Autopsy Boys – Return of the acid casualty auto humans

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After tenaciously grabbing ears and imagination last year with their mischievous invention and punk bred sound through the singles No Ambition and Song For Debbera, electro punk miscreants Autopsy Boys are poised to release their eagerly awaited new album this month. We call the band electro punk but as their fans know and the upcoming Return of the acid casualty auto humans shows, the British quartet’s sound has more distinct styles and textures than a high street boutique. New wave, punk, horror punk, industrial rock, metal…the list goes on to the flavours making up an album which has the creative devilry and mischief of a Saw movie and the relentless hungry adventure of a computer game.

Formed in 2011 by vocalist/keyboardist Lee Brunskjill and bassist Gary Hargreaves, who had already been making music together from 2006, the Leeds hailing Autopsy Boys stepped into the light when the founding pair were asked to open local hard-core punk and heavy metal all day event Beefstock IV. Recruiting friends for the supposedly one off moment, the band simply continued to play and create, with guitarist Alan Laird and drummer Sam Shelton (who recently left to be replaced by Billy James Mitchell) subsequently linking up with Brunskjill and Hargreaves. The following time also saw the earlier post punk inspired sounds of writers and band move into a hardcore punk arena of sound whilst still infusing the healthy revelry of synthesizers and samples into their horror movie/gaming inspired themes.

Singles like Rich Kids Playground/ Negative 8 and Crushing On Cynthia sparked increasing attention the band’s way as too debut album Def Elements in 2012. For all their successes though and that found by both No Ambition and Song For Debbera, the twenty one hefty Return of the acid casualty auto humans is looking like being a whole new ball game for attention and reputation. From start to finish, the album is a maelstrom of diversely flavoured and feverishly explosive tracks sure to ignite the buds of anyone with a taste for electronic, punkish, and bruising confrontational incitements.

Artwork by White Dolemite

Artwork by White Dolemite

Curated by Canadian actress/film director Debbie Rochon, Return of the acid casualty auto humans has attention quickly gripped; The acid test featuring Johnny Violent providing a brief intro with dark threatening shadows to its portentous coaxing on the way to turning into the rousing exploits of 27.8.89. With Blag Dahlia, who we are assuming is indeed the front-man of mighty punk band the Dwarves, the second song opens with an infectious electro rock tempting around steely riffs and firmly landed beats. Becoming more imposing as atmospheric keys collude with dark rhythms but never breaking its catchy intent, the Hadouken! scented song has appetite keen and ready for the fiercer proposition that is Just dance with me. Punkishly irritable and atmospherically sinister, the track quickly badgers and stirs up the senses with a hardcore seeded stomp carrying just a whiff of The Dickies to it.

As strong and heftily pleasing as the album is so far, I’m gonna kill myself lays down a certain pinnacle next. From Hargreaves‘ grievously throaty bassline to the intimidating fusion of vocals and belligerent riffs, it has body and emotions thickly involved in its punk rock challenge and lyrical adventure. Psych rock keys simply add to the raw and vibrant fun as the track reveals just some of the array of flavours fuelling the album.

The band’s early post punk style is still an element which has its say at times and Summers over makes riveting use of those textures with its nagging bassline and steely presence before erupting in a senses scorching crescendo. Like Artery on acid, the song is increasingly captivating just as the old school punk blessed Breakfast at retro Betty’s boutique which gets even more antagonistically incendiary as guest Al Skull adds to the contrasting vocal and sonic trespasses.

Through the power pop/grunge rock coloured STRAWBS! and Song for Debbera, the album demands attention, the first of the two uncaging virulent rock ‘n’ roll with the pugnacious nature of a street brawl. Its successor, with Rochon providing another great entrance to a song, is a contagious electro pop canter with an eighties new wave spattering of noise and bait hinting at bands like The Normal and Inca Babies. Both tracks keep pleasure full, though they soon get eclipsed by the muggy intensity and predacious character of  the excellent Lotti will conduct the same experiment on several different humans and in turn the similarly raucous and bracing Denton ward honey trap. Both tracks are simply shots of punk adrenaline giving the appetite more to be greedy over.

The chase scene provides a dance-punk /r&b infused distraction next; featuring Junior Bear and Debbie Rochon, the song is a lively eighties toned stroll which again enjoyably takes album and sound in another pleasing direction if without quite stirring up the instincts as powerfully as We’re gonna need more bodybags. Visceral in tone and punk ‘n’ roll predation, the song’s blending of metal, hardcore, and electro punk voracity has the body bouncing and energies exhausted by its close leaving Agoraphobia to exploit all with its own frantically bruising and anthemically inflamed incitement. There are numerous pinnacles to the heady landscape of the album, this an unmissable one immediately followed by another in the glorious Level 7: Compulsive. Basking in the involvement of Leeds duo Petrol Bastard, the track goes for the jugular from its first breath; weaving every strain of punk into its own hellacious addiction for ears as its punk irritability and addictiveness provides the canvas for the grin inducing vocal prowess and devilment of band and guest.

The album is at its fullest height now, the past trio of treats matched by the psychotic drama of Every good sitcom gets cancelled after the pilot where Brunskjill seems to have been stuffed down a drain pipe to present his narrative whilst around him a tempest of rock ‘n’ roll boils over as an even more deranged than normal Cardiacs like kaleidoscope of insanity flirts with the imagination.

Lusty reactions continue to be stirred by the Rochon introduced Bubblegum where the guest vocals of Rebecca Lindley especially light up ears within more robustly tenacious endeavour. There is equally no relaxing of appetite and eagerness for Cigarette burns which follows with Al Skull again on board. Though carrying a feel of Peter and The Test Tube Babies and The Adicts to its raw punk storm, keys and the Autopsy Boys ingenuity only twists it inside out to forge another fresh infestation of the senses before the electro punk pop stroll of Every little thing has hips and emotions swinging.

The gentler but no less attitude loaded electronic proposal of Disco for psychopaths steps up next, its creative wares leading to nothing less than unbridled satisfaction. It is a success quickly matched by Town full of microdots and its hungry torrent of hardcore belligerence and rhythmic animosity with Al Skull back again to add to its ravenous snarl, and indeed the melodically acoustic and rabidly frenetic stalker that is Totally obsessed with you which brings the album to a devilishly magnetic close.

With so many tracks there was the fear even as a long-time fan and player of the band’s songs on our podcasts, that Return of the acid casualty auto humans would be a collection of undoubted triumphs but also a few fine but inescapable fillers. From start to finish though, there is no weak link or a song seemingly thrown in to make up the numbers. The album’s strong start just gets bigger, bolder, and more irresistible song by song with, of course particular moments which really ignite personal tastes along the way.

So come the end of the month, we suggest you go treat yourself to an album certain to ride high on many end of year best of lists. Did we mention that the album is to be released by the band as a free download too, with a CD and vinyl release at a later date; as their music might suggest, the band must be mad!

Return of the acid casualty auto humans is released 30th April as a free download via  https://autopsyboys.bandcamp.com/

http://www.autopsyboys.com   https://www.facebook.com/autopsyboys/   https://twitter.com/autopsyboys

Pete RingMaster 04/04/2016

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Autopsy Boys – Song For Debbera

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Listening to the Autopsy Boys always sparks thoughts of the film Re-Animator, probably not particularly surprising when the bands own passion for horror movies and their inspirations songs is so open, but why pretty much always that particular Stuart Gordon offering is hard to say. The same has happened with the British synth punk’s new offering Song For Debbera, that and the equally recurring sense of rich enjoyment. Another stirring fusion of synth pop and horror punk, the song manipulates the body and teases the imagination with its nostalgia meets modern tenacity roar of contagion. In some ways it is a single out of its time but equally a rousing twenty first century incitement which might finally open doors to the kind of spotlights the band is long overdue.

The band was formed in 2011 by vocalist/ synth player William Brunskjill and bassist Gary Hargreaves, the pair infusing inspirations from 80’s TV and horror movies, especially bad B-movies, into an emerging sound influenced by bands such as The Dwarves, Germs, TSOL, and The Queers. With a collection of songs and motivated by encouraging words from favourite band The Dwarves, the pair left their jobs and enrolled on intensive music courses to gain entry into Leeds Music College. A buzz amidst increasing online support gathered around the band through tracks they had posted, they leading to a live gig at a Leeds based music festival which in turn led to attention from a local record label. Deciding to do things DIY though, the band proceeded to record and release debut double A-sided single Rich Kids Playground/ Negative 8 in their own hand built studio, its success and that of first album Def Elements in 2012, waking up thicker and increasing attention in fans and media alike.

cover_RingMaster Review   Subsequent singles Crushing On Cynthia and recently No Ambition which came out earlier this year, continued the ascent in reputation and sound of Autopsy Boys, though each is now outshone by Song For Debbera. The single is the start of big things for the band. It is the debut song from their upcoming second album Revenge of the acid casualty auto humans and the first of five singles which will be accompanied by music videos depicting a chaotic 24 hours in suburbia, they being endorsed and distributed by B-movie legends Troma Entertainment.

Song for Debbera is curated by Canadian scream queen Debbie Rochon, a big fan of the band herself. Her introduction on the single brings a great Tales of The Crypt like coaxing to the emerging contagion of spicy hooks laid down by the keys of Brunskjill and guitar of Alan Laird. The song soon settles into a lively predatory stroll with electro bait bouncing off the crisp beats of Sam Shelton whilst the dark hues cast by Hargreaves’s bass shadow the distinctive vocals of Brunskjill. The flowing infection only ingrains itself deeper as a classic horror hook winds its way across the sinister landscape and punk infused energy and enterprise springs its trap within the already inescapable lure of the song. At times there is a feel of seventies bands The Normal and Naked Lunch to the encounter, in other moments Calling all Astronauts and Rabbit Junk; these all spicing another individual synth punk escapade ultimately unique to Autopsy Boys.

Things are certainly looking up for the band with Song For Debbera also set to be a bonus feature on Debbie Rochon’s latest movie whilst Autopsy Boys is to appear on VHS Massacre, a documentary about the decline of video nasties and physical media. Their biggest key to major things though just might be this one irresistible song ahead of an already highly anticipated album.

Song For Debbera is out from October 2nd via Underdogz Records.

http://www.autopsyboys.com/   https://www.facebook.com/autopsyboys    https://twitter.com/autopsyboys

Pete RingMaster 02/10/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Autopsy Boys – No Ambition

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It is not often you can describe synth pop as predatory or unhinged, but that certainly is how it comes in the hands of UK rockers Autopsy Boys. Their sound is much more than electro based festivity though, the Leeds trio dragging it through the sinister landscapes of horror punk and the raw antagonism of old school melodic punk. The result is a continually infectious and unpredictable proposition no better presented than with the band’s new single No Ambition. Taken from debut album Def Elements, the song is an epidemic of raucous rock energy and anthemic electro devilment, and quite irresistible.

The birth of Autopsy Boys came to pass in late 2011 when vocalist/ synth player William Brunskjill and bassist Gary Hargreaves united to create a post punk outfit using drum machines, synthesizers and the occasional guitar. The pair grabbed inspirations from 80’s TV, horror movies, and gaming for their unique ideation and emerging sound, a flavour which has evolved over time as a rawer punk confrontation influenced by bands like The Dwarves, Germs, TSOL, and The Queers was added to the mix. The band’s album and singles like Crushing On Cynthia has already awakened a hungry and eager appetite for the band’s uncompromising yet rigorously alluring sounds, a persuasion only reinforced by No Ambition and a brand new track accompanying the single.

     No Ambition courts ears with a spatial spattering of electronic spices initially, the lone guitar of Alan Laird adding to the evocative introduction before female vocals add their potent bait. It is all an appetiser to the main thrust of the song which erupts swiftly as Brunskjill flirts with his distinct punk seeded tones amidst a restrained yet feisty tempest of rugged riffs, spicy melodies, and anthemic energy. The song is electro rock at its best but also offers new strains of intoxicating imagination and feet inciting tenacity to set it apart from being just restricted to one style. It is a sure hit for the dance floor and a forceful provocateur for any crazed exploit of body and emotion.

The track is an enslaving treat but greater excitement comes with the brand new track Double Transgretion Theory which provides the B-side. It immediately shows itself to be a rawer more caustic proposal as a heavy smoulder of guitar encases the senses with just a punch of rhythms for company. Subsequently a blast of caustic air blows through, the trigger for a brawl of punk rock soaked rioting. Vocals shout and entice as guitars and rhythms rampage through the ears, their magnetic incitement the thrilling roar to which a riveting dark hearted bassline and dazzle of electronic temptation supply their thick enticements. The track is an outstanding voracious turbulence in sound and devilry, punk rock with a ferocious tail wind and quite delicious.

If the second song is a taster of things to come, and No Ambition as we know already the might of the Yorkshire band right now, it is hard to imagine anyone not losing their inhibitions, heart, and indeed some body fluids to Autopsy Boys.

No Ambition is available now via Underdogz Records on digital download and 7” green vinyl @ http://autopsyboys.com/shop

http://www.autopsyboys.com/

RingMaster 29/01/2015

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