Dirty Danzig: Horror Vibes From Nowhere


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

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

Voodoo Death opens up the all-consuming horror, a track which within seconds has the senses dancing through its raucous riffs, 300 (1)punchy rhythms, and the excellent vocals of Christina, her delivery a biting yet seductively melodic instigator of pleasure and intimidation. Her vocals snap at the ear as well as harmonically caressing them to add extra menace to the predatory basslines of Kellen, the merciless beats of Markus, and her own insatiable guitar abrasion. It is an excellent song which is pure infection and total magnetism, a storm of Misfits, Mongrel, and Calabrese like splendour.

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

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

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

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



RingMaster 16/02/2013

Copyright RingMaster: MyFreeCopyright

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Elle Rayenne: Rayguns EP

Elle Rayenne

Luan Tian Photography – http://www.luantian.co.uk/

Having heard some good whispers about UK band Elle Rayenne and their blend of indie pop, there was a degree of expectation from their new EP Rayguns but certainly not of just how potent and sensational it would be. The four track release is a mesmeric splendour, an EP which from first note to last not only captures the imagination but immerses it and the senses in a golden blaze of melodic radiance and creative bliss.

The band from Broadstairs was formed in early 2012 by vocalists Jericho Tozer and Clare Ashton-Cobb. They soon released their debut single Celestial Navigation under the C3U record label using local band Fish Tank for the track. In May of the same year, the pair formed their own band from musicians around Kent, bringing in guitarist Dan Smith, bassist Thom Bennett, and James Davies on drums before working on new tunes and playing live. Their sound as mentioned is a vibrant and warm glaze of indie pop but to that there is a flush of folk rock and acoustic pop which brings an extra spice to thrill the appetites of ears and emotions. It makes for a quite delicious treat, a pleasure which is as infectious as it is richly rewarding.

The release opens with De-construction and a gentle breeze of guitar caresses and warm sonic kisses whilst Tozer avails the song coverwith his expressive tones. The bass of Bennett rumbles beneath with a smouldering stance moving into a resonating stroll as the song opens up its heated arms of melodic and persuasive elegance. Ashton-Cobb then steps forward with her equally impressive voice to torch beautifully across the now energetic and compelling skies of the song. It is a track which is gently anthemic with a charged heart enriched with sizzling vocal harmonies and fiery dazzling beauty. Both singers are strikingly impressive and combine for an even greater fire to which the song musically dances alongside with an irresistible hunger. There is an element of The Sundays to the song, both bands able to mesmerise with aural beauty which impacts like a flame.

The title track opens with a mischievous smile on its face, the twin vocals grinning in harmony with a folk pop tease before expanding into a contagious summer of heated melodies and sultry passion. Like the first the song is impossibly catchy and instigates passions and voice to its emotive cause. With the guitars of Tozer and Smith again raising delicious sparks and the rhythms of Bennett and Davies an unashamed invitation to party, the song lifts the spirits and raises an inner smile which refuses to die away. As this and its successor plays on the ear, thoughts slip to eighties indie band Jim Jimenee, another band where instinctive folk and pop meshes were infectiously rife.

Absent is an initially gentler invite, a smoky guitar intro with framing sinewy drums accompanied by again openly meaningful tones from Tozer bringing one into the heart of the song, a centre which soon ignites a swagger and feistiness leading to another epidemic of emphatic force and grandeur. It is part pop rock and part indie folk wrapped in a pop sheen which lights a beacon of pleasure.

Final song Under The Thumb like the others makes an impact from its very first breath, inciting drums and their big rhythms waking up further intrigue whilst the guitars simmer with sonic lures and the two vocalists weave their bewitching magic to leave one basking in their lush presence. Though arguably the track is less virulent for the passions, it majestically strolls across the ear with disarming craft and a winning sun to leave a big grin on the emotions.

The Rayguns EP is a cracking piece of songwriting and melodic realisation, a gorgeous release which is sure to make Elle Rayenne a quintet on the lips of a rapidly growing legion of delirious fans.

Rayguns EP is downloadable for FREE! @ http://ellerayenne.bandcamp.com/



RingMaster 16/02/2013

Copyright RingMaster: MyFreeCopyright

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Raedon Kong: Self Titled EP


    Raedon Kong is a pair of musicians who on the evidence of their self-titled EP, strives to create apocalyptic sonic soundscapes which work on the listener on as many levels as there are rich dramatic layers within the incendiary expanses. Their latest release gnaws on the senses whilst challenging and eroding emotions but all the while unleashes sounds and an impacting imagination which is impossible not to be impressed by. The release is drenched in excellent corrosive discord but also creates melodic flames which though as acidic as the sonic storm around them is destructive, rewards with an enterprise which is deeply satisfying and inspiring.

The Lafayette, Louisiana duo of Stephen Sheppert (guitars/synth/vocals) and David Leonard (drums/vocals), former members of Collapsar, Hooves, and Icepick Revival, going by the EP experiment with styles, sounds, and influences to create their own tempests of noise, passion, and intensity. The likes of Zeni Geva, Neurosis, Mastodon, Isis, and King Crimson have been mentioned as suggested comparisons but Raedon Kong holds its own singular presence within such flavours. The EP creates a bruising and enveloping furnace of psychedelic and progressive sounds which are toweringly heavy, melodically burning, and driven by a doom metal gait. Lyrically and musically it is also stark and brooding, an apocalyptical landscape as jolting atmospherically as it is sonically turbulent.

The release opens with Heavy Lite, a track which emerges from a deeply resonating and intrusive pungent grasp of noise to ALBUM ARTWORKunleash a maelstrom of bedlamic invention and energy. The song at this early point is an avalanche of tumbling rhythms, incisive melodic flames, and an ever twisting surge of ideas which are defined yet manically unleashed. Soon the listener finds themselves within the eye of the storm as the track nestles within a shimmering heat and slow soft vocals wash gently upon the ambience. It is short lived though as thumping predatory drums stalk the now ignited air and riffs plunder the instilled warmth with malice and searing craft. It is an immense track and start, basically an instrumental and a piece which has thoughts and emotions, let alone senses riled up and unreservedly intrigued.

End Of Days walks into place next with inviting guitar caresses under sonic flames which glow above their beauty. It is an inviting start which explodes into a muscular hunger and intensity to further captivate if equally intimidate. The track has a definite Killing Joke feel to it in places with the vocals reminiscent of Jaz Coleman, and the longer it wraps its sinews around the ear the more compelling and potent it becomes. It ends as it began with a mild wind upon the ear to bookend the wonderful havoc between, and emerges by its end as a track which is hard to shake off emotionally and physically.

As potent in rich diversity as it is in intensive confrontation, the release offers a squall of progressive imagination next within Forgotten Son, a psychedelic flamed piece which enchants and brands the listener from start to finish. Across its protrusive journey the track scars and slices through the senses, its acerbic melodic invention and sabre sharp guitar slashes as damaging and invigorating as the rugged energy. Like each song and the release as a whole, the track reveals more with each burdensome engagement but the rewards leave the extended effort undeniably worthwhile, not that listening to Raedon Kong or their release is a trial in any sense of the word.

Closing with the masterful Ash Is The Omen, a song as delicate as morning dew and as fearsome as an avalanche, the EP from Raedon Kong is an impactful treat for all lovers of extreme, inventively embolden, and imaginatively creative music. The release is like a four headed hydra, each mazard an inciting antagonism for which only a full welcome is offered.



RingMaster 16/02/2013

Copyright RingMaster: MyFreeCopyright

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