Motel Transylvania – Self Titled

We have not been alone in brewing eager anticipation for the debut album of Italian horrorbillies Motel Transylvania having been infected by the sounds of their They Dig After Midnight EP of 2015 as well as the numerous appearances the band has made on various compilations. Four years or so in the making finally that first full-length has crawled from the corridors of the band’s darkest corners and we can tell you it has been well worth the wait.

Formed in 2013 as a solo project of stand-up drummer/vocalist Toxi Ghoul, Motel Transylvania swiftly became a trio which unleashed a well-received debut single in the ghoulish romance of It’s not so bad. The release of They Dig After Midnight in turn established the Savona trio as a band with a potent sound and creative character equipped with the potential of bigger bolder things ahead. Their self-titled debut album realises plenty of that intimation without exhausting all the possibilities of even greater exploits ahead. Across thirteen views from the mausoleum, the album presents a multi-flavoured proposal embracing everything from horror punk and psychobilly to vintage rock ‘n’ roll, punk rock, and other death strewn hues.

It opens up with the portentously atmospheric Called, an invitation into the album’s crypt as intimidating as it is cinematically irresistible. The piece enticingly opens the gateway to the carnal goodness to come starting with Destination. The gorgeous rockabilly groove which harkens its trespass was enough to enslave attention, a submission swiftly rewarded by Toxi’s senses clipping beats and the dark upright bass grumble cast by Fish “The Scarecrow”. The guitar of Taison Gore continues to spin a web of temptation throughout only dropping its raised adrenaline for a breath to be taken before striking up again with salacious intent before the drummer’s lead vocals share their raw scowls. It is an excellent full start to the release and taster of the band’s richly flavoured and varied sound.

The following track shares the band and the album’s name, Motel Transylvania a rousing slice of horror punk with an early Misfits lilt within a labyrinth of psycho and rockabilly taunting. The predacious trespass of the rhythms and vocal causticity steals the show within a track which quickly left its indelible mark before Her Last Boogie launched its raw rock ‘n’ roll stomp on ears with zeal and increasing enterprise. A blend of the feral and the melodically precise, the track is a slice of death boogie needing little time to get punk hips whipped up.

The outstanding Drowning gives warning enough with its bass bred jaws lure before breaking upon the rocks with its blood tainted surf rock groove and barbarous intent while The Night of the Living Dead speeds rather than lumbers through ears with its The Order Of The Fly-esque stalking though the result is still an inescapable rock ‘n’ roll nagging of ears and the imagination. Both tracks add new shades to the album’s adventure and to the unfolding tales of terror; each new pleasure to devour though both are outshone by 4 and its Mad Sin meets Tiger Army like psychobilly shimmer, the albums best track.

The ghostly plains of Beyond The Lights comes next, its unearthly throes psych rock kissed seduction evolving a carnival of fevered temptation before slipping back into its ethereal decay, while its successor, It’s Not So Bad, coaxes ears with its puckered rockabilly lures before erupting in a punk nurtured hostility, repeating the cycle with greater imagination and psychosis. At every turn the track twists into unexpected escapades increasing its magnetism every step of the way.

Continuing the great multi-textured web of sounds within the album, A Place To End embraces Latin/mariachi hues to its Koffin Kats spiced uproar while the following Dead N’ Proud howls like a psychobilly inspired Frankenstein Drag Queens From Planet 13. In turn the simply superb STOMP! Cockroaches stamps around with a great Demented Are Go inspired irritability, these three alone showing the broad landscape of sound within the Motel Transylvania bloodlust.

I Wanna Be Your Ghoul completes the release, the song another psychobilly nurtured tempting under sweltering skies; gallows rock which has the body swinging as firmly as the cadaverous romance it shares.

It is a fine end to a record which certainly pleased and had praise leaving lips on the first listen but has blossomed to far greater heights and persuasion with every subsequent venture through its sonic charnel house.

The Motel Transylvania album is out now through Undead Artists and Archetype Records.

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 Pete RingMaster 15/11/2018

Copyright RingMaster: MyFreeCopyright

Deville – Pigs with Gods

With their fifth album Swedish outfit Deville has bred their heaviest, most intensive offering yet but without diminishing any of the instinctive grooving which has already earned the band a potent reputation amidst ever growing acclaim across its predecessors. The result, an encounter which demands attention whilst taking the band’s rousing sound to a whole new level.

Hailing from Malmö, the quartet was formed in 2004 casting a stoner bred sound initially which has gradually evolved over time. Certainly with the band’s last album, Make it belong to us, Deville moved towards a more metal meets heavy rock nurtured exploration which now Pigs with Gods has taken by the throat by clearly embracing their new metal inspired inclinations. The band prior to release admitted that “When we first started writing music for a new album it became evident to all of us that we were quite tired of the traditional doom/stoner genre…It soon became clear that more Metal was what we all wanted! Thus the album was given a very metal feeling…” That deliberate move though has come with an organic evolution, nothing about the tracks within Pigs with Gods feeling forced or manufactured.

The foursome of Andreas Bengtsson, Martin Fässberg, Andreas Wulkan, and Martin Nobel immediately reveal their muscular prowess with the opening throes of Lost Grounds, the album’s first track rubbing the senses with a sonic abrasion before erupting in a thunderous stroll driven by big scything rhythms. Just as powerful and magnetic, a vocal roar accentuates the captivation with the raw edge of riffs and scuzzy grooves only adding to the thick and infectious tempest of sound as a Torche like hue adds to the richness of the song.

The album’s title track follows, striding in on a rhythmic march with sonic nostrils flared and vocal potency to the fore as flaming grooves light the invasive trespass of sound. Scything beats continue to harry and bruise as grooves share their melodic liquor though wiry veins, it all adding up to a rousing roar sprung from all quarters before Gold Sealed Tomb uncages its own particular creative squall as melodically enthralling as it is virulently imposing. As with those around it, the song grows and twists without feeding expectations, unpredictability as rampant as the gale of enterprise at its heart.

For us the album’s best track is next, Cut It Loose an insatiable temptation of grooves and swinging rhythms loaded with viral contagion and rapacious endeavour. Like all songs it nags at ears whilst feeding them a cyclone of grooved enticement as heavy rock and groove metal meet in a bold collusion, a mixture just as ripe within the just as striking Lightbringer straight after. Less forceful than its predecessors, the track still makes for a towering encounter as its thick air smoulders and sonic cinders burn on the senses around melodic calms which simply seduce before track finds its tempestuousness once more.

Through the almost grungy tones and seriously catchy dynamics of the excellent Hell in the Water and the verging on barbarous but again openly infectious exploits of Wrecked, the album only strengthened its grip on ears and appetite while Acid Meadows provides a relative melodic calm in the storm moment which equally added to the compelling stature of Pigs with Gods. Though it is fair to say that each of their songs has a united sound which is pretty much specific to Deville, the trio of tracks alone show it comes with a strong palette of flavouring and imagination.

Dead Goon also has a less intrusive nature with its blues rock kissed sultriness, the track an instrumental intimation easy for ears to feast upon and the imagination to conjure from before Came For Nothing flexes its creative biceps and the following Medicated on a Concrete Road weaves a tapestry of melodic and fibrous dexterity. Both tracks build their temptations on opulent grooves and boldly spirited but precisely swung rhythms, exploring fresh ideas and imagination from their energetic cores.

Closing track In Reverse emerges from the orchestral close of its predecessor, its sonic radiance luring intrigue into the harmonic caress of vocals. It is a haunting shimmer which eventually breaks into a prowling cyclone of sound and ferocity as snappy as it is invasive before subsequently leaving on that sonic scintillation which brought it into view.

It is a riveting end to an album which increases its impressiveness by the play, declaring itself Deville’s finest moment yet with real ease.

Pigs with Gods is out now digitally and on CD and Ltd Ed vinyl via Fuzzorama Records @ https://eu.fuzzoramastore.com/en/cd-s/deville-pigs-with-gods-cd.html

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Pete RingMaster 15/11/2018

Copyright RingMaster: MyFreeCopyright