The Black Waterside – Self Titled EP

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Like a bottle of fire breathing bourbon which as soon as you take a taste you are addictively hooked, the sound of UK rockers The Black Waterside instantly grabs the balls and passions to create a lustful understanding and hunger. Fusing the richest spices of blues, psychobilly, Americana, and vintage rock ‘n’ roll then fuelling it with a modern attitude and aggression, the Kent band has created a unique and ridiculously flavoursome proposition in sound and their self-titled debut EP. It is a masterful blaze of dirt encrusted and grouchy rock ‘n’ roll with irresistible drama and pure devilry to its every note and syllable, and simply irresistible.

Formed in the latter stages of 2011, The Black Waterside draws on inspirations from the likes of Tom Waits, Sun House, Kill It Kid, The Cramps, The Clash, The Black Keys, and Led Zeppelin to create a fascinating and explosively provocative sound as evidenced by their thoroughly impressive EP. Imagination and passions drips off of every skilful chord and rhythmic swipe emulated by the great grizzled tones of vocalist Adam Bray and the riveting canvases of the songs themselves. They are dark adventures which are as unpredictable as they are imposingly dramatic and incendiary to the imagination, and all irreversibly compelling.

A ‘vintage’ radio introduction to the band sets the opening shot of Four Minute Warning! in motion, before ragged riffs and beats instantly ignites senses and appetite with their rockabilly snarl. The gravelled tones of Bray soon covercountdown the full force of the song from within its initial addictive bait, the guitars of Holly Kinnear and Dan Lucas dancing feistily across ears as the throaty lure of Joe Whalen’s bass adds another delicious texture and enticement to the swiftly enslaving song. A blues swagger and breath cloaks the bouncy stride of the song, similarly spicing up the flames of enterprise and sultry designs of the guitars. It is an anthemic treat; feet governed and urged on by the thumping beats of drummer Jim Davies whilst body and passions are led into salacious endeavours by the swinging groove of the song.

The sensational start is matched by Whorehouse Down On The Southeast, another immediately fascinating and enthralling proposition. The track makes its own captivating start, though this time there is grouchiness to the vocals and rhythmic enticing which is no less inviting than the more embracing start of its predecessor. A hungry scything of electrified riffs ignite on the senses from virtually its first breath whilst rhythms tumble relentlessly to incite another wave of hunger in the passions. There is no escaping the trap for thoughts and emotions, especially with the entrance of the increasingly potent roars of Bray backed this time by the just as potent and gripping vocals of Kinnear. It is a powerful mix matched by the increasingly thrilling blues vapours and contagious twang which breeds its own temptation within the explosive track. Like Seasick Steve meets Tom Waits at the instigation of The Reverend Horton Heat, it is another striking and virulent contagion to devour greedily.

   Brand New Cadillac has that psychobilly tang and swagger which never gets tiring, a confident rebellious stride entwined in guitar and bass grooves which flirt with every note of their wonderfully toxic tempting. There is much more to the song though, a surf wash of acidity and an imposing cloud of garage punk bringing dramatic textures and diversity to the stunning track. As hot and heavy as a vat of blazing liquor and passionately intensive, the track is pure infectiousness and wholly enthralling, especially in its closing twist where Bray shows the qualities of his clean delivery in a simmering bed of emotive seduction.

The release closes with Wrong Side Of The Track, a slow crawl of blues fire which croons as it wraps a sizzling sonic and lyrical narrative across the imagination. A real slow burner in comparison to the previous tracks, it evolves and increases its potency over its length and time, showing further creative depth and musical invention in the band which can only lead to excitement and demanding anticipation for their subsequent adventures.

A must for every fan of blues and psychobilly too quite simply rock ‘n’ roll, The Black Waterside is a lustful addiction just waiting to offer you its first inescapable lure.

The Black Waterside EP is available now @ http://www.theblackwaterside.bandcamp.com

https://www.facebook.com/theblackwaterside

9/10

RingMaster 02/09/2014

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Demoni – Day of Demoni

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Described as a ‘surfabilly band which fuses punk rock beats, psychobilly bass, and surf guitar’ it is easy to go slightly astray with expectations over US rockers Demoni and their much more flavoursome sound. Certainly those essences make up the core of the band’s sound as evidenced on their outstanding album Day of Demoni which recently had its UK released via British cassette/digital label Graveyard Calling, but as the nine track rampage infests ears and ignites emotions there is plenty more to the band’s alchemy of invention. At times there is a hard rock fury at work, and in other moments a seventies glam teasing at play, whilst throughout there is a pungent whiff of fifties honesty to it all. Day of Demoni is a thrilling onslaught which dares to be just that little bit different in the world of psychobilly whilst embracing the seeds of the genre with a full ardour and revelry.

The Boise, Idaho trio take inspirations from the likes of Cramps, Dick Dale, Mad Sin, and Misfits to their adrenaline powered and relentlessly voracious sound. An early self-titled demo in 2008 seemed to draw strong attention but it was with their albums Dawn of Demoni a year later and Day of Demoni which was released in 2012 that a spotlight really hit the band. It was an interest which has only been enhanced by the band live which has seen them play shows with the likes of Koffin Kats, Chop Tops, Three Bad Jacks, Stellar Corpses, The Hedcat, Sawyer Family, The Recently Deceased, and The Rocketz. Their new UK release of Day of Demoni sees the five songs which appeared on the US version joined by one originally found on the first album and another pair from the band’s Surf City of the Dead release, as well as one more track. Together they combine to make one of the most exhaustingly enjoyable encounters to hit the UK shores this year.

From first track And Now the Screaming Starts, band and release has the imagination bound and ears hungry. It opens with a sonic squeal before launching into a thunderous charge spiked with spicy twangs of warped grooving. Riffs coverand rhythms are in top gear within seconds, their eagerness almost ravenous as they swiftly build an anthemic temptation upon which the smooth delivery of vocals lay perfectly. The click of drum stick wood on rims is irresistible whilst the brawling attitude of the guitar is contagious persuasion, but it is the unpredictable slides of grooves and caustic melodies which turns the outstanding song into a classic.

Its glory is followed by the instrumental Black Lagoon, its stomp speared by a hook which is fifties seeded but coming with a seventies air. That initial temptation is soon evolved into a sultry surf rock enticement though both lures switch and entwine across the rest of the compelling track. Like a sonic stroll across a blood soaked beach beneath a sinister moon, the track has the imagination casting its tales whilst feet still find no respite from the involvement inspired by its predecessor. The magnetism of the song is intensified in the exceptional They Crawl, another virulent surge of riffs and rugged enterprise equipped with a cowpunk lilt and riotous hard rock intent. The song is as persistent as the protagonists in its lyrics, scampering relentlessly with tireless rhythmic feet and feisty sonic tenacity. Sparking thoughts of  Koffin Kats and Tiger Army, the track is another peak to the album and makes one wonder why the band has not been recognised over here before.

Scared to Death is no slouch in setting ears and passions ablaze either, it’s almost smouldering sonic presence and rhythmic control, certainly compared to the previous song, a transfixing instrumental narrative providing another surf spawned slice of heated suggestiveness. Its sultry presence makes way for the fiery and robust harrying of the imagination unleashed by Night of the Creeps. Thumping heavy rock beats courted by a caustic punk abrasing of riffs offer a contagious tempting from which vocals and acidic melodies surge with eagerness. Again a heavier rock aggression adds to the flavouring whilst at times there is a softer melodic catchiness which merges easily with the strenuous suasion of the song. You can almost call it as psychobilly pop punk.

Both No Pain No Gein and Beware the Moon bring another twist to the album and satisfaction, the first akin to Turbonegro with its punk rock rapacity but also you can hear tinges of Nekromantix and The Ramones in its rowdy enterprise. With the bass a delicious standout texture and voice to the song, it is an insatiable stomp swiftly matched in sweaty contagion and voracious energy by its successor. There is an immediate sense of The Dickies to the punk side of this song whilst its expansive psychobilly design offers up suggestions of Mad Sin and a little of Rezurex. It is a flaming beast of a track and another to squeeze out a little more lustful acclaim for the release.

The album uncages a final two slabs of thick persuasion through first of all the instrumental scourge of blistering riffs and niggling grooves that is Session 9 and lastly Die! Die! Die!, which is maybe an instrumental too many on the album but such its exciting climate and creative blaze it is impossible not to greedily devour its presence. They make enthralling climaxes to a ridiculously addictive release, which itself sets Demoni as a thrilling new protagonist for British psychobilly appetites.

Day of Demoni is available via Graveyard Calling @ http://graveyardcalling.bandcamp.com/album/day-of-demoni digitally and on very Ltd Ed blood-red cassette.

http://www.demonipsycho.com

9/10

RingMaster 28/08/2014

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Warm crypts and sizzling corpses: an interview with Norm Elliot of Norm And The Nightmarez

Norm

Wickedly contagious and a diversely warped fusion or rockabilly and psychobilly at its most incendiary best, Psychobilly Infection the debut album from Norm & The Nightmarez is one of those standard forging releases which breeds inspiration and exhilaration. Thirteen tracks of intrigue lit and passion drenched rock ‘n’ roll, the album is a storm of rapacious creativity flourishing in decades of influences and twisting them in something new and template casting. The band is the creation of vocalist/guitarist Norm Elliot, already renown with Mickey & The Mutants and their impressive first release last year. Norm & The Nightmarez is a new kind of a riveting beast and we seized on the chance to find out more when Norm kindly spared his time to let us explore his history, the album, psychobilly and much more…

Hi Norm and many thanks for sharing your time with us.

Before we talk about Norm And The Nightmarez and debut album Psychobilly Infection, tell us about yourself and your musical history up to previous band Mickey And The Mutants.

Hi Pete … I was born in Northern Ireland, to escape the troubles we moved to Birmingham England when I was 4. I’ve been here ever since. I picked up a guitar when I was 13 and found I could play it quite easily, it was the 1st thing that actually made sense to me, school just went over my head and bored the shite outta me. I joined a R’n’R band after 2 weeks of playing, then developed into Rockabilly and then I discovered The Meteors and my life changed forever. I formed a psychobilly trio called the Phantom Zone, we were OK and supported all the new upcoming bands including The Guana Batz, The Stingrays, and The Vibes. I then travelled the world for years just playing my acoustic around bars developing my writing skills on the way.

Has rockabilly/psychobilly always been the main source of your strongest musical pleasure personally and creatively?

Simply: YES !!! It’s in my blood, when it’s there, it’s there for life.

You have seen and been involved in numerous decades of the psychobilly scene here in the UK, would you say it’s in one of its healthiest moments right now?

I was there very near the beginning, then as I say travelled the world, it’s amazing to see how big it’s become again. Its healthier than ever and an amazing scene to be involved in, full respect to those that kept playing, they saved the music I love and I thank each & every one of them for that. Also people like The Bedlam Crew and Little Jo, her MySpace was one of the 1st psycho related sites I came across and I’m sure that played a huge part of the returning scene.

We mentioned Mickey And The Mutants, how did the link up with ex-Meteors/ex-Guana Batz bassist Mick White and Sharks drummer Paul ‘Hodge’ Leigh come about?

I was in my own Crampish Garage band called The Bionic Krugerrands and Mick liked what we did, and my guitar style so asked me to join him. I said no many times but then my drummer left and as I was at a loose end I caved in, I’m glad I did. Then the drummer he had left and we found Hodge, simple as that really.

I may be wrong but I get the impression that you are happier and more fired up creating and driving your own bands than playing in other’s projects, though I hasten to say that your own penned songs and vocals on the MATM album Touch The Madness do not suggest that to be fair.

No, you’re correct, I love to create and have a deep passion for what I do and after 37 years of creating music in one form or another I know how it works so understand the process and what to do to get the best out of it. It was fine working normandthenightmarezpsychobillyinfectioncdwith Mick and he was kind enough to listen to my input, and you know what? We made one hell of an album Hodge, Mick ‘n’ Me and I’ll always be proud of it.

What are your strongest inspirations would you say in sound and your guitar style?

Guitarists: Cliff Gallup, Grady Martin, Paul Fenech, and Ivy Rorschach

Songwriters: Nigel Lewis, Paul Fenech , Johnny & Dorsey Burnette, and Leiber & Stoller.

Artists: Most of the Sun Rockabilly’s and various Rockabilly and Psychobilly over the years.

Norm And The Nightmarez has just released its first album, the undeniably brilliant Psychobilly Infection. There seems to have immediately spread a swift and lively buzz about the band and release. Would you say this has been the most dramatic impact a band or release you have been involved in has made?

HELL YES !!! But as soon as we heard the album mixed, myself and Alan Wilson knew we had created something special. That’s from a punters point of view not from an arrogant stance. I’m thrilled with the way it turned out!.

Did you have any expectations or hopes beyond simply having people like it once it had emerged in the studio?

Oh Yes, I want to play this devils music all over the world as much as possible, I’m never happier then when I’m onstage doing this material, it honestly sends me wild, sometimes I have to rein myself in a bit for fear of injury ! Whatever you see me do onstage is from the heart, nothing is staged or acted, any scream, any grimace any movement, it just gets into my bones and transports me to a place I love to be.

You seem to have found the perfect blend of rockabilly and psychobilly on the album, both teasing and seducing without overpowering the other. Has this been an instinctive and natural find or something you have cultivated over time?

Purely and Simple Instinct!!!

I get the impression that the band is very new as a presence; is that the reality and were the songs on the album bred after its emergence or do some have a longer history to them?

10443120_680915955319815_6023845040549483159_oI just sat down over a weekend and wrote the songs as I always do, on my own with my acoustic. A few were already in existence but most totally new. I think I’ve had Sex Kitten for about 30 years but never used it till now.

How did you meet drummer Frank Creamer and bassist Mark Bending and how easy was it to get them on board for the album?

Frank Creamer was briefly around in the late part of the early days so I kinda knew him a little from then and I got Mark Bending from an advert I placed.

I am right in believing the band has a different line-up for live shows now?

Yes you are, I have a very talented young buck called Jake Lyon on drums, he has a degree in music and filled in with the Mutants on a couple of gigs, I’ve honestly never worked with such a gifted live drummer. John Goodey is on double bass, he’s been in rockin’ bands for the past 30 years plus and is an awesome double bass player.

Tell us about the recording of Psychobilly Infection, was it all smooth sailing?

I honestly can’t remember much about it, it went by in a flash and as ever recording with Alan Wilson was really pressure free. I did the ground work and preparation before I went in and as a trio we practiced hard for it. We did have one hiccup as the bass player’s bass wasn’t up to it and Alan wanted to make it special so Steve Whitehouse put his underpants on over his jeans and saved the day by driving his own personal bass over for us to use in a super hero styleeee.

Any tales you can tell us from that time, any solicitous meetings or the occasional salacious summoning? ;)

Yeah, there were the 9 prostitutes, two if which were lady boys (I can’t tell you who had them ) and the mountain of coke night !!!. Nah, only kidding, all quite boring really we just concentrated on getting it bang on, capturing the threat and suspense we wanted to create. Early nights and Earl Grey!!!.

Is there a particular moment or aspect to the album which gives you the biggest chill and tingle of satisfaction and pleasure?

It all gives me a tingle I just honestly cannot believe how amazing it’s turned out, though if I’ve got to pick one moment it’s at the end of the 2nd lead break in the song Psychobilly Infection just before I start to sing, it’s like a Buddy Holly dum dad dum da dum, dum dum, it just moved me and I get a thrill now every time I do that bit live, its ace.

What is on the near horizon of Norm And The Nightmarez?10446663_680914721986605_2839446702070720291_n

The Beldam Breakout festival in September & a lot of gigs booked, to be honest amazing stuff is coming in daily but we’re up for anything and just wanna get out there both in the UK and around the world and play, play, play.

Thanks again for talking with us, any final thoughts to leave us pondering?

Norm & the Nightmarez are here to stay, come to a show and see for yourselves … come get the PSYCHOBILLY INFECTION !!!.

And finally tell us five of the most important or simply thrilling releases which have had a part in your evolution as a musician and songwriter.

In Heaven – The Meteors

Elvis Presley – Sun Sessions

Johnny Burnette Rock n Roll Trio

Stray Cats – Stray Cats (that’s the 1st album only )

Gene Vincent & the Blue Caps – 1st two albums.

Sneaky Bonus ::: Sex Pistols – Never Mind the Bollocks

Of course, there’s also Eddie Cochran, Billy Fury, Buddy Holly, The Ramones, The Undertones, The Clash, all the Rockabilly Sun Recordings etc. etc. :)

Hey thank you Pete, it’s been fun mate.

 

Read the review of Psychobilly Infection @ http://ringmasterreviewintroduces.wordpress.com/2014/07/29/norm-and-the-nightmarez-psychobilly-infection/

https://www.facebook.com/Normandthenightmarez

Pete Ringmaster

The Ringmaster Review 01/08/2014

Copyright RingMaster: MyFreeCopyright

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Norm And The Nightmarez – Psychobilly Infection

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     “From within the thighs of hell’s most wanton temptress, a tempest of psychobilly grooves and rockabilly hooks will converge upon mankind to turn its existence into one incessant stomp of devilish predation and virulent demonic revelry.”

Obviously that is not one of the more well-known pestilences deemed suitable to be included in religious teachings but if it was, it would go under the name of Norm & The Nightmarez and debut album Psychobilly Infection. Thirteen tracks of wickedly contagious and warped rock ‘n’ roll cultured with rockabilly seeded guitar and psychotic imagination, the release is a storming slab of rapacious psychobilly which sets a new provocative and sinisterly sculpted template for emerging genre bands.

Hailing from Birmingham, Norm And The Nightmarez is the creation of vocalist/guitarist Norm Elliot. From first band The Phantom Zone in the eighties, the musician has played in a few bands, last year most notably Mickey & The Mutants where he linked up with ex-Meteors/ex-Guana Batz bassist Mick White and Sharks drummer Paul ‘Hodge’ Leigh. The trio released the outstanding album Touch The Madness, a release it was hard to see anything bettering in UK psychobilly for a long-time to come but then we did not foresee Norm & The Nightmarez preying on the passions. Completed by drummer Frank Creamer (ex- Colbert Hamilton & the Hellrazors) and double bassist Mark Bending (ex-Sgt Bilko’s Krazy Combo) for the Western Star released album, the band embraces the decades of rockabilly infusing their ripest essences into the insatiable jaws of old school bred psychobilly irreverence and invention. It is a varied and riveting incitement which steals the will of everything from feet through to emotions, taking all on a skilful and hungry romp of mischievous enterprise.

Produced by Alan Wilson, the album is straight away gnawing on the senses with opener Stompin in My Grave, its initial earth encrusted riffs immediate potent bait to which the wrist flicking rhythms of Creamer and the dark hearted slaps of Bending add even juicier lures. Unfurling around a repetitive hook led by Elliot’s guitar, his potent vocals colour the imagination with their lyrical enticement. A flame of melodic scorching also adds a rich hue before the song takes a breather, allowing the listener’s body one too before it revs up its hypnotic suasion all over again.

The addictive start is swiftly matched by The Mischief Maker, a dark hearted slice of intimidation with robust basslines and sultry grooves which enslave attentions whilst beats slowly bruise the senses. Whether unleashing a keen gait normandthenightmarezpsychobillyinfectioncdor stalking ears, the track is an incendiary protagonist to give a blissful appetite further hungry urges which are rapidly fed by the acidic twang of The Lights Went Out. There is a scorched country-esque lilt to the invigorating prowl, the guitar of Elliot entwining ears with citric melodies and pungent hooks whilst vocally he snarls with a grizzled tone which sparks perfectly off of the heated climate of the song. The track has whispers of Tiger Army and The Quakes to its rich imposing breath but as with all songs no matter the hints it stands alone as something distinct to album and Norm And The Nightmarez.

The title track, though living up to its title, is rockabilly spawned even with its slight punkish nature. The bass and guitars sculpt a weave of riff and lures which play with body and soul like a sly puppeteer, twisting and turning imagination and passions inside out for a fevered submission. Its contagion lingers far beyond its stay though both Nightmare and Ton Up ensure in their company it is a distant memory at least. The first of the two right away triggers thoughts of The Reverend Horton Heat and Matchbox with flavourings of Johnny Burnette and Hasil Adkins also spicing the fiery encounter. Rhythmically and sonically the song entrances before the adrenaline rampage of its successor rumbles across the senses. Beats descend on ears with an unrelenting coaxing whilst the bass call of Bending brings delicious dark textures to the irresistible road trip. Elliot as ever commands the scenery with his vocals and guitar exploits whilst the trio unite for another ridiculously compelling and magnetic parade of roguish rockabilly incitement.

The flirtatious Sex Kitten teases senses with a salacious sexuality next, its smouldering grooves and sensual melodic curves as infectious as they are seductive. There is no denying a certain Stray Cats swagger to the song but also a danger to its stroll which could be compared to something with the edge of Guana Batz and addictiveness of Gene Vincent. It is an inescapable persuasion though one soon left in the shadow of the wonderful instrumental Devil Girl From Mars. There is something poetic to an intensively crafted piece of psychobilly music with its primal predation and sonic toxicity, and certainly it comes with no finer shape and beauty than here. Imagine a blend of The Tornadoes and The Frantic Flintstones and you get a whiff of its virulent might.

Both Pardon Me and The Past is a Place that I Just Can’t Go have energies and passions in a raw riot of pleasure, the first with its caustic sonic grazing and thumping rhythmic enticement whilst the following track stretches a menacing bait over ears again with jagged riffs, pulsating throaty slaps, and ear crowding beats. As impressive as its predecessor was, the second of the pair is another merciless encroaching on freedom with its rhythmic slavery, melodic venom, and vocal rapacity. It is impossible to choose a track which stands out over the rest on the album but this is always a forceful contender.

The fun filled Elvis Was a Zombie keeps things stomping along nicely and though it lacks the spark of other tracks for personal tastes it is impossible to dismiss because of that mischief and its rhythmic badgering. Its paler presence is soon swamped by the brilliant closing of the album. Massacre at Devils Plain with its Native American croon and howls over a gritty stride of sonic stabs and heavy footed rhythms, sets the imagination alight next whilst final song The Man with the X-Ray Eyes, leaves Psychobilly Infection on arguably its highest pinnacle. Bursting from a sample from the film of the same name, the track is a psychobilly irritant at its most potent and brilliant. It is a predator of a track, rhythms climbing all over the senses whilst guitar and vocals stir up the imagination with rich imposing hues. It is fair to say the song has elements of The Meteors all over it; The Hills Have Eyes springing to mind, but again Norm And The Nightmarez defuse any comparisons with their distinct invention and adventure.

From start to finish there is no escaping the might and sheer glory of Psychobilly Infection and the emergence of a brand new creative devil in our midst, though whether the UK, come to that the world is ready for Norm And The Nightmarez and their hellacious tempting only time will tell.

Psychobilly Infection is available now via Western Star Recordings @ http://www.western-star.co.uk/western-star-releases—cds_36/psychobilly-infection—norm-and-the-nightmarez_146.aspx

https://www.facebook.com/Normandthenightmarez

10/10

RingMaster 29/07/2014

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Dick Venom & the Terrortones – The MonsterPussy Sessions

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Still fresh from infesting our psyche with 7” single Invasion Of The Spiderqueen, Britain’s warped rock deviants Dick Venom & The Terrortones return with the just as salaciously compelling The MonsterPussy Sessions. The new EP provides five tracks of juicy sex encrusted rock ‘n’ roll soaked in the inimitable flavouring distilled and increasingly spiced by the Nottingham quartet. It comes with a new breath of individuality too, a stronger uniqueness which twists the inspirations from the likes of The Cramps and The Stooges into a richer vein of their own distinctive carnal devilry; quite simply it is the band’s finest slice of dementia yet.

Since forming in 2010, the band has been drenching audiences in live sweat and juices across the UK, recruiting eager bodies to their mischievous stomp of psychobilly, garage rock, and old school rock ‘n’ roll. Sharing stages with the likes of The Meteors, Bad For Lazarus, Demented Are Go, The Radiacs, Vince Ray & The Boneshakers, and Vince Ripper (ex-Alien Sex Fiend) has left a lingering mark just as their own one of a kind shows and releases. The RockinRollin VampireMan EP was the first to play havoc with morals and bland music followed more recently by Invasion Of The Spiderqueen. Now with a line-up of Wrex St.Clair and Dusty Vegas alongside the frontman, the band unveils an even more potent case of rascality and mischief upon the imagination for equally increased rewards.

     Valley of the AlleyAlligator Girls sets things in motion with a blues kissed flame of guitar coaxing and swiftly joining enticing rhythms, each a sultry lure on their own whilst together a captivating bait ready for the magnetic vocal Dick Venom & the Terrortones – The MonsterPussy Sessions prowling of Dick Venom. There is an immediate swagger to the song that recruits an instant appetite for its striding temptation and sex tinged horror kissed lyrical narrative. There is the heated and commanding stroll which is to be expected from the band but also a thrilling fire of a solo and a rhythmic shakedown into the song pointing to a new breath to the songwriting and aural tempting of the band. It is a masterful feet recruiting and passion igniting start to the release which is straight away backed up by next up BellySlam City.

The second song boldly walks in with its own individual striding and ear provoking incitement. Beats pounce with an eager reserve whilst the guitar offers an almost stabbing enticement amidst the rolling bassline. It is a simple but potently persuasive romp with the warped colouring of the band oozing from every limb igniting twist and creative shrug of its old school shoulders. Like Gene Vincent meets Lux Interior with The Pirates serenading both with trash rock revelry, the track seems to bask in the lustful hunger shown for its raw charms before making way for the dark seductive spicery of Crypt Tonight. Bass and rhythms throw out a net of rock ‘n’ roll shadows with virulent hooks whilst Venom canters over its canvas with his pouncing syllables and lustful expression. Again a garage rock blues bred toxin plays pleasingly with senses and thoughts as the release shows more of the richer maturity and diablerie coursing through songs.

The delicious garage/surf rock tempting of Dead DeadBeat Delinquent teases and thrills ears next, its prime hook an irresistible breeding of addiction to which fire cast riffs and dangerously hypnotic rhythms prey. It is a glorious roar of punk ‘n’ roll driven deeper into the passions by Venom’s bracing roguishness. The best song to come out of the band, certainly recorded, the track leaves psyche pumped and energy aflame ready for the closing No Good To Get Up To. The track seemingly is driven by its predecessor too, it’s thumping beats and high kneed entrance an agitated enticement of contagion and hot creative juices which spill into washes of sizzling soul infused squalls. The impressive burn of a track brings one exceptional release to a mighty and mouth-watering close.

Though there can never be another to rival The Cramps, it has not only been us who have thought Dick Venom & the Terrortones had the potential to be the British equivalent in potency and influence of subsequent sounds and artists. There is a long way to go before the band reaches those heights but The MonsterPussy Sessions shows that the possibility could definitely be a reality if further great impressive steps are continued.

The MonsterPussy Sessions is available now digitally and as a ltd edition cassette on Jailhouse Morgue Records @ http://terrortones.bandcamp.com/

http://dickvenom.com/

9/10

RingMaster 04/07/2014

Copyright RingMaster: MyFreeCopyright

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The Creeping Ivies – Ghost World

The  Creeping Ivies

Taking senses and imagination on another psyche ripping helter skelter of raw and sonically sculpted rock ‘n’ roll, Scottish duo The Creeping Ivies unveil their second album Ghost World and prove themselves yet again to be one of the most exciting provocateurs of primal incitement. The new full-length from the band is a riotous seduction of garage punk and naked rock ‘n’ roll with plenty of spices from psychobilly to punk rock. It also sees the band at its most potent and insatiably virulent yet, the release loaded with deliciously caustic and masterfully magnetic, to steal from the title of one of their earlier songs, buzzbombs.

The Creeping Ivies consists of Becca Bomb providing piercing, coarsely sirenesque vocals and raw sonic guitar vivacity and Duncan Destruction who brings heavy thumping, rapaciously intruding beats to the thrilling equation. Their union is a simultaneously primitive and precisely sculpted enslaving of the senses, one which from day one intrigued and wildly enthralled. First release the Rock N Roll Party EP in 2011 stirred up attention and emotions with its synapse searing acidity and voracious rioting, that an ever present trait expanding with greater potency on the following Ghost Train EP and debut album Stay Wild, both in 2012. Inciting audiences just as dramatically with their live performances, which has seen them share a stage with the likes of  Viv Albertine of The Slits and Vic Godard & Subway Sect, the stature of The Creeping Ivies has increased constantly within the underground scene, their sound recalling many influences but undeniably unique to them. Last November the release of the double A-sided single What Would Joey Ramone Do? / Ramona Wolf teased and tempted as the band showed a continuing to evolve invention to their sonic exploits and imagination. It certainly led to the anticipation and expectations of their next album to intensify. The two tracks hinted at the possible magnificence of Ghost World but it is fair to say that its haunting intrusive delights have emerged as a far greater and dangerous triumph than hoped.

The Dundee pair open up the adventure with the album’s title track. Instantly a haunted caress of guitar glances over ears with a caustic kiss coverin tow as well as a rub of riffs and the joining tub thumping beats of Duncan. Immediately enticing in its noir lit breath and grazing ambience, the track pulsates as it worms its way under the skin laying irresistible bait for the entrance of Becca’s vocals. As ever her voice holds a definite Wanda Jackson meets Siouxsie Sioux texture and magnetism to it, intensity in her delivery searing flesh and air as she and the song hit their stride. With an addiction spawning groove and the delicious occasional blaze of harmonica from guest Homesick Aldo, the track takes little time to secure full submission for its tempting whilst showing the evolution in sound and songwriting maturity poised to consume the senses  in hand with the expected sonic feverishness of the band.

The following entangling chords of The Bridge provide an instant variation to the toxicity of the album; its opening fifties bred melodic teasing charming the listener before thrusting sinew packed beats and the wonderfully torrid vocal tones of Bomb into the appealing recipe. The hook which drew the first spark of ardour as the song started continues to vein the stomp whilst a resonating shimmer to the sound engulfs and exhilarates the senses. As with all their songs, the premise is uncomplicated and minimalistic but always thick in presence and invention leading to fully textured and imposing encounters.

The intimidating shadows of The Creeps consumes attention next, their threat and imposing provocation sizeable but defused by an excellent revelry of keys, vocal wails, and the urgent dance of hooks and harmonies. Short, sweet, and irresistible, the song is then put in its appealing place by Love Kills, a brilliant blend of sixties pop, garage punk, and rockabilly energy. Imagine The Shangri-Las and The Cramps in a saucy romantic triangle with Australian band Valentiine and you have the brilliant Love Kills. The track sways and romps with revelry and mischievousness to cast a perfect raw pop song on the passions.

Ramona Wolf just sounds better with each encounter since its single release last November. It’s almost spatial opening ambience paves the way for the vocal seduction of Becca to spread a temptress like devilry, a sonic medusa with a delivery writhing with searing harmonies and enslaving qualities. Musically the song is a repetitive narrative, punchy beats and scalding guitar probing and grazing respectively with singular intent beneath the harsh atmosphere of the tale. It is also quite glorious as is the next up Dream Baby Dream. Providing irrepressible flirting from the sax of Andrew Pattie within its scintillating fifties pop ravaging and punk seeded ravishing, the song stomps over and challenges the senses for another unruly treat, Bo Diddley meets Helen Shapiro at the home of The Trashmen.

Both Trippin’ Out and Haunted High School finger the passions in their individual ways next, the first a heart rapping rampage of jabbing beats and scarring riffs skirting the sinister drama. It is a tale of ghostly enterprise and inescapable rapacious shadows with a heartbeat which resonates through the bone and core of the evocative tale whilst melodic acidity and vocal colouring courts its intent. The excellent fierce smouldering is soon exceeded by What Would Joey Ramone Do?, a song which sculpts a raising of the spirits of Gene Vincent and Lux Interior with that of the song’s namesake. The track provides all you expect and much more, the Cochran/ Poison Ivy Rorschach like mix of guitar sound with the impossible contagious punk stomp of the song an epidemic for the passions.

Arguably the band saves the best till last, though every listen offers a different favourite. Forever Leather fuses sixties girl pop with a raw voracity, the song like the punk infected offspring of The Crystals and The Stooges with a heady dose of Siouxsie menace. It is a scintillating end to an outstanding album. The Creeping Ivies continue to impress as they evolve and push their boundaries, doing so without losing any of the elements which made them an unbridled addiction certainly for us since their early days. Whether their sound will ever find the major spotlight it deserves is impossible to say, such its uniqueness and undiluted rawness, but it will definitely recruit the most passionate and feverish passions from an increasingly growing legion of fans we suggest, it just needs the opportunity to make that infectious strike.

http://thecreepingivies.com/

http://thecreepingivies.bandcamp.com/

10/10

RingMaster 24/03/2014

Copyright RingMaster: MyFreeCopyright

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Calabrese – Born with a Scorpion’s Touch

 

CALABRESE  2 (Born With A Scorpion's Touch) 2013

    Calabrese has continued to steal the passions of psychobillies and horror punks worldwide since stepping forward in 2003. Album after album, song after song, show after show, they have been a persistent magnet for those infected by their distinct sound and riotous b-movie inspired presence, and we stand amongst the legion infected. So it was with relish we dived into the band’s fifth album Born with a Scorpion’s Touch which receives its UK uncaging this month. Each of the band’s previous albums has impressed and pushed the band’s adventure but with the new contagion, the trio of blood brothers, Bobby, Davey, and Jimmy Calabrese has unlocked a maturity and exploratory enterprise which opens up a new chapter for the band in songwriting and presence. The trademark Calabrese sound is still the potent lure but it is graced and veined with a greater expanse of styles and ingenuity to create quite possibly the pinnacle of the band’s exploits to date.

     The band has always built their sound on the influential breaths of bands such as The Misfits, Black Flag, Samhain, The Damned, Black Sabbath, Danzig, and Ramones, and there is certainly no deviation from that potent well upon Born with a Scorpion’s Touch either but it is infused with a rich incitement of varied metallic and heavy rock essences within their individual sound. It emerges from this dramatic brew as an enthralling and unpredictable encounter, one which continues to make Calabrese a major force and provocation in underground rock ‘n’ roll. Now though they might just become a well-known incitement for world attention thanks to Born with a Scorpion’s Touch.

    Released via Spookshow Records, the album opens with the brief American Rebel Death Riders, a primarily instrumental Calabrese Born With A Scorpion's Touch Album Covertrack which fires up the energy of album and listener with its mix of groove and thrash metal within a juggernaut of rock ‘n’ roll voraciousness. The track rampages down the ears highway igniting imagination and emotions before departing for the following title track. From the first of expected film samples which has always coloured the band’s releases, a ravenous groove breaks free from within a blaze of riffs and thumping rhythms. It is irresistible toxic bait from which the band swings their hooks and infectious chorus to predictably irresistible effect. It is fair to say there is not many bands who can breed the virulence to their barbs and calls as the Phoenix threesome and no chance that the band will lose their lethal touch, as proven by the second track. Again there is a broader hard rock stroke to the song without removing itself from the masterful walls of psychobilly and horror rock.

     I Wanna Be a Vigilante continues the impressive start, its opening wind swept beach reminding a little of the classic Shangri-las’ song, is soon welcoming the croon of Bobby and Jimmy’s vocals and an emotively honed blaze of melodic punk spawned pop balladry with a definite Ramones like aspect to its expanding walls and lures. There is also an element which reminds of The Damned, a gothic glaze that only adds to the depths of the track’s drama. From its commanding presence the snarling bass of Jimmy welcomes in the next up At Night I Am the Warmest, a track which launches at the ears with a feverish appetite and energy once into its full charge. The rhythms from Davey thump and pummel with intimidation whilst grooves and hooks engage and seduce the senses, all held under the rein of the excellent vocal persuasion singularly and dually of Bobby and Jimmy. As epidemically commanding as a voracious fever, the track leaves appetite and emotions aflame before they are taken on another inflammatory ride by the sonic surges and hunger of Loner at Heart. The track burns and sears the sense with a predatory gait and intensity to its antagonism but tempers it with a delicious weave of melodic and addiction forging enterprise.

     Both Mindwarp and Danger leave lingering fingerprints on passions and memory, the first an almost brawling stomp of rock pop with horror rock provocation and its successor a rhythmically menacing encounter courted by sonic beauty and a cache of insidiously compelling barbed grooves and anthemic toxins. It is a brilliant trap living up to its name with ease. Its might is as good as matched by the tarmac smelling heat of Ride with the Living Dead, the song just another which sparks imagery and creative thoughts as powerfully as it does the ardour which only increases its rapture for the release.

    Only the Dead Know My Name moves in on the imagination next, another ambient setting the veil for a track which seduces with more swerves and curvy temptations than a lap dance and just as unhealthily captivating as reality fades away once up against the claws and grip of the song. It is a stylish and impossibly alluring dance with riffs and hooks instinctive protagonists to give full submission to, as are those unleashed by the brilliant I Ride Alone, though brilliance can be draped over every song on this exceptional inspiration as a trait. As with all the songs, there is a wider, richer colour and fermentation to the band’s songwriting and sound which simultaneously feeds all wants and desires for a Calabrese release whilst exceeding those needs with even greater challenging adventure.

   Closing with the rigorously catchy There’s an Evil Inside, a more singularly rockabilly cast treat, Born with a Scorpion’s Touch is a magnificent slab of resourceful and inventive rock ‘n’ roll, one unafraid to push its and the band’s formerly perceived boundaries, though they have never stood still in pressuring limits to be fair. We suggested that the album was possibly the pinnacle of the band’s creativity until now, listening to it again as this is written let us amend that by omitting possibly.

http://www.calabreserock.com/

10/10

RingMaster 17/03/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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