Reviews CD


“The Kingcrows have definitely played a winning hand with ‘Brute Force and Ignorance’ a full suit of sleazy rock n roll tracks with an added joker thrown in for good measure!” – Louise Swift, Planet Mosh
“Very dynamic start with ‘Psycho Radio’, ‘Blood Brothers’ and ‘Car Crash Cadillac’. ‘Blood Brothers’ might be my number one favourite song on the album, nice melody and catchy chorus.
I have been listening to the album recently a lot while working on the photos. It’s good background music as you really don’t have to pay too much attention to the lyrics – sorry if I have missed some deep philosophy here. I don’t think so. This is a 13 track fun splash. I am sure that The Kingcrows are a great live band, too.” – Katriina Etholén, Tales From The Brazier’s Grotto


Vive Le Rock issue 31:

Ringmaster Reviews:
For all the exceptional punk releases and bands igniting the rock scene over recent years, there is no still no substitute yet for the special tingle which only lifts its head with a ’77 found roar. As we all know, it is a never diminishing inspirational period for punk rock and the never ending torrent of bands spawning their own identity with its antagonistic hues. Some breed a sound which is as close a cousin as you could wish for, amongst them The Kingcrows who are simply a rousing bridge between the late seventies and modern punk ‘n’ roll. Their previous releases have already made that declaration but new album Funland sets it in stone, the UK quartet involving the listener in something energetically aggressive, attitude driven, and most of all undiluted sleaze wrapped fun.Hailing from Leeds, the quartet of vocalist Phil E Stine, guitarist Lee J., bassist Rocco, and drummer Ratbag have been a bruising and thrilling live presence across the north of England moving outwards. Emerging in 2005, The Kingcrows has torn up stages with their filthy rock ‘n’ roll ever since, playing alongside the likes of Spear Of Destiny, UK Subs, The Rezillos, TV Smith, Anti Nowhere League, Tokyo Dragons, Vice Squad, The Lurkers, 999, The Vibrators, Red Alert, The Outcasts, Peter & The Test Tube Babies and many more legendary and emerging bands over the years. They have also released a clutch of attention grabbing EPs, which made an even bigger impression when collected together and released in the shape of Corvus Maximus through STP Records in 2013. The album awoke a broader focus and awareness of the band’s unfussy and virulent sound, which Funland should now push into new spotlights and recognition.The album erupts with Here We Go, the first riot initially blooming from a fairground organ and its warm invitation. Soon rhythms rumble with attitude and riffs stir up the air as the opener’s eager rock ‘n’ roll seizes ears and attention. The song is quickly into its virulent and persistent stride, cruising with jabbing beats spearing grouchy guitar and bass tenacity. The track is like a mix of Spunk Volcano and The Eruptions and The Adicts, similarity and nostalgia colluding with fresh attitude and revelry.A potent start to the album is further ignited by the following She’s My Rock ‘N’ Roll and its thrilling tempting. An alluring rhythmic enticing sparks a rockabilly bred grooving flirted with by spicy harmonica, they in turn kick-starting a heavy anthemic canter of contagious rhythms and incendiary sonic enterprise led by the ever magnetic tones of Stine. The track is glorious, punk rock at its tenacious and riotous best, and again as old school as it is imposingly new. The album’s first major pinnacle is backed, if not quite matched, by On The Road Again, a swiftly engaging and infectious stomp which has ears, feet, and appetite locked in within a handful of chords and resourceful seconds. There are no big surprises within song and arguably Funland in general, yet they only provide a nonstop and fully satisfying stomp to get eagerly involved in.A southern whisper lines the lure and rampage of Rock ‘N’ Roll Rebel Songs, the track aflame with sultry guitar endeavour, inviting group vocals, and the breath and atmosphere of ’77. Lyrically it also sparks memories of times past, it all colluding in one easy going and gripping persuasion, though outshone by Forgotten Son straight after. Its opening riff comes with dark intent and imagination igniting attitude, its bait continuing to enthral as the song grows and breeds new sonic colour and lyrical drama around it. There is a touch of Angelic Upstarts to the encounter though that is but one flavour within the emotive shadows and provocative narrative on offer.The album’s title track kicks up a storm of attitude and insatiable rock ‘n’ roll next, the track forcibly prowling with essences of bands like Suburban Studs and Crisis in its armoury before making way for the irresistible presence of Kick ‘Em Down. The album is truly at its loftiest height at this point, the tasty provocateur, and its predecessor, unleashing welcomingly bullying and virulently infectious rock ‘n’ roll with the second also unveiling another tonic of harmonica belligerence, before the brilliant Apocalypso steals the whole show. Opening on a delicious throaty bass riff with tendrils of guitar adding their spice before the drums create a brooding and catchy confrontation, the track evolves into one seriously magnetic shuffle. The beats of Ratbag continue to incite song and ears with their anthemic swings, whilst around them voice, riffs, and contagion ebb and flow like virulent waves soaked in inescapable temptation.Never Gonna Fall continues the album’s elevated and invigorating energy and enjoyment with ease, its thumping presence and gait luring many strains of rock into one bulging incitement whilst Sick Of Love Songs creates its own individual fusion of old school punk and new rock ‘n’ roll. The bass of Rocco breeds a bestial snarl to its tone whilst Lee J. once again leaves sonic vapours from his searing and ever to the point exploits. Led by the beckoning delivery of Stine, the track is another hitting the sweet spot whilst proving to be another proposition you only wish its two or so minutes was stretches longer.Funland ends with Beer and Whiskey, arguably the weakest song on the album. In context though, with it holding ears and pleasure firmly in its rip-roaring escapade, it simply reinforces the might of the tracks which over shadow it. It is indeed a fine end to an excellent slab of rock ‘n’ roll, Funland rigorously feeding appetites for seventies punk and today’s punk ‘n’ roll from start to finish.2015 has already been blessed with some mighty punk offerings which The Kingcrows now rival if not surpass with their new proposal, but few of those others will become as big a favourite as Funland is destined to be we suggest.



Pure Rawk
Debut album proper from Leeds glam-punks The Kingcrows following a couple of mini-albums, Funland is pretty much a straight continuation of the sound from aforementioned mini-albums A Murder Most Foul and Up Before The Beak, and that’s no bad thing.For those who haven’t encountered The Kingcrows before, they’re very much Yorkshire’s answer to the fast, fun and filthy brand of pint ‘n’ scratchings rock ‘n’ roll of bands like Dirt Box Disco and Spunk Volcano and the Eruptions. There’s not a lot here that’ll surprise you – it’s all tales of girls (“She’s My Rock ‘n’ Roll”), booze (“Beer And Whiskey”) and touring (“On The Road Again”), but what makes The Kingcrows so enjoyable is the lack of pretension.Even when they’re trying tp put a relatively serious message across such as on “Apocalypso”, they can’t help but weld it to a big shoutalong chorus and stomping riff, and anyone who’s had the misfortune to have had to sit through an Ed Sheeran song on the radio would have to agree with the sentiments behind “Sick Of Love Songs”. This is simple from-the-heart honest-to-goodness rock ‘n’ roll which is all about going to the gig, enjoying a few beers and having some fun. And that counts for more than a lot of folks’d tell you.There’s nothing contrived about Funland the way there is with some bands of this genre, and The Kingcrows sound like they’re having an absolute blast playing through these songs, and you suspect that these tunes’ll sound just as good in the live arena as they do on this record. All in all, this is good solid rock ‘n’ roll fun.FINAL THOUGHTS: Funland isn’t exactly rocket science but it’s smart enough to know that good rock ‘n’ roll doesn’t necessarily have to be. What it is though is a good album that’ll have your toe tapping and your head nodding and put a smile on your face throughout. All in all, this is a good effort. 4/5ANDY CLOSE –


Mass Movement:

After a number of EPs, collected together on the Corvus Maximus release and following some well-received live shows, this new album from Leeds punk’n’roll band The Kingcrows comes highy anticipated. The good news is that this won’t disappoint their fans. The ‘Crows have honed their blend of 77 punk and sleaze rock, with other influences appearing here and there to keep things fresh. Building on some big chorus lines they make sure the singalong factor is present throughout the album. They keep their approach simple and direct without extended guitar solos or other filler material. When listening to this I am reminded of names such as The Lurkers, The Wildhearts or Dirt Box Disco, but I don’t think that The Kingcrows actually sound like any of the above as they have managed to really define their musical personality on this release. Although the sound is varied there is a consistency and flow to the album which helps make it very listenable. Eleven three minute punk rock anthems that are designed to hit hard and fast, and that’s exactly what they have achieved with this release.TOM CHAPMAN –


Uber Rock:
Roll up, roll up for the all new fast, furious and filthy album from Leeds based rapscallions The Kingcrows, rather appropriately entitled ‘Funland’.What you get here for your entry money folks is eleven tracks of punk rock and roll that sit somewhere in the gap between The Babysitters splitting up and Goldblade forming. As such this is not really game changing stuff, it’s really four blokes (Phil E Stine on vocals, Lee J on guitar, Rocco on bass and Ratbag on drums) just blasting through their own tunes like their lives depend on it. In fact it’s credit to the guys that they do this instead of taking the far easier tribute/covers band route, and in the process selling their souls thus condemning them to buy their music in supermarkets for all eternity. Good on you lads.Once the fairground pipe organ intro to ‘Here We Go’ has died down we are soon off and running, Ratbag’s drums pumping the record into action amidst a whirlwind of razor sharp guitars all topped off with a fine and dandy glam/punk melody line from Stine, and that is pretty much where the record stays for the next ten tracks and twenty odd minutes. There are no real shocks or surprises here other than a slightly too high in the mix harmonica present on ‘She’s My Rock ‘N’ Roll’, and ‘Kick ‘Em Down’ (which perhaps doffs its cap to Cock Sparrer’s ‘Watch Your Back’ in the melody of the verses) that kind of distracts me from what would otherwise be two really decent songs. This might just be me mind you….I’ll leave you to decide otherwise.Other than this very small gripe though the tunes in general are all mighty fine up-tempo rockers with my personal favourites being the anthemic ‘Rock ‘N’ Roll Rebel Songs’, and a song I hold very true to my (dodgy) heart indeed ‘Sick Of Love Songs’, where the band’s hatred of the vacuous shite mainstream radio peddles is all wrapped up in 2:21 minutes of top notch punk rock.As I said at the start whilst The Kingcrows are never likely to be the next big thing, and that is I guess why – as their logo so very wryly states – they carrion regardless. ‘Funland’ though is fit to bursting with great tunes and that bloody Thomas The Tank Engine harmonica aside I would recommend it to anyone who likes their music fast, furious and filthy. HA!JOHNNY H –

A belated CD review here due to the request only coming in of late and me being snowed under with many elements borne from many areas. I have done much with The Kingcrows over the years and remember in the early days when they seemed stuck on the Northern area carousel and were producing fine quality noise to many who weren’t really that interested (quite shocking and an occurrence only too fuckin’ frequent for me). I did my bit (albeit DIY pure and Fungalised) and the band got a little more recognition, played elsewhere, were noticed some more and from there the rest is pure musical history. The band at last are receiving due acclaim for their efforts and I wish them all the best and so dip in to their tuneage and see if the cogwheels are moving in the right direction. Underpants of honesty donned, pecker of critique left dangling and fine salty writing fluid ready to be spilt – pass me the Kleenex please!Away we go and after a dawdle in the midst of fairground sinisterism the opening riff of ‘Here We Go’ smacks home with ardent and fervid necessity and immediately exposes a new found echelon of productive and complimentary tonality. The pressing pace and lucidity of the gushing avalanche combines with a penetrating weight that gives the song a certain extra validity and prominence that will serve the band well on their recent upswing. One essential ingredient the band don’t forget is their well-tried and tested melodic approachability that again is highly evident on this opening blast of confident quality. I move on before I over indulge in a flood of text and trip over my impressed key-tapping carcass (tis passion tha’ knows). ‘She’s My Rock ‘n’ Roll’ moves in next with equal prowess and rapidity and once more embraces all the exacting and impressive elements of the band as well as the new found glory mentioned. A foot stamp of sound, a choo choo pipe up of encouraging zest and a grinding hook are all the ingredients needed to keep one thoroughly absorbed and the well blended throat croons, the animated drum tumbles add bonus strength to the whole spillage. Two down and all is fuckin’ fine – can the hat-trick be had? ‘On The Road Again’ stings the back of the sonic net with sublime force and accuracy and transpires into what is, the best song of the lot thus far (in my lowly estimation). A thoroughly unconstrained account that is shackle free and from the opening crispness and seat-belted verse through to the soaring chorus it elevates the whole set scenario and gives a solid contribution to the fluid donations that ooze class and clout.Onto to track 4 and ‘Rock ‘n’ Roll Rebel Songs’, a song that has a title that says it all, a rock city roll around borne from healthy spirits and souls that live the life of louts making loud music and, indeed, loving it. A youthful naiveté is captured and takes us to a time when we picked up and played and felt a surge of hope via the vibes penetrating our framework. An easy number to munch on, as is the following ‘Forgotten Son’, an effort that is slower and steadier but has the usual inflection and snagging elements that make The Kingcrows so fuckin’ listenable. An ease of progression and a fluid tactical smoothness convinces me over and over again and yet I feel the band are still not punishing themselves and have the foot firmly set and under control – oh the talented bastards.’Funland’ is the title track and despite being decent enough doesn’t stand out as anything special. Is that because the standard is just too high throughout? Could well be. Anyway this one ploughs straight in, adopts a pair of studded blinkers and demands some heavy supping and slurping. Tis the zipping thrustiness of this one and the high wire danger that propels we listeners forward and after the previous care-laden tune it is sweet to get such a blow-out – good stuff my dear chaps. ‘Kick Em’ Down’ comes next and is a minor peach plucked from a flourishing bush of rhythmic fruit that sees the rind of the verse outshine the inner flesh of the chorus, which of course has me chewing on the possibility of if only a top dollar chorus was had then what a pure mouth-watering stunner we could have really bitten into. Nay bother, I crack on nonetheless.’Apocalypso’ bass rumbles, screw winds with care, tympanically rises from tribal substrates where a verse ensues in comfortable tub thump, two step routine that will ensnare oral assistance and have the ‘live’ louts bouncing. The chorus follows the trend and alters the output with a forthright combo-punch option. Liking is particularly had for the following mouth off that is nicely outside the main thread of the song – a cute touch. ‘Never Gonna Fall’ immediately summons thoughts of a defiant number built on growled warnings and ‘keep your distance’ threats. Instead what we get is a more embracing tune that keeps things light and without too much abrasiveness. It is in keeping with the set trend but I do wonder if a mistake is had here and a chance at changing direction lost. Hey ho, not a bad track nonetheless although the weakest runt of the pack comes next under the guise of ‘Sick Of Love Songs’, a ditty that starts mighty pretty with a gripe in the cavernous gut and a relieving chorus but a song that then gets carried away by too much whinging about a pet hate and overdoing a rather turgid flow. The spiral to the ‘PIL’led final utterance is neat and the short running time is extra salvation but this is my least favourite spillage of the lot. Thankfully the simplicity and all round alco-goodness of the partified celebration known as ‘Beer And Whiskey’ brings the CD to a foaming closure with the band pouring in their consummate all and providing us with a smile and slurp snippet to jig and swig to. I’ll sign off here and add nothing more to this individual assessment, best to always finish on a high.The Kingcrows have progressed and it has been a grand journey to behold. This is without doubt the bands best release to date and I am really happy about that. Sometimes the good guys deserve a break and need something to showcase their true talent and get them some note – this CD ticks all the right and relevant boxes.

Corvus Maximus

This week I’ve managed to get my hands on this brand-new CD from Leeds based Punkers, The Kingcrows. It’s not just any old album either, ‘Corvus Maximus’ is a round-up of 3 previously released EP’s (A Murder Most Foul [2009], Magdelene [2010] and Up Before The Beak [2011] with each track having been lovingly re-mastered, thanks to the bands chosen producer, Grant Henderson, at Loom Studios.It’s nice to see all 17 songs under one roof, with a fresh coat of polish thrown in. The Kingcrows have been together since 2005 and have dealt with all the trials and tribulations you would expect a self-supported, underground band (of any genre) to face. From line-up changes; to the over-familiar war of ‘Money versus Art’; and the struggles of gigging original material amongst a declining, live-audience demographic – it’s plain to see that such factors have most likely (and perhaps inevitably) contributed to the creation of their latest venture.The fact that I’m sat here reviewing ‘Corvus Maximus’, is a testament to the band’s perseverance and love for their music. So, let’s talk about what this album brings to the table. The 3rd track, ‘What She Does To You’ particularly grabbed my attention with its strong sense of character. The bass guitar makes first entrance, unleashing a catchy melody in a warm and slightly distorted tone. The guitar and drums then follow in hot pursuit with some strong and well sustained guitar chords complimented by some highly stylish and energetic tom-work. The result is a compelling atmosphere that is both intriguing and mischievous (as the name of the track suggests) reminding me of ‘The Dead Kennedys’ in some ways.I enjoy the tune ‘Lunchtime at Lubys’; it has a jig to it; making me think of that Celtic punk band from the USA, ‘The DropKick Murphys’. If you want an inside opinion, the track is described by ‘TKC’ drummer, Ratbag, as being ‘Motorhead gone country’ – giving an even clearer idea of what to expect here. Perhaps the most interesting aspect of this song for me, though, is its controversial subject matter. It tells the story of the ‘Luby’s Cafeteria Massacre’ (Killeen, Texas, 1991) in which 35 year old George Hennard, drove his pickup-truck through the cafeteria’s front window, before shooting 23 people dead and wounding 20 others. Hennard then concluded his spree of death by blowing his own brains out…mmm, yummy!One track I simply must cover before the end of this review is ‘Writing On the Wall’. Being an acoustic number, the song oozes soul and realism with a hint of seriousness. I get the impression that it practically wrote itself – possibly down to the familiar sounding chord progression, or even the stark-grittiness of the song’s subject matter. The lyrics talk about a man struggling with alcoholism and his (consequential) cry for help. The themes, words, and music cement together, effortlessly – creating a solid image of human vulnerability. I am impressed by the sparse arrangement in this tune; how the bass and drums hold back for the entire first verse before joining the chorus. I also like the simplistic drum-fills that can be heard half way through each verse as the song progresses. The band has succeeded in giving the track its own signature identity.Corvus Maximus is a heroic album of reunited songs, which should not only be a joy to die-hard local fans, but to all lovers of punky-sleaze who have yet to discover this raw band. You won’t find these guys in the mainstream or as part of some major record label – but that’s the point. There’s something to be learned from their creativity, years of experience, and sheer love of their craft. DIY music really is like no other art form. Done for nothing more than the love of money, blasting out whatever floats your boat, recording what you can when you can afford it from what’s left of the petrol money you had left over from the last few gigs. And that’s what makes it so captivating, because what goes into a DIY recording is the heart and soul of the band and regardless how “awesome” it may or may not sound the spirit and bollocks of the band making the noise is worth a million auto-tuned vocals or “brutal” guitar overdubs tweaked to perfection.

Anyway what the fuck has this got to do with The Kingcrows you may ask? Well they happen to be one of the bands who fit the first paragraph to a tee. They might not be the most technically proficient, best produced band or have a string of anthems waiting to take the world by storm but by fuck are they a band that get under your skin and pretty much demand you shake your stuff to their grubby rock ‘n’ roll vibe.Bringing together the contents of the ‘Murder Most Foul’, ‘Magdelene’ and ‘Up Before The Beak’ EPs which were released between the years outlined in the album title, what we have here is a selection of tunes that bring to mind the music of the early ’80s, which anyone old enough will remember with fondness. ‘Revolution Street’ and the cheeky ‘Sex, Oui’ could quite easily have found the band a support slot at the 100 Club back in that heyday, with their early-Damned with a touch of psychobilly vibe.The ‘Magdelene’ tracks mix a bit higher tempo (the track ‘Magdelene’) with almost Members-like stylings (‘In For The Kill’).The latter day tracks see a slightly chunkier sound coming to bear with ‘Don’t You Know’ riding on some great riffs and gang vocals. ‘Renegade’ ups the pace considerably while ‘The Kids Are All Wrong’ brings the always excellent No Choice to mind. And in the best traditions they keep the best until last with ‘Friday Night Heroes’ (there’s also an un-credited track after this of which I have no fucking idea of the title but is also choice).All in all this is a very good album and highly recommended for anyone who prefers their punk rock organically created from practice rooms that smell of piss, sweat and beer rather than fine-tuned by Timothy Fucksname and his Pro Tools fuck buddies.DARREL SUTTON – UberRock

With a determination to do things their own way, The Kingcrows describe themselves as “Leeds’ scuzziest sleaze-punk-n-roll maniacs” – which sounds like quite a claim to make!
Formed in 2005, The Kingcrows have already shared the stage with the likes of Spear Of Destiny, UK Subs, Tokyo Dragons and Anti Nowhere League, as well as making appearances at the Nice N Sleazy festival in Morecambe on several years. With a desire to “spread their insanity further and bring their manic, fun rock’n’roll show to as many people as possible”, their latest offering, Corvus Maximus, showcases recordings from 2009 to 2011, and aims to further hook people into their punk sound, and with influences ranging from Motorhead through to Hanoi Rocks through to AC/DC, this promises to be one hell of a ride.

What’s always interesting on a collection such as Corvus Maximus is that you can hear the development of the band from start to finish, and as Hanging Around launches us into the punk rock frenzy that is The Kingcrows, it’s almost as if we’re hearing a band who are just setting out on the journey into music. Fast paced guitars work with hammering drums and urgent vocals to form a sound that’s unmistakeably punk and raw, hooking you in from the word go. Originally from their 2009 album A Murder Most Foul we’re led through the opening moments into Stiletto Grooveand on through What She Does To You and Sex, Oui, all the time being led by the punk fuelled melee on hand. It’s when Revolution Street arrives that the first high point of the album is achieved, offering up a hook fuelled punk track that packs a punch and satisfies that raw craving deep inside, setting the bar high for the rest of the album for sure.

Moving onto Magdelene (from their 2010 album of the same name) the development begins to shine through, demonstrating the journey the band have gone through and showing how they’ve developed as a band, and their sound. With In For The Kill offering up the second serious high point, once again the guitar takes over and we’re propelled into a track that’s sure to get you moving, shifting, and reaching for a beer to accompany the sound – it’s proper punk’n’roll music done damned well indeed.

Reaching the final album tracks (from their 2011 album, Up Before The Beak) we’re treated to a further 7 tracks, from Who Are The Madmen through to Party and on to Don’t You Know. The third serious high point comes about in the form of Renegades though, showing further development in their sound and ushering in a fast paced and hammering offering that’s surely built for the live scene. Closing after a whopping 18 tracks it’s impossible not to be impressed by an album that doesn’t just record the history of a band in album form, but musically demonstrates how The Kingcrows developed throughout the two years being charted.

All too often the term ‘punk’ is banded about and over used, not necessarily reflecting the music being played but instead, simply being the best fit category for a band who aren’t quite sure what they’re doing. With The Kingcrows that’s not the case, and throughout Corvus Maximus we’re shown a band who live, breath and love what they do – and the result is something pretty special indeed.

Rating: 8.5/10

Dave Nicholls – The Front Row Report


Leeds-based The Kingcrows have tickled my fancy and I don’t mind admitting it. Why? You might ask. Well, this EP follows on the heels of the impressive ‘A Murder Most Foul’ and boasts four tracks (it credits three on the sleeve but the fourth is a hidden cover of ‘The Letter’ which is mighty fine and catchier than any STD).

Playing a raw punk sound that also has more than a foot in what I’d call the real glam camp – not the watered down powder puff metal that generally gets knocked out from the States but proper glam rock like the stuff that was pouring out of the UK in the 70’s – all raw and trashy, plus some other early 80’s bands with a punk/glam edge. I’m hearing influences like The Damned when ‘Machine Gun Etiquette’ came out and a hint of ‘Strawberries’ era, especially on the opening of ‘In For The Kill’, but whilst you get the harmonies from glam you also have the directness of bands like the Buzzcocks and, for my palette, a sound not a million miles from the Soho Roses (if I may be so bold). Maybe that’s the inspiration for the harmonies on the choruses but, regardless of where they are drawing their inspiration from, this is a bloody good EP and a great introduction to the band’s music and what they’re capable of putting together.

Raw, catchy and direct, The Kingcrows clearly know and understand what it takes to punk rock ‘n’ roll the old school way and I’m liking it a lot. This is honest, authentic and thoroughly charming in all the right ways. Now pop over to the band’s website and pick up a copy of this insanely cheap EP – you won’t regret it. ‘My my my my Magdelene’

—Dom Daley

A Murder Most Foul

“Upon first reading the title of this e.p, it didn’t sound the nicest of titles… But hey! That’s Rock n’ Roll! I immediately like the front cover, with a banner of ‘crime scene do not cross’ across the middle and the title dripping blood below! You are probably thinking ‘charming…’ but don’t be put off, it is definitely worth a listen.

The first track that meets my ears is ‘Hanging around’ and if you haven’t already noticed, I tend to listen to the cd whilst writing!

I like it’s quick pace and the backing vocals are very well suited and timed, I could imagine this fitting well into a skate game! If it gets people pumping in the virtual sense then it would definitely get those heads moshing and bodies jumping at a live gig. I soon find myself singing ‘Baby baby…’ It is a very catchy song, although not of the type that drives you insane!

Their next track ‘Stiletto Groove’ is cleverly written, and again the backing vocals are brilliant. I like the lyrics, they are quite funny and it is another song that you can soon catch onto, and sing along with (even if my singing sounds like something dying a painful death…).

‘What she does to you’ is another I could see working well in a game! I would like to experience it at a live gig, and I bet there wouldn’t be one person (even those miserable buggers) that would be bobbing their leg about, itching to jump about and sing! I especially like the drums about two minutes in, they build up the song well until it bursts out again.

I like the beginning of their next track ‘Sex, Oui’ is quite a funky song, I like the subtle ‘ahh ahh ahhh’ in the background, it suits it well. It is another great track, which gets you singing along very easily! So, my advice people… Get this on your ipod, and sing aloud and proud!

‘Revolution Street’ has a great opening, I like the drums yet again (Go Ratbag!). I like the vocals, although it is not quite stealing my favourite choice… Which is a tough one between ‘Stiletto Groove’ which makes me laugh, and ‘Sex, Oui’!

Although I like the ‘Woaaah Yeah’s’ in this song! I could imagine everyone swinging their arms around at a gig, and soon ‘Woaahh Yeah’ -ing along!

‘One of the boys’ is nice and heavy, with a great entrance building up the song straight away. They definitely have the idea with their ‘Hey hey hey!’ and ‘ahhhh’s! It is definitely a song guys would be turning around and singing to each other! Between clapping!

The last track (Boo hoo we have reached the end…) ‘Writing on the wall’ has a nice rhythm throughout it, and I don’t know how they do it! But yet again I’m singing along! Although it may not be as heavy or quick as their other tracks, it has a nice feel to it and I love the guitar, it is just right. Now come on… Sing along!  ‘It’s all so overrated….’
Check them out for yourselves, and grab a copy of their e.p! Just click here to visit their Myspace.

 — Suzie

****************************************************************************************************** (reprinted from

I love it when a band gives me an album to review and they don’t fulfil their true potential.

No I ain’t no punk music pervert who gets his kicks out of other peoples shortcomings – please bear with me. You see if a band releases an album and it is decent enough but yet is more than a little obvious in the fact that the outfit have a lot more in reserve then I feel as though the reviewers job can really shine through and the few pointers and encouraging words used that can hopefully provoke a future improvement in the general all round sound are hopefully at their most effective.

As a reviewer I always state that any fucker can slate an album, anyone can do a one spin assessment and palm a band off with a less than thoughtful appraisal and any cunt can talk a lot of twaddle without any substance but, only the ones who love the scene and really want it, and the bands found therein, to improve will put the work in to several listens and the final assessment. I try to adopt the latter approach and hopefully can do The Kingcrows justice with their new found noise that really hits the mark after a previous decent but subdued release.

We get the ball rolling here with the new confidence of ‘Hanging Around’. A song that feedbacks forth before a quick bass vibe is tackled by some clashing guitars and drum spills. The vocals follow and the first chorus comes and goes with ease before the pleading chorus commences with the helpless wordage ‘Baby, baby please….’.

The improvement from the last release is instantaneously apparent and the bonus is that the CD just grows with listen-ability with each silver spin. A good opening track to savour although my young daughter does say the follow track is not only better but the best track of the CD. Who am I to argue? ‘Stiletto Groove’ has big times drums to greet us and a superb hip swinging choppy guitar leash to keep us stuck to the speakers. There is a real rock and roll groove here and the accuracy of the overall delivery only intensifies the sonic spectrum further and so has the listener totally absorbed.

The Kingcrows are making a big impression on me and with this latest release I am seeing nothing other than a fruitful future awash with encouraging feedback and positive musical moves. My missus and aforementioned daughter are impressed as well with this crew so a veritable fungalised hat-trick here and that is indeed rare praise.

‘What She Does To You’ has a more heavier sound (only a little mind you) and gives hint at a more serious tone of tuneage. There is a head down insistence that seems to be fully directed towards the finishing line which gives an attracting appeal. Again the underlying R ‘n’ R groove is maintained and the mini break at 1 min 26 seconds is fuckin’ marvellous and mightily frustrating with its transient appearance. Back to the forward march and we reach the end tape just short of the 3 minute mark in what seems a much terser space of time. The sign of a good song – I think so!

‘Sex Oui’ adopts a more standardised approach and swings in with a bizarre unhinged pre Kalinka sound that has me reaching for the fur-trimmed boots and Cossack barnet cover. Way off the mark perhaps but such is the mind of a warped mushroom man. I love this song and the crowds should be singing along to this in their drunken hordes. (Apologies for mentioning crowds when reviewing a punk band – fuck me I almost believed people actually turn-up to watch these great bands – note: heavy sarcasm intend ya fuckin’ bastards). Anyway I love this track and all I can say is ‘Sex Oui’ – Oui!

‘Revolution Street’ is one of the bands ‘live’ signature numbers that always gets the punters interest. They have done it justice here and made it both memorable on disk as well as in the gigging arena. The simple ‘Whoa hoa yeah’ that inter-cuts each verse line will win favour and the chorus is basic but does the job. In fact most sing-a-along beauties are of a tendency that lean towards the most unflowery of styles. Best fuckin’ way if you ask me and not as easy to compose as one thinks!

A corroded guitar comes next before a flash harry twinkle deceives and in no way gives hint at the following Oi-esque street burst that gets back to the gutter and grits it out. ‘One Of The Boys’ throws the listener somewhat and shows that the band can turn things on their head at the drop of a hat. A good crack to be had and we close with an effort which is the best, the most unexpected and the most delightful way with which to end this choice CD for the underdog connoisseur. There maybe ‘Writing On The Wall’ but nothing of the ominous kind for this ever-impressive band. This crackin’ acoustic delivery is a sobered piece that exhibits quality musicianship and constructive know-how with a temperament that is blue and ensnared within its own misery. The emotions are relayed from disc to eardrum with precision and the complete composite is a joy.

What can I say – The KC crew have nailed a good un’ and punk rock promoters should be booking these as soon as they get the chance. Good lads to deal with, a great ‘live’ show and with a powerful arsenal of songs to meet most punk needs I reckon that the future can only look rosy for these punking buggers. Anyone who deems themselves as an underdog enthusiast should get this, see the band and try and push their cause – we are in it together and the loss to the punk rock community when bands like this get sold short makes me fuckin’ sick. Go on chance yer arm and make a myspace visit and let your support flourish. Punk needs you and so do The Kingcrows.

— fungalpunk OMD Amanita


Punk, Rock, Glam, Garage band The Kingcrows return with their new 7 track EP “A Murder Most Foul” and instantly you can see the improvement from the last release, and an added bonus is that the CD just grows in listen-ability with each new spin!

‘Stiletto Groove’ is cleverly written with an almost chaotic sound, with so much going on it almost threatens to fall apart, but the band pull it off and the song is just great!
‘Sex, Oui’ is quite a funky song, showing that this band isn’t a one trick pony by any means. To be honest I could list all seven tracks, as they all bring something to the plate, which is another plus.

If Garage rock with a punk edge (ala The Yo Yo’s) is your thing then you should love these guys!

Rating 8/10

— Barry Gennard



KINGCROWS- Murder Most Foul MCD (

The Sweet and Slade made some great singles but every time you hear the word ‘glam’ these days it’s either the Americanised rock variety and/or pop/indie wimpsville. Not so this band from Leeds. They have the necessary punk rock energy to stand out from the crowd. The lyrics – like all their contemporaries – are pretty throwaway, but “Hanging Around” and “One Of The Boys” (no not a predictable cover) are cracking tunes with great Slaughter & The Dogs bass sound, raw guitars and the crash cymbal takes a good battering which is always good to see. Even the less impressive, more psychobilly tinged numbers ain’t bad, and they somehow manage to do a good acoustic tune to round off this 7 tracker (“Writing On The Wall” will be a classic when they get round to doing a full band version).