Spooky Jefferson’s Ideal Lunchbox – House of Dolls

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Ever wondered what the warped and twisted offspring of Madness, Oingo Boingo, and Mr Strange would be like? Then welcome to the dark ska-deville world of Spooky Jefferson’s Ideal Lunchbox.

Entwining the revelry of ska with the insatiable temptation of psychobilly and dark hearted vaudeville theatrics, Spooky Jefferson’s Ideal Lunchbox is an irresistible incitement to question your sanity to. Hailing from Tyne and Wear, the septet is a full on drama and irrepressible mischief which through their new five track EP takes ears, imagination, and passions on a non-stop mystery tour. House of Dolls is a thrilling proposition which makes you wonder why ska and horror has not prolifically mixed before. Better late than never though, and if you are enjoy walking with the dead, aliens, and the kind of fantasies only the mind of Tim Burton can conjure, all to the swinging sounds of devilish invention then this is a band for you.

The opening of Spooky’s Lunchbox sets the Graveyard Calling released EP, a UK-based cassette/digital label, off in fine riveting style. A lone piano offers its haunted expression initially to tease thoughts and nudge the imagination. It has coveran air of a dusty run down theatre holding a steampunk breath of old and modern. The instrumental soon has the senses and thoughts embraced in its noir bred shadows, the keys continuing to evocatively colour the scenery under melancholic sax lighting. It is a mesmeric enchantment which leads straight into the celestial charm of Aliens. It is a coaxing soon immersed in a ska driven stomp, the steady rhythms of drummer Raggz Chandan hand in hand with the dark lures of bass cast by Rob Carrol enslaving an already firm appetite for ska. It is barely seconds before feet are jerking in unison with the jagged riffs of Allen Humes whilst the delicious expressive keys of Davie King incites ears and the flaming sax lures of tenor sax player Dean Wiseman and Ben Creaser on alto sax take care of the imagination once again. It is a gloriously striding song which if you ask us is basking in the attention of its alien abductors and their invasive investigations. The vocals of Kieran Jobling have a rawer less polished feel, his expression flirting and enhancing the drama of the scenario and song perfectly. At times the song apart from those earlier references has an essence of Mojo Fury about it and also for unsure reasons eighties punk folk band The Dancing Did. As eccentric as it is virulently infectious, the track is a riveting adventure which is as impressive crooning as it is running with nostrils flaring.

The following Do You Know? is another breath-taking instrumental dance, this complete with manic chuckles and demented urgency. Like Night Boat To Cairo off course and going through the tunnel of a Ghost Train, the track is inescapable bait for body and soul and it is a sad parting as it drifts into Freak Show. The track soon creates its own unique and seductive adventure though, to hold all attention and thoughts. Adding a carny like atmosphere with Jobling like a side show barker, the band writhes suggestively with its inventive bedlam of lyrical intrigue and musical unpredictability. Like the final blast of devilry for lost souls, the song’s finale is a crescendo of wanton melodies and lustful rhythmic lunacy which could be a distant cousin to those found in Cardiacs.

The title track brings the release to a close, a sonically sepia piece of drama linking it with its predecessor before the song dances into ears on its melodic toes led by another delicious tease of piano. Veering to the more folk side of sound, think Tankus The Henge, the track strides with an air of knowing that it has the listener in the cups of its hands. Melodies sway and caress whilst rhythms swing with a robust tenacity, and as for the brass they croon with a slightly melancholic breath to complete the soulful yet haunted landscape of the song.

With a healthy diversity and compelling drama across its tracks, House of Dolls is pure pleasure, especially if a rich dose of ska and theatrical madness is a tasty brew for you. Spooky Jefferson’s Ideal Lunchbox is not exactly creating a new style of music but they are certainly crafting a template as yet undiscovered.

House of Dolls is available via Graveyard Calling @ http://graveyardcalling.bandcamp.com/album/house-of-dolls digitally and on very Ltd Ed Silver-screen grey cassette.

www.facebook.com/SpookyJeffersonsIdealLunchBox

9/10

RingMaster 28/08/2014

Copyright RingMaster: MyFreeCopyright

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

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Demoni – Day of Demoni

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

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

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

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

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

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

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

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

http://www.demonipsycho.com

9/10

RingMaster 28/08/2014

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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Gorilla Punch Radio – Self Titled

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Embracing a wealth of rock spices and varied flavours, Gorilla Punch Radio on the evidence of their self-titled debut album, tries and succeeds in making every song a slice of impacting revelry whether they are crooning the emotions or making irresistible incitements to feet. Offering ten tracks which leave lingering impressions with their tenaciously crafted and presented exploits, band and album makes for one attention grabbing, ear pleasing introduction.

Hailing from Leeds, the quartet of vocalist James, guitarist Boothy, bassist Sam, and drummer Paul, from the little you can find out about the band online, formed the band at least three years ago and have certainly honed their sound over time to a thoroughly magnetic proposition. Taking inspirations from the likes of Kasabian, Red Hot Chili Peppers, Foo Fighters, Coldplay, James Brown, Radiohead, Green Day, Muse, Nirvana, and Michael Jackson and more, many which can be heard as spices within the album, Gorilla Punch Radio parade a maturity of musicianship and songwriting which suggests experience and definitely imagination is ripe in the band.

The album opens with the single Bragging Rights, a storming stomp of a song which alone has sparked an eager interest in the band. Fiery riffs warm ears right away before the equally appealing vocals join firm rhythms in building up 884477_505528759557315_2743931573666742889_oan attention awakening start to the song. In full swagger, the track finds a blues breath to its melodic endeavour and garage rock urgency to its stride, infecting the imagination and emotions like a horny mix of The Stones and The Killers. It is a richly contagious start to the album ensuring appetite and satisfaction is at a high ready for the following adventures.

Pick Yourself Up, the second single from the album, comes next and instantly swings a mellow tone over the senses, acoustic enticing and again the impressive vocals of James caressing ears with reflective expression. The song soon lifts its feet for the feistier engagement of the chorus whilst the earthy yet elegant croon of the song continues to embrace thoughts. The song is a gripping proposition which gains strength with every listen, much like the album. With bulging beats and group harmonies pushing its climax to greater potency, the excellent track makes way for the melodic rock stroll of I’ve Got Your Back. Though the song does not quite match its predecessors in presence and magnetism, it is a lively proposition blessed with a jazz funk jangle and sultry flames of guitar but it is it’s the rousing quality which the band instil in all their tracks, even the ballads, which steals the imagination.

Starting with a burst of sixties garage rock, thoughts of The Monkees swiftly hinting, Burn this City to the Ground erupts in a blaze of raw rock ‘n’ roll with hooks and riffs creating a scintillating tapestry. The track stands like a union between the more mod like rock of The Who and Secret Affair and the stronger blues bred enterprise of a Bad Company. The track continues to twist and turn with relish in its invention and passion in its expressive colour. The bass provides its own sublime throaty temptation whilst the magnetic guitar craft of Boothy simply ignites the track further for another major moment of the album.

Both Shadows and Follow You wind things down a little, certainly against the previous treat, but each immerses the listener into scenery of down to earth life and emotion. The first of the two glides with another impressive acoustic seduction aligned to reserved yet pungent rhythms which punctuate the evocative vocals and their lyrical narrative. There is an intimacy to the track, as many on the release, which draws in thoughts and connections. The second of the pair has that same charm as it bewitches from the start with a slow brooding expression and sound before erupting in a folk seeded romp which swiftly has feet and emotions waltzing with its punchy persuasion. A song which you could not dislike if you tried, it adds another string to the creative bow of Gorilla Punch Radio and texture to the album.

As does the excellent funk festivity of Tease, a sultry boogie primed for personal and dance-floor use. With a gnarly tone to the bass as flirtatious as the melodic vivacity and Red Hot Chili Peppers like rhythmic agitation, the track is an addiction waiting to prey on body and soul. It is a powerful weapon for the album emulated by the smouldering melodic flight of Breathe, its glowing melodies and enticing vocal harmonies absorbing hues in a riveting weave of emotional and sonic exploration.

The album is brought to a close by firstly the climactic power of Song for the Underdog, a track with thumping rhythms courting a compelling anthem of strenuous riffs and incendiary hooks. It is a glorious call to ears and passions, the best track on the album and incredibly virulent in every individual casting of the band’s lines as well as their combined explosive ingenuity. It epitomises the band’s songwriting, huge hooks and binding grooves locked into expressive and intricate invention. It is followed by Jane, the song another mesmeric ballad where vocals and guitar simply shine. To be honest the big sinew busting songs from the band have the edge for personal tastes but there is no escaping the elegance and beauty of their balladry or its persistent suasion.

Gorilla Punch Radio is a band you are destined to come across time and time again, as they can only get even better which is a truly exciting prospect after the impressive triumph of their album.

Gorilla Punch Radio is available now @ https://itunes.apple.com/gb/album/gorilla-punch-radio/id888458114?ls=1

https://www.facebook.com/pages/Gorilla-Punch-Radio/126158307494364?ref=h

9/10

RingMaster 28/08/2014

Copyright RingMaster: MyFreeCopyright

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

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