Dr. Hell – Apocalypse Boobs

dr-hell_RingMasterReview

Once more confronting ears with sounds suitable to voice an eager resurrection of the undead in a zealously riotous rampage, Dr. Hell unleash a new death dance of blood strewn horror punk going under the notoriety of Apocalypse Boobs. The German quartet’s mini album is a carnival of infectiously decayed punk rock and ravenous enterprise weaving familiar and individual exploits into their finest offering to date.

Since emerging from their respective North Bavarian mausoleums in 2010, though rumours are they actually formed in 1812 a secret place known as “The Bloody Islands”, Dr. Hell have released two albums of their raw and predatory horror punk, When I was just a little ghoul … in 2012 and Drunken Zombies two years later, and shared stages with the likes of The Meteors, Demented Are Go, KoffinKats, Blitzkid, The Other, and BananeMetalik to name just a few. Set to uncage their live ferocity on the UK this November, the band whets the appetite and scars the psyche in anticipation with the Undead Artists Records release of Apocalypse Boobs.

drhrll art_RingMasterReviewFrom its melodic Intro, the album leaps at the senses with Dead Girl with hungry riffs and swinging rapier like beats on the frontline. Swiftly led by the growling tones of DanDan Delirious, band and song career through ears with contagious punk/hard rock revelry and though there are no major surprises it is irrepressibly addictive and soon gaining full and eager listener involvement before Hate launches its more venomous and fiery tirade. With a touch of Frankenstein Drag Queens From Planet 13 to its irritability and raw trespass, the track binds ears with a toxic groove as again the rhythms of bassist Ina Insanity and drummer Mike Maniac growl and bite respectively.

Both tracks spark an eager appetite for the album’s assault and each is quickly eclipsed by the riotous stomp of Zombie Zoundz. With a whiff of The Sweet like seventies glam and the invasive predation of The Damned to its character, the track stalks the imagination around unbridled bouts of virulent aural voodoo resulting in a track for which lustful participation is a given.

Shrunken Heads is just as irresistible next, opening with heavy metal bred grooves around rockabilly riffs which only increase their and the song’s potency with every passing second of catchy enterprise. As in its predecessors, the song has a chorus ripe with contagion while guitarist Podo Panic entangles it in greed sparking melody sick flames throughout. As impressive as it starts, the album is at its pinnacle over the two tracks and only reinforces the point with Wasted Horror Punkrock Princess and a caustic punk brawl resembling a mix of Angelic Upstarts, Blitzkid, and Turbonegro with just a touch of Madball to its inescapable catchiness.

Completed by the anthemic incitement of Zombies in Town, another track as captivating in its antagonistic nature as its web of enterprising flavours within a rousing punk roar, Apocalypse Boobs  is primal rock ‘n’ roll to get loudly enthused over. As suggested it is not always the most unique proposal yet every track is pretty much distinct to Dr. Hell, igniting a lusty reaction and greed for much more; reason alone to stand in its bloodlust we say.

Apocalypse Boobs is out now via Undead Artists Records and @ https://bloodypunkrock.bandcamp.com/album/apocalypse-boobs

https://www.facebook.com/bloodypunkrock

Pete RingMaster 28/10/2016

Copyright RingMaster: MyFreeCopyright

Raizing Hell – Monsters Prefer Blondes

RH_RingMasterReview

If you have found the ground rumbling under foot in recent weeks, it is not the earth in rebellion but the dead rising to join the living in descending on the long and eagerly awaited second album from Romanian horror punk n’ rollers Raizing Hell. Providing devilish slices of graveyard boogie fuelled by punk rock attitude, Monsters Prefer Blondes is a carnivorous incitement from the crypt and quite irresistible.

Raizing Hell emerged in 2010, formed by vocalist/guitarist Liv Decay (ex-Howling Saints), guitarist Mr. Zombie, and drummer Oly Sinn. The line-up was soon completed by bassist Demented Vlash with the band laying down their live presence from 2011 and going on to share stages with the likes of Blitzkid, The Silver Shine, Tazmanian Devils, Fancy Dolls, The Argies, A Wilhelm Scream, Koffin Kats, Daily Noise Club, Orlok and the Rockin Ghouls, The Irradiates and many others over the years. Drawing on inspirations from bands such as Motorhead, The Plasmatics, Wendy O. Williams, Misfits, Nekromantix, Blitzkid, Demented Are Go, Horrorpops, and The Meteors, the Bucharest quartet soon evolved their own distinctive shade of horror punk which fuelled debut EP Psychoholics Unanimous in the December of that year and in turn provided a tasty part of the excellent Chainsaw Ballads split EP with UK bands Thirteen Shots and Trioxin Cherry via Psycho A Go-Go Records in 2013. First album Of Ghouls And Men was an even bigger attention grabber when released later that year; thirteen tracks which pushed the band into the full spotlight of the European horror punk and rock ‘n’ roll scene.

2014 saw Raizing Hell sign with the excellent Germany based label, Undead Artists Records, which quickly brought Of Ghouls And Men to a broader expanse of ears while last year the departure of Sinn, after the recording of their new album, brought the stick swinging corpse of Marky B. Morbid into the Raizing Hell mausoleum. Unleashing Monsters Prefer Blondes a couple of weeks back, Raizing Hell has not only provided a bigger and bolder slab of their horror gripped sound but also brought a real feel of their live energy and aggression to the recording and presence of the album. At times it borders on predatory and throughout is a constant blaze of contagious intensity coated with the organic rawness so many bands only manage to create on stage.

Raizing Hell Cover_RingMasterReviewIt all starts with I Like It Wrong and the resonating hefty beats of Sinn. Swiftly they are joined by tangy grooves with a hint of blues toxicity to their invitation. The distinctive tones of Decay are soon adding their dark flirtation and defiance to the mix too, her snarl climbing all over the virulent contagion of the hooks and grooves which are still working their temptation. It is a potent slab of rock ‘n’ roll with maybe few surprises yet making up for it with heart and attitude before Sold My Soul For Rock ‘N’ Roll saunters in with its punk ’n’ roll incitement. There is a touch of In Evil Hour to the song, an irritable hue which adds to the great blend of melodic enterprise and the grouchy snarling of voice and sound.

Two songs in and already it is easy to hear the fresh blossoming of the qualities and craft the band had already shown and the maturity and realisation of potential found in previous releases. I Am The Damned is quick confirmation as it eclipses its predecessors with its psychobilly swagger and flirtatious hooks. Vlash’s bass reveals its most cantankerous growl yet as it stalks the swinging lures of guitar and beats, a bestial essence echoing the edge in Decay’s otherwise clean and infectious tones.

Time Of A Killer Flies brings some delta blues scented enterprise to its robust and fiery body next whilst This Is It flirts with garage rock ‘n’ roll as it prowls of the senses to echo the creature crawling within its sci-fi themed narrative. As usual, Raizing Hell draw most on horror movies and dark tales for the lyrical seeds of the album, very often crafting their sound to echo and reflect the actions of the protagonists within their stories and here turning that first wave of stalking into a rabid devouring of ears and appetite by its finale.

Through the sultry Django-esque climate and landscape of The Sun Is Down, the band has the imagination as forcibly involved as the body whilst Dead Girls Don’t Cry kicks up a feisty stomp with its punk rock. The dark harmonies and lone whistling within the first of the two simply adds to a compelling theatre of guitar and rhythms while a tinge of folkish temptation lines the spicy veining of the second to similarly magnetic effect. Both are further examples of the new adventure and imagination in the band’s songwriting and sound, laying down new pinnacles within the album for a success soon matched by the smoky dark seduction of Trouble where Decay is the kind of temptress you know you should escape but cannot resist.

I’m Not A Monster is a grizzly stomp of an encounter; one again maybe feeding expectations a touch but with a chorus impossible not to join in on as the body bounces throughout, it matters little as it leads ears to the equally captivating antagonism of I’m Not Evil (I’m Just Bad). The next song is appetite pleasing punkabilly with a whiff of Trioxin Cherry meets Midnight Mob to its thick pleasure giving; another energy rousing persuasion more than matched by both the excellent old school punk infested Braindead, a track spinning a web of punk and horror rock strands  from recent decades, and Killing Time. The last of the pair is the kind of romp which has the feet engaged almost before ears; commanding body and attention with scything rhythms and punchy riffs as the band vocally rouses the spirit.

Monsters Prefer Blondes is completed by its title track, a predacious tango again aligning an array of punk rock with further instinctive rock ‘n’ roll diversity. We always like an album to end on a bang, and this anthemic infestation of ears and the passions certainly provides. As for Monsters Prefer Blondes the album, it provides a rich and thoroughly enjoyable blood soaked rebel rousing with adventure and creative fun. It is high time that Raizing Hell is recognised by the broadest rock ‘n’ roll spotlights; this album just might be the key lure. If not it is only a matter of time.

Monsters Prefer Blondes is out now via Undead Artists @ https://undeadartists.bandcamp.com/album/monsters-prefer-blondes

http://www.raizinghell.com   https://www.facebook.com/Raizing.Hell

Pete RingMaster 10/05/2016

Copyright RingMaster: MyFreeCopyright

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Lupen Tooth – Strawberries & Cream

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Whether escaping a dank graveyard or bred within the toxic touch of a silvery full moon, Lupen Tooth is a proposition which once bitten by their horrorpunk ferocity, swiftly becomes a ravenous and lingering incitement. Certainly that is the case with the UK trio’s new EP Strawberries & Cream, five tales of corrupted flesh and demonic seductions making up a devilish and magnetic assault of punk fuelled rock ‘n’ roll.

Hailing from Bristol, Lupen Tooth consists of bassist/vocalist Tommy Creep (also owner of indie label Graveyard Calling), guitarist Klum, and drummer Nick Naylor. Their sound seemingly draws on inspirations from the likes of Misfits, Crimson Ghosts, and Blitzkid but also recalls essences of older schooled punk rock which is in many ways where the band stands out from the horrorpunk crowd. Essences of bands like The Ramones and The Damned hint throughout their songs, never an over powering suggestiveness but colluding with the band’s own raw sound and horror fuelled invention to create something organically compelling. It starts from the opening track of Strawberries & Cream, increasing in potency and enticement with each passing song until ears, imagination, and psyche are infested and consumed.

a0506917967_2    Opener Coffin Pallor instantly leaps at ears with a muscular bassline, concussive beats, and abrasing riffs. It is an imposing entrance only given greater force by the dual vocal assault of Creep. Their tones are vibrant yet solemnly monotone, a great mix as cold as the air circulating the track’s narrative and as addictive as the anthemic drive of the song. The bestial bassline from Creep prowls and flirts deliciously with the sonic flames coming out of the strings of Klum’s guitar, whilst everything combined brings small thoughts of US punks The Panic Beats.

The harsher heavy metal breeding of Moonlight Fury erupts next. Driven by the wolf inside, the song is soon a volatile punk stomp creating a dirty and magnetic stalking of ears. It does not quite have the spark of its predecessor for personal tastes, but still tears through the senses with a pleasing abrasiveness which triggers greater passion once it dips into a primal passage of bass sculpted and sonically infused preying of the senses. The track keeps the earlier installed appetite for the release fully engaged before Zombie Doll crowds and preys on the listener with its earthy riffs and brooding rhythms. It also just misses the final factor compared to the first and following songs in majorly igniting emotions but with a great caustic lure of vocals amidst stabbing beats it has satisfaction full.

The EP kicks up another gear with Bury You Deep, a psychotic romance engaging the imagination with a torrent of ear scrubbing riffery and an intimidatingly predatory bassline. Its chorus is simplicity but inescapably addictive, Misfits again coming to mind, whilst the rhythmic and sonic threat of the encounter worries and bruises the senses with horrorpunk rabidity.

The release ends as it started with another gripping peak and a track centred round a death inviting casket. The Coffin Is My Home which from its initial minimalistic vocal and guitar coaxing becomes a snarling and fiercely simmering rage of hostility and creative predation. It is a thoroughly thrilling enticement, with a prime hook within the verses which reminds of a well known classic punk offering but so far has irritatingly defied recognition. Maybe it is our imagination but nevertheless it only adds to the bewitching bait on offer from the best track on the EP.

There is no sweetness with Strawberries & Cream it is fair to say but plenty of mouth-watering and highly enjoyable horrorpunk bloodlust. Lupen Tooth is not a band to provide seducing flights of melodic beauty or thought involving technical intrigues, but for raw and honest, not forgetting instinctively exciting hell bred rock ‘n’ roll, they are a great soundtrack to your nightmares and horrific deeds.

The Strawberries & Cream EP is available now digitally and in various CD packs @ http://lupentooth.bandcamp.com/

https://www.facebook.com/lupentooth

RingMaster 23/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

Mongrel – Evolution

MONGREL - Evolution - front cover - scaled

Towards the end of last year US punk metallers Mongrel released the single Snakes to provide a very appetising taster for their next EP whilst simultaneously reconfirming themselves as unique and passionate provocateurs of antagonistic punk rock and dirty metal. The band now unleashes that highly anticipated Evolution EP, a release which surely places them on the precipice of a well-deserved intensive world spread spotlight. Sealing a spot on an impending cover mounted CD of the renowned Terrorizer magazine as well, The Boston quartet are poised to make the next big step in recognition. It is an ascent their releases have threatened to spark for the past couple of years but it is easy to feel and expect that Evolution will be the potent fuse that achieves the breakthrough.

Formed in 2003 by guitarist Adam Savage, Mongrel has earned themselves the reputation of one of the hardest working and increasingly acclaimed bands in the underground of metal and punk rock. Each one of their releases has thrust the band on another lofty step though it was the addition of vocalist Jessica Sierra in 2010 where things truly clicked into place and the arguably dormant fire in their already impressive sound and presence erupted. From The New Breed of Old School EP of that year through the following Declamation EP in 2011, there was a new potency and venom on the grooves, hooks, and rhythms which core Mongrels’ invention. Alongside these successes the band live has earned a reputation most bands could only dream of, their sharing of stages with the likes of GWAR, Korn, Otep, Sepultura, Prong, Halestorm, Wednesday13, Fu Manchu, Dizzy Reed, Misfits FEAR, Blitzkid, Trashlight Vision, Michale Graves, Mindset X and hordes more garnering tides of fans and recognition. The Reclamation album of 2012 saw the band ascend to new heights in songwriting and imagination which now Evolution pushes further forward. Recorded with Jim Foster (POD, Nullset, Sully Erna), mixed by Dave Fortman (Slipknot, Evanescence, Godsmack), and mastered by Howie Weinberg, (Metallica, Nirvana, Soundgarden, Pantera), the EP is a stirring anthemic brawl which is as contagious and addictive as it is raw and lyrically uncompromising.

Snakes opens things up and as soon as the initial controlled blaze of guitar from Savage hits the ears there is a sense of impending infection which is soon confirmed by the crisp beats of drummer Mike Hogan and even more so by the riveting vocals of Sierra. With the pulsating bass groan from Michael Ariza added to the mix, the song is rapidly into a potent stride heading towards its virulently compelling chorus. The band takes little time in enslaving the imagination, treating it further with a seamless drift into a smouldering sultry passage with emotive guitar rubs and a glow to the voice of Sierra, a lady who seems to own ears, thoughts, and songs whether she is roaring with antagonism or seducing like a temptress. Building up its energy and passions throughout the lighter flight, the song creates a dramatic crescendo of a finale which leaves appetite licking lips and emotions looking at a lustful hunger.

Mongrel have a certain distinct sound which never deceives its source but within that the band with Evolution seems to be exploring their punk side this time around, the first song giving a major hint which the following Oxygen Mask elaborates on within a still heavily insatiable metal toxicity. An acidic groove hits ears first, though rhythms and a great gritty bassline is courting its coaxing. Pulled together by the commanding vocals, the track twists through a predatory intensity and gait, Savage spearing the air with metallic vines of sonic bait. Persistently turning with singular moments for the bass and guitars to flirt with ears, the song recalls essences of Siouxsie and the Banshees, certainly if they had embraced metal. Imposing but respectfully forceful the track backs up the immense start easily even if without matching its heady heights.

That first plateau is equalled by Consumed; a deliciously abrasive enticement of caustic hooks and senses burrowing grooves. Guitars worm under the skin within seconds with rhythms swinging punches soon after, the combination a hungry platform for the dark hearted bass sounds and rich vocals to colour their canvas. Unleashing a swagger to match the almost brutal energy, the song stomps with epidemic irresistibility, those spiteful grooves especially inescapable whilst sonic hues sculpted by Savage in an engrossing solo provide further rigorous colour to the outstanding incitement.

Best Revenge has the hard task to follow the triumph which it does with a rawer hostile punk enticement, the bass finding a carnivorous throat to its presence and the guitar a combative attitude to its riffs and squalling flames. Once again though it is caged by great controlled rhythm work by Hogan and led by the expressive might of Sierra. The track is not as immediate as others on Evolution but emerges as another pinnacle with punk nostrils flaring and metallic muscles challenging.

The release is concluded with another sizeable success with the riotously catchy Over And Over. An addiction forging bassline sparks ears first before riffs and rhythms cascade upon the lure to build a rampant canter of punk rock. Hooks and grooves from both stringed antagonists grip with a constant temptation whilst Sierra swings syllables and intent into their barbed scenery with the expected but never under-appreciated skill and passion she brews. It is an exhilarating conclusion to a tremendous encounter, leaving ears, thoughts, and passions bursting with greed for more.

Guiding their sound to a side step in many ways from that taking Reclamation to such heights, Evolution stands side by side with its predecessor’s undoubted success and quality, though with a heart for well-crafted punk rock if pushed the EP shades it. What is clear for all though is that Mongrel just goes from strength to strength whilst evolving with a constant flair and voraciously appetising enterprise. It really is about time the band was known worldwide and Evolution might just be the trigger.

Evolution is available on iTunes on May 20th and via all major online retailers and streaming services from June 3rd with physical copies available through Mongrel, Unable Records and Amazon.

http://www.MongrelBand.com

http://mongrel.bandcamp.com

9.5/10

RingMaster 16/05/2014

Copyright RingMaster: MyFreeCopyright

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Mongrel – Snakes

Mongrel

The first release since the outstanding Reclamation album of 2012, US punk metallers Mongrel unleash their new single Snakes and continue to set new standards for themselves and aspiring rock/metal bands. Taking from their upcoming Evolution EP which is slated for an early 2014 release, the new track employs all the renowned and expected inventive and addictive aspects of the band but gives them a new fire to burn explosively within further exploration from the band and their songwriting. As anthemic and contagious as you would expect from the Boston quartet, Snakes reinforces the hunger of their fans for their bruising, riotous sounds whilst laying down plenty of bait to recruit new greedy hearts.

Formed in 2003 by guitarist Adam Savage, Mongrel has over the years evolved into a highly sought after live band and a formidably potent studio encounter with a wealth of releases strikingly marking their steady and continual rise. Since forming the band has laid waste to stages alongside the like of GWAR, Korn, Otep, Sepultura, Prong, Halestorm, Wednesday13, Fu Manchu, Dizzy Reed, and the Misfits numerous times as well as touring with others such as FEAR, Blitzkid, Trashlight Vision, and Michale Graves, all the time continually drawing acclaim. Equally from the start their releases have lit up the passions of fans as well as the independent airwaves, the band a regular on the likes of shows at http://www.Audioburger.com and The Bone Orchard podcast, but it is fair to say that the full potency and heart of the band exploded when they enticed vocalist Jessica Sierra into the fold, her snarling vocal beauty igniting something lying dormant in the band with previous frontmen. Through The New Breed of Old School and Declamation EPs on to Reclamation, Mongrel has grown and evolved into an intensive and magnetic force which Snakes only elevates further.

The single wastes no time in tempting the ears as the guitar of Savage skilfully strokes the extremities with his inviting riffs, its call soon a0370760246_2joined by a pulsating bass call from Michael Ariza and the crisp beats provided by drummer Mike Hogan. Settling into an open temptation, the power and thrust of the song is taken up another level as Sierra punches the lyrical intent forcibly and melodically into the imagination. All the while there is a reserved but persistent groove which wages seduction upon the senses throughout the song, it enticing greater passion and hunger from the listener and it is fair to say that at this point the single has submission already in its hands. This is not enough though it seems as the instigator then shifts seamlessly into an evocative and intimidating yet smouldering flame of sonic endeavour and emotive persuasion which has the band pushing their boundaries and ideas without losing their core energy and intensity. The moment is brief but potent and makes for a building step for the final adrenaline lit finale. There is a certain pop punk element to Snakes which arguably has not appeared before with Mongrel and it is a refreshing move brought with craft and adventure which avoids eroding any of the band’s confrontation and  inciting invention.

It is hard not to be excited and full of impatient anticipation for the Evolution EP thanks to Snakes, but the wait will be relatively short and the single ensuring the time is well fed with its incendiary exploits. A name your own price release at Mongrel’s Bandcamp profile, the single is the perfect invitation for those new to one of metal’s best ‘undiscovered secrets’.

http://www.mongrelband.com/

http://mongrel.bandcamp.com/music

10/10

RingMaster 29/10/2013

Copyright RingMaster: MyFreeCopyright

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Shriek: Self Titled

Shriekgloss

The undoubted bastard sons of one unholy union between Misfits, The Ramones, and Calabrese with The Damned looking on with hellish mischief, US horror punk band Shriek is a band where once bitten by their insidiously infectious sounds a feverish addiction is inevitable. Such is the potent reaction after being devoured by their self-titled album, a release giving a fresh snarl and contagion to recognisable yet fully invigorating rampages of horror.

From Cincinnati, Shriek formed in December of 1998 to follow The Vladimirs as the only successful horror rock band in the city. As the band built a formidable reputation for their blistering live performances and riotous death drenched songs the band went from being a trio to expanding into a quartet and then back again whilst continuing to build a devoted fanbase and recognition in the state and further afield. A brief hiatus occurred in 2004 before the band returned a year later with more changes before their most recognisable line-up of band founders vocalist/guitarist Greg Gallows and bassist Ryan Stone alongside guitarist Josh Thompson and drummer Steve Cox emerged in 2008. The departure of Stone in 2012 was the last change and in many ways a new era for the band with Sean Sleaze coming in on bass whilst Derek Dargum also joined to add his guitar skills.

The intro Enter At Your Own Risk opens the door to the album with expected menace and foreboding , its slow crawl guiding one 542617_372689272812738_338466580_ninto the shadows and hungry energy of Corrupting the Youth (with the Truth). An urgent punk riot of thumping rhythms and enjoyably grazing riffs, the track is an immediate anthemic lure with the vocals of Gallows an addition temptation to join the cause vocally and with feisty limbs.

From the irrepressible start tracks like the stomping Walk Again and the ravenous Vampire with its classic metal whispers grip the passions with their arguably traditional horror punk claws whilst the psychobilly seduction brought by Back from the Dead enflames the ear to spark an additional ardour with its melodic flames and slightly lumbering gait. It would be honest to say the album does not offer anything openly new for the genre but there is no doubting its accomplished and impressive sadistic charms which sets the band apart from the majority of horror punk bands.

Into its stride the album continues to impress and gets better deeper in to its mausoleum of fun you go. As thrilling and inviting as the release is heading into the core of its heart it reveals with relish even greater triumphs in its latter half starting with My Girlfriend’s a Zombie. With the guitars tightly reining in their energy to offer a fire of sonic compulsion and the drums thrashing the ear with enthusiasm the track is another catchy temptation for the listener to add their companionship in voice and limbs to, though to be fair each and every song achieves that submission. The song is immediately followed by the best song on the album, Lycanthrope. The song is immense, a storm of savage riffs and equally threatening rhythms undermined by the sheer addictive call of the chorus. Combined it is a virulent persuasion which rivals anything the Misfits have offered over the past couple of decades.

Freddy’s Dead has a stronger punk voice to its malignant scourge which for its brief minute and a half coursing through the ears with a predatory breath whilst the necromantic love song Closed Casket Romantic is a smouldering blaze upon the senses with an uncomplicated decayed emotive caress. Both tracks add further pinnacles to the deeply enjoyable release soon accompanied by the enthralling bruising enticement of Haunted House to leave one in a flush of ardour and invigorated satisfaction.

The band saves one final impressive high with Night of The Creeps, a track which sounds like Danzig in an invasion of the soul with Blitzkid and Necromantix. It is a rabid coating of abrasive energy and once more submits an irresistible entrapment of the senses and heart through its anthemic chorus and serpentine hooks.

Shriek is a band which certainly through their album, does not take long to recruit the passions to a long term agreement with their rampant sounds. The release is one of the most exciting and pleasing horror punk releases in a long time and the band a sure soundtrack to your richest nightmares.

Website               http://shriekcreeps.com

https://www.facebook.com/shriekhorror

8.5/10

RingMaster 10/03/2013

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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.

https://www.facebook.com/SPOOKENSTEIN

RingMaster 16/01/2013

Copyright RingMaster: MyFreeCopyright