Wanton – Harmageddon Get-Together

After their recent introduction as the newest member of the Undead Artists family though the label’s compilation album Monster Mash-Up, we had real eagerness to check out the new album from Finnish psychobilly outfit Wanton. Their track was a potent teaser to their forthcoming second album, but only hinting at the bloody fun and raw adventure which was discovered within Harmageddon Get-Together.

Hailing from Rauma on the Finnish west coast, Wanton infuse a healthy dose of punk and instinctive rock ‘n’ roll in their psychobilly bred sound, a mix giving it a strain of individuality which sparks the imagination. and creates the visceral captivation cast by the Häiriö Piirinen recorded and Toni Randell mixed and mastered Harmageddon Get-Together. Wrapped in the artwork of Saara Jansson, the album casts its horror bound Intro before hitting the ground running with Fun ‘n’ Gore. With swinging beats from Eetu Ritakorpi aligned to the plucked throbbing of Santeri Toivonen’s double bass, the track is swiftly into its darkly aired stroll with swagger as compelling as the suggestive melodies and scything riffs from the guitar of Oskari Nieminen.  There is no escaping the predacious tone of the song, its gait never forceful but more a stalking of ears as the grisly growl of vocalist Santeri Kero prowls. Even so, its catchy swing is openly lively and persuasive, leading ears to a truly seductive chorus and more flirtatious enterprise. Like a mix of Demented Are go and Zombie Ghost Train, it is an irresistible full start to the album quickly matched by its successor.

Censor This! is just as tenacious and catchy, Toivonen driving the temptation with his resonating strings as a rockabilly seeded guitar jangle courts the vocal growling of Kero. It is an easy going and simple to get involved in roar leaving a lingering snarl even as the excellent theatre and rapacious intent of Bump In The Night brings its ghostly haunts to bear on ears and imagination quickly after. Shadows line its corners, infection its vaunt as body and spirit bounces to its eager twists and turns. Nieminen’s guitar again spins a web of intrigue and melodic adventure, keys just as keen to toy with the senses as they spook the atmosphere.

DAG again comes to mind as 21st Century Haunting stomps through ears next, riffs and grooves compelling incitement within a web of imagination before Town Of Nihilo serenades with its suggestive caresses. Of course that initial smoulder is soon a feisty blaze as riffs and rhythms escape their restraints. Throughout the song they are caught and escape again and again as the western air of the song coats the senses with its sultry embrace.

There is a touch of cowpunk to next up Cyanide & Arsenic too, the song featuring a duet between Kero and an unknown but seductive female companion. It is like a bend of The Hillbilly Moon Explosion and The Only Ones when vocalist Peter Perrett dueted with Penetration front woman Pauline Murray and quite captivating, charming ears ready for the rhythmically skittish and hungrily infectious Meteors scented Scare Tactics And Human Frights. As in all tracks, Wanton soon sculpt their own creative character, an identity subsequently turning the outstanding Hyde into an insatiably addictive proposal with Ritakorpi ‘s anthemically stabbing beats and Toivonen’s pulsing riff the virulent heart to the enticing tangle of varied guitar and vocal devilry.

From one big highlight to another as Dystopia romps and rumbles with riotous intent and contagious endeavour straight after. It carries all the ingredients and zeal to ignite instincts and revitalise the spirit; psychobilly to leave the body and soul uninhibited. It is a prowess just as impressively found within the raw mouth-watering quick step of Second Coming and the passions nagging rockabilly bred Front Row Ticket. Imagine The Comets under the leadership of P Paul Fenech and you get a sense of the joy found in the latter alone.

Drama and attitude fuel the escapades of Vendetta next, where melodies and grooves are just as dangerous as the rhythmic and vocal trespass enslaving the appetite, while Infected is a corpse strewn infestation of senses clipping beats, brooding basslines, and sonic clang, all dripping decay and raw temptation as putrefied raw vocals scowl. Both are a trespass to devour and on their own a reason to declare Harmageddon Get-Together is a must.

The album’s fine conclusion is provided by the cleaner cut presence of The End; a warm and seriously enticing slice of boisterous balladry which may be missing some of the sparks of those before it but only leaves behind a lingering greed for more.

Psychobilly is blessed with some truly exciting potential loaded bands at this moment in time but, such the mighty assault of Harmageddon Get-Together, it is easy to suggest that Wanton have stolen a march on them all.

Harmageddon Get-Together is released April 1st through Undead Artists with pre-ordering available now @ https://wantonpsycho.bandcamp.com/music

https://www.facebook.com/wantonpsycho/

Pete RingMaster 17/03/2017

Copyright RingMaster: MyFreeCopyright

Bad Luck Gamblers – Casino Maldito

bad_luck_gamblers_RingMasterReview

We are not sure how big the Brazilian psychobilly scene is but if Bad Luck Gamblers are anything to go by, it is a bold and raucously creative pasture. The trio from Sao Paulo make a riotously enjoyable taster for it with their new album, Casino Maldito, a stomping proposal sure to be a constant involvement in our playlists hereon in and inciting a greedy appetite to know and hear more of the scene it is bred from.

Formed in 2004, Bad Luck Gamblers infuse their psychobilly exploits with just as potent strains of rockabilly, country, and punk rock; it all entangling into virulent slices of rock ‘n’ roll in thrilling evidence on their second album. Its predecessor Don’t Bet on Us appeared in 2008; a well-received debut chosen by their homeland’s music magazine Rockpress as one of the top 25 Brazilian underground albums of that year. Equally live the band has increasingly impressed and whipped up a fevered fan base, sharing stages with the likes of Slim Jim Phantom, Frantic Flintstones, Mad Sin, AstroZombies, and Gorilla among a great many. 2010 saw Bad Luck Gamblers make their first European tour with shows in France, Holland, Germany, and Belgium playing the Sjock festival as part of their successful venture. Casino Maldito will ensure the band is keenly welcomed back over this side of the globe and that a great many more eager ears are aware of the threesome of vocalist/guitarist Joe Marshall, who we thank for bringing his band to our attention, slap bassist/backing vocalist Maniac Biffs and drummer Renan Pigmew.

The album’s title track kicks things off, Casino Maldito an addictive liquor of spicy grooves and flirtatious rhythms prone to fiery outbursts of tempestuous mischief. Vocally and with his invasive hooks, Marshall snares ears, the rhythmic dance of his companions equally as compelling as twists and turns come with salacious enterprise. Biff’s slaps are like a puppeteer for feet, Pigmew’s tenacious beats boisterous bait whilst combined the trio seize body and spirit with their devilish stomping.

artwork_casino_RingMasterReviewFrom the contagious mayhem of the opener, the album intensifies its temptation through Like a Bat. It uncages an even more intensive nagging of body and senses, its rousing persuasion and infernal swing cored by a delicious hook swiftly infesting the imagination and passions with vampiric hunger before 8% uncages its own attitude loaded roar. Like a mix of Demented Are Go and Zombie Ghost Train, the song has the body leaping eagerly in union with its own physical prowess. A cowpunk spicing just adds to the fiercely agreeable romp, the album getting better and bolder with every passing minute.

The darker threat of Terror Train is next; its carnally visceral character equipped with toxic grooves and predatory rhythms as well as a mix of melodically nurtured ingredients carrying a Batmobile lining to their seduction. The track is a snarling beast welcomingly preying on the imagination and setting it up for the tangy gasoline fuelled Rusty T-Bucket. The band discover yet another hook to drool over, bass slaps and swinging beats courting it’s tempting as Marshall vocally romps in the midst of it all.

Thylacinus Attack provides the instrumental suggestiveness all good psychobilly releases conjure, the guitar painting a picture as rhythms bounce before the country infused Somebody Stole my Pet Possum mischievously dances in ears with a grin on its creative face and straight after Drinking with the Devil strikes it’s sinister deal with the dark one in a melodic waltz of bedlam bred rhythms and an evolving landscape of fevered melody driven revelry and sultry seduction.

The variety in the Bad Luck Gamblers sound ensures the album is a bag of pleasing diversity continued in the wiry web of enterprise that is Shoulder Mount, a punk bred encounter with imposing rockabilly seeded riffs and raw surf hued melodies. As with all tracks, there is no escaping the freely given involvement of feet and hips with the track, a submission just as eagerly shred with closing track No Chips No Chicks, another cowpunk lined romp to get breathless over. The fact that its richly enjoyable presence is the weakest moment of Casino Maldito shows the quality and might of the album, the song bringing the release to a fine, greed sparking conclusion.

Casino Maldito is a must for all psychobilly/rock ‘n’ roll fans and Bad Luck Gamblers a band deserving the luck to bring them to global attention within the genre. Meanwhile we are off to explore what other treats lay within the Brazilian scene, come join us.

Casino Maldito is available now via Hot Jail Records @ https://badluckgamblers.bandcamp.com/releases

https://www.facebook.com/badluckgamblers/

Pete RingMaster 28/02/2017

Copyright RingMaster: MyFreeCopyright

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

Thee Infecteds – The Macabre Tale Of The Harlots Curse

art_RingMasterReview

Imagine Misfits meets The Meteors with the salacious touch of Demented Are Go and the thumping might of Grumpynators involved and you get a sense of the treat to be found within The Macabre Tale Of The Harlots Curse. The debut album from British rockers Thee Infecteds is a bloody stomp of garage punk and psychobilly; a slab of rock ‘n’ roll weaving its own distinct cavalcade of horror bred escapades from familiar and fresh creative cadavers in sound and enterprise, and one rather irresistible blood lust.

Hailing from Newcastle, emerging from its dark mausoleums this year, Thee Infecteds draw on inspirations from the likes of Johnny Cash, Eddie Cochran, Hank Williams, Link Wray, Wayne Hancock, Motorhead, The Meteors, Demented Are Go, and The Cramps among many sparks for their own rousing exploits. They are flavours which at times openly shape The Macabre Tale Of The Harlots Curse but only add to its swift attraction and lingering hold on ears and imagination.

Playing like an aural Tales From The Crypt, each song an episode of blood and death shown in a theatre from where exits “all go down”, the album gets down to business after the introduction of Feature Presentation with The Harlots Curse. With a great cavernous air to its atmosphere, the track opens on the steely riff of Anth Bundy’s guitar, it soon joined by the menacing kisses of Sean Sinner’s beats and further riffs alongside the intimidation of upright bass slapped by Ruby Morgue. It is a carnivorous proposal guided by the potent tones of vocalist Howlin’ Jimmy, he not so much a barker but a narrator to your demise at the whim of the song’s curse.

It is a rousing start quickly matched by the strolling swagger of The Razors Edge, the song a mix of catchy hooks and fifties rock ‘n’ roll guitar courted by the already irresistible presence of Morgue’s bass. Each plucked string is a dark conspirator for ears and imagination more than matched by the tangy enterprise of pick on string by Bundy and Jimmy’s straight to the point attack. The track is too brief but an unstoppable appetite pleaser before the adrenaline fuelled Creepy Crawler has its moment of attention swiftly sealed. With a bit of Guana Batz to the song, its stomps around with attitude and creative barbs which soon has hips swinging and feet bouncing, Bundy’s salty grooves additional pleasure as the song blossoms on its repetitive character.

Both Skulls and It’s Them! keep the album in top gear and pleasure unbridled, each embracing an unmistakable Misfits influence woven into their own highly addictive and virulently infectious guises before Intermission allows a momentarily breather for mopping up sweat and ice cream. Eager involvement is a given throughout the album but the pair demand and receive some of the most zealous with the second of the two leaving the body breathless.

Never Go To Heaven is a less boisterous incitement next, at least initially, it’s gentle coaxing all melodic seduction and strolling rhythms as Jimmy romps alongside yet one more riveting bass riff as it heads towards a tenaciously feisty shuffle. The track does not quite find all the sparks which ignite its predecessors yet still has voice and body hooked before moving over for the lusty enticement of Lay That Chainsaw Down. Hooks and riffs are an enticement which enslaves the senses and imagination with ease, all teasing within a rolling canter under the commanding guidance of Sinner.

The thumping beats and melodic lures of Happy Jack are also an entanglement impossible to throw off, unbreakable chains further provided by the delicious throb of bass while its thick success is only eclipsed by that of Your Love Makes Me Itch, a song which is pure slavery as its nagging bass rhythms and repetitious hooks play with and seduce the imagination. The song is a web of slimline strands of barb littered lines from all concerned, and a united weave which is as rich and thick in temptation as anything on this and many other genre similar encounters in recent times.

The dirty, dark, and destructive romance of True Love Dies brings the album to a close; a Gene Vincent meets P. Paul Fenech flirtation which just hits the spot dead centre before it is time to make for the Exit and the inevitable journey.

With a real lust for good psychobilly/horror rock incitements here our wants are demanding. The Macabre Tale Of The Harlots Curse delivers on virtually every level whilst providing one seriously rousing and enjoyable excuse to unleash the blood lust.

The Macabre Tale Of The Harlots Curse is out now and available @ https://theeinfecteds.bandcamp.com/album/the-macabre-tale-of-the-harlots-curse

https://www.facebook.com/theeinfecteds/

Pete RingMaster 13/10/2016

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

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

The Hillbilly Moon Explosion – With Monsters And Gods

THME_RingMasterReview

With a band like The Hillbilly Moon Explosion and a heavy clutch of ear thrilling and imagination gripping releases, it is hard to pick what might be the best. It is easy though to suggest that their new encounter, With Monsters And Gods is going to be right there as an option for most. The fourteen track stroll through their most eclectic and fascinating slices of rock ‘n’ roll yet is pure captivation. It stomps, it seduces, and rouses the spirit as it takes the listener on a magnetic escapade of creative fun, mischief, and imagination.

Returning to the local Swiss studio where they made their early rockabilly albums, The Hillbilly Moon Explosion have found a fresh edge and snap to their sound in whatever aspect it tempts from upon With Monsters and Gods. Vocalist/upright bassist and album producer Oliver Baroni recently said that the band wanted the album “to reflect the somewhat harder edge you get from the months on the road,” to create “a louder, more rock ’n’ roll album.” Fair to say they found success and more in an album which just seems to become more riveting and dynamic with every listen.

It opens up with the mesmeric In Space, a celestial romance of the senses with a disco beat and charm reminding a little of Blondie’s Autoamerican period. As exotic hues tease, the song evolves and blossoms into a sultry seduction with a persistence of nagging rhythms and surf rock scented melodic trails of guitar around Emanuela Hutter’s siren-esque tones. It is a hypnotic affair setting up ears and appetite for the adventure to come with Temptation next in line to live up to its title. Guest sax flames courtesy of Pete Thomas are soon licking at the imagination after an initial tenacious caress of guitar, their entrance lighting a lively stroll with celestial harmonies around the mariachi theatre provided by the horns of Calexico. As it swings and bounces, a ska bred flirtation adds to the persuasion too, just another twist and turn in the creative blaze of the anthemically outstanding and inventively cinematic track.

Depression throws the listener into a beefier rockabilly bred canter next; its riffs carrying a grouchy edge as Baroni’s bass and vocals swing with infectious enterprise. The scything beats of Sylvain Petite are just as catchy too, finding themselves bound in the spicily addictive grooves of guitarist Duncan James as the song provides a straight forward yet individual prime Hillbilly Moon Explosion stomp before letting Down On Your Knees gets in on the act of stirring up ears and appetite. A seriously catchy blaze of rock ‘n’ roll as potent in its mellow saunter as it is in its fiery roar, the song weaves a thrilling proposal with additional strands of seventies glam pop in its virulent rockabilly.

art_RingMasterReviewThe noir lit Midnight Blues brings some great sixties garage rock keys from Baroni into play next, that a decade equally referenced by Hutter’s glorious vocals and the harmonies swimming through the seductive air of the track. A blues hue coats the guitar solo at the heart of the seductive smoulder too, a tempting which never relaxes until it steps aside for the rockabilly saunter of Desperation where Hutter is again as magnetic as the contagious hooks and swinging rhythms.

If With Monsters And Gods stopped there, acclaim would be easily offered but things just continue to entice and spellbind as its title track creates a smooch with the senses and imagination. Country seeded essences mix with surf and again sixties nurtured serenading as orchestral and emotive drama ebbs and flows across the track’s bewitching landscape. There is a blues spicing hanging around too though it is a far thicker and a more vocal ingredient in the feisty stroll of Love You Better which follows. The track listing within the album is superbly thought out; small essences in one song being developed in the next while it in turn brews other hues to be explored in the next. As the blues textures are a fiery roar around the tones and piano of Baroni here, the slight discordance to its revelry is subsequently bred further within next up Black Ghost.

The song is the first of two almost expected and hoped encounters featuring Marky “Sparky” Phillips from Demented Are Go. Hutter’s tones glow and resonate within the sonic shimmer of the song while in the background Phillips prowls and vocally prods before bringing his great gravelly presence fully into the awaited duet between the two. Once they are aligned, honky tonk keys and a cowpunk swagger join the unpredictable and thrilling party; numerous other spices and textures also before many are brought to greater irresistible life in the quite brilliant Heartbreak Boogie. Th’ Legendary Shack Shakers like in its blend of dark rock ‘n’ roll, jazz flirtation, and almost steampunk rebel rousing; the song is an electrified fence of creative devilry with further provocative sax tempting beside the mighty vocal union of Hutter and Baroni.

That Blondie essence returns in its successor, though unsurprising as it is a swiftly pleasing cover of the US band’s Call Me with a rockabilly slant The Hillbilly Moon Explosion style. It soon has the body bouncing as too the garage punk contagion of You Miss Something where again a host of flavours collude for a virulent hop fuelled with blues liquor and fifties punk ‘n’ roll merriment.

The second song with Phillips on board comes next; Jackson a great cover of the Johnny Cash and June Carter track. Converting some of the country character of the original to a ska/reggae carnival of sound with the smiling swing of keys and seductive flames of sax further temptation, the song just hits the spot as too the union of Phillips and Hutter.

Completed by the boisterous r&b toned Rose Outside, think Imelda May meets Ronnie Dawson as a hint of its galvanic sound, With Monsters And Gods is simply a riot of fun and bold incitement for the ears. As mentioned earlier, it is hard to pick the band’s best release to date, so many choice moments for fans to devour, but as we press play again, With Monsters And Gods has to be a strong contender, maybe the strongest.

With Monsters And Gods is released May 13th through Fredonia Entertainment in the UK via Amazon on CD and Vinyl and digitally through iTunes.

http://www.hillbillymoon.com/   https://www.facebook.com/hillbillymoonexplosion   https://twitter.com/TheRealHME

Pete RingMaster 09/05/2016

Copyright RingMaster: MyFreeCopyright

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

Motel Transylvania – They Dig After Midnight

Promo Photo_RingMaster Review

If your local graveyard seems a bit dull, feeling a touch lifeless, then an invitation to Italian rockers Motel Transylvania and their new EP They Dig After Midnight will be sure to get things ravenously rocking again. Fusing horror punk and psychobilly in a salaciously dirty punk ‘n’ roll stomp, the Savona hailing trio whip up a keen revelry with their latest encounter, create a sonic hex able to get decayed bodies jerking in tandem with the moves of the living. It is raw, untamed, and an easy trigger for excitement over its wares and the open potential of the band to dig down to deeper success ahead.

Formed in the final throes of 2013, Motel Transylvania began as a solo project for stand-up drummer/vocalist Toxi Ghoul. Within a few months it had grown by two more corpses with the addition of bassist/backing vocalist Vec and guitarist Eli. Inspirations to the band’s sound include, unsurprisingly listening to They Dig After Midnight, Misfits, Zombie Ghost Train, Mad Sin, and Demented Are Go, whilst equally the likes of Frankenstein Drag Queens From Planet 13 and The Order Of The Fly spring to mind at times across the release. Fair to say though, the Motel Transylvania sound breeds its own character from that healthy mix of influences, resulting in a compelling and thoroughly enjoyable introduction for ears to their tenacious incitements.

From the scenery setting Intro and its dank atmosphere around cinematically gothic and carnival-esque suggestiveness, They Dig After Midnight explodes into life with the rousing Go Psycho! Rhythms and swipes of guitar grab ears from the first breath of the track, Toxi subsequently reinforcing the bait and hold with a solo roll of addictive beats before everything unites again in a heated invitation. The grizzly tones of his vocals growl just as potently as the bass of Vec drops an addiction lighting bassline through the fiery mist from Eli’s guitar, and though the track never explodes into rowdy life as it might it becomes more persistent in its catchy temptation with every rhythmic swing and caustic hook. There is a moment when a thought arose that if The Rezillos were psychobilly, they would sound something like this, a hint to the virulence and mischievous charm fuelling the encounter.

They Dig After Midnight_RingMaster Review   The track Motel Transylvania comes next and immediately makes a more forceful but equally infectious blaze of sound and intent. Group calls make an early pungent lure, they sparking the more belligerently energetic heart of the track within a body and nature carrying a contagious provocation with an always welcome Misfits scent to its grouchy temptation.

There is a great strength of variety within They Dig After Midnight, the first pair of songs quick evidence backed by the rockabilly revelry and psychobilly irritation of The Room. Like Guana Batz meets Norm and The Nightmarez whilst digging in a punk grave, the track rocks and rolls like a devil hound on heat. The bone splitting beats of Toxi are a prime instigator of the raucous toxicity fiercely pleasing ears with guitar and bass similarly devilish and antagonistic cohorts.

Summer In the Grave arrives on the sound of waves lapping a dark beach, the guitar carrying a matching tone in its surf lined charm as calm vocals caress ears. There is a devilish wink to the moment though, one which spins a subsequent slim bodied and irresistible Tiger Army meets Buzzcocks rock ‘n’ roll tale with a further glint in its punkish eye. Its warm light within romancing shadows is a thrilling proposal quickly contrasted by the carnivorous temptation of Night of the Living Dead. Graves are emptied as The Meteors toned predation spins a deliciously essential hook as a core to rapacious grooves and hungrily badgering rhythms, they matched by the rabid urgency and snarl of the vocals. The track is glorious, one of the biggest highlights of the album especially with its venomous swagger midway setting up another tempest of savage rock ‘n roll.

It is a triumph more than matched by It’s Not So Bad, the band’s recent single. Slipping in on a heavy noir coated bassline, becoming more vocal with another of the irresistible hooks and grooved enterprise the band has already shown themselves to be potent at sculpting, the song is like a skeletal tango. Its elements unite to form and wrap the song’s volatile frame, offering individual dances in the making of one boisterous romp. There is an old black and white animated film showing skeletons in a demented shuffle, bones twisting and coming unravelled but simultaneously performing an increasingly compelling devilry; It’s Not So Bad is a sonic equivalent.

The release closes with I Wanna Be Your Ghoul, a Morricone-esque croon within a sultry climate scattered with spicy hooks for a dark blood-coated romance for the imagination. It is not a track which grabs the psyche and passions as forcibly as its companions within They Dig After Midnight though but still only pleases as it reveals another strain of imagination in the Motel Transylvania songwriting and sound.

As They Dig After Midnight infests ears for another thoroughly enjoyable romp whilst writing final thoughts, expectations are that Motel Transylvania has all the potential to grow into a formidable and even more striking proposition, and no doubt with plenty more successes like this littering the way.

They Dig After Midnight will be dug up and unleashed on December 18th via Undead Artists.

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Pete RingMaster 17/12/2015

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