its mellower melodic landscape courting a catchiness which combined hints at the earlier mentioned band Au-Pairs. Expectantly, it too has a raw snarl and antagonistic nature which perfectly tempers and works with the calmer but no less imposing punk ‘n’ roll revelry, but as great as it is, the track is totally eclipsed by the outstanding Restless. The best track on the EP, it is a scathing sonic tempest which seduces as it wrong foots, sudden slips into warm caresses and virulent old school punk devilment complete with addictive hooks and abrasive intensity an inescapable enslavement. At certain points, the song has thoughts wondering if this is what The Slits would sound like if starting out now, but ultimately and once more the striking provocateur is distinctly Petrol Girls.

The predatory enticement and belligerent roar of System comes next, band and song creating infectious and intimidating emotive contumacy before Disgrace brings the EP to a close with its even more cantankerous proposal. Again as wilful and rebellious as both are, there is an underlying catchiness which has the body as hooked as ears and mind.

Petrol Girls is maybe a band on the outskirts of recognition, or was as that is surely going to change if the Some Thing EP gets its persuasive way.

The Some Thing EP is available on CD, Digital Download, and three-track 7” Vinyl featuring the first trio of songs above now via Bomber Music @ http://www.petrolgirls.bandcamp.com/

https://www.facebook.com/Petrolgirls

Pete RingMaster 20/02/2016

Copyright RingMaster: MyFreeCopyright

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Bad Mary – Killing Dinosaurs EP

Photo by Nick P Jiannaras of Nicolai Patrick Photography_

Photo by Nick P Jiannaras of Nicolai Patrick Photography_

When presented with a band name like Bad Mary mischievous thoughts of course spring up as well as hopes that they have a sound to back up the devilish allure of their name. The Long Island quartet has that and more on the evidence of new EP Killing Dinosaurs. It is six highly flavoursome and raucous slices of punk ‘n’ roll unafraid to be as pop catchy as they are belligerently irritable. It is steeped in seventies punk and power pop with the attitude and tenacity of modern rock ‘n’ roll, and quite irresistible.

Bad Mary’s beginnings sprung in 2010 from the regular happening of Hofstra University’s professor of drama and guitarist David Henderson putting a band together with students each semester to play a bunch of covers. At this moment in time vocalist Amanda Mac and bassist/vocalist Mike Staub were the students who became involved, with a time of turnover in drummers ending with Amanda’s dad and veteran drummer Bill Mac joining the band. Playing songs from favourite new wave and punk artists from several eras, initially as Madame X, Bad Mary was officially launched in 2012, and through each member’s individual love of punk and rock from different decades, the band’s own sound grew and blossomed. Debut album Better Days was the first offering, a 2014 release going on to garner three first-round ballot Grammy nominations, success matched by their live presence and their songs luring media and radio attention on both sides of the pond.

cover_RingMaster Review     With inspirations ranging from The Ramones, The Sex Pistols, and Motorhead to The Tom Robinson Band, The Police, Blondie, and Green Day amongst many, the band’s new EP is a non-stop stomp that growls as it invites, bullies as it sets ears and imagination alight. Recorded with producer/engineer Matt Storm and assistant engineer Francisco Botero at Studio G in Brooklyn, Killing Dinosaurs gets straight to the point with opener Soapbox. Amanda leads the confrontation from the off, her potent tones the first touch and fiery guitars around rampant rhythms the next. It is an infectious and grouchy start with the growl of bass alone a brooding impossible to resist temptation as the guitars release their similarly enticing caustic flames. The backing roars of Mike brings a fiercer texture to compliment the intimidatingly tantalising tones of Amanda whilst more metal bred hues add to the overall brawl of the excellent start to the EP.

Whereas the first track has a presence crossing years, the following Want What I Want carries a great old school punk character, strolling with a swagger which is part Vice Squad and part The Objex. The bass of Mike again captivates with its heavy swagger whilst David weaves a hook lined web of enterprise part venom part flirtation as Bill slaps the listeners’ proverbial cheeks around. Eclipsing its predecessor, it too is shaded a touch by next up Hanging Around, a boisterous canter carrying the glam rock of Sweet, the mischievous pop punk of the Rezillos, and the rapacious virulence of dragSTER. The track steals the show, leaving an already strong appetite greedier and already by this time an exhausted body more wasted but energised.

A cover of The Police song Next to You swings in next with a similar swagger and nature whilst delving into more classic heavy rock enterprise whilst adding a tasty scent of early No Doubt punk pop to it . Again physical involvement is a given as it spins its lures, a success emulated by the X-Ray Spex meets The Avengers like Sucks to Be You, another rousing middle finger of word and energy

Killing Dinosaurs is completed by One More Song, a compelling mix of fifties rock ‘n’ roll and sixties pop embroiled in power pop/punk rock imagination and dexterity. It is an infectious end to an increasingly enjoyable encounter; a collusion of old school and twenty first century punk ‘n’ roll to lift emotions from the doldrums and bodies into feverish participation.

The Killing Dinosaurs EP is out now @ https://badmary.bandcamp.com/album/killing-dinosaurs-ep

http://badmary.com/  https://twitter.com/BadMaryBand   https://www.facebook.com/badmaryband

Pete RingMaster 22/10/2105

Copyright RingMaster: MyFreeCopyright

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