The Rattlin’ Doors – In A Tree House

With their debut single, UK rockers The Rattlin’ Doors stand before us as a compelling and scintillating piece of devilment, a band with a sound which it would not be a surprise if it was claimed by the devil or any wickerman ceremony bred by pagan worship. In A Tree House is a riveting and thrilling shadow stomping slice of aural mischief, a song born of folk rock and cultured in a psychobilly, hillbilly, and garage punk vat of caustic revelry. Imagine the mutant offspring from a union of Eighteen Nightmares At the Lux, The Cramps, The Fall, and especially The Dancing Did, and you get a whiff of the psyched out rock ‘n’ roll of The Rattlin’ Doors.

Consisting of guitarist and vocalist Andy Teece, bassist Phil Elt, and drummer Leeroy Evans, the Worcester trio bring a fusion of rockabilly, punk, and blues into a unique recipe of their own and already have made a strong impression in the UK and over the pond. In A Tree House will only accelerate and enforce their striking and imagination capturing presence, their first introduction to the widest audience a tantalising almost niggling seed of triumph which truly ignites the passions.

The first of their ‘tainted tales of country life’ to be unleashed, In A Tree House charges up to the ear in a blaze of intense strumming before breaking into a hungry stroll of expressive and sinisterly grinning vocals alongside slide guitar teasing and rhythmic prowling. It is an immediate recruitment with a sonic hook which seduces the passions instantly. Around that barbed lure the bass of Elt romps and crawls over the ear with a rapacious greed, its menace bringing dark corners to bear upon the country rock lined stomp to find a dark union with the equally nightmare seeded lyrical narrative wonderfully expelled by the vocals of Teece.

In A Tree House is an exceptional treat with the skills of Evans caging its contents and the ear in an inescapable and irresistible encounter of sacrificial caustic beauty, village life taken to extremes for a delicious dance of picturesque malevolence. The Rattlin’ Doors is destined to find a legion of eager victims for their startlingly fascinating cause as they take over UK rock, we are already a willing conspirator so come join the burning with us.

Released July 1^st, In A Tree House will be available as a free download from The Rattlin’ Doors website.

http://www.rattlindoors.com/

https://www.facebook.com/TheRattlinDoors

Upcoming The Rattlin’ Doors gigs:

15th June @ Flapper & Firkin – Birmingham

16th June @ Himbelton Cricket Club – Himbelton

10/10

RingMaster 31/05/2013

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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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Brujas del Sol – Moonliner

Fusing the richest elements of psychedelic drone and surf rock into mesmerising and invigorating sounds with equally compelling ambience, Brujas del Sol is a band which captures and provokes the imagination with a potency that is hard to represent in words. Whether their debut album Moonliner proves to be a flame to your passions or just a flicker before your appetite, there is no escaping its rich and evocative touch. The six track release is a persuasive journey within sultry skies, colourful tides, and constantly evolving soundscapes, and ultimately a thrilling and bewitching experience.

Hailing from Columbus, Ohio, Brujas del Sol was formed in 2011 by Adrian Zambrano (guitar, vocals), Derrick White (bass), and Jason Green (drums). Recording every improvised jam session rather than pre-write songs, the trio spent months capturing ideas and sounds, elements of hypnotic krautrock, fuzz lilted blues, surf-rock, ambient, and drones all coming forward to add flavour and texture to their ideas with the result being something unique, and as the album shows quite scintillating. Entering the studio in the spring of last year the band recorded two EPs in the shape of Moonliner vol 1 and 2. The trio next brought in keyboardist Ryan Stivers to expand and add further depth to their now demanding writing process with the now quartet working on the final part of the Moonliner trilogy which had its release last December. The album is the outcome of the band reworking and re-recording the tracks which made up the EPs with the keys adding their fresh breath to them, and released via Devouter Records the album is a striking and richly enterprising treat.

The chilled yet smouldering opening ambience of Ships In The Distance brings the album into view, its magnetic touch a psyched imbalance of harmonic discord and threatening atmosphere which has the strongest lure on intrigue and attention. As the enveloping breath of the song wraps firmly around the ear a fiery sonic dance from the guitar catches the eye whilst the low slung prowl of the bass engages with its distinct shadow. Into its full pace the track is a sultry rush of sweltering surf rock with psychedelic persuasion, the acidic touch of the sounds captivating and demanding of attention. At this point there is no resistance to its voice which swarms over the senses with restraint but fervour, yet when the track slips into a sudden new stance it finds another level of inciting rapture. The bass suddenly lifts its stroll with urgency whilst the surrounding sounds step into a tethered arena to allow the vocals to bring their emotive depth to proceedings. The bass and core drive of at this point is pure early The Cure whilst the rising expanse of sonic imagination sizzles with impassioned invention.

The impressive starter hands over to Satanic Surf Girls Love to Dance, a blues soaked coarsely ridged explosion of again open originality. From its abrasive but reserved beginning the song also offers an unexpected shift as it turns into a semi drone stoner grooved canter across the senses. Like its predecessor and tracks to follow, it is impossible to predict its intent or movements but everything it unveils is a seamless flow and temptation for the already enlivened passions. The repetitive bass and rhythmic spine is persistent and unrelenting yet tempered by the impressive melodic and sonic flames burning vibrantly around it. Though not as virulent as the first , the song drives deeper the now in place hook into the emotions from the album with contagious ease as does the following pair of Conquistadors and Noon On The Moon.

The first of the two drones a submission out of the senses within moments punctuated by heavy crescendos of downtuned force which finally takes a firm grip and drives the song forward with the punchy drums framing the premise like a predator. The vocals are partly smothered by the electric blues intensity permeating the air but it only adds to the lure of them and the layers of the piece. A lumbering stroll the song again fails to match what comes before in many ways but has expansive bulk of sound to explore and discovers corners within with each listen. The second of the pair emerges on a dark chilled ambience, its presence ebbing and flowing like an unlit tide until the bass steps forward with a line which echoes Psycho Killer by Talking Heads whilst treading its own shadowed path. The expressive and vivid heat of the guitars and keys sculpt imagery and emotion to soundtrack with rich invention and entrancing beauty, the brewing spellbinding mystique at the heart of the track.

The finest moment on the release comes with Baba Yaga, a dazzling surf rock seduction complete with swerving grooves and initially an exhausting confrontation which unsettles senses and thoughts for the impending melodic dance to exploit. The track has elements of The Cramps and The Bomboras to its passion inciting wonder and as always a sixties psychedelic kiss which ensures nothing is clean cut or predictable.

With Castles Upon Golden Gate just as strikingly closing up the album, Moonliner is a full on enticement with hex like mastery and temptation to its remarkable sounds and imagination. The outstanding album has plenty for all fans of surf, progressive, psychedelic and melodic rock, and just as much for those who are not sure what they want, no one should refuse its offerings without at least one immersion into its well of sonic beauty.

http://www.facebook.com/BrujasdelSol

8.5/10

 

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Turbogeist: Ancient Secrets EP

    Having fallen in love with an Alien Girl…the first single and song from UK punk rockers Turbogeist which mischievously teased these ears two years ago, anticipation going into the Ancient Secrets EP was on full alert with arguably already preconceived  reactions ready to pounce. The five track release certainly did not let down or disappoint expectations and though it did not quite light those same fervour lit fires as did the single, the EP is a thrilling and richly satisfying piece of devilment.

The London based quartet take their influences from seventies punk and eighties hardcore with particular inspiration from the likes of The Replacements, The Damned and The Misfits. Their sound though is more open than that suggests, with loud whispers of garage punk and feisty rock n roll adding their devious temptation to the energetic and raucous flavours the band taunts and pleases with. Lyrically the songs of the band and on the EP are just as cunning, the mix of sci-fi tongue in cheek pestering wrapped around  thoughts on the ‘stuttering evolution’ of man as aggressive and devilish as the infectious musical  brawling around them. Co-produced by the band and Chris Sheldon (Pixies, Radiohead, Foo Fighters), the digital and numbered coloured vinyl 10” releases of Ancient Secrets should be the first key to a deserved wide recognition for the band, which the released of a debut album later in the year will undoubtedly feed upon.

Mermaid’s Revenge winds itself in to view with sonic flames of guitar coaxing the ear whilst rhythms and bass shuffle into position. With all things in place the track swaggers with confidence and mischief as the vocals begin the tale of man’s ill-fated attempts to conquer nature and the siren lure of the deep blue. Aided by strong group backing shouts and a muscular prowl to the gait of the song, things become more contagious and riveting by the sinewy second with the elevated energy and scorching breath of the song now a stirring punk and rock anthem for the ear. As across the release, the song fails to find that irresistible lure of the previously mentioned single but undoubtedly holds sway over the passions with accomplished intent and antagonising presence.

The following Zero Friends stands eye to ear with the listener and makes its statement on social networking and its effect, something which always feels ironic considering the unavoidable need bands today have for the medium, but Turbogeist is a band not fearing nipping on the hand that feeds. It is a brief punch of a punk song which again lifts emotions and satisfaction to pleasing heights soon equalled by Black Hole. Immediately forging through the ear with thumping rhythms and apocalyptic declarations, the track is the band at its heaviest and vigorously potent, a classic metal wind guiding its hardcore soaked concentrated aggression. Already across the EP there is diversity to the sound within the distinct umbrella sound of Turbogeist which excites and fires up expectations for the impending album.

The opening to Up Front instantly feeds the inner fervour with uncompromising bone splitting drum beats and a gravelly primal bass grind which seduces with predatory persuasion, soon joined by taunting vocals adding a tease through repetitive announcements. It is an inciting entrance which explodes into a prime punk abrasion to spark further greed in the passions for its uncomplicated yet insightful sonic and rhythmic hooks and barbed company. Ending as the favourite track on Ancient Secrets, it seals any doubts, which were barely audible, into a lost cause.

Closing song Rats is a final riot for an ardour seeping fever to devour, the stormy union of classic rock and garage punk a last infectious entrapment on the EP. Released via Spinefarm Records, Ancient Secrets confirms that our earlier set in infatuation was well placed and probably set to find deeper lust ahead with the debut album. Cross Every Time I Die, Red Tape, The Cramps, and Hagfish and you do not get Turbogeist but you come closer to their individual sound.

http://turbogeist.com/

8/10

RingMaster 21/03/2013

Copyright RingMaster: MyFreeCopyright

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Delicious horrors: an interview with The Monster Ones

From within the heart of the Palma de Mallorca region of Spain there has stirred in the past couple of years, a fresh and exciting storm of graveyard rock n roll. It comes in the thrilling shape of The Monster Ones, a band which collects the essential essences of various styles and flavours to create a fusion which leaves all fans from psychobilly and rockabilly to punk and horror rock, an energised limb casting explosion of energy. The quintet is a force on the rise and one we wanted to know much more about and find what drives their obvious hunger. So we had the band tell us all.

Hi, welcome to The Ringmaster Review and thank you for taking time to talk with us.

Firstly would you please introduce the members of The Monster Ones?

The Monster Ones are:

-Carpi Malone: Guitar and Back Vocals

-V: Guitar and Back Vocals

-Cecile The Beast: Lead Vocals

-Maf: Drums and Back Vocals

-Elvis Lugosi: Bass and Back Vocals

When and how did the band come about?

In 2008, Carpi and Cecile started the band, along with Bukake Kid (bass) and the help of some friend drummers; we collaborated with them in the early shows as we still did not have an official drummer in the band.

It was so fun! In just 15 days after getting a place to rehearse, we gave our first concert. We had no idea how to play, but had a great time, and from the beginning we have had the support of our family and friends who have encouraged us to learn and evolve day by day.

Your music is a great hybrid of punk, horror rock, glam, rockabilly and more. How do you describe it when asked?

Good question! hahaha! We used to call it Horror-Glam-Punk-Rock Band.

It’s just what you say … A mixture of many things we love, and we will not spare any of them. Rock ‘n’ Roll is beautiful in all its aspects, and we love to play with them all.

From your varied and flavoursome sound one imagines your influences too are wide. Who are the major ones to impact your sound and invention?

Many, many influences, yes! We are 5 members in the band that have musical tastes in common as: Misfits, Ramones, Cramps … But each of us, individually, brings his/her own influences too.

I am right in thinking the band has evolved from initially playing cover songs to the all original composition making group it is today?

Yes, our first show lasted only 20 minutes, and consisted solely of covers of some of our idols (Misfits, Ramones, Turbonegro, Iggy Pop  …). But immediately after, we started to compose our own songs.

Tell us about the early times of the band and how easy or difficult it was to find a place in Spanish rock music.

Well, from the beginning we have this eagerness and enthusiasm to work; we believe that’s fundamental to make a site in the rock scene anywhere. Stay there, no matter what happens … And the harder it is, the more effort we put.

Is there a vibrant rockabilly/garage/horror rock scene in your homeland?

In our home, Mallorca Island … If you rely only on the local music magazines, the predominance is for Indie Pop

But really, if you visit the rehearsal rooms or go out to see concerts, you can see that there are great bands of Punk Rock, Metal, Rockabilly and Garage.

You released the Transilvania Rock City EP in 2010 and last year the excellent I Wanna Be A Teenage Monster!! EP. How would you say the band has evolved between the two in the aspect of songwriting and the sound itself?

In “Transylvania Rock City”, we recorded with a different formation to the present and served as our first experience in a recording studio.

Now, together with the current members, we feel our sound and compositions much more defined and worked.

In 2012 we decided to start experimenting with home recordings made by Maf (drummer). We recorded our songs in his living room, it was very useful to carefully analyse our music, and in this way we can improve.

From these recordings is where “I Wanna be a Teenage Monster!!” was born. It contains four of the most simple and direct compositions of The Monster Ones, of which we feel very proud.

 How does the songwriting work within the band?

In our band we are five songwriters. We all love to create, and we always do it together in the rehearsal room. It’s fun to see how each of us brings something different than expected, but which engages perfectly with the final composition.

The songs are steeped in horror, sci-fi, and comic book imagery and essences. Are these areas the major inspirations for your lyrical imagination or do you take the ‘horror’ of every day as a provocative factor too?

Horror, sci-fi, and comics are the main inspiration. Also very useful are the dreams and nightmares.

Tell us about your live shows, I hear they are an event few forget once tasted

Thanks, it’s the best we can hear about our shows!

In our live shows, we forget the boring real world and focus on the fun.

Yes, we like to dress and make-up for every performance … It is a form of expression, and also a way to carry over our audience with us to this imaginary world of horror and Rock ‘n’ Roll. We want them to get into the story and feel part of it.

Tell us about Zombie Walk and Zombie’s Party in Mallorca which I believe you helped found in 2010. Is this now an annual event and what do they comprise of?

Yes, it is an annual event that takes place every summer, thanks to our friend Adrian Garcia, who makes the hardest work of organizing this. Each year come more zombies, surpassing the 400 undead in the 2012 edition. The route of the Zombie Walk ends with a Zombie’s Party, where we give a show, along with other friend bands, varying in each edition.

Soon we’ll begin preparations for the 2013

With the internet have you found a widespread fanbase around the world growing for your sounds?

Yes, we have a Facebook page:
https://www.facebook.com/pages/The-Monster-Ones/117290895817

and also our official website: www.themonsterones.com

Both updated with latest events and news from the band.

How do you feel about the internet and its part in the rise and arguably demise of the chance of success for new emerging bands?

It is a very useful tool, both for the bands and for music fans.

Where do you hope to find The Monster Ones in five years?

Evolved, full of good experiences, with several albums behind us, and many others to record. Stay there and keep rocking!

What is next from the band and plans for 2013?

In mid-February we’ll get into the studio to record our first LP.

Of course, we will continue writing new songs, and we fervently wish to tour outside our home.

Thanks so much for sharing time with us, any last thoughts for the readers and fans?

Thank you, Pete. It was a pleasure!

To all our friends and fans: Thanks for your support, you’re great! Keep rocking with us, guys!

And lastly give us five moments which shaped the destiny of your musical direction personally or within The Monster Ones.

1. – The entry of V (Monster-Guitar). Great composer, and gives better shape to existing songs adorning them with his riffs, and Maf, (Monster-Drummer), perfectionist to the limit, which always encourages us to improve ourselves.

2. – The entry of Goatboy (bassist during a year in the band in 2011). He provided great ideas and recorded with us on I Wanna be a Teenage Monster.

3.-The entry of Elvis Lugosi (Monster-Bass), now bringing his forceful and elaborate riffs

4.- Our video clip “Teenage Ramone”, by which we were chosen “COOLEST SONG OF THE WEEK” in New York’s Radio Show Little Steven’s Underground Garage. This has made known our music in many more places around the world. Thanks so much, Steve Van Zandt!!!

5. – And at the end of last year was carried out the voting for “THE COOLEST IN THE WORLD 2012″, among the 50 songs of very great bands. We got to the No. 5, we see it as a great achievement and an honor. This has also been a great help to make our music known to the world.

The RingMaster Review 23/01/2013

Copyright RingMaster: MyFreeCopyright

THE MONSTER ONES – TEENAGE RAMONE (official video)

Inca Babies: Deep Dark Blue

    Deep Dark Blue is easily one of the best albums of 2012 and one of our favourites, a release which shows that the creativity of Inca Babies just gets richer and more delicious. The thirteen track album is a sensational treat which teases and ignite the passions with all the expected shadows conjured by the band brewed in a sweltering vat of new imagination and mesmeric enterprise.

Since its beginnings in 1982, the Manchester band has brought a distinct and hypnotic presence to rock n roll with their punk spine combining trash rock, surf punk, garage blues. The early days brought great acclaim and popularity, the band playing four John Peel Show sessions over the years, frequently topping indie charts, and playing tours and dates across Europe, not to forget releasing four acclaimed albums and numerous equally received singles. The time also saw the band struggle with holding onto drummers and singers to remain alongside guitarist Harry Stafford and bassist Bill Marten. This eventually led to the demise of the band in the late eighties, Inca Babies running out of suitable options. The release of the Best Of… compilation album Plutonium in 2006, ignited great interest on the band again and it reformed the following year with Gold Blade drummer Rob Haynes joining Stafford  who took on vocals too, and Marten. As gigs followed inside and beyond the UK, the band began working on their first original album since reforming but sadly midway through Marten passed away and everything was put on hold as the band came to terms with the devastating loss. Eventually in tribute to and to keep his legacy alive the band, with friend and former A Witness bass player Vince Hunt coming into the setup, completed the album Death Message Blues which was released late 2010.johnn

Released on their own Black Lagoon Records, their sixth studio album is quite possibly their best work yet, the maturity and experiences of the band leading to songs which just lay organically on the heart as if born from your own personal passion. Rightly or wrongly we have always thought of Inca Babies as the UK version of The Birthday Party, not necessarily in sound but in journeying through the darkest of shadows and using them as a wrapping to their unique vision. Deep Dark Blue again gives plenty of evidence for us to remain casting that ‘shadow’ over them whilst continuing to mark the band as something which is one of a kind.

The album opens with is their first single for twenty five years, My Sick Suburb. Opening on simple beats and a grouchy bass the track is an instant bluesy attraction especially with the jangly guitar and vocals of Stafford soon adding their presence. It is an uncluttered track with a sure swagger which ticks all the boxes, and though the choice of single from the album would have been different for us you can see why it was chosen and not argue with its open effectiveness.

From a strong start the album just gets better and better. The following But Not This Time is a fiery stomp of sonic guitar rubs and what in no time becomes an addictive element of the whole release, that heavily prowling and throaty bass invention. Throughout many of the songs the Cramps like breath which lacquers the sound is irresistible with this song and the next up title track the first such pleasures. This track is a smouldering stroll through a heated atmosphere with caging rhythms and sizzling guitar sonics which place the senses on edge and set the heart alight. It is a twisted blues piece of grandeur with an acidic twang and viral infection to its gait.

It is so tempting to wax lyrical about every track on the album but will resist and just mention personal highlights amongst only nonstop irrepressible and contagious slices of delight. Firstly there is the twin scintillation of the gallows themed Following Jorges and the psyche elegant Bikini Quicksand, both with a similar yet different heat to their coruscate air. Tracks like Tower Of Babel and Monologues Of Madness also trigger all the passions possible but all are exceeded by two songs, Endgame Check Out Club and Sven Hassel v Billy The Kid. The first of the pair is a track which plays like a psychobilly Johnny Cash track spiced with The Screaming Blue Messiahs, its infectious groove and scorching solo a welcome sonic branding which any one would be proud to bear. The second is just brilliance in action, everything about the song an ‘orgasmic’ addiction. Punk guitars graze the ear whilst sharing time with vocal and bass lures just impossible to resist, their combined mischief sheer genius. Easily one of the best songs heard this year its mix of bruising storms and magnetic simplicity is quite masterful and a true triumph.

As declared earlier every track on Deep Dark Blue is outstanding, making for an album which should stand to the fore of any best of lists and the heart of all who engage its magnificent company.

www.incababies.co.uk

RingMaster 07/12/2012

Copyright RingMaster: MyFreeCopyright

Trioxin Cherry: Hell To Pay EP

The Hell To Pay EP is a release to have every graveyard rocking and monster, mythical or real, adopting as their personal soundtrack. It is a malevolent infestation of the senses leading to a full consumption of the heart whilst igniting a furnace of passion with its horror punk glories. The release comes from Nottingham, UK band Trioxin Cherry, a band made up by a trio of insatiable ghouls who grab your soul with irresistible hooks and venom drenched riffs born of the darkest pit of punk, psychobilly, and garage. Raw and hungry, band and EP just leave one a carcass of blissful satisfaction.

Consisting of guitarist/vocalist Rebecca Campbell, bassist/vocalist Pete Grady, and Ryan Murphy on drums, Trioxin Cherry go for the jugular from the very first second of Hell To Pay and do not let go until they have chewed and ripped a hole out of the throat by last snarling note of the release. The title track is the first confrontation and without concern unleashes a flesh scorching groove and flurry of rising rhythmic aggression. The initial persistent hook continues as the bass riffs of Grady leers menacingly from within the bruising guitar scraping and forceful beats of Murphy. Campbell all the while is lighting up the air with her potent vocals and sounding like an English Fay Fife , front lady of Rezillos/Revillos; the first of those bands also being reminded of as the psychobilly drenched track exhilarates the senses. It is a riotous encounter brought with bruising intensity and superbly crafted intrigue conjured by skill and imagination.

The terrific start is flowed up by the equally compelling Children Of The Damned, a track with an enticing throaty bass lure and the sultry vocals of Campbell. Well into its stride the track unleashes a bassline which is a very close cousin to that from The B52’s track Rock Lobster. It is a mischievous but very pleasing addition to a song which leaves one drooling over its wanton presence. Vocally Campbell this time has an attitude and tone which brings to mind Lesley Woods of eighties band Au Pairs, her delivery melodic but with a bite which intimidates beautifully.

Two songs in and the release has already won the heart over to be honest, and with following triumphs in Bad Company and Sideshow Molly leaving their own distinct infection to douse the passions in further thrills, one can only wax lyrical about the release. The first of the two rising from a subdued yet threatening prowling stomp to an antagonistic storm of raucous group harmonies and vocal spite thrust on a caustic onslaught of energy, raises the temperature further, the almost anthemic brawling crescendos wonderfully acidic on the ear. The other song opens with a garage punk breath and that dark texture The Cramps spawn so long ago soaking the bass and the backing vocals of Grady. It is a contagious Lycan themed rumble with a surf wind whipping up extra wantonness to the already virulent entrapment at play.

The release closes with yet another distinct rage of sound, the band continually able to offer a different flavour and texture to every aural recip. Hit Me is a tempest of punk n roll, a compelling rockabilly growl from the bass joined by a fire of punk aggression in sound and attitude with Campbell bring a rage born of Polystyrene of X-Ray Spex. It is a quarrelling slab of contention and insatiable noise and quite delicious.

If any of the genres or artists mention make things happen which your mother would not like to know about then the Hell To Pay EP and especially Trioxin Cherry  is a must have treat to devour with greed. The release is an eclectically spiced joy and without doubt, one of the highlights of the year. Watch out for band and release on The Bone Orchard podcast.

https://www.facebook.com/trioxincherry

RingMaster 05/12/2012

Copyright RingMaster: MyFreeCopyright

The Creeping Ivies: Stay Wild

Having been left in rapture by their previous EP Ghost Train earlier this year, the anticipation and excitement going into Stay Wild, the debut album from Scottish rock n rollers The Creeping Ivies, was near on immeasurable. Admittedly it would have had to be a car crash of apocalyptic proportions not to have found approval, but the ten track psyche buzzbombs, to steal one of their song titles, took existing expectations and hopes and elevated them into a debauchery of passion. Stay Sick is a stunning irrepressible feast of wickedness which could grace any dance floor, riotous party, or waking graveyard.

The Creeping Ivies consists of the powerful inciting vocals and carnal riffs of Becca Bomb alongside the senses slapping, primal incendiary beats of Duncan Destruction, a duo which ignites primitive urges and raw hunger for their challenging and insatiably thrilling sounds. Together they brew up a storm which plays like the bastard sonic offspring of an illicit engagement between The Cramps, Wanda Jackson, The Orson Family, Patti Smith, and Ray Campi, whilst being violated by Alien Sex Fiend. It is an unforgettable and unique cacophony of instinctive mischief bringing the fullest most invigorating rewards.

Debut EP Rock N Roll Party in November 2011 was their first full statement of intent, though the song Shake It Up had already inspired acclaim and strong responses to the band with its appearances on a couple of compilation albums. The band also landed good airplay around the world which accelerated with the Ghost Train EP, including being featured on The Bone Orchard podcast. Shows alongside Viv Albertine of The Slits and Vic Godard & Subway Sect, as well as their own gigs have only gone to place the band as one of the most exciting in the UK, something which Stay Wild will surely turn into worldwide recognition with deserved luck.  Released on December 10^th as a vinyl/download through US label Dead Beat Records, the album is a simple yet powerful trip to orgasmic satisfaction.

The album opens with the magnificent Black Cat, a track with a groove which has you scouring rooftops for the Caped Crusader and an honest swagger inviting full participation. The uncomplicated gait of the song is hypnotic enough but with the sonic scrubbing which explodes out and scorches the ear intermittently, adoration is the only outcome. The vocals of Becca demand attention as firmly as her guitar lashes, and standing side by side with the thumping rhythms of Duncan, the pair scar the air and senses with a delicious assault of lustful irreverence.

The feisty stomp of Buzzbomb rampages over the sores caused by the opener with garage punk/rockabilly energy and punchy enterprise. Carrying a spice of The Stooges, Ramones, and The Creepshow to its gait, the song is a storming treat of public disorder combined with sonic revelry and showing the variety of sound and imagination which screams out from within the album.

Madhouse Blues and Mirror Mirror step up next to fire up the passions, the first a flow of caustic strokes from Becca around her wonderfully expressive and synapse scorching vocals. The track has a punk breath to its repetitive and salty touches which steps into numerous realms of genres whilst firmly borne of the first seeds of rock n roll. It is a persistent treat taking no prisoners with its corrosive intent and sets up the second of the two with its throaty tones and ‘banshee’ squalls perfectly. The track transported thoughts to Korean horror film Into the Mirror for some reason, probably due to the The 5,6,7,8’s like spicery of the song and the sharp tingling sonics which enflame the heart throughout.

Every track on the album is a triumph and inspires the same level of wanton devotion; songs like the brilliant punk n roller Spinning, a track which is as spicy and seductive as sex, the sensational echoing tank slapper Bop Like That, the slower but equally compelling song The World, and the steamy House of Ivy, all staggering examples of the uncluttered inventive mastery and brilliance on show. The latter is a raucous maelstrom of feverish energy and body rapping beats, a sadistically teasing psychobilly binge with whispers of L7 and Bone Orchard to its striding exploits.

Completed by Rock N Roll Ghost, a song which devours the heart like a fusion of the Misfits and Horrorpops, and the final exhilarating bruising encounter of the closing title track, the sigh of deep pleasure is audible at its end and the rush to press the play button again to the whole feast of magic beyond eager. Stay Wild is simply astounding and if this was to be the only music to soundtrack the rest of our lives there would only be greedy acceptance and joy.

http://thecreepingivies.com

RingMaster 21/11/2012

Copyright RingMaster: MyFreeCopyright

Limozine: Tokyo 1970

Limozine is a band you just cannot help having a fondness for, especially when they keep coming up with singles as mischievously enticing and infectious as their new one, Tokyo 1970. A thumping brew of garage punk with a more than healthy infusion of psychobilly, the single is a wonderfully bruising fire of energy and  attitude with a riotous swagger to its charge.

The London based quartet of vocalist/guitarist Limo Dean, guitarist Johnny Zero, bassist Karl da Kops, and Skip Intro on drums, has ignited a strong and ardent fan base since forming with their live shows and trio of albums, Car Crash Casino (2007), Evil Love April (2010), and Full Service ( 2012) as well as a clutch of singles with particular success and radio play coming with Deep Fried Love, Twenty Greatest Hits, and Siamese Twins. Released through Beat Atlas Records, Tokyo 1970 continues the great and compulsive creativity and sound of the band whilst arguably being set to be their biggest success yet.

Opening with an easily accessible groove and the raw scowls of Limo, the song immediately holds a full and eager engagement with the primal rock n roll instinct inside. Into its stride the track teases with sonic provocation and scorched melodic kisses to the continuing raw breath of vocals and song, the caped crusader spawn groove becoming more infectious with every turn of its wicked and wanton incitement.  Creating a twisting and excited brew of The Sonics and The Stooges with plenty of psyche charm from the likes of The Cramps and The Legendary Shack Shakers, Tokyo 1970 leaves a thrilling taste within the heart and an appetite for plenty more from the band.

If riled and insatiable rock n roll with a twist of psychotic garage and rockabilly tendencies sounds like the perfect way to ignite your day than Limozine is your answer.

http://www.facebook.com/limozineband

RingMaster 16/11/2012

Copyright RingMaster: MyFreeCopyright