Dead Bundy and the Neat Neat Neats -Train To Paradise

    Train To Paradise is the next stop on the ascent of infection brewing psychobillies Dead Bundy and the Neat Neat Neats, an album which builds on their impressive previous release Life Is Hard…Death Is Neat and stretches their sound in further thrilling extensions of flavour and melodic enterprise. Consisting of twelve varied and contagious slices of passion drenched rock n roll, it is an album which grabs ear and passions for a brawling, seducing, and mischievous encounter.

The Minneapolis quartet has induced a loyal and constantly building fanbase since forming around 2010, a following which has grown not only locally but across the US and world through internet recognition. Matthew Sprinkles, Chris Wilson, Cody Hillyard, and Matt Kalsnes, have bred strong recognition for their terrific live shows and equally their releases such as debut album Bad Moon Death Trip of 2011 and undoubtedly last year’s Life Is Hard…Death Is Neat. Fusing influences from the likes of Batmobile, The Quakes, Screaming Jay Hawkins, The Sharks, Mad Sin, and the Frantic Flintstones to their own distinctive rowdiness and invention, the band has continued to earn strong responses and acclaim which you can only see the new release accelerating within the genre.

Opener Graveyard Rhythm immediately grips the senses and feet for a romp across irresistible riffs and fiery melodic temptation whilst the vocals narrate the whole shadow soaked escapade. It is instantly infectious and insatiable in its want to have the listener leaping tombstones with rampant eagerness and a devilish swagger, its hooks and call virulently addictive and persuasive. It is prime psychobilly Dead Bundy style, the distinctive vocals and musical voice of the song taking over immediately where the last album left off ensuring the party is still raging with heat and compelling irresistibility.

The title track soon steps before the ear with southern twisted melodies and busy rhythms igniting the air and ear, its Tarantino movie like breath a persistent and unrelenting stroll down the railroad track of swiftly passing beats and riffs. The song is a delicious warm whisper with energetic hunger which marks the start of the variety and richer depths to the album which were arguably missing on the equally impressive Life Is Hard…Death Is Neat. It begins a ride of unpredictable and adventurous invention for the album with a course which is set well within the walls of psychobilly and rock n’ roll but offering diverse and refreshing sceneries immediately picked up by the following Shipwrecked and City Morgue. The first of the pair saunters in with big boned rhythms and a prowling gait to the bass within again raw melodic heat from the guitar. With vocals as strong a lure to participation as the hooks and barbed drum beckoning, the song is a tune hip swerving was invented for and its ingenious groove a template for lust. It successor raises the dead with another epidemic of addict making riff sculpted hooks and bold bass slaps whilst the mass invitation of the chorus defies death as an excuse not to participate with its punk riled temptation.

Only four songs in and the album has ignited the passions and fired up an even more intense appetite for the rest of the release, a greed soon satisfied by what is possibly the strongest and most magnetic part of what is a wholly captivating album. Dust N Bones leans on the ear with a lone guitar strolling out its notes within a hollowed pocket of air and soon joined by the as ever fine expressive vocals. The rolling beats pulls everything into full view as a western bred melodic tease winds around the senses, the song expanding its chest towards the dusty bold canter through potent and emotive adventure which takes over the course of the excellent song. It is an impossibly infectious lure soon matched and exceeded by the outstanding Dynamite, a song which lights the fuse to full ardour with sinew healthy rhythms, a commanding bass spine, and vocals harmonies which snatch and ignite the imagination. As it strides purposely through the ear the beats offer thoughts of King Kurt and elsewhere Guana Batz inspired melodic infectiousness, the union loaded with punk spawn confrontation for a sensational and album topping encounter…except it is then deposed by the quite masterful Mad Man.

The song teases with an instant delicious groove and subsequently bulging bass fascination to brew up an instant rapture which is soon boiling over as the track flexes its sides for a riotous yet controlled rampage. Hand in hand with the listener the song romps with wantonness to its hooks and rhythmic puppetry which has head and feet rocking like a dog in heat. The track is severe in its narcotic like appeal and one of the best songs within rock ‘n’ roll over recent years.

Both Getting Fucked Up and Pretty Boy Billy continue this new elevation of height for the release, the first with another controlling swing to its gait whilst the second rivals both Dynamite and Mad Man for bragging rights as top dog, though there was only ever going to be one winner. With the country rock lilted Hellbound, the mariachi whispering Ride, and Gimme Rock N Roll with its contents echoing its title, completing the album with strong and pleasing presences, Train To Paradise is a thrilling and inspiring bunch of impossible to restrain rock ‘n’ roll songs. With the release of the exceptional album and the Train To Paradise Tour across the US in its support right now, Dead Bundy and the Neat Neat Neats are looking at a massive and one suggests very successful year ahead.

https://www.facebook.com/DeadBundy

10/10

RingMaster 15/05/2013

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Swampstomper – Dirty Black Boots

The beginnings of Swampstomper according to the bio came about as vocalist and guitarist Paul ‘Wildheart’ Brightmann submitted and had his song Subtract and Divide placed last October on the excellent compilation album ME4, a release made up of the best artists bursting out from the Medway area of the UK. Building on that with the intent of taking his songs live, he next recruited guitarist Jason Spencer and bassist Kevin Hutchins to be followed by drummer Drew Gilby. The next six weeks brought the same number of songs in tow and the band immediately grabbing attention as they unleashed their unique rock and punk fusion to a rapidly growing fan base, from which point they have not looked back. Dirty Black Boots is their latest song, a demo track which alone makes all the persuasion needed to keep the band on tight radar.

The Chatham quartet also bring a strong whisper of psychobilly and garage punk to their almost intimidating sound, its menacing breath and hunger inescapable within the uncomplicated yet defined individuality. Dirty Black Boots is the perfect introduction to their shadowed invention, a song seeded in old school UK punk but with The Cramps like rawness which leaves thoughts and emotions on full and eager alert.

Footsteps lead the ear into the song, their tone or appeal nothing out of the ordinary but a temptation too strong to resist. Their lure lands the ear in the arms of thumping beats and coarse riffs, their embrace familiar yet new and seeded in a flavour you could imagine from a band such as Vibrators or 999. It is with the delicious irresistible hooked bass stroll of Hutchins though that the song truly comes alight, the guitars raising their presence to join in league with its dark voice and also that of Brightmann’s dark, gruff compelling style, the elevated intent shaping the track into an even more addictive beast. Now into its stride, the song is a blaze of wanton temptation and irrepressible hooks, as well as offering a groove through the verses which winds the passions around its feisty spine.

A song impossible to resist the infection of and very easy to add your own personal vocal assistance to, Dirty Black Boots leaves only one option in its tow, well two, firstly to play it again…and again, and secondly to place Swampstomper in full line of vision from here on in. Great song from a band who you can only suspect will have the fullest and brightest horizon.

http://www.swampstomper.co.uk

https://www.facebook.com/SwampStomping

8.5/10

RingMaster 08/05/2013

 

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The Elixirs – Long Gone

With a re-release via the excellent Texas independent Psycho A-Go-Go Records, Long Gone the debut album from Indiana cowpunk/psychobilly band The Elixirs returns to exhilarate and exhaust the world with its riots of passion driven energy fuelled rock n roll. The release is a nineteen track bonanza of contagious eager to devour slices of often bruising, occasionally provoking, and always thrilling adventure, the songs seeded in the devilry of horror, outlaw infamy, and salacious rock n roll roguishness with an impossibly infectious temptation from start to finish across the whole album.

The sound of The Elixirs brews up a 100% proof fusion of rockabilly, punk, country, and psychobilly with plenty of other rich additives such as punk and blues bringing their potent flavourings to play too. It is a sound which has marked the band out since forming with the album set to be with justice the trigger to the widest recognition and awareness. The beginnings of the band began with The Stumblers in mid-2007. Formed by vocalist and then bassist Dan Tedder (moving to guitar later in the story) with drummer Joe King and guitarist Dan Savage, the band progressed without really getting anywhere. The following year saw Tedder and King step forward with a new bassist as The Boneyard Elixirs, the trio playing as often and as hard as possible. A seemingly constant battle to find and hold on to bassists followed whilst highlights in their live events accompanying the period as well. The band by now simply The Elixirs next released the EP Gut Cuts with help from Gas City Records. This was followed by the departure of another bassist in Dewayne Hughes who had been with the band for well over a year over their most successful time to that point. 2011 saw Whitt join the band with for the first time an upright bass entering the equation. The recording and mid 2012 release of their debut album followed to strong responses and acclaim which the re-release this year will only accelerate. The story is not quite settled as since the album King left the band to be replaced with the sticks by Dave the Dudeist in the late fall of last year. Hopefully a settled period in members will allow the band to exploit and leapt forward from the might of what will be the first impressive introduction to a great many in the stirring shape of Long Gone.

The album opens up its charms with Water and Bread, a track with psychobilly sinews and melodic rock n roll endeavours speared by the delicious bass call of Whitt. Though it is not the most urgent charge to start the album, the song has a bite and prowl to its hunger which intimidates and seduces with pure primal potency. The vocals of Tedder drip expression and passion from every syllable passing his rapacious lips whilst his guitar equally sculpts an enslaving temptation proving irresistible not only here but across the album.

The following title track swaggers in with a vibrancy which awakens the senses even further whilst its catchy swing and anthemic chorus badgers a full compliance from the listener. It is an easy to ride song leading into firstly the wicked tease of the loping country punk hooked Tits Deep and the first of the highest pinnacles reached by the release in Cry For Me. The latter of the two walks into view on a Cramps like abrasive discord, the building stroll niggling mouth-wateringly on the ear whilst the beats and bass persuasion is a merciless repetitive invitation  to song and heart to which there is no defence. The core of the song would not be out of place on the classic Songs The Lord Taught Us release with the Gas City trio bringing their own unique extensions for an individual flame of excellence.

Across the likes of the country twanging Pleasure N Pain, the sixties punk spiced 17-12, and the darkened rockabilly crawl of Soul, the album ignites further fires of ardour towards its presence even if the tracks compared to others are only merely outstanding in comparison to the genius like statures of the two songs sandwiching the third of the three mentioned as an example. These tracks, Torn Rose and Sea of Lies are two more overwhelming beacons within the album, the first bursting from a gnarly confrontation into a roaming charge of biting riffs and enslaving rhythms, a near runaway train of Gene Vincent like garage punk, whilst the second is a horror punk/psychobilly blaze of raucous and coarse grained rock n roll, and both a match to the passions.

Every track deserves a mention to be honest, songs such as Dangerous Ways with its Sex Pistols riffs and Cramps squall, and the predatory death dance of Cowboy Rot feasts to devour but with the closing stretch of the album it’s most impressive, songs such as Park It On the Lawn shout for attention. The track is a carnivorous stalking of the ear with insatiably rubbing riffs and matching ravenous intent from drums and bass, its virulent groove and consuming energy illegally addictive. Its staggering presence is closely matched by the likes of the smouldering croon of Misery, a fifties seeded rockabilly siren of a song, and the brilliant Faster Than Hell, the string plucks and slaps of Whitt the bait for another full on enticement of epidemic proportions.

Long Gone is an exceptional album, a skilfully crafted seizure of the heart with nothing less than undiluted pleasure and inciting rascality in tow, as evidenced by a final boost of potency with the voracious Loser, another contender for best track, and the closing cowpunk stomp of Asshole. Thankfully we have all got a second bite at grabbing this outstanding album, only a fool would pass on or miss out on The Elixirs a second time.

http://www.theelixirs.com/

10/10

RingMaster 26/04/2013

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Thirteen Shots – Tales That Start With A Whisper

After the success of their excellent debut album Vaudeville just over a year ago, UK horror punk n rollers Thirteen Shots teased the appetite further with songs like Zombies From The USSR, a track which made up one of their contributions to a split release with fellow raisers of the dead, Trioxin Cherry and Raizing Hell. Little did it and fellow song Get In My Crypt fully reveal was the step forward and extra adventure the Birmingham quartet had explored for their outstanding new album Tales That Start With A Whisper. Employing even richer flames of numerous genres and decades, the nine track release is a riot to ignite the senses and passions, a seemingly uncomplicated yet fully involved feast of dirty decaying invigorating rock n roll.

Formed in 2011 by vocalist Johnny Rose and guitarist Joe Public, long-time friends who moved from the hard rock sound they had earned a good name for into bringing a unique form of horror punk n roll, Thirteen Shots immediately drew attention with the release of debut single Danzig in the September of their first year. Completed by guitarist Izzy, bassist GMT, and drummer Chelsea, the band had over 300 downloads within a week of the release of the single. As the year rested in its grave and the new broke free, the five-piece entered the studio to record their first album, Vaudeville which was self-released on April Fool’s Day 2012. With a subsequent re-release via Psycho-go-go Records, the album drew great and eager acclaim and set the band up for two full tours across the UK. With the band also having gnawed and infested audiences alongside the likes of Demented are Go, The Peacocks, Rezurex, Howling Wolfmen, Graveyard Johnnys and more, across the years and finding great appetite for their sounds not only from fans but people such as Michale Graves through that first single, Thirteen Shots stand at the gate to the widest recognition within all shadowed corners of rock n roll, the new album promising to be the key to swing the iron clad entrance wide open.

As their previous releases, Tales That Start With A Whisper finds the band infusing elements and textures of sixties rock n roll, garage blues, and horror punk with plenty of spice from psychobilly, punk, and rock, but this time it is all sculpted into brawling encounters which are more rounded, sure of their intent, and in league with each other whatever their individual stance in attitude and style. Whereas Vaudeville at times lost its way and has an undulating effect, its successor is one big eclectic bang on the senses; simply the band has come of age with a maturity honed into their sound for one insatiable and perpetually rewarding treat.

Opener Death Jam 2000 steps forward with a Jerry Lee Lewis like fired up hungry rockabilly call, with blues driven guitars flaming up the air and the vocals of Johnny snapping at the ear. With punchy rhythms caging the senses the song romps across the senses for the perfect start, simple, dramatic, and inciting not forgetting exciting. It is an easy introduction to the release which hands over to the outstanding Zombies From The USSR, an anthemic lure which never loses its potency and success no matter how many times you face its charge. With an intimidating riff driven gait and challenging breath, the song prowls and claws at the emotions, its crowding unrelenting stalking of the ear a restrained but deceptively quick and lethal hook to match the raptorial groove and vocal recruitment; it is the perfect soundtrack to any George Romero or modern zombie film. Having heard the song enough times to recall its declaration and words before remembering the names of all family member there is still the impossible to resist itch to hear the song at least twice before moving on to the rest of the album such its addictive hold.

The excellent Bewitched comes next, its scuzzy breath a fire within the garage punk unpolished embrace of the belligerent sonic confrontation and rhythmic caging. The bass of GMT is an exceptional temptation, its throaty grizzled snarl a contagious predator to menace and pushed the shadows of the song forth from behind the burning flames of the guitars. It is not the most infectious of the songs on the album but still consumes the passions with unbridled vehemence leaving Psycho Jukebox to work on the addiction side of things. Starting off with an Eddie Cochran like beckoning, the song then merges ska carved strokes and surf rock persuasion for a ridiculously catchy persuasion whilst its chorus is where the storm has its wildest greedy moments. Again bass and drums steal their share of the limelight with skilled mischief and again a different tone to their invention whilst the guitars simply sizzle with enterprise and swagger.

Get In My Crypt is another fiery garage punk rampage that sparks full participation and ardour, everything from guitar to vocals and harmonies to rhythms conspiring to leave an exhausted rapture clinging to its refreshing corpse whilst Nekro Sexual is a salacious and provoking slice of dirty devilry, a b-movie driven suggestiveness with a chorus of ‘Stomp On my Balls’ which defies anyone not to shout it persistently during and long after its devilment.

The album closes firstly with the brilliant title track, a groove laden addict making beats of a track writhing in classic/glam rock misbehaviour and horror rock roguishness not forgetting hook loaded grooves which would do the Buzzcocks proud. It is followed by two live tracks, Dead Girls Don’t Scream and This Looks Like A Job For Batman which tells you all you need to know about the band on stage and why you should not miss them if at a venue near you.

Anticipation and expectations were high going into the album but Thirteen Shots and the Freaky Pug Records released Tales That Start With A Whisper left them behind in their triumphant and impressive flesh chomping attack. A must have album for all horror, garage, rock, and punk fuelled fans.

https://www.facebook.com/thirteenshotsband

9/10

RingMaster 26/04/2013

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Limozine: Johnny Got Shot By A UFO

It is Limozine time again as the UK rockers release their new single Johnny Got Shot By A UFO. It only seems like yesterday since they raised the temperature with previous single Tokyo 1970, but then the London based band have never held restraint in releasing their sounds with the last three years or so seeing nine singles, including the new one, and three albums. The new release continues the strong and intriguing presence of the band and their riot of uncomplicated energy to leave again keen satisfaction and enjoyment.

Formed in 2005, the band has earned a strong reputation for their unpolished encounter of garage punk and rock n roll, the sound a raw and honest brawl with feisty mischief able to charm and ignite audiences to their live shows and to releases such as their albums Car Crash Casino in 2007, Evil Love in 2010, and Full Service of 2012. With a new full length release You’ve Been Limozined, due later this year the new single sets it up with enterprise and intrigue even if the song arguably lacks the spark to ignite the ardour it probably deserves.

Released via Beat Atlas Records, Johnny Got Shot By a UFO instantly grabs attention with its psychobilly intimidation and rockabilly swagger locked to its punk rock core. The grooved riffs of Johnny Zero are an instant temptation alongside the bass enticement of Karl ‘da Kops’ Atlas whilst the snaps of beats from drummer Skip Intro frame it all with undemanding yet senses provoking craft. Bringing his guitar and vocals in to play soon after the initial tease, Limo Dean courts the ear with a delivery which matches the sound, uncluttered, direct, and deliberately devoid of anything not organically bred. Across its length the song sparks with its addictive grooves veining the rougher rock rub and throughout it leaves one engaged and involved.

The song does seem to fall one step short of firing up a full passion for its offering and though it certainly does the business of earning strong appreciation it does feel a little like the song missed the opportunity to stand out as one of the most addiction capturing singles likely to appear this year. Despite that Limozine continues to stand as one of the more entertaining emerging bands with Johnny Got Shot By A UFO making a good and pleasing persuasion for band and forthcoming album.

http://www.facebook.com/limozineband

7/10

Copyright RingMaster: MyFreeCopyright

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RingMaster 11/03/2013

 

Angie & The Car Wrecks: Boozed And Bloody

    An album which may have like us passed you by until now but undoubtedly worthy of attention is the psychobilly miscreant Boozed And Bloody by the equally devilish Angie & The Car Wrecks. It is a release which dances with the devil through a feisty merger of psychobilly, rockabilly, and whispers of country rock n roll, and an album which ignites the passions into naughty thoughts and complete satisfaction.

From Onalaska, Washington USA, the quintet of Angie Ball (vocals/acoustic guitar), Kc Maukl (upright bass), Dale Ball (fiddle), Pigpen Spear (washboard), and Dustin Beck (drums), has earned an impressive name for themselves through their Bender Bound EP of 2010 as well as their irrepressible live performances which since forming has led them to playing events which include the Pacific Northwest Brewcup, the 4th annual Jake the Alligator Man B-day Bash in Long Beach, the Kustom Kulture Festival in Silverdale, Reno Rockabilly Riot, the 7th annual Seattle Psychobilly Brawl, and across WA with The Rocketz, Graceland Five, Big John Bates and the Voodoo Dollz, James Hunnicutt, and Three Bad Jacks, as well as being hand-picked by the founders of the Kurt Cobain Memorial Committee to open for Soul Asylum.

Released via Texas-based Psycho-A-Go-Go Records, Boozed And Bloody opens with Intro, a sizzling instrumental of rockabilly candy and invitingly crafted elegance which romps like a pole dancer on viagra and is just as mischievous. The magnetic start explodes into an immediate lust thanks to the tarmac tearing Draggin ‘Down. Instantly rocking like a Chevy in cruise mode the track stirs up the dust and ignites the fuel of the heart with infectious rhythms and delicious skilled guitar flames all wrapped in the irresistible vocals of Angie.

Rolling rhythms and a sultry blaze of harmonica harken in the thrills of Moonshine, a southern coated stomp of psycho country contagion exploiting every instinct and passion for a fevered riot of insatiable enterprise and the continuation of a sensational introduction to the album. From such a heightened start a slip or lull would be expected but with crafted diversity the band just deliver the delicious insatiable romance with the simmering emotive sunset of Some Kinda Hate and the boiling ambience of Hellriders. The first is a tender embrace which smoulders within the ear and the second a brewing storm carved by a wonderfully carnivorous upright bass sculpting veined by a kindling of spiralling guitar mastery and harmonica sparks which light the canvas below the feisty alluring tones of Angie. It is an inspiring and seductive blend which is impossible to ignore or avoid drooling over.

The same can be said of the whole album and especially Junkyard Blues, a white hot fusion of rockabilly fermented in a brew of country rock with a hint of rhythms & blues.  The song lures you into its inferno with expert temptation and rewards with an unruly yet deviously crafted explosion of incitement and inflammatory rock n roll. In its own distinct way Iron Horse II also latches onto an inner ardour to leave one basking in unrestrained pleasure, in its case with a shimmering ambience around a scorch of guitar bliss and gently prompting rhythms beside as it is automatically expected at this point, sirenesque but commanding vocals.

     Little Willy’s is a track which if feet and blood is not pumping then a mirror to the mouth for sign of life is needed. The song just dances with the passions like a teen at a hop whilst the following ’31 Coupe is an orgasmic inducement to rampage the streets with intent and headlights blazing. Both songs offer the fullest primal bait through the sensational almost bestial slaps of Kc Maukl whilst once more the harmonica sends tingles across the spine.

Finishing on the country liquor jiggery of Have Another One, the swells and intemperate warmth of instrumental Surfin ‘Tucson, and lastly the graveyard serenade Necrofella, a Horrorpops meets Richie Valens amongst the tombstones finale, Boozed And Bloody is one of those treats you just cannot get enough of. It is a hunger we will be satisfying as soon as possible, a suggestion we offer you after you tuck into this outstanding offering first of course.

http://www.angieandthecarwrecks.com

https://www.facebook.com/angiecarwrecks

http://psychoagogorecords.com

8.5/10

RingMaster 27/02/2013

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The Caskeeteers : Go Cadaver, GO !

Every now and then we look back at an album which readers may have missed but certainly deserves a look at as we search out the beating heart of the underground in all its shades. Such is the case with Go Cadaver, GO ! from US ghouls The Caskeeteers, a riotous brawl of an album which brings mischief, antagonism, and unbridled revelry from the land of the dead.

Formed in 1998 by upright bassist and vocalist Ritchie Dead, the band from Salem, Oregon has brought a scourge of psychobilly and horror punk to the breathing and expired earning hungry acclaim and decomposed lust through their impressive live performances and previous releases Dead Things and Tales From The Casketeers. The band has ‘buried numerous members’ as line-up changes added to the mayhem but with guitarist Gorey Hackerman and drummer Brian Terrible alongside Ritchie Dead, The Casketeers has hit their finest glory to date with the Psycho A Go Go Records released Go Cadaver, GO !

The album opens up its tomb of gore first with Carnival of Souls, an initial church organ beckoning and vocal revelation coaxing the ear into a stroll of bass persuasion, fiery guitar sonics and punchy rhythms. The brief welcome is soon a stomp of greedy riffs, eager beats, and inciting slap bass provocation. It is a keen and easy going track which though it falls short of igniting major sparks inside makes for a more than decent start with its scorching solo, boisterous vocals and harmonies, and rampant breath.

To be fair it is because of the quality of the rest of the album that the song and arguably a couple of other tracks pale slightly in comparison but that is the price to pay when including tracks like Wreck-n-Roll on your release. Sparking the ear with deep throaty bass plucking and a squall of vocal raucousness, the song swaggers with steaming blues guitar teasing and a resonating pulse which paws and coats the senses with expert temptation. Imagine Stray Cats and The Ramones in collusion with Johnny Burnette and you have this flaming uproar.

Tracks like Haunted Forever with its Generation X like rebellion and the seductive beat shuffle Killing Me Killing You continue the increasing strength of the album, a release which just gets better the further in to its shadowed depths you go.  The carnivorously strutting From Flesh To Bone as it sends the ear and passions into an excitable frenzy is a prime example whilst the following title track is like that boisterous best friend which with anthemic egging on leads you into a bruising errant display of behaviour.

The final four songs find album and band at its best, King Of Zombies leading the aural and passionate devilment. With a virulent contagion and sultry mid-song seducing, the song is psychobilly to commit adultery over, a delicious unquenchable lust with rewards that leave the heart breathless. From the throaty glories of the upright bass, the snapping rhythmic provocation, and the feverish guitar taunting in the song and album overall, The Casketeers is a primal inducement set free.

Among the Living is the most ravishing slab of excellence on Go Cadaver, GO !, the leading bass slaps and brewing sonic restlessness irresistible, a reaction which intensifies once the song spreads its muscles and devious addiction forming charms. Like all the tracks it is an immediate anthem for the instincts and soul which leads into unsolicited rapture and furious deeds of desecration, mentally and emotionally.

With the mutually scheming No Remorse, its dominant bass lick, barbed hooks, and cunning rhythms greedy and unrestrained, and the closing furore Sore Loser finishing off what is fully thrilling and invigorating release, Go Cadaver, GO ! is an unapologetic romp of death driven rock n roll. The album with extra whispers of the likes of Misfits and Volbeat to those flavours already mentioned, is one of those treats you instinctively return to and inspires eager hope that we see The Casketeers returning with more grave borne sounds soon.

https://www.facebook.com/pages/The-Casketeers/169521496422613

http://psychoagogorecords.com

7.5/10

RingMaster 27/02/2013

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Dirty Danzig: Horror Vibes From Nowhere

    If you have the feeling in the dead of night that someone, something is watching with a dark lust in their eyes, then feel yourself very lucky if it is the crypt stalking horror rock conjurors Dirty Danzig. Not that you will be safe in their company or escape a horrendous fate but whilst committing their heinous deeds they might just treat you to a healthy dose of musical sensation to be found on their demo, Horror Vibes From Nowhere. The release from the Italian trio is a delicious mortuary of cinematic mayhem and thunderous ground shaking menace which ignites the fullest fire deep inside.

Formed on Halloween in 2010, the Grottammare threesome of mayhem in the persuasive shape of vocalist/guitarist Christina Deth, bassist Kellen Deth, and drummer Markus Carpenter, with no surprise bring the heavy influence of Glen Danzig into their creativity, from both Misfits and Danzig eras. Despite that obvious spice the songs which make up the EP stand as their own aural death dealing card with a presence which stands the band away from and to the fore of most. The release is also inspired by horror movies with film soundbites relating to the songs they inspire, a potent introduction to what are unreservedly compelling songs.

Voodoo Death opens up the all-consuming horror, a track which within seconds has the senses dancing through its raucous riffs, punchy rhythms, and the excellent vocals of Christina, her delivery a biting yet seductively melodic instigator of pleasure and intimidation. Her vocals snap at the ear as well as harmonically caressing them to add extra menace to the predatory basslines of Kellen, the merciless beats of Markus, and her own insatiable guitar abrasion. It is an excellent song which is pure infection and total magnetism, a storm of Misfits, Mongrel, and Calabrese like splendour.

The following House on The Hill with its sample of Vincent Price from the film House On Haunted Hill has attention riveted before a note is lit but when the track explodes into vindictive action the addiction is pure and torrential. Like the first it is prime horror anthem as catchy as a fever and energetically a brawling irresistible burn upon the senses. It is a rawer assault than its predecessor but leaves just as rich and potent a satisfaction through its unrelenting growl and predacious riffs framed by bone splintering rhythms.

With already a full submission to its terrific confrontation the band seal the deal with the ferocious Vampire, a track which goes for the jugular, naturally, and dances on its victim with a fiery groove spearing a tempest of uncompromising rhythms and gnawing riffs, whilst the vocals just tear at the senses with bloodlust. It is another simply outstanding encounter to end the release but…the band has not finished with its prey yet. As the final note leaves its glorious scar keep patient and wait within the silent shadows of the release as the band have one hidden unnamed treat to enjoy. The mystery song is a furnace of intensity and energy, a bear of a track with more muscle and hunger than before and just as much majestic malice.

Horror Vibes from Nowhere is quite brilliant; a hellacious ride from a band in Dirty Danzig which has one drooling in anticipation for what is next and breathless from what they have just inflamed the heart with.

Grab the EP as a free Download @ http://bit.ly/W5qNq6

https://www.facebook.com/dirtydanzig

9/10

RingMaster 16/02/2013

Copyright RingMaster: MyFreeCopyright

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Full Story At Midnight: No Rest For The Rotten

   

   Reaching out from beneath the damp heavy earth of Tucson, Arizona graveyards, horror rock band Full Story At Midnight is poised to stalk every living nightmare with their debut album No Rest For The Rotten. Eight tracks of sonic evil and blood-letting menace, the album brews up a potent potion of horror rock, punk and psychobilly which is as heavy as the night and as intimidating as shadows.

The band began in 2004 as a solo project of vocalist/guitarist Elvis Aron Deadly under the name The Sacred Profane. Going through a few names the band eventually stepped forth as Full Story At Midnight with Deadly having recruited some equally creative ghouls alongside him. 2007 saw the band as The Sacred Profane appear on the Halloween Compilation from Fear The Dead Records and release the successful Alone In The Dark EP. Then and since Full Story At Midnight has appeared alongside the likes of Michale Graves, The Koffin Kats, Mercy Kill, Mommy Sez No, The Independents, Calabrese, The Returners, Wednesday 13, and Demented Are Go with a fine live reputation in tow which their well-received Drive In Horror Show EP built further upon with equally impressive responses.

Their debut album is an explosive riot of sound with a raw live feel which makes it coarse but fully engaging and organic, the passion and energy of their richly flavoured horror rock a coarse and incendiary gnaw on the senses. The release opens with Lawnmower Limb Thrower, its initial electric feed sizzles in the air before concussive rhythms and snarling riffs rip up the chilled ambience. It is immediately into a rampant stride with an insistent intensity covered by the excellent vocals of Deadly, his Jerry Only like tones a seductive lure against the rasping shouts and caustic squalls behind him. The song is a vibrant mix of Misfits and Blitzkid with a scowl which is pure punk.

The crawling heavy malevolence of Boogieman Like Me spreads its vindictive charms next with thumping rhythms and ravenous riffs chewing up the ear whilst the sonic persuasion of the guitar flames against the tumultuous energy. Unleashing its bruising might the early-AFI spice of the song sparks against the muscular punk fire of the song and continues the strong start to the album with ease.

A smoother melodic breath smoulders within next up Everything But A Tomorrow, the song offering warm melodies and harmonies within a heated sonic embrace framed by sturdy sinews of rhythmic fervor. It has to be said though that the production on the release is a mixed bag. On one hand it gives the great unpolished element of the album as on this song a strong platform to bring the live power of the band to the release but against that it does deny a clearer clarity which the excellent tracks deserve. Despite this tracks like Total Hate with its carnivorous riffing and seductive vocal croon and Hideous Infant with its gnawing guitar grazing and bass prowl, stand as absorbing and challenging encounters which only satisfy.

Before departing the death drenched release brings further mental violations through the rapacious Making A Monster, its startling insatiable sonic bloodlust a furnace of The Ramones. The Meteors, and Frankenstein Drag Queens From Planet 13, and the fiery Puzzle Box, a song rippling with rockabilly passion and hardcore energy. Both songs again bring diversity to the album to keep the listener fully attentive and pleasured.

Ending with a final charge of unbridled energy and eager psychobilly/horror rock in the raucous Trick Or Trick, the album completes a fully pleasing and exciting confrontation. No Rest For The Rotten is an album to re-animate any dormant rock n roll hearts and invigorate the living dead, and suggests that if you give Full Story At Midnight the studio and tools to fully bring out their undeniable invention and craft then the living best start running.

http://www.facebook.com/FullStoryAtMidnight

7/10

RingMaster 15/02/2013

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Dead Bundy and the Neat Neat Neats: Life Is Hard…Death Is Neat

Providing a villainous canvas for the most essential of mischievous sounds Life Is Hard…Death Is Neat the latest album from Dead Bundy and the Neat Neat Neats has everything you could desire in a psychobilly riot. A collection of songs which are as compelling as they are the instigators of varied rock n roll flames, the album just grabs the heart and thrusts it into a bruising rampage of insatiable riffs, hungry rhythms, and heart borne passion. This is a record from a band which lives and breathes their sound and uses their open influences to corrupt and ignite the wickedest shadows within its willing victims.

The Minneapolis quartet is another band which lets the music do the talking with info about the band as scarce as the desire to behave within the album itself. The band does consist of Matthew Sprinkles, Chris Wilson, Cody Hillyard, and Matt Kalsnes, and employs influences from the likes of Batmobile, The Quakes, Reverend Horton Heat, Mad Sin, and Screaming Jay Hawkins amongst many, as well as a band which springs to mind often across the release, the Frantic Flintstones, to their own mastery. Life Is Hard…Death Is Neat is the follow up to 2011 album Bad Moon Death Trip, and was released last year making us late to its glory but better late than never right? They tag their sound as brundlebilly but whatever they want to call it their roguish conjurations are just essential treasures for all fans of rock n roll.

The eager and thrilling breath of Hexes And Hymns opens up the album, the track a brief instrumental charge which begins with gentle caresses before turning on the for pulsating guitar strokes, thumping rhythms, and a delicious whisper of discord throughout its twisted twang. It is a fiery start soon equalled and surpassed by the shadows gifted Evil Deeds And Demon Seeds. With a groaning hungry bass slapping resonance and an irresistible groove the song stomps through the ear with only thoughts of dragging the feet and passions of the listener into action, not that they need much persuasion when confronted by infection carrying sounds like this.

From there the album sets free one of its biggest pinnacles in a continual parade of highlights. Junglebella swings astride the senses with an insatiable energy and compulsive swagger, the vocals and guitar luring irresistible whilst the contagious chorus demands receives compliance from the throat of the listener with immediate effect. It is a sensational song which brings elements of The Meteors, Link Wray, and The Legendary Shack Shakers into play. The musicianship is as impressive as the viral persuasion at work throughout song and album and already only three songs into the release one feels the band is destined for the strongest recognition in their chosen genre if not further afield.

The sinew stretching Bruja with its crushing rhythms and flames of scorching guitar continues the now beyond simmering rapture, the track a muscular bruising with more addiction than primitive sexual urges…oh that is just us then…whilst the likes of the raw rockabilly furnace of Movie Monster and the country lilted evil of Bad Woman with its Dave Edmunds/Polecats like gait brings diverse enterprise and tingles to the release. The last of this trio starts as an old school toned treat which again leads one by the ear to embarrassing rhythmic expulsions on the dancefloor but midway intrigues and excites by twisting into a punkabilly storm which is a mix of Demented Are Go and The Living End.

As the album continues the songs Supernatural Man, She’s A Hellcat, and Road To Ruin only lead to further squeals of joy before another major triumph arrives in the graveyard romance of Bone Daddy. It is a glorious track which romps with sinister intent and deathly mischief. The irreverent vocal squalls and ever potent emotion playing bass prowl fires up the deepest passions whilst the heated hooks of the guitar conjurations pulls the heart into action like a satanic musical magnet.

Closing with the fine acoustic ballad Devils In The Dark, the album is an enthrallment with the highest rewards of pleasure attached to every note and rhythm. Only enthused acclaim can be laid upon Life Is Hard…Death Is Neat and a band in Dead Bundy and the Neat Neat Neats which makes the company of their nefarious creativity as essential as breathing.

https://www.facebook.com/DeadBundy

RingMaster 17/01/2013

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