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Tracklist:
1. Dillinger
2. No makeup
3. Burn baby burn
4. Bad to the bone
5. Crank it up
6. A knife in your hand
7. Ruin it all
8. Killer vs killer
9. Exotic store
10. SBANG!
11. Last grave
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Sloks "A knife in your hand"
LP: VR12122 (barcode:7640148983167) incl FREE DL
CD: VRCD122 (barcode: 7640148983211)
Date of Release: Sept 03.2021
SLOKS!!!!
2nd Album from SLOKS !! from Turin in Italy comes the most super raw power and ultra demented destructive garage punk fuzz Rock’n’Roll you ever heard of
SLOKS !!!! are a 'Super Raw Power Noise Garage Punk' trio from Turin in Italy their riffs are reduced to the max and then sent straight into your ears to spread the Virus and Infect your Brain forever, lead singer Ivy claudy screams in every song as if it's about her life and as if it were true The last time, Buddy Fuzz, on the other hand, whips her with his guitars riffs then throw her deep into hellfiere where Tony Machete maltreats his drums in the most horrific way
Since their first release in 2018 (holy motor - voodoo rhythm records) they Tor-toured a lot in Europe and then in the pandemic year they traveled to Lolo Spider in Toulouse in France in his Swampland studio to recorded that album, 11 tracks uncompromising total loser garage punk and dirty Rock’n’Roll ... more noise rock that trashy is hard to find.. so grab your wax right now
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DEUTSCH
SLOKS !!!! sind ein ‚Super Raw Power Noise Garage Punk‘ Trio aus Turin in Italien ihre Riffs sind aufs minimalste Reduziert um sie euch direkt in die Ohren Gewinde rein zu dreschen, die Lead Sängerin Ivy claudy schreit in jedem songs als gehts um ihr leben und als währe das letzte mal, Buddy Fuzz hingegen peitscht sie mit seinen Gitarren riffs noch an um sie tief in die hölle hinunter zu werfen wo Tony Machete sein Schlagzeug auf grässlichster weise malträtiert
seit ihrem ersten Release 2018 (holy motor - voodoo rhythm records) waren sie viel am touren in Europa und sind in dem Pandemie Jahr zu Lolo Spider nach Toulouse in Frankreich in sein Swampland Studio gereist und haben dieses album hier eingespielt ,11 Tracks Kompromiss loser garage punk und dirty rock’n’roll … mehr Noise Rock geht kaum als das hier
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REVIEWS
INDI ROCKS (MEX)
Music is not always a reflection of the era to which it belongs. Nowadays there are violent times full of uncertainty and crisis, although many of the sounds that are created are usually plasticized and based on honeyed keyboards. It seems that those who execute them live in another reality, but fortunately not all are the same. Suddenly, ensembles like Sloks appear that break the mold and make noise and screams a way of life.
This Italian trio has a clear objective and it is to achieve the shaking of heads among those who pay a moment of attention to their proposal. It was only in 2018 when his debut album saw the light and now his second work arrives. But unlike his colleagues here there is no evolution or musical maturation. The same sound they had in the past they keep it in the present.
From the above, what to expect in his 11 new compositions is chaos, screaming and sweat. All together and very well stirred. The music swings between hooligan punk garage and street punk rock that doesn't care about good manners.
In that sense, the trident made up of Ivy Claudy on vocals, Buddy Fuzz on guitar full of fuzz and Tony Machete on battered drums is the equivalent of a tornado that devastates everything in its path. From the first second the noise session begins and never ends. People with sensitive ears would better stay away because they could get hurt.
With Sloks there are no false hopes of reinventing music but only that you forget about the problems that exist outside. Whereas if you are a fan of Black Flag, GG Allin And The Murder Junkies or Circle Jerks then you are on the right track.
From the initial “Dillinger” the volume is committed through screams and moans. Do not try to understand the language of the songs because it will be useless. You just have to let yourself be carried away in the tidal wave of sounds heading into the unknown. On the other hand, “Crank It Up” fosters an atmosphere of madness that makes one think of The Cramps concert inside the Napa mental hospital. Are the sane ones the ones who play the instruments or the ones who listen attentively to the sounds? Like the first LP, this continuation is released by the Swiss label Voodoo Rhythm Records that specializes in spreading the sounds that ruin conventional parties. Although if you enjoy noise and music at maximum volume then here is an album that you cannot miss.
LOUDER THAN WAR (USA)
Italy’s Sloks return with a blast of batshit-crazed fuzzed to the max trash-punk.
Turin’s Sloks first hit our radar just four months ago when they appeared on the latest tribute album to Subsonics. Their contribution was a blast. As if that wasn’t proof enough that their new album, A Knife In Your Hand, would be something to behold, the rule of three reigns true. Released via Voodoo Rhythm Records (run by one-man primitive-punk psychobilly underground leader Beat Zeller, a.k.a. Reverend Beat Man) and produced by Lo Spider, whose hands controlled great releases in recent years from The Scaners and Destination Lonely, a trinity of evidence preceded listening to raise expectations. And they were fulfilled.
Things kick off with the blistering proto-fuzz stomp of Dillinger, singer Ivy Claudy’s voice sounding like it’s being ripped from within her. A raw and primitive urge that, with her foils Buddy Fuzz on guitar and Tony Machete on drums, rakes you over hot coals. The trio hypnotise and lead you through a macabre dance, Claudy proclaiming that she’s “going to be Queen by the end of the day.” But this is a queen of a burning world where Flipper is her house band providing the songbook for her black mass. It’s the sound of her voice that permeates the album. On single No Makeup it begins to take an even more psychotic edge over the raucous stripped-back garage. The guitar suddenly crashes mid-beat into a feedback-drenched freefall, all the while the beat drives on.
The first half of the album leaves no room for respite from the onslaught of Sloks. It’s dizzying in its density, like a primordial take on The Cramps. When they reach Ruin It All, the guitar opens up somewhat, all the while still doused in that glorious fuzz sound. The effect, coupled with Claudy’s still demonic vocals, creates a stalking madness that engulfs from all sides. Killer vs Killer adds some space to breathe, from the floor, battered within an inch of oblivion. The guitar crashes sporadically over a simple organ, the simple drum beats pegging it to the rest of the songs. The vocals, throughout the verses at least, no longer attack, yet warn with veiled menace.
By the time the album reaches its closing triplet, the tools are well identified. Blunt and brutal, pounded and pile-driven. Sloks are not here to offer any surprise, but to draw you into a darkness where you know the unruly rule and the gothic garage Queen reigns.
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