Top Buzzer – Inside is a Room Vol. 1EP


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 @

Pete RingMaster 18/03/2016

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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 @

Pete RingMaster 20/02/2016

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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 @

Pete RingMaster 22/10/2105

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dragSTER – Dead Punk

Photo by Uglypunk —

Photo by Uglypunk


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

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

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

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

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

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

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

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

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

Dead Punk is available via STP Records now on CD @ and digitally @

RingMaster 16/01/2015

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The Duel – Waging War


On the back of their previous impressive album alone, the new full-length from UK now wave punks The Duel has been one of the most highly anticipated releases in the genre this year and the last to be honest. Its impending arrival has sparked an almost feverish excitement and on the ‘eve ‘ of its unleashing it can be revealed that all your hopes and wishes for the band’s fifth album will have fallen short of what it magnificently uncages on the ears and passions. Consisting of nineteen mentally and physically impacting and inspiring tracks, Waging War is a glorious new and inventive adventure from a band which is no stranger to pushing itself, the listener, and punk into new potent grounds. The London quintet on the evidence of their album has quite simply found a new maturity and mouthwatering enterprise to songwriting and sound which only makes the future even more exciting.

The Duel has come a long way from that first meeting between vocalist Tara Rez and keyboardist Andy Thierum, after Tara applied to an ad in Melody Maker. From the joining up creatively and the founding of the band, The Duel has unleashed a quartet of albums which have one by one increased its stature and reputation whilst forging a status as one of the most inventive, passionate, and socially vocal emerging bands in UK punk. Debut album Let’s Finish What We Started in 2007 instantly drew strong attention which Childish Behavior two years later pushed to another level, but it was the 2011 All Aboard The Crazy Train which brought a more intensive spotlight upon the band. A year later the boldly experimental but still rigorously enthralling Soundtrack To The End Of The World (Story Of Zak Splash) revealed the eagerness to really push themselves and expectations. The acclaimed release set a new benchmark for the band whilst challenging fans to evolve with their sound, which they did with rapturous passion for the main. Waging War takes those seeds planted in its predecessor to a far loftier template for band and modern punk whilst simultaneously also embracing decades of punk and its origins. The result is an album which is as addictive and infectious as anything from the seventies with barbed hooks a plenty and as melodically seductive as any pop punk /new wave triumph release from the following decade. It also simultaneously provides a scintillatingly new and experimental adventure bred in the now. It is a richly stimulating encounter which puts The Duel on the frontline of punk rock.

The first striking impact from the album is the use of poetry and prose in between many of the songs. It is a potent and highly provocative ideation which wakes and stirs up thoughts and emotions time and time again. It is not just words though as each piece is wrapped in an embrace of diverse music which colours the dramatic and enthralling canvas set by the voices. Provided by Tara and guests Angie Bowie, Segs Jennings (The Ruts/Ruts DC), Ginger Coyote, and Dennis Just Dennis, those particular tracks slip easily and perfectly between songs which add depth to the spoken narratives and vice versa. The pieces share the same titles as the songs they precede, with Breakaway starting off the album. Keys elegantly court the poetry of Tara as a portentous atmosphere spills its breath around them. As with them all it is a proposition in itself, not an intro but a companion to the song itself which emerges from a great scuzzy electro mist from Andy with rigid rhythms from Pumpy and guitar grazes from Thanos Oscar Pap. It is a less than forceful start but one soaked in dark oppressive drama caressed by the croon of Tara which captures the imagination and an immediate appetite. As the song settles in thoughts a switch is flicked and urgency and energy accelerates to an eager stride which only reinforces the exciting start to the album.

From another piano led skirting this time to an Angie Bowie brewed narrative, Feel The Same dances with raw sonic flames and agitated the duelrhythms around the throaty tones of Chris McDougall’s bass and Tara’s potent vocals. It is an absorbing slice of anthemic rock pop, keys teasing and kissing throughout as energies romp with feisty appetites. An essence of old school punk breathes across the encounter but not as loudly as in the following Gotta Hold To Love. There is a sterner rough edge to riffs and rhythms from the start which the vocals and subsequent quaint twang of keys soothe though at times certainly Tara roars as potently as the guitars. The song is in many ways epitomises The Duel, the band able to produce the most virulently addictive and contagious propositions without the blatant and obvious use of candied hooks and predictable lures.

Things continue to grow in strength and pleasure as Under The Thumb next swaggers into ears. Once more the grouchy sound of seventies punk spices up the exceptional track, a X-Ray Spex toxicity igniting imagination and passions whilst guitars sculpt a web of virulently persuasive textures and simply irresistible bait. Its glory is swiftly matched by Brotherhood which comes after another deeply registering piece of word and sound. Opening on a rich earthy bassline, the song soon wraps the senses in an epidemically alluring groove which is then itself coated in the vibrant vocals of Tara. Atmosphere and sound intensifies as the song spreads its intent, riffs and hooks as an enthralling trap within a blazing web of creative suasion which equally nets everything from ears to emotions.

The first part of Light At The End is an instrumental with gloriously orchestrated structures which proves music itself can be as poetic as words. There is drama, mischief, and expressive endeavour to the piece which in some ways makes the song itself slightly underwhelming initially but with punchy beats and bass prods, the coaxing vocals of Tara and Andy, and the latter’s glassy keys invention the song is soon riding thoughts with relish and mesmeric enterprise. As with most tracks, its body is impressive and gripping but it is the small twists and slithers of ingenious imagination which means things evolve into something truly special, the unpredictable breaks and turns in the direction of the song and the unexpected vocal detours adding delicious extra spice as the song reaches its peak.

Colours next explores with keys which are almost Stranglers like at times as a rosy psychedelic glaze soaking the senses. With a gritty persistence from vocals and rhythms aligned to scorching sonic flames, the song is a riveting protagonist if not quite at the heights of certainly the previous pair of tracks. Both Salesman and Gimmi Your Thing are similar, the pair insatiable with strains of vintage punk simplicity courted by raw hunger of dirty rock ‘n’ roll but lacking the spark to light a major fire in the belly, though each still leaves a vigorously satisfying and compelling presence lingering in memory and emotions.

The album is back on its highest pinnacle with Urgency, an incredible anthem which lures total allegiance through a smouldering coaxing rather than all out lines of hooks and riotous bait but still achieves the same highly successful results. It is a masterful recruitment emulated to the same degree by Love Me Or You Don’t. Merging a reggae swagger with electronic discord and dub teasing, the track is a constantly twisting weave which never relaxes or lets the listener’s senses rest into one inviting premise, instead offering a magnetic and thrilling off kilter waltz which adds another inventive exciting turn in the call of the album.

Closing on the challenging incitement of War, it coming in two equally imposing and vigorously pleasing parts, Waging War is a dynamic fusion of passion induced imagination and bold invention scaling new inspirational heights for the band. The production of the release comes as its predecessor with a hollow essence which ensures everything resonates in touch as well as premise, meaning intensive cloudy essences thicken and flames find a chilled starkness and it works a treat. The Duel has been to the fore of European punk for many a year but with Waging War they are taking on the world and we for one would not bet against them after this triumph.


RingMaster 21/05/2014

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Obsessive Compulsive – Seculo Seculorum


There has been a good buzz about Seculo Seculorum, the second album from UK punksters Obsessive Compulsive, since its release a couple of months ago but now having allowed its thrilling exploits to tease and excite our senses the record far outweighs the plenty of good responses draped upon it so far. It is an outstanding release, a collection of songs that stand toe to toe with the ears intimidating and coaxing them and all beyond into its riotous and provocative charge. Rife with feisty riffs, probing rhythms, and more hooks than to be found in an angling store, as well as the excellent spitefully seductive tones of vocalist Kelii, the album is an irrepressible temptation declaring the rock and punk fused presence of the band as one of the most exciting in the UK.

The Manchester quartet first drew attention with a couple of EPs but fired up a stronger awareness with debut album Dreams of Death and the Death of Dreams in 2010. Released on their own Vociferous Records and produced by Russ Russell (The Wildhearts/Evile/Napalm Death), the album triggered strong and eager responses as well as a wealth of underground media acclaim. Renowned for their live performances, which has seen the band share stages with the likes of Goldblade, GBH, Anthrax, The Damned Things, KMFDM, Wolfsbane, and The Japanese Voyeurs as well as igniting festivals such as Bloodstock, Hard Rock Hell, and Download Festival, Obsessive Compulsive are now poised to raise their stature to a much loftier level with the James Loughrey (Skindred/Bjork/Page & Plant) recorded Seculo Seculorum (meaning ‘forever and ever’).

As immediately evident on the album, Obsessive Compulsive reaps the finest essences of punk, alternative rock, and a multi-flavoured OLYMPUS DIGITAL CAMERArock rawness which combines to create a confrontation which leaves you breathless and gripped by a hunger for more. Imagine The Distillers and The Duel tied down and milked for their antagonistic charms whilst Karn8 stands astride adding their wantonness and you get a sniff of what the album offers. There is also a melodic fire and bite which harkens back to the late seventies with both The Photos and Penetration coming to mind at times. The moment opener Sick Sick Sick bursts into a blaze of hypnotic riffs laced with a contagious groove and commanding rhythms, there is a cage around the passions sparking them into life especially as Kelii brawls into the ear with sexy intimidation. There is a sense of US rockers Mongrel about the song too when it flares up in pissed off crescendos around its virulent infectious call. It is a scintillating start that lingers around for a long time inside though it is soon matched by the brilliant Regurgitate.

The second song on the album initiates the strongest lure just by the instant firm stroking of guitar and vocals, the combination a temptation which seems to know there is no escaping its toxicity. Into its stride once again the suasion is immense and impossible to resist, the roguish roam of the riffs framed by crisp beats seemingly seeded in old school punk rock whilst Kelii provides a Pauline Murray like snarl and melodic craft to her delivery. It is another instant pinnacle which alongside its predecessor puts the rest of the album under pressure.

Both the inventively unpredictable Stamp Your Own Path and the smouldering Jardim Gramacho put up massively satisfying efforts to grip the same heights whilst Nail In My Coffin stands shoulder to shoulder with the openers with its scything riffs and barracking rhythms egged on by the continuing to impress vocals. The track engages full thrusters in the energetic chorus to rampage as melodic flames hang on to its wind, though they are later allowed to settle and bewitch the listener with skilled and inventive narratives either side of the storm. The track again shows the variety in sound and imagination already on the album, the diversity brought with invention and an array of ingenious barbs which are never too much or allowed to get too complicated.

Float idles up next with bass and deep toned guitar edging the sultry tones of Kelii as the track unveils a slightly chilling and menacing beauty to its expansive breath, keys bringing an enveloping atmosphere which almost haunts the ear whilst shards of hot guitar coals light the skies. Drawing up its sinews and malevolent passion the song builds into a rapacious fire before settling down again into the initial smoulder. It is another slice of brilliance helping to propel the album into classic areas, the evidence of that status cemented further by the twin glories of Soul Sucker and Things Clean And Unclean, the first very much a Karn8 type inducement with elements of Hole and Hitchcock Blonde to it and its successor a gritty slice of dirty punk with L7 whispers to its stunning suasion, the steely bass bait a greedy temptress. It should be noted though for all the references mentioned the Obsessive Compulsive sound is still as distinct as you would hope.

After the metallically honed triumph Fight Or Flight the album unleashes its finest moment in the punk fury of No Logo. The track is pure venom and belligerence, a blistering X-Ray Spex like piece of contentious savagery which squalls and scowls with no mercy shown or considered. It is a bruising fight which accentuates the beauty of closing song Swallow The Sound all the more, the song a compelling rock ballad with a melodic heat that frames the vocals perfectly.

Obsessive Compulsive is a band which leaves only the richest appetite and urgency for their creativity in play, and Seculo Seculorum an album which seriously threatens the best UK rock album claims for the year. A must listen release.


RingMaster 23/08/2013


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Forgery Lit – Onamacritus

Forgery Lit pic

Listening to Onamacritus, the new EP from UK band Forgery Lit, the overriding feeling is that tingle you get when you feel like you are in on the beginning of something rather special, an awareness which not many others have had the taste of yet, though it would be a real shock if the trio from Bristol were not echoing around the senses of a great many in the very near future. Their four track release is simply scintillating, an inspired and imaginative temptation bred from distinct invention and unique aural mischief. Sounding like the tantalising offspring from an orgy between Blood Red Shoes, Breeders, and Penetration with the Au Pairs and Spinnerette offering their juices, and yet sounding something completely different, Forgery Lit is a fire waiting to happen, and their new release we suggest the irresistible spark.

Consisting of Ami Amp (vocals/drums), Gareth Jones (bass/backing vocals), and Niko Mar (guitar, backing vocals), the three friends from three different parts of the world (Greece, South east and South west of England), take inspirations from the likes of Juliette and the Licks, Mogwai, No Doubt, Nirvana and more, spicing up a sound which defies tagging and stands loudly distinctive to the band. As shown by the EP, it is a fusion of indie and rock which employs breaths from many other ventures for one new thrilling experience.

As soon as Dirty Life throws a mesh of sonic dust at the ear senses are opened up and appetite wide eyed in anticipation. It is a 27934_607200582626200_832823740_nbrief scrub soon replaced by a teasing groove and strolling rhythms hand in hand with a swagger lit bassline. The vocals of Amp confidently coax and seduce with slight menace and total persuasion adding to the provocative temptation which subsequently reacts to the listener’s submission with a sonic crescendo of squalling greedy energy before going through the whole incendiary lure again to cement the deal. The drift into blues soaked tempting within a bedlamic ambience makes for an unexpected and exciting aside whilst the returning earnest tempest confirms the already incited ardour. The lead track/video from the release it makes a potent introduction to the band.

She Said has a reggae whispering walk to its opening embrace with the vocals and rhythmic enticement of Amp waving a beckoning finger at the ear before bass and guitar light up the scenic embrace with feisty passion and evocative colour. A more gentle engagement than the previous song it still grabs thoughts and emotions by the scruff of the neck and leads them into an excitable dance of discord teasing melodic blistering crafted with a post punk enterprise. It has an uncompromising invention which is hypnotic in its invigorating ingenuity but is never afraid to drench it in a surge of heart sculpted energy bleeding ferocity.

With just two songs the EP has won its case but with the remaining pair of Bicycle and Fairweather, there is nothing less than more eclectic weaves and rapture igniting quality to devour and drive those thoughts and expectations that Forgery Lit is poised to become a new force in UK rock. The first of the two stands eye to eye with the senses, a riff guided groove searing the synapses to enslave their focus before beats cage their escape and Amp lays out her narrative with a seductive wantonness.  It is with the expulsion of sky bound sonic flames with acidic melodic fuel and a deliciously broody bass assistance that the track finds another plateau of excellence. X-Ray Spex meets Karn8, it is a sizzling and beguiling confrontation and the best track on the EP, a creative devilment which says as much about the immense invention as the other three songs together.

The closing Fairweather is a slowly smouldering caress which is as gentle as it is caustic in its predatory surges, a final piece of passionate and expansive excellence setting the band up as one of the most exciting and promising bands of recent years. Recorded at AudioBeach Studios with Forbes Coleman, Onamacritus is one release all need to invite into their ears, your hearts it will find by itself soon after.


RingMaster 28/05/2013

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