The Grave Slaves -Roam with the Dead


The perfect soundtrack to the rampage of the darkest ruinous shadows expelled from head stone violated revengeful corpses; Roam with the Dead is a storming unrelenting feast of prime psychobilly veined with venomous whispers of punk, rockabilly, and horror punk. Unleashed by Orange County rioters The Grave Slaves, the album is an irresistible and mischievous maelstrom of essential sounds and thrilling energy conjured into an encounter which is tagged as gothabilly. The release is a treat which devours the ear and passions in exchange for the deepest ravenous rewards and unbridled pleasure, it is a two way rapture which leaves one drooling with lust for much more.

There is not much to the background of the band we can tell you about apart from the quartet of vocalist/guitarist Jaysin Graves, lead guitarist Blood Sweat Brett, bassist Sideshow, and drummer Johnny Nails being the perpetrators of the lingering passion which erupts for their tasty sounds, but their sensational release we can enthuse about with knowledge and ardour. Consisting of fourteen graveyard screams forged upon thunderous rhythms, barbarous bass brawls, and hunger driven riffs, the album seizes the heart from the opening strains of track one right through to its final parting spiteful whisper. It draws from the wells providing the previously mentioned sounds before filtrating them through the band’s own expressive venom for a stirring rampant treat.

Opener Suicide breezes in on sirens and an announcement giving fair warning of the carnage to follow. Leaping on all brave enough255440_421125601279594_1964325353_n to stick around the song bursts into romping bass taunts and scarring riffs driven by the impressive vocals of Graves. The track is one which does not venture too far from its core and arguably from the sound one expects from a psychobilly track but nevertheless feeds every desire you could have. The great solo from the guitar of Graves is an additional pleasing flame within the open tempest of villainous musical intent on the charge.

From the strong start things really pick up through firstly the haunting throes of What Have I Become and then a sensational trio of violations soon after. The second song on the release though dances with the ear like a demonic dervish brought through sizzling guitar caresses and exhausting energy. Again the rhythms of the song demand attention but make full payment with their anthemic potency whilst the vocals and heart of the track breathes vibrantly from within a Misfits/Calabrese like gait.

The impressive three prong attack which takes things to even greater triumphant lust comes in the feisty shapes of Outlaw, Maybe Tonight, and Lies. The first track is a delicious uproar of provoking rhythms and compelling riffs surrounding a contagious groove and middle finger charged vocals. It has an air of Nekromantix and Skitzo to its defiant tone and easily has one submissive to its towering excellence. Maybe Some Day is the same in effect, the slowly dawning prowl of the track lifting to a compelling stroll once into its stride. Again the vocals of Graves and the group chants ignite the need to join in whilst the sounds ripple with sinews which ebb and flow through skilled enterprise. The gentler surge of the song leads to the rampaging glory of Lies, a track which grabs the heart and whirls it on a fevered dance of deathly rhythms and expressive melodies. More horror punk than psychobilly in many ways it is a sensational brew from the two genres and pure contagion.

Every track in all honesty is immense and deserves a mention but further personal favourite and highlights come in the psycho pop Devil In Disguise which includes a great flame of harmonica from guest Tony The Harp Man G, the Resurex/Zombie Ghost Train spiced Blood Red, and the excellent instrumental Grave Slaves World which is borne from the same infection causing creative depths that Tiger Army plunder so well.

The schizo treat Crazy Psycho and the final aggressive bruise Till Death also create greater sparks within but every song on the album is a dark tempest to relish and devour with lustful eagerness. Roam with the Dead is a furnace of beatitude and The Grave Slaves one of the best emerging bands within psychobilly and dark tainted rock n roll.

RingMaster 16/01/2013

Copyright RingMaster: MyFreeCopyright

Dr. Spookenstein – They Came From A World Long Dead

Front Cover

As mysterious as the shadows which undoubtedly spawned them, Dr. Spookenstein is an entity which remains in the dark but from their hidden domain unleashes sounds which equally thrive upon and incite nightmares as they surely ignite the passions. Stalking similar roads to those well-trodden by the likes of Misfits, Danzig, Michale Graves, Calabrese, and Blitzkid, the North Carolina horror punk band has conjured a stirring death drenched album in the shape of They Came From A World Long Dead which just hits the sweet spot at every turn. It challenges as much as it sends flames of pleasure shooting through the heart, the result an ultimately exciting and bruising treat.

They Came From A World Long Dead follows the well-received album Devil Clown Hunts the Town of 2010 and marks Dr. Spookenstein as one predatory and intimidating band in sound and intent. The release offers numerous recognisable influences and flavourings to its compelling and contagious night shift but also plenty of original and striking elements bred solely by the band. It is not flawless but never is anything less than compulsive listening and at its pinnacles a senses buffeting rapture instigator.

The punk fuelled Hang ’em High barges through the ear first, it’s thumping rhythms and ear trawling basslines an immediate lure into the aggressive heart of raging riffs and fiery energy. The core hook and bass riff is a ‘plundered’ delight which is like a returning best friend though one is unsure of its original home and with the strong vocals and infectious chorus leaves only highly enthused adoration in its vibrant wake.

The album is a little inconsistent at times though mainly through the vocals which vary from excellent to ‘wobbly’. Actually as in the following Witch Bitch when the vocals are less impressive they are still good but strangely seem to be running different notes and melodies to the sounds. On this track the voice has a definite decent Misfits attack whilst the music is a more classic rock inspired fire and the two struggle to lie with ease side by side. It is just a niggle which occurs from time to time but generally a minor aspect against the strength of the album.

At the heart of the album a wealth of outstanding tracks stomp through the ear to forge the greatest pinnacles on the release. The Ramones lilted I Don’t Wanna Go To Hell is first, its anthemic breath and incendiary energy takes no time in recruiting the listener to its thrilling cause and with an excellent metallic twist and surge nearing its climax shows the invention and mischief of the band. Challenging for best track on the album You Will Burn also ripples with imagination and enterprise within its uncomplicated and raptorial presence. Another metal stoked riot of irresistibility the track swaggers and weaves around the ear with gladiatorial expertise and a devilish hunger to own the senses and beyond. With its ear stroking riffs and beckoning vocals driven by the oppressive metallic intrusions it ensures there is no defence to its immense glory.

The Fog is an equally addict forming instigator, its Misfits/Balzac like beckoning a raging invitation to join vocally and with limbs its punk rock tempest of pleasure whilst Fire In The Sky with its scorched guitar teasing and hard rock stance just treats the listener like its helpless puppet, manipulating body and passions with its magnetic incitement and melodic hooks. The track in between its most compulsive moments breaks out riotous rock riffs and sizzling guitar taunts which recall the likes of Metallica, it is a mix which intrigues and satisfies from start to finish echoing the album as a whole.

Though the occasional song does not live up to its surrounding companions it is still an enjoyable lull in the elsewhere raging pleasurable storm and with songs like the title track, a song which starts by inspiring only uncertainty and leaves behind definite satisfaction, They Came From A World Long Dead is a thoroughly intriguing and intoxicating joy.

The mighty We’ll Take Your Face also has to have a mention, another track with an impressive claim to top honours. It is a tempest of metal and classic rock invention with a punk heart which at times teases Municipal Waste realms with a Murderdolls gait, quite simply horror punk at its best.

They Came From A World Long Dead chews on the ear and heart with accomplished insatiable greed and receives an equally potent reaction in return. It is a great release and its creators Dr. Spookenstein angling to be your new favourite horror punk nightmare.

RingMaster 16/01/2013

Copyright RingMaster: MyFreeCopyright