Dedwardians – Love Sick/ Like An Animal

dedwardians

Crawling the senses and imagination with mausoleum bred romance and a sound as carnal as it is predatory, UK garage punk/psyche rockers Dedwardians unleash new AA-sided single Love Sick/ Like An Animal, an encounter unleashing the beast in the passions. The release is a raw and primal proposition, a caustically bracing protagonist providing modern rock ‘n’ roll with an older devious seduction.

The new encounter follows last years acclaimed single damnn attention grabbing release igniting a feverish following which Love Sick/ Like An Animal will only inflame further. The London based Dedwardians expand their songs from a fifties rock ‘n’ roll inspired core, drawing in the darkest essences and warped delights of psychobilly, garage punk, psyche rock and more. The best way to describe their sound is the ravenous punk of The Cramps colluding with the fuzzabilly devilment of Eighteen Nightmares at the Lux to engage in illicit unions with the psyche dementia of The Dropper’s Neck and the gothic rockabilly charm of The Orson Family. It is a concoction which as mentioned made a gripping infestation for the first shadow cloaked swoop of the band and rises to even greater infernal irreverence and beauty with the new single.

Love Sick opens with an instantly addictive and tangy groove, the fiery enticing from guitarist Gaff almost insidious in its lure and reminding of Damn Vandals in tone and inescapable temptation. Jabbing beats from Dan Bridle skirt the image001toxicity soon after, adding predacious swings as vocalist Paul Gautrey begins unveiling the dark toned narrative. The heavy throated lure of Ben Auston’s bass only adds to the demonically erotic seduction embracing ears and imagination, almost egging on the darker tempting of the song as it immerses the psyche. Virulently contagious and greedily insatiable, Love Sick is raw sonic alchemy with grooves and hooks as spicy and venomous as the instinctively enslaving rhythms and emotively ravenous vocals.

The accompanying Like An Animal is no different, an organically lo-fi persuasion with its own unique and epidemically driven infestation of sound and hungry passion. The track simmers with a sonic coaxing initially before again grooves lay the first tasty bait, it all subsequently joined by a persistent and intimidating shuffle of drums and harsh scythes of guitar. The track is a riveting tempest, hooks and splices of melodic acidity spearing the tempestuous prowl of the song whilst Gautrey like a barker from the darkest depths, leads and directs the incitement with his expressive tones, backed by the rest of the band in rockabilly style. The track as its companion is pure temptation, from the bulging basslines to the hoarse vocal and sonic squalls, as well as the scorching melodic expulsions of inventive manna, simply irresistible.

The track having reinforced those references in sound mentioned before, also holds a potent breath of The Eighties Matchbox B-Line Disaster, and in many ways is probably the closest comparison to Dedwardians. For all like us who still mourn the end of that great band, we have a new contender to fill that gaping gap in British music. Do not be deceived though, Dedwardians is and has a sound unique to themselves and with the release of the new single will surely turn the ripe buzz around them into a full blaze of attention and ardour, especially as you are not likely to have heard many singles matching its brilliance let alone surpassing it this year.

Love Sick/ Like An Animal is available on Nov 24th @ https://itunes.apple.com/gb/album/love-sick/id935793228?i=935793244&ign-mpt=uo%3D4

https://www.dedwardians.com/

RingMaster 22/11/2014

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The BossHoss – Cowboys From Hell

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The first full week of November sees German rockers The BossHoss stomping with their inimitable presence and sound as support to Motorhead in a UK tour. To accompany the three date rampage and to commemorate ten years raising rock ‘n’ roll revelry, the Berlin septet has released a UK only compilation album. Cowboys From Hell is a sixteen track rabble-rouser consisting of The BossHoss classics and live staples, a selection of tracks unleashing the full uniqueness, depth, and diversity of the band’s country rock/rock ‘n’ roll voracity.

Listening to the album you are soon stirred up by the thick weave of flavours which make up the band’s propositions. Infused in the styles just mentioned, there are just as rich and healthy blazes of punk, funk, metal, and rock pop involved, and that is still only scratching the first few layers of their contagious enterprise. The band creates rock ‘n’ roll to have fun with, sounds to lose inhibitions to, and insatiable devilry to wreak mischievous havoc to. Like a mix of Volbeat, Gene Vincent, Johnny Cash, and ZZ Top in league with The Damned, Helldorado, James Brown and Faith No More, The BossHoss is an instant provocateur and best friend with songs as evidenced on Cowboys From Hell, which are somehow instantly familiar yet a brand new incitement for ears and body to romp with.

Opening with the bluesy twang and hard rock feistiness of Bullpower, the album swiftly has feet and imagination, not forgetting ears wrapped up in its impending revelling. The multiple and varied vocals of the track, as proven across the album, is a potent lure to match the sounds around them, whilst its straight forward and highly persuasive blaze of old school and modern rock ‘n’ roll united, is one infectious and muscular stomp.

It is a powerful start which never dips below full satisfaction across the release; the following Volbeat seeded contagion of new single Whatever an immediate and richer temptation for ears and passions. Brass flames heat up the busy sonic underbelly of the song whilst heavy rhythmic baiting grips ears with predatory intent. Ultimately though, the song is a party in the ears, its electro swagger and striding urgency an addictive canvassing of thoughts and passions.

Through the hypnotic and lively anthemic prowling of Liberty Of Action, with its sizzling guitars scythes and metronomic beats, and the country spiced rap breeding of the album’s title track, God Loves Cowboys continues to recruit greater submission of body and emotions, the second of the pair an irresistible calling which shares plenty with bands like Hollywood Undead. It is fair to say that The BossHoss is still a relative secret across the UK but already four tracks in they make a potent doorway into their rigorously eventful presence and sound for newcomers and vague acquaintances.

A western twang coaxes in the start of Do It next, but is only the initial spice and lead into the funk fuelled diablerie of the song, keys and brass especially saucy in the sultry Electric Six like seduction before the psychobilly teased Stallion The-BossHoss-God-Loves-CowboysBattalion charges into ears and imagination. Hooks and grooves play with a Queens Of The Stone Age colouring whilst the weighty striding of the track is part Turbonegro and part Tiger Army, and all The BossHoss. Both keep the blood racing through veins and feet locked in an inescapable carousing, the pair straight away backed up in might and infection by the R&B/fifties flavoured rocking that is Shake & Shout. As most tracks it feels as if it is already an old friend on the first play but it does not diminish any of its enticement and unpredictable hues.

As you would expect there are particular pinnacles in any collection of songs and one comes in the mighty presence of Backdoor Man. Smouldering in tone and temptation from the first breath, the song with brass sighs and low key vocals swiftly enthralling, is an instant trap from where rockabilly and heavy rock tenacity with jazzy mischief seals the deal. A heavy and fleet footed shuffle, the track is pure rock alchemy, every twist a primal temptress clad in salacious shadow and aural deviltry. Normally any following song would struggle to live up to such triumph but both the punchy funk loaded Don’t Gimme That and the energetically simmering My Personal Song make an irresistible continuation of great times and lingering seduction. There is no way anyone can avoid swinging their body and voice to the contagion of the first of the two whilst its successor is simply what would emerge if Johnny Cash did funk pop, again the blend of different voices as thrilling as the adventurous yet unfussy sounds themselves.

It is fair to say that certainly in recent times no album involves the listener’s body and voice as mercilessly and relentlessly as Cowboys From Hell, the jumpy enterprise and energy of Keep On Dancing being no different especially as the band craft another chorus which is as incendiary on the listener as it is explosive on the air. There is a spellbinding ingenuity in how the band sculpts such virulent eruptions to enslave their recipients yet never goes for the easy route into and out of what is pure creative toxicity.

Through the hard rock powered My Way with its country rascality and the punkabilly Last Day (Do Or Die) things only continue to inflame the passions whilst Break Free with its mellower fifties pop and melodic rock crooning wrapped in soothing harmonies, incites the imagination again whilst revealing yet another texture in the band’s invention. Each track leaves a licking of appetite’s lips and emotion’s lust before the release closes up with a couple of exhilarating cover songs. First the band takes on Motorhead’s Killers, a twisting of rockabilly/blues rock drama into pure infectiousness and mouth-watering temptation, before they rip up the Cameo classic Word Up, and give it the best make-over heard anywhere. It is rockabilly funk with the blood of cowpunk running through its veins, an addiction which would be topping lists in illegality if a drug.

God Loves Cowboys is The BossHoss’ first official UK album I believe and about time after ten years of tearing up Europe and the world. If the band is new to you then the album is a must, you will never hear a more delicious and devilish slab of epidemic rock ‘n’ roll anywhere.

God Loves Cowboys is available now @ http://www.recordstore.co.uk/recordstore/recordstore/God-Loves-Cowboys/3IJC0000000

http://thebosshoss.com

RingMaster 06/11/2014

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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

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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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Them Guilty Aces – Nude In The Moonlight

TGA

The thought of a curvy naked body under the stars will send most of our imaginations into rapture providing they fall within certain boundaries. With that criteria met it is an adventure all would embrace with relish especially if it is under the soundtrack of US rockers Them Guilty Aces and their new EP Nude In The Moonlight. A magnetic encounter with a sextet of songs which seduce and thrill through a blend of rockabilly and fifties rock ‘n’ roll, the release is a captivating croon from a band you can easily assume is feverishly supported back home in Chicago. The EP shows that they are now ready to please and entertain a wider audience, its vintage yet vivacious modern endeavour prize bait to take into an expanded spotlight.

Consisting of guitarist/lead vocalist Daniel Cruz, one of the band founders, guitarist Jared Sorkin (AKA Dick Tremolo), drummer Victor Aguirre, and bassist Jesus Segura, Them Guilty Aces wear the influences to their sound openly within their songs but as mentioned it comes with a valid twist which makes their music stand out as a real proposition in the modern climate of the genres they frequent. As evidenced by the EP there is not a snarl to their sound which admittedly just once or twice would be a wish within the songs, but there is a definite intent and invention at large which is able to stir up the appetite of those basking in and those not necessarily concerned with nostalgia.

The release opens with Blackjack Baby and instantly a seductive groove with a sexy twang is wrapping teasingly around the ears. The 8616721guitar sculpting is an irresistible hook which has imagination and emotions on their feet within seconds keen and ready for the swiftly joining stroll of throaty bass and crisp rhythms. A melodic surf wave ebbs and flows across this potent landscape to add rich colour to the scenery whilst the sultry tones of Cruz lays further evocative hues into the picture. It is a virulently infectious proposition which washes over ears and thoughts like a romancing exotic temptress dressed in fifties intimacy.

The song is an excellent introduction to the band and right away impressively backed by the following and similarly persuasive Crash N Burn. Holding darker colouring to its ambience and punchier rhythms, the song sways and swerves with sonic flames and blazing crescendos within another smouldering terrain of emotive heat and torrid contagion. Its gait is reserved and energy restrained but the track still boils up the atmosphere for a deliciously sweltering climate of sound and emotion crafted by riveting guitar painting and bass shadowing within the mesmeric caress of vibrant vocals.

The following Cherry Pop next coaxes attention with an authentic sixties lure of guitar, an enticement which recalls the likes of Del Shannon and Bobby Rydell. A pop essence seeps from every ear kissing note and syllable but once the passionate rock heart erupts within the rise in vocal delivery, the track expands into an enveloping wash of senses sparking flirtation. The song does not match the might and suasion of its predecessors it has to be admitted, sounding a little pale against their strengths, but it still makes for a strongly pleasing and absorbing hug.

The title track pounces next with its eager rhythmic dance and romping bass design beneath fiery and skilful guitar revelry. Its quickstep induces rapid submission and agitation in the feet and passions, taking the body on an eager hop with its only issue being it is far too short, so much so that even big boys do not have time to get out of breath. Despite that it is the perfect tease and incitement to confirm listing Them Guilty Aces under essential rock ‘n’ roll prospects.

The EP is completed by the firstly the wickedly enthralling Please Don’t Go, the song another transfixing croon musically and vocally, and lastly the mischievous Guilty Girl with its devilish hooks and highly tempting grooves. The pair ensures that Nude In The Moonlight is a lingering toxin in memory and imagination. It would be fair to say that at times there seems a spark missing to songs, whether that is production or in presentation; an ignition to the greater triumphs which you can sense and feel are lying in wait within the impressive tracks. It makes no real difference to the excellent release though and only makes Them Guilty Aces an even more exciting prospect ahead as they continue to develop.

Nude In The Moonlight is available now!

https://www.facebook.com/ThemGuiltyAces

8.5/10

RingMaster 08/05/2014

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The Monster Ones – We Are The Monsters

The Monster Ones

It is a couple of weeks short of when Spanish horror punks The Monster Ones first burst into our welcoming crypt two years ago with their impressive slice of danger, the I Wanna Be A Teenage Monster EP. The second release from the band it was a feisty and bruising slab of mausoleum rock ‘n’ roll with punk attitude and glam rock wantonness. It has been a seemingly long time for the next episode of their death soaked enterprise but the patience is tested no longer as their debut album has been uncaged to ravage ears and stir up passions. Twelve slices of horror bred contagion, We Are The Monsters is an unbridled web of sonic intrigue and blood drenched grooves spiked with an addiction forging toxin as potent and impressive as any unleashed so far this year.

Formed in 2008, the Palma de Mallorca band soon made a strong scar locally with their blend of punk, blues, and rockabilly infused with healthy doses of glam and hard rock. It is a sound which is recognisable in many ways but unique in just as many others. The release of the Transilvania Rock City EP in 2010 drew them good attention but it was I Wanna Be A Teenage Monster two years later which stirred up greater awareness and appetites for their emerging menace, the band becoming regulars on our Bone Orchard podcasts alone. It is easy to feel that the release of We Are The Monsters could be the anticipated trigger to a stronger spotlight on the band with its striking range of flavoursome and deathly stabs of prime rock ‘n’ roll. Time is always the unveiling of reality but with the deaf and dead possible exceptions, it is hard to imagine true rockers not losing their inhibitions over this scintillating rampage.

Led by the fiery tones of vocalist Cecile The Beast alongside the rapier riffs of guitarists Carpi Malone and V, as well as the thumping beats of drummer Maf, The Monster Ones go straight for the jugular from the first seconds, teasing, taunting and seducing with unbridled rapaciousness. Aided and abetted by bassist Elvis Lugosi throughout the encounter with occasional guest backing vocals from Alex Femenías, the band lays a bait of rhythms and acidic guitar around the ears to open up first track Monster Heroes. Soon into its stride a blues lilt soaks the melodic flames of the song whilst drums crisply jab and the bass prowls around the senses alongside more straightforward raw riffing. The vocals of Cecile are as potent as the sounds, her delivery powerful and inflammatory easily leading the appetite to a full engagement with the anthemic chorus. It is a more than solid introduction of heavy rock, nothing dramatically grabbing, that comes later, but fully enjoyable.

Once the throaty bass line courted by intimidating beats hits the ears as Alien Paradise appears, an even greater exciting outlook breaks The Monster Ones - We are the monsters - coverout. The twin attack has total slavery of thoughts and emotions by the time Cecile and soaring guitar swipes join the affray. Into its stride the track is an adventurous punk tempest with broadly swinging rhythms and raging guitar causticity bringing a mix of The Duel and The Creepshow to the rampancy. It is one of those encounters where feet and personal exploits are no longer yours to command, a criminally addictive rampage impossible to get enough of.

The very different Solo El Solo is very much the same, its sultry dramatic climate over the strolling landscape a magnetic scenery to immerse in whilst the tangy vocals explore a cinematic narrative. Part cowpunk, part rockabilly, and fully spaghetti western intrigue, the track shows further the variety to sound and album which has paraded its raucous charm already, an enticement given another spice by Swamp Thing’s Lover. This song strides purposefully with flexing rhythmic sinews and heavy riffing across thick textures and a consuming atmosphere, its open hooks barbed but respectful to the tempting intensity brewing across the intimidating premise.

Both songs leave throat and memory involved long after their departure, though they do have to contend with the quite brilliant pair of Radioactive Dog and Black Roller for that success. The first of the two rumbles and charges down the ears highway from the opening note, the psychobilly spice to the careering groove and spiteful grin to the antagonistic beats irresistible. Settling into its hungry predation, Cecile the temptress to its seductive malevolence aided by great ghoulish harmonies, the song unleashes lethal hooks and a magnificent groove straight out of the Buzzcocks repertoire to steal an even greater chunk of the passions. It is a colossal triumph swiftly matched by its successor, Black Roller a badgering treat with its own insidious groove and heart spearing irreverence. Unleashing biting punk ‘n’ roll with horror punk jaws, the predator is a barbarous dark hearted seducing with Cecille its dangerous Lilith.

Joker ignites another spasm of hunger next with its dirty rock ‘n’ roll voracity, discord grazing imagination, and virulently addicting lures before The Man who was The Death swaggers in, its rhythmic hips swerving around the equally wanton guitar adventure and ever riveting vocals. The bass offers a deeper malice in its tempting too which only inflames the appeal of the creative bruising and the epidemically forceful infection, a toxicity which is just as insatiable in Always Elm Street which features guest guitarist Tomeu Destructor. There is a definite Batman-esque lure to the core hook of the song but it only broadens the eager smile and pleasure provided.

The next song Rat returns to a wider heavy rock persuasion, guitars flaring up with scorching spirals of sonic invasiveness against refreshing riffs. Though it is an accomplished and skilful blaze, the track fails to reach the heights and reactions of its predecessors. It pleasingly pushes the variety of the release all the same and makes a fine appetiser for the groove infestation of Bloody Stones, a track which spits out cutting riffs, battering rhythms, and searing grooves like it is its last chance. A thoroughly compelling and incendiary incitement, the song has to make way for the closing predatory stalking of Black Suede Night, a final solicitous trap to lose the passions to.

We Are The Monsters shows that The Monster Ones has really grown as a band from sound and songwriting to their presence. They are a powerfully confident and inventive proposition now which gives horror punk and rock ‘n’ roll a new thrilling ‘villain’ to drool over.

http://themonsterones.com

http://themonsterones.bandcamp.com/album/we-are-the-monsters

10/10

RingMaster 27/03.214

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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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

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