Infected Syren – Self Titled

Nudging broad attention virtually since they emerged in 2011 and certainly since the release of a demo the following year, Infected Syren are now demanding it with their self-titled debut album. With eleven tracks of rapacious metal infested punk ‘n’ roll, the Cyprus bred outfit grab body and appetite with mischievous intent, rousing energy, and a craft honed in the heart of rock ‘n’ roll.

Nicosia bred and now sharing their time between their country’s capital and London, Infected Syren is said to have come to “finally consider a more serious and dedicated approach towards writing their own material and developing their sound while doing what they love most – performing heavy alternative music!” Certainly you can hear the passion at its heart and the imagination in its character; a proposition which roars with the invasive funkiness of Infected Grooves, the uncompromising punk attitude of The Exploited, the thrash devilry of early Anthrax, and the psychobilly predation of a blend of Grumpynators and Batmobile. It is a stomping incitement embracing familiar traits but all twisted into the fiercely enjoyable individual antics of Infected Syren.

The album opens with the sinister, increasingly intimidating carnival of Infected Circus, a hook woven instrumental easily getting under the skin as guitars suggestively dance and rhythms devilishly swing. It sets the mood and rascality of the release perfectly, the following romp of The B.B.P. similarly manipulative with its hook lined grooves and teasing metal spawn riffs. Guitarists Constantinos Lyras and Louis Syrimis cast a net of infectious exploits within the song’s boisterous body; the latter’s vocals as bold and devious as the addictive textures making up the track.

Already, the release is a swagger of thrash and alternative metal hued rock ‘n’ roll, the band’s punk instincts brewing nicely and erupting more forcibly within UnNormal. From a southern nurtured hook, the track breaks into an inescapably catchy stroll, wiry grooves swiftly entwining the animated beats of Constantinos Syrimis and the lithe canter of Miguel Trapezaris’ bass. With devilment in song and the charismatic vocal deliver of Louis, the track bounds along with the listener taking in calm and volatile scenery with equal ease whilst taking over hips and body like a puppeteer.

It is fair to say that every track within the album is rich in virulent bait and scheming manoeuvres, next up Sick springing its dirty rock ‘n’ roll with frisky buoyancy, bobbing along with attitude and playfulness as punk irritability meets heavy rock intensity, both imposingly irresistible sides entangled in riotous high spirit. The album’s best track is closely rivalled by the punk ‘n’ roll discord coated virulence of Unwanted, the track poking the listener in the chest with its bad attitude whilst toying with them as if a marionette. Heavy metal spices add to thrash instincts within the temptation though again it is the psyche enslaving hooks and grooves which seal the slavery.

Through the psychobilly lined Boogie Stick and the devious ingenuity of The Torture Brothers, the album only tightens its grip on ears and appetite, the first with fevered energy as it stalks the senses spreading aural narcotics laced with Constantinos striking enterprise. Its successor with a similar gait and admittedly flavouring brings its own individual addiction, those hues evolving into an infestation of rock ‘n’ roll which is as toxic as it is a tonic for the spirit, the song laying its hands on a share of best track honours.

Both Divide and Rule and Death After the Melody pretty much match the leading pair, as all tracks come close to in all honesty, their respective defiant groove wired stomp and hungrily swinging trespass each melding metal, punk, and rockabilly textures into one unique carnival of sound and infectiousness. They snarl and tease the imagination, taunt and spark the body into zealous involvement with every note and twist but Infected Syren show themselves just as effective in grabbing the listener’s subservience with unbridled muscle clad, animosity fuelled punk ‘n’ roll, Toothless Tigers the unassailable evidence.

The album closes with Syrens in The Opera, another insatiable imagination stoking instrumental to bask in. It is a fine end to an album we truly cannot get enough of. If Infected Syren cannot stir up real attention and praise their way with this gem of a release something is seriously wrong.

The Infected Syren album is out now on CD and Digitally through most digital music stores and @ https://infectedsyren.bandcamp.com/album/infected-syren

http://infectedsyren.com/    https://www.facebook.com/infectedsyren

Pete RingMaster 16/01/2018

Copyright RingMaster: MyFreeCopyright

Deadite – The Damned

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After a fine year for the label, Hamburg based Undead Artists have got its successor off in fine style with the release of The Damned by Belgian horror punks Deadite. The album is a multi-flavoured roar blending strains of psychobilly, rock ‘n’ roll, and other ravenous textures into horror fuelled punk rock. It makes for a tantalising and captivating proposal becoming more compelling with every listen.

Hailing from Hamme, the quartet of Scarecrow, Wolfben, EvilOnly, and Von Nekromance have persistently stirred attention and eager support at home and further afield but for a great many The Damned will be an introduction; one sure to keep their ‘secrecy’ no longer.

From the cinematic Intro, the release roars into view with The Shadows and a surge of classic rock ‘n’ roll chords. It is the lead into a stomping charge of senses whipping rhythms and toxic grooves as vocals melodically growl. Psychobilly and horror punk collude as the track throws its lustful energy and sounds around, making for a potent start to the album though soon eclipsed by the outstanding Age Of Violence. With belligerence oozing from every note and vocal breath, the track’s nagging riffs and attitude loaded bassline alone seizes the passions, raw vocal antagonism and rhythmic trespasses reinforcing its punk rock lure as spicy grooves ignite.

The album’s title track steps forward next, its brooding climate and Tiger Army like air quickly seducing ears and imagination. Vocals too have a calmer presence and resonance which just adds to the haunting charm and atmosphere of the encounter resulting in the release stepping up another notch in impressiveness again.

Cored by a tangy hook, Collector grabs the appetite straight away next, its Rezurex/Plan 9 like stroll simultaneously menacing and infectious and the swinging relentless beats a greed inducing pressure while the following Show Me Some Love has a touch of Batmobile meets Misfits to it. The song is an equally predacious and virulent persuasion to the former with rhythms once more an irresistible infestation of body and instincts.

Pussywhipped shares its fifties breeding with relish after them; country seeds open within the excellent old school stomp before Empty Heart romances the senses with its sultry melodies and vocal croon. Rhythms and riffs insert the tenacious energy which instinctively flows from the band with Calabrese spiced enterprise playing around their eagerness throughout. The pair alone shows the variety in the Deadite sound, a diversity not always making big steps but certainly providing a broad and flavoursome adventure to get hooked on.

That bait continues through the feistier muscular throes of Damnation and the predatory prowl of The Taker, another track sparking references to the likes of Calabrese and Tiger Army within its own bold character. The Mark Of Cain after them though is proud to wear its inspirations boldly, the song a mix of Misfits and Samhain and also easy to breed greed for.

Roadkill is a grouchy assault of punk and hard rock whipping up rich satisfaction next, its success matched by the similarly punk driven Same Shit Different Day offering a minute and half of intrusively catchy rock ‘n’ roll before Cursed brings the whole pleasurable time to a close with its smouldering psychobilly serenade.

It is a great end to an impressive and richly enjoyable release; not quite a classic but not far off from a band with the potential for such a genre igniting proposal in their growing imagination.

The Damned is out now through Undead Artists @ https://undeadartists.bandcamp.com/album/the-damned

https://www.facebook.com/pg/deadite138   http://www.deadite.be/

Pete RingMaster 02/03/2017

Copyright RingMaster: MyFreeCopyright

Pussycat and the Dirty Johnsons – Dirty Rock ‘n’ Roll

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pic debbie-attwell

As the band work and finish material to grace a new album, British rockers Pussycat and the Dirty Johnsons have linked up with Dirty Water Records for the long awaited digital release of second album Dirty Rock ‘n’ Roll and quite simply if you missed it first time around and have an instinctive appetite for insatiable bordering salacious punk infested rock ‘n’ roll, than it is a must.

Formerly in a band just called The Johnsons, the Basingstoke hailing trio is fronted by the wild feline wiles of vocalist Puss Johnson with founding guitarist Dirty Jake (Feckle, Lube) and drummer Filfy Antz (The Krewmen) alongside uncaging their own raw and incendiary antics. It is an explosive combination which saw their 2010 debut album Exercise Your Demons earn many plaudits as too over the years a blistering live show seeing the band share stages with the likes of The Jon Spencer Blues Explosion, Thee Oh Sees, The Fuzztones, Mad Sin, The Damned, 999, The Polecats, The Creepshow, The Rezillos, Bow Wow Wow, The Meteors, The Vibrators, Resurex, DragSTER, Trioxin Cherry, and Atomic Suplex.  Three years later, Dirty Rock ‘n’ Roll was the cause of even greater eager attention and acclaim upon Pussycat and the Dirty Johnsons; a spotlight sure to be regenerated by its digital uncaging ahead of as mentioned a new album.

Featuring eleven tracks spun from attitude loaded threads of everything from punk, garage rock, glam, psychobilly, garage punk and any other form of rock ‘n’ roll you wish to offer, Dirty Rock ‘n’ Roll is an explosive riot for senses and body alike. Produced by Alex McGowan and featuring guest double-bassist Phil Bloomberg of The Polecats on a couple of tracks, the album instantly prowls the listener as opener Burying The Bodies settles in to place, once set continuing to stalk but with an infectious swagger led by the biting beats of Antz. Straight away there is an obvious devilment in the band’s sound and the lusty roar shared by Pussycat, her presence and delivery a snarling seducing. With big hooks and winding grooves, the slab of predacious rock ‘n’ roll is an irresistible start to a release proving to be unrelenting in its fiery creative and aggressive incitement.

Hell Bent is swift agreement, its whining grooves courting flying rhythms and Pussycat’s plaintive cries, all united in another tenacious track which eyes you up with distrust yet reveals the most compelling enterprise amidst mouth-watering unpredictability before Livin’ With Mum And Dad sees the band move from raw rock ‘n’ roll into a more seventies flavoured encounter as much glam rock and power pop as it is old school punk. For personal tastes, it lacks the bite and spark of those around it but with its Pistols-esque hook and caustic catchiness there is no escaping being sucked in.

front-cover_RingMasterReviewPsychobilly flavours the magnificent stomp of Get Outta My Face next, Bloomberg bringing his masterful slaps to the Batmobile meets Imelda May scented stroll with Pussycat like a punk Wanda Jackson. Fiery guitar and senses badgering beats bolster the seriously rousing proposal as the song shows another aspect to the album and the Pussycat and the Dirty Johnsons sound.

The scuzzy blues punk of She Don’t attacks and excites next, its corrosive character and sound as virulently infectious as anything upon the album while Mirtazapine uses similar strains of flavouring for its own individual trespass. With a touch of post punks Bone Orchard to its untamed garage punk challenge, the track is a superb mix of rapacious restraint and unbridled furor taking ears and imagination into the darkest shadows of the fiercest volcano.

There is no let-up of the enjoyably exhausting confrontations as Why Do You Hate Me? sears the senses with its punk rock lava around a rhythmic tempest while Dirty Li’l Dog, with the magnetic craft of the Polecat returning, leaps around with uninhibited rhythmic rioting as blues guitars embrace numerous other spices around the carnival barker leadership of Pussycat.

The final trio of songs just epitomise the variety and devilish imagination in the band’s songs; Sort Yourself Out a fuzzy blend of growling punk and toxic blues within The Pirates like rock ‘n roll and Souvenir simply one glorious invasion of garage punk with a scent of The Cramps, Animal Alpha, and In Evil Hour in its unique best track earning triumph.

Closed out by the adrenaline fuelled and feeding Hideous, a final belligerent detonation of rabble-rousing incitement, the outstanding Dirty Rock ‘n’ Roll is its title and so much more. It might not be a new release but it deserves this new exposure and Pussycat and the Dirty Johnsons the fresh attention ahead of what can only be anticipated as another uncompromising uproar.

Dirty Rock ‘n’ Roll is available digitally through Dirty Water Records @ http://www.dirtywaterrecords.co.uk/shop/#!/Pussycat-and-the-Dirty-Johnsons-Dirty-Rock-n-Roll/p/75045471/category=2793895 with physical options @ http://thedirtyjohnsons.com/shop/4564430166

http://thedirtyjohnsons.com   https://www.facebook.com/thedirtyjohnsons/   https://twitter.com/Dirty_Johnsons

Pete RingMaster 14/12/2016

Copyright RingMaster: MyFreeCopyright

The Long Tall Texans – The Devil Made Us Do It

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     To create rock ‘n’ roll alchemy as scintillating and fresh as this you just have to suspect that the horned one did have a hand in its breeding as the title of this voracious riot suggests. The Devil Made Us Do It declare The Long Tall Texans on their return after eight years with a new album, but whatever part he had in its creation and the type of dues met all credit and ardour goes to the Brighton band who after two and a half decades still stand mighty in creating essential blistering rock n roll.

      Jammed to the rafters with predominantly Garry Castleman penned songs brought to insatiable life and realism by brother and guitarist Matt, drummer Theo, and vocalist/slap bassist Mark Carew ( also of The Hotknives), The Devil Made Us Do It rampages over and with the passions in a thoroughly captivating and enthrallingly expansive manner. It is a feisty merger of rockabilly, psychobilly, punk, and country twisted in one unique and impossibly contagious riot of rock ‘n’ roll. It has to be said that The Long Tall Texans has been doing this for ages, since day one to be fair, but their thirteen track stomp fest undoubtedly is their finest slab of devilry in a long time. Produced and engineered by Mark Roberts at Empora Recordings and mastered by Tim Rowkins, it is the first essential blaze of rock ‘n roll in 2014, a fire you suspect which will still be heading the field in this year’s twilight moments.

      The album turns the ignition for the ride ahead with the instrumental Taxi, a flaming climate of melodic heat in a western environment which is more sunset than sunrise and a wholly addictive start to the album. With a breath of surf rock to its smouldering temptation it makes way for the rascality of Girlfriend, a contagion clad stroll of sonic grooves and irrepressible hooks wrapped by a blend of rockabilly soaked in fifties irresistibility and just a little salacious enticement. The song requests rather than demands attention and the listener’s vocal assistance but the outcome is the same, full submission to its call.

   The cantering psychobilly charge of Kamikaze Killer is the band recalling its early days in many ways, a rapacious anthemic temptation of a song which again refuses to take no for an answer in its request on emotions and limbs. A glorious guitar sculpted blaze only adds thicker allurement to the track before the western swung Kill Me saunters in and seduces the ears all over again in its own individual enrapturing style. Four tracks in and every song on the album has been of unique character and presence to each other but uniformal in their efficiency in securing the fullest allegiance to their rock ‘n’ roll driven desires and nothing changes across the rest of the release.

    The stalking rabidity of Sex, Beer & Psychobilly chews on the senses next whilst simultaneously seducing them with grooves and riffs which demand a returning lust for their teasing. The guitar of Matt conjures a weave of addiction forging lures around flumes of melodic acidity; it is pure sonic manna and with the thumping beats of Theo caging recipient and song within the predatory sway of Carew’s irrepressible slapping, the song is another peak in the mountainous range of The Devil Made Us Do It.

     The pop lit Terry and the following riveting Let Me Go powers through the ears with a punkabilly urgency and growl which in the case of the first reminds of Australians Living End whilst the cowpunk spiced second of the pair offers an evolving roam through magnetically rich and varied flavours of rockabilly. For a great many the band deservedly is up there with the legends such as The Meteors, Demented Are Go, Batmobile, Stray Cats etc. and these songs alone prove to newcomers just why, whilst the album simply puts in stone the fact that The Long Tall Texans are masters now and then of raucous and mercilessly virulent rockabilly in all its off shooting guises.

     The excellent I Hate Myself again ventures into more punk based alchemy whilst its successors, the ridiculously addictive Covered In Sin and the country seeded What Part Of Fuck Off Don’t You Understand?, exploit the established rampant appetite for the whole release with their own epidemic of sonic inducements. The first of this pair is the stealer of top honours on the song, the dual vocal styling as potently compelling as the ravishing spree of musical toxicity led by riffs and hooks carrying more barbs than a jigsaw. Its companion is an argumentative encounter lyrically and a taunting slice of country rock musically veined with spices of country swing alongside tasty rhythm and blues additives, it and its predecessor continuing the extensive variation of the release and craft in songwriting impressively.

    The outstanding I Fell In Love With A Zombie and the simply exceptional I Used To Feel Funny provide more rigorously stimulating slabs of prime rockabilly and danger drenched psychobilly respectively, though as always it is just half of the story as numerous flavours stoke up the fires within the songs and the now over fed but still greedy emotions receiving them. The closing Feels Like Ice brings it all to a towering conclusion with a sensational heavily weighted brawl of intensive psychobilly scored with rockabilly lunacy and glam rock wantonness. If The Sweet were rockabilly you suspect they would have sounded like this hellacious bone rattling stamping provided by the album’s finale. Listening to it again as this is written maybe that best track decision is still under review after all.

     The Sunny Bastards released The Devil Made Us Do It is quite simply one of the greatest rock ‘n’ roll albums of the past decade with little more to be added except to say that The Long Tall Texans still makes  the majority of bands, rockabilly or psychobilly sound like mere novices.

Check on https://www.facebook.com/groups/196671022357 to keep up with news of band and releases.

10/10

RingMaster 14/01/2014

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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Dick Venom & The Terrortones – Invasion Of The Spiderqueen / Planet Of The Honeyfuzz

DV

Everything about the new 7” three track single from UK psyche rock ‘n’ rollers Dick Venom & The Terrortones is irresistible. From the outstanding and deliciously alluring packaging right through to the insatiable and rapaciously mischievous sounds the release is an exhilarating riot of sex brewed blood lusting rock, a fusion of psychobilly, garage rock, and old school rock ‘n’ roll which recruits every atom and emotion possible into its carnal devilry.

    Dick Venom and co first grabbed our attention with The RockinRollin VampireMan EP last year, the release consisting of a trio of wantonness clad songs reinforcing the strong reputation and presence of the band which had been earned through three years of live show revelry, their appearances capturing the primal needs of a fervour fuelled fan base. As well as their own headlining gigs the band has toured the UK with the likes of The Meteors, Bad For Lazarus, Demented Are Go, The Radiacs, Vince Ray & The Boneshakers, and Vince Ripper (ex-Alien Sex Fiend), continuing to increase their fingerprint of mischief on UK rock. The new release sees the line-up of frontman Dick Venom, bassist Wrex St.Clair, guitarist Hurricane Valley, and drummer Sugarbeats opening doors to even more potent rascality with creative and body fluids heating up the band’s unique depravity under the mask of sci-fi schlock ’n’ roll.

    Invasion Of The Spiderqueen opens up the release with a swagger of off kilter harmonies which herald in the arrival of the man before spiderqueen_coverbass and guitars unlock the key of greater pleasure with eager and raw caresses. Soon joined by the distinctive tones of Mr Venom, his colour soaked narrative of outer space glamour seizing greedy attention, the track swaggers with pungent riffs and rolling rhythms taking the senses and thoughts on a heady ride. Tight hooks spear the passions throughout, their breath familiar yet fresh, whilst the core groove is the master of addiction aided by the throaty bass and continually riveting delivery of Venom. Holding an air of The Cramps and Screaming Lord Sutch to its voice and Batmobile to its sound, the song is a thrilling encounter to start things off, thoughts and imagination taking off their space helmets to stand side by side with the band on a strange temptress of an adventure.

The following Planet Of The Honeyfuzz strolls up to the ear with the bass laying down its deep toned lure as twisting twine of sonic guitar wrap acidically around the brewing picture. A psychedelic whisper and garage rock taunt brings vibrant hues to the emerging episode, celestial bodies again explored and provoked as band and song flex their riveting enterprise and instinctive misbehaviour. As the track fingers the passions and musical potency with a kind of Revillos meets The Ramones and The Doors like trickery and Slade like rowdiness, full submission to the release is cemented though there was never any chance of another outcome from the first few minutes of the opener.

The release is completed by Doodlebug Blitz, a tempered dance of psychotic joy which stomps around with an ever increasing melodic and rhythmic chicanery. The track holds its rabidity and energy in for the main of the song, its reins tight on the openly vampish heart of song and band though at times allowing it moments to send luscious weaves of trashy irreverence into the aroused passions.

With the single wrapped in the stunning artwork of Catherine O’Connor, and the enclosed 8 page comic book, quite simply Dick Venom & The Terrortones has never sounded so good. The loud suggestion that the band was one to help shape the future of UK psychotic rock was already in play from their earlier release but now Invasion Of The Spiderqueen/ Planet Of The Honeyfuzz declares the band as not only certainties but also without competition the twisted sex laded psychos all your mothers warned you of.

 Invasion Of The Spiderqueen /Planet Of The Honeyfuzz is released on Sept 9th

www.dickvenom.com

https://www.facebook.com/DickVenomandtheTerrortones

9/10

RingMaster 23/08/2013

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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Dead Bundy and the Neat Neat Neats -Train To Paradise

DB

    Train To Paradise is the next stop on the ascent of infection brewing psychobillies Dead Bundy and the Neat Neat Neats, an album which builds on their impressive previous release Life Is Hard…Death Is Neat and stretches their sound in further thrilling extensions of flavour and melodic enterprise. Consisting of twelve varied and contagious slices of passion drenched rock n roll, it is an album which grabs ear and passions for a brawling, seducing, and mischievous encounter.

The Minneapolis quartet has induced a loyal and constantly building fanbase since forming around 2010, a following which has grown not only locally but across the US and world through internet recognition. Matthew Sprinkles, Chris Wilson, Cody Hillyard, and Matt Kalsnes, have bred strong recognition for their terrific live shows and equally their releases such as debut album Bad Moon Death Trip of 2011 and undoubtedly last year’s Life Is Hard…Death Is Neat. Fusing influences from the likes of Batmobile, The Quakes, Screaming Jay Hawkins, The Sharks, Mad Sin, and the Frantic Flintstones to their own distinctive rowdiness and invention, the band has continued to earn strong responses and acclaim which you can only see the new release accelerating within the genre.

Opener Graveyard Rhythm immediately grips the senses and feet for a romp across irresistible riffs and fiery melodic temptation whilst the vocals narrate the whole shadow soaked escapade. It is instantly infectious and insatiable in its want to have the listener leaping tombstones with rampant eagerness and a devilish swagger, its hooks and call virulently addictive and persuasive. It is prime psychobilly Dead Bundy style, the distinctive vocals and musical voice of the song taking over immediately where the last album left off ensuring the party is still raging with heat and compelling irresistibility.

The title track soon steps before the ear with southern twisted melodies and busy rhythms igniting the air and ear, its Tarantino movie like breath a persistent and unrelenting stroll down the railroad track of swiftly passing beats and riffs. The song is a delicious warm whisper with energetic hunger which marks the start of the variety and richer depths to the album which were arguably missing on the equally impressive Life Is Hard…Death Is Neat. It begins a ride of unpredictable and adventurous invention for the album with a course which is set well within the walls of psychobilly and rock n’ roll but offering diverse and refreshing sceneries immediately picked up by the following Shipwrecked and City Morgue. The first of the pair saunters in with big boned rhythms and a prowling gait to the bass within again raw melodic heat from the guitar. With vocals as strong a lure to participation as the hooks and barbed drum beckoning, the song is a tune hip swerving was invented for and its ingenious groove a template for lust. It successor raises the dead with another epidemic of addict making riff sculpted hooks and bold bass slaps whilst the mass invitation of the chorus defies death as an excuse not to participate with its punk riled temptation.

Only four songs in and the album has ignited the passions and fired up an even more intense appetite for the rest of the release, a greed soon satisfied by what is possibly the strongest and most magnetic part of what is a wholly captivating album. Dust N Bones leans on the ear with a lone guitar strolling out its notes within a hollowed pocket of air and soon joined by the as ever fine expressive vocals. The rolling beats pulls everything into full view as a western bred melodic tease winds around the senses, the song expanding its chest towards the dusty bold canter through potent and emotive adventure which takes over the course of the excellent song. It is an impossibly infectious lure soon matched and exceeded by the outstanding Dynamite, a song which lights the fuse to full ardour with sinew healthy rhythms, a commanding bass spine, and vocals harmonies which snatch and ignite the imagination. As it strides purposely through the ear the beats offer thoughts of King Kurt and elsewhere Guana Batz inspired melodic infectiousness, the union loaded with punk spawn confrontation for a sensational and album topping encounter…except it is then deposed by the quite masterful Mad Man.

The song teases with an instant delicious groove and subsequently bulging bass fascination to brew up an instant rapture which is soon boiling over as the track flexes its sides for a riotous yet controlled rampage. Hand in hand with the listener the song romps with wantonness to its hooks and rhythmic puppetry which has head and feet rocking like a dog in heat. The track is severe in its narcotic like appeal and one of the best songs within rock ‘n’ roll over recent years.

Both Getting Fucked Up and Pretty Boy Billy continue this new elevation of height for the release, the first with another controlling swing to its gait whilst the second rivals both Dynamite and Mad Man for bragging rights as top dog, though there was only ever going to be one winner. With the country rock lilted Hellbound, the mariachi whispering Ride, and Gimme Rock N Roll with its contents echoing its title, completing the album with strong and pleasing presences, Train To Paradise is a thrilling and inspiring bunch of impossible to restrain rock ‘n’ roll songs. With the release of the exceptional album and the Train To Paradise Tour across the US in its support right now, Dead Bundy and the Neat Neat Neats are looking at a massive and one suggests very successful year ahead.

https://www.facebook.com/DeadBundy

10/10

RingMaster 15/05/2013

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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Dead Bundy and the Neat Neat Neats: Life Is Hard…Death Is Neat

Dead Bundy and ....

Providing a villainous canvas for the most essential of mischievous sounds Life Is Hard…Death Is Neat the latest album from Dead Bundy and the Neat Neat Neats has everything you could desire in a psychobilly riot. A collection of songs which are as compelling as they are the instigators of varied rock n roll flames, the album just grabs the heart and thrusts it into a bruising rampage of insatiable riffs, hungry rhythms, and heart borne passion. This is a record from a band which lives and breathes their sound and uses their open influences to corrupt and ignite the wickedest shadows within its willing victims.

The Minneapolis quartet is another band which lets the music do the talking with info about the band as scarce as the desire to behave within the album itself. The band does consist of Matthew Sprinkles, Chris Wilson, Cody Hillyard, and Matt Kalsnes, and employs influences from the likes of Batmobile, The Quakes, Reverend Horton Heat, Mad Sin, and Screaming Jay Hawkins amongst many, as well as a band which springs to mind often across the release, the Frantic Flintstones, to their own mastery. Life Is Hard…Death Is Neat is the follow up to 2011 album Bad Moon Death Trip, and was released last year making us late to its glory but better late than never right? They tag their sound as brundlebilly but whatever they want to call it their roguish conjurations are just essential treasures for all fans of rock n roll.

The eager and thrilling breath of Hexes And Hymns opens up the album, the track a brief instrumental charge which begins with 300gentle caresses before turning on the for pulsating guitar strokes, thumping rhythms, and a delicious whisper of discord throughout its twisted twang. It is a fiery start soon equalled and surpassed by the shadows gifted Evil Deeds And Demon Seeds. With a groaning hungry bass slapping resonance and an irresistible groove the song stomps through the ear with only thoughts of dragging the feet and passions of the listener into action, not that they need much persuasion when confronted by infection carrying sounds like this.

From there the album sets free one of its biggest pinnacles in a continual parade of highlights. Junglebella swings astride the senses with an insatiable energy and compulsive swagger, the vocals and guitar luring irresistible whilst the contagious chorus demands receives compliance from the throat of the listener with immediate effect. It is a sensational song which brings elements of The Meteors, Link Wray, and The Legendary Shack Shakers into play. The musicianship is as impressive as the viral persuasion at work throughout song and album and already only three songs into the release one feels the band is destined for the strongest recognition in their chosen genre if not further afield.

The sinew stretching Bruja with its crushing rhythms and flames of scorching guitar continues the now beyond simmering rapture, the track a muscular bruising with more addiction than primitive sexual urges…oh that is just us then…whilst the likes of the raw rockabilly furnace of Movie Monster and the country lilted evil of Bad Woman with its Dave Edmunds/Polecats like gait brings diverse enterprise and tingles to the release. The last of this trio starts as an old school toned treat which again leads one by the ear to embarrassing rhythmic expulsions on the dancefloor but midway intrigues and excites by twisting into a punkabilly storm which is a mix of Demented Are Go and The Living End.

As the album continues the songs Supernatural Man, She’s A Hellcat, and Road To Ruin only lead to further squeals of joy before another major triumph arrives in the graveyard romance of Bone Daddy. It is a glorious track which romps with sinister intent and deathly mischief. The irreverent vocal squalls and ever potent emotion playing bass prowl fires up the deepest passions whilst the heated hooks of the guitar conjurations pulls the heart into action like a satanic musical magnet.

Closing with the fine acoustic ballad Devils In The Dark, the album is an enthrallment with the highest rewards of pleasure attached to every note and rhythm. Only enthused acclaim can be laid upon Life Is Hard…Death Is Neat and a band in Dead Bundy and the Neat Neat Neats which makes the company of their nefarious creativity as essential as breathing.

https://www.facebook.com/DeadBundy

RingMaster 17/01/2013

Copyright RingMaster: MyFreeCopyright