Snakerattlers – This Is Rattlerock

If ever there was a sound epitomising the dirty trespasses of the graveyard and the unbridled fetish escapades of cultish deviancy, it is that of British duo Snakerattlers. Like the occupants of those domains, the band’s sound is a lo-fi sonic trespass stripped to its bare bones but wearing the raw traits of a wealth of styles and flavours, all dirt sodden, feverish, and forcibly compelling. It is self-penned as rattle rock and is uncaged in full force within the pair’s ear gripping, spirit rousing debut album This Is Rattlerock.

The band is the creation of husband and wife Dan and Naomi Gott, previously of garage punk band The Franceens. Their new project, Snakerattlers unknowingly had its seeds sown when Naomi wanted to learn how to play drums. Going along with her to practices with his guitar, a sound and creative spark instantly caught their attention and thoughts that there was “the potential to be a lot more than just a rehearsal room jam band” in their exploration. What emerged is a fusion of garage rock, death punk, and psychobilly embedded into a rockabilly heart; a bold bare arsed roar of sound which now rips, rattles, and rolls the senses within the band’s sensational first album, a proposition recorded on reel-to-reel tape by Adam Richards of Leeds rockabilly outfit, X Ray Cat Trio.

Imagine the creative instincts of Link Wray, Hasil Adkins, The Cramps, Dick Venom, and The Creeping Ivies entwined and twisted and you get a flavour of the Snakerattlers infestation of ears and imagination. As mentioned, it is a raw and often scarring trespass which challenges and inspires whilst simultaneously thrilling and lustfully exciting from the opening seconds of first track, I Won’t Hold Back. The opener hits attention with a great guitar jangle initially, Dan’s vintage spice an instinctive lure soon joined by the punchy swings of Naomi as a Cramps meets Johnny Burnette like intrusion trespasses the senses and a swiftly established appetite. With the guitarist’s vocals an equally potent lure, the brief song prowls the listener, jabbing its lingering toxicity into the passions like a slow but determined tattooist.

The great start is continued by Let You Go where a thick almost throaty jangle is the tease into a more rampant and feverish stomp of swinging beats and tenacious riffs. Old school rockabilly infested by current day garage punk devilry and a plague of hooks which refuse to relinquish their hold of the imagination, the track is a roaring addiction within one listen, an eternal nagging thereon in but equalled by the more controlled but just as scuzzy exploits of Rattlerock Rumble. As a jungle of rhythms ensnare feet, guitar exploits use hips like a puppeteer in the predominantly instrumental incantation before Oh My Love lurches into view with a dark swagger and clamorous nature though both are wrapped in a restraint which only adds fuel to the song’s magnetic fire. Like Johnny Carroll meets The Novas, the track is pure bewitchment with an occasional venomous bite.

Let The Devil In Your Soul is another encounter which stalks the senses, its keen but controlled stroll belying a predatory nature taking swipes through the poised but examining beats of Naomi and the angular clamour of Dan’s guitar. With his vocals a soothing but equally volatile enticement, it is again impossible not to be hooked on the song’s seduction or indeed in turn on the more tempestuous instrumental rumble of Death Valley Driver which follows. It is an unrelenting road trip which has the body in motion and thoughts conjuring, both aspects again busily employed by the cinematic suggestiveness of The Love In Me. Like a sweaty kitchen sink drama, the song is a bare and honest hug of sound and emotion, its lines fuzzy and touch raw and oh so tempting. Even so, the great song is still eclipsed by the breath-taking stomp of Sweet Sixteen; a scuzz ball of rock ‘n’ roll woven from the decades of the genre and delivered with a fried electricity and concussive energy which leaves the senses reeling and blissful.

The zombie crawl of Bones infests the psyche next; its lumbering tenacious surge into the imagination littered with rhythmic bites and viscerally sonic waves as Dan’s vocals alone coax and prey. Once more submission to sound and album is swift and full leaving the final track to cap an already done deal between band and certainly these listeners. Ripper Rattle Rock simply lives up to its name like a fractious yet salacious fusion of The Cramps, Hasil Adkins, and Into The Whale. The track is rock ‘n’ roll in its unfussy prime but equipped with all the primal lures and seductions you could wish for as the album comes to one glorious unsterilized raunchy conclusion.

With The Franceens coming to an end earlier this year, the York pair have the time and energy to solely concentrate on Snakerattlers and they are going to need all of both if This Is Rattlerock catches the fire of attention that it simply deserves.

This Is Rattlerock is out now through Moon Skull Records @ https://moonskull.bandcamp.com/releases

http://www.snakerattlers.com/about.html    https://www.facebook.com/snakerattlers/

Pete RingMaster 28/06/2017

Copyright RingMaster: MyFreeCopyright

Venus DeVilo – Edgar Allan Ho EP

venus devile 2

Let us introduce you to the dark seductiveness of Venus DeVilo, an artist which preys on the passions like a sultry vampiric temptress bred from artistic alchemy raised from the fire of Imelda May, the snarl of Wanda Jackson, the energy of Fay Fife, and the devilry of Dick Venom, not forgetting a pinch of the infected essences of Horrorpops. Her creative world is one of shadowed carnivals, blood drenched burlesques, and dead borne vaudeville; her music pure sexual fascination and the Edgar Allan Ho EP the perfect introduction to the temptress before the arrival of her debut album Til Death Do Us Party, which we hope will see daylight in the near future, such the hunger now raging.

Hailing from the cemeteries of Dublin, Ireland, well probably a very nice comfortable abode but that hardly goes with the theme does it, Venus since 2011 has frequented and lit up rock/metal bars, Burlesque and Cabaret nights, open mic nights, and other numerous venues around her home city and much further across the country with her Goth-Shock anthems. The host of a series of popular horror themed gigs at the Twisted Pepper, Dublin which have become an almost monthly event, the sonic siren has captured the imagination of the internet media with her dramatic sounds, becoming the favourite sister of the likes of Elegant Savages webzine and the Bone Orchard podcast. Since its release the Edgar Allan Ho EP has drawn lustful attention and it is hard not to understand why as it stalks the minds darkest imagination and cinematic desires.

    Heartless Horseman steps up to tempt the passions first, its initial acoustic guitar stabs and instantly potent vocals the 602969_406666232785880_346571255_nentrance into lyrical and musical stalking of night terrors and their romantic suasion. There is a rockabilly feel to the song which reminds of The Creepshow whilst the excellent soaring vocal imagination and drama of its delivery brings thoughts of Agnete Kjølsrud and the band Djerv as well as Dominique Lenore Persi and Stolen Babies. Unafraid to twist and turn the gait and intent of the track, Venus also sends it into angular and less accessible turns which make suggestions of Lene Lovich. For all the references we offer though, do not make the mistake of assuming the sound of Venus DeVilo is not something quite unique to the graveyard walking beguiler.

The following Apocalips equally enthrals with predominantly acoustic guitar and vocals, though rhythms and bass prowl with devilment in their hearts and wide mischief on their grinning lips too. The song sways and swaggers with the wantonness of a fifties siren and the intimidating composure of instinctive rockabilly, but like the band references these pointers to the sound are only whispers of the full hue of flavours making up the wholly contagious shards of mesmeric aural delight.

Penny Dreadful Love is a song you know should play in the bowels of any mausoleum, its funeral caress punctured and kissed by the again outstanding voice and delivery of its creator. As the lady and song lace the senses and thoughts with their visceral evocation, Venus provokes another comparison, this time to Lesley Woods of Au Pairs in the way she at times slaps words and syllables into the ear. It is a style that is impossible to resist and one which makes the forthcoming album so exciting and this song a dark hearted romantic serenade.

The best song on the release comes with Ringmaster, and no we were not biased in our decision. The vibrant waltz of the colourful enchantment goes hand in hand with the dark carnivale touch, guitar and vocals swinging across the high tented air of the hypnotic mystique and elegant poise. It makes for a glorious soaring flight of theatrical imagination honed into a glorious sirenesque aural spectacular which leads the listener on a tightrope walk of tension and astounding adventure, and note for extra spice its core call around the chorus is a dead ringer for one of the greatest songs ever, Killer Klowns From Outer Space by The Dickies.

The release is completed by firstly Carmilla’s Return, a song which initially has the shadow clouded  ambience reminiscence of Bauhaus song Bela Lugosi’s Dead  and goes on to atmospherically swarm around the ear with the chants of the ‘dead’ harmonising behind the continually powerful and virulently enticing tones of Venus. Once more it is a song which transports you within the sweeping sinister mists of a cinematic painting whilst its successor Miss Frankenstein is simply an epidemically catchy romp with big bold rhythms shaping the cage you are enslaved within. It has a delicious toxicity which leaves you no option but to throw voice and feet into the twisted majesty.

Venus DeVilo is an artist who will scare as many as she seduces but one who will only ever leave a lingering mark in her shadow and if it is anything like the Edgar Allan Ho EP, this dank earth will be a better place.

https://www.facebook.com/VenusDeViloSongsFromTheStalkersPointOfView

10/10

RingMaster 24/07/2013

Copyright RingMaster: MyFreeCopyright

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Interview with Dick Venom of Dick Venom & The Terrortones

If you thought UK psychobilly was on the decline or started and ended with The Meteors and Demented Are Go then you would be very wrong for now we have a new pretender to the throne of  P. Paul Fenech and Sparky in the dark princely shape of Dick Venom. Leading an equally mischievous band of hell’s rejects in The Terrortones they are a fresh, sexy and insatiable addition to the garage/rockabilly/psychobilly freakshows of the UK. We have the pleasure to enter the lair of Mr Venom to find out much more about the unsavoury quartet.

Hello and a big welcome to The RingMaster Review.

Could we start with finding out the history of the man Dick Venom?

Awwww, me? Well I was born in the swamps of the moon’s lagoons and hitched a comet tail to earth. Guess I landed on my ass because my behind which stung like a beehive had been hangin out the back of it for about a month. I dusted myself down, sprayed off a load of space debris and here I am.

When and where did the Terrortones become involved?

They just kinda came outta nowhere. I’d been riding high on jungle janes and ‘gator tails for a while when all of a sudden they hit me. Hell only knows what they were doing in my neck of the woods but damn they sounded good. SugarBeats was pounding on something like a thundercrack jackhammer, Vicky Twist and Wrex St.Clair just seemed to jump out at me with guns and guitars blazin’, they caught me unawares and all the hairs on my unmentionables seemed to jump up to attention.

Your music throws a mix of rock ‘n’ roll, rockabilly, psychobilly, and garage punk into a swamp of dirty mischief, what are the strongest influences to your sound musically and personally?

Musically? Anything that’s got a lil bit of something raw and a little bit of life to it, stick a little of the Devil there too and you got yourself a mix – from Raw Power era Stooges to N.Y Dolls to Batmobile to Standells  hell… let’s throw some Patsy Cline and Wanda Jackson in there for good measure too.

Personally? A lil carpet burn and heat rash and some rubber marks and whiplash and I reckons I just might be entertained

Nottingham is your home, how do you find it for you as an artist and band for opportunities and for finding fans for your insatiable wickedness?

Y’know it’s pretty good. It’s where we started playing and started getting support. And there are always plenty of people to satisfy my appetites. Though I might have to leave when the spate of quiffed up moonchild newborns all come tumblin’ out. Oops.

The band line-up has an uncanny look and feel of The Cramps, intentional or sheer fortune?

Now that can’t ever be a bad thing cannit? I mighta got some fashion tips from a few folk that I like and the Cramps might have been one of them but as for the rest of the ‘Tones – they’re the ones who make the music and they aint never come across the Cramps before getting told they play like them.

You have just had a launch show for new release RockinRollin VampireMan, was it as much of a riot and flesh fest as certain pictures portray?

Awww. Yes. Yes it was. It was every kinda fuckphonic filth that you mighta guessed it would be. Having four sets of jigglies spelling ‘We heart Dick!’ is something I won’t forget. Some people wanna see their name in lights? Seein’ mine on ladylumps will satisfy me fine.

The three track release is a dark beast of gratuitous pleasure, are the songs ones that have riled up audiences at live shows for a while or brand new for the single?

Hmmmm, a lil mix of both. ‘RockinRollin’ VampireMan’ is a pretty old one. ‘StickyPants Trance’, that just had to go on, hell when we first played that song some folk got so wet you coulda drowned toddlers in their pantyhose. ‘Lilly & the Killers’, well that was just a nice lil closer. None were written specifically for it but we try to record just as often as we can so there’s never much delay.

Though your songs often have a horror/movie fuelled theme one gets the sense from the passion you deliver them even in your own inimitable way that there are personal inspirations at play too?

Well I do like to bite.

RockinRollin VampireMan is an infectious almost anthem track, maybe a personal declaration too?

Well with that being the very first song on the very first single then I reckoned I better had set myself up. Aint nutin like an honest introduction.

The tracks sound actually reminds of the first split release the Meteors were involved with but also in a way of very early The Fall. Are these bands that you have a liking for?

Now the Fall I like – but… Really? The Fall? I might have to dig the old stuff out and compare.

(Note from us to Dick..check out How I Wrote Elastic Man).

Included on the single is the track Sticky Pants Trance. We have all had some of that in our lives but what inspired the song itself?

Once I got stuck in a crater of a hiphole and then I got thinkin’ how I got there. Now it can’t all be my fault that chicklets get transfixed in my stickypants trance can it? Guess it’s a curse I have to bare.

The CD comes with a great comic book sleeve, the artwork is excellent, who drew and wrote that?

You can find here in the video for StickyPants Trance, she’s the nurse that gets carted away at the end. She’s called Nurse Catatonic.

Once the dust for the single has settled what comes next and how long before the next release?

Gigs, leather, latex, shows, caber tossing, goat blowing, olive oil, friction burns, corsets, tattoos, tattoos of corsets, pictures of tattoos of corsets, burlesque queens and the odd dream of Dana Scully. Got a bunji clunge jump all lined up too – that’s a bunji jump and target practice all rolled up in one. Next release? Shall we say end of the year? Thinkin’ it might be a new song we’ve written that we so sensitively called ‘Get Fucked Up Good’. It’s a sweet little ditty ‘bout the pitfalls of lovin.

Many bands now seem to be disregarding releasing an album to instead bring a steadier stream of singles or EPs, is that something you may consider?

I think that might be the case. Every time we get a set of dynamite songs we’re gonna get them down and get ‘em out to the masses. If there’s demand for an album then hells yes we’ll do one. Plus this way our comic strip will get longer with every release.

With your diverse sound which fights being tagged how easy is it to find bills and bands to fit easy with your distinct show?

It’s working pretty well, ‘cus we got bits of rockabilly, bits of punk, bits of garage, psychobilly, gothabilly we get tied into a load of different scenes. I reckon people don’t just wanna see one thing at a gig so having a mix up does us some favours.

Is it harder to find gigs further afield than Nottingham with venues that do not know the band or is it the opposite and places you have spoilt that are then more resistant haha?

Can’t say we ever had much problem getting out and about – the more places and people we sweat on the better. I’m a sociable lil critter so I like t’ hound promoters and venues wherever I can. I’d say we play a different city every two weeks at the moment and I reckon I wanna do more. And I aint never trashed a stage or venue too bad to not get an invite to go back.

I can imagine many bands would stay away from sharing stages with you for fear of being blown away from your performances.

Well maybe, guess folks in the audience can only get so wet.

What have been the best gigs you have had to date and most memorable?

The single launch was something unforgettable and every time we play at 12Bar in Soho it’s like the best sticky hotbox homecoming you could ever imagine. Got a nice big break at Rescue Rooms, Nottingham about a year back too.

And the best forgotten?

Already forgotten.

It is hard to believe your gigs are just another show for people, you make sure one way or another they are unforgettable one imagines?

Well now that’s just me all over– unforgettable. And without any show then you may as well be sat at home with a record in your ears. You want something to get caught up in right?

Are there any boundaries or limits that have not been or you will not push in your shows?

Hmmmmmm… I mighta knocked my tooth out  twice on a mike, split my lip so bad that I went to a vets right after the gig (I didn’t wanna wait all night at A&E). Think I broke a rib somehow too but I’d never do nuthin to hurt myself on purpose.

Thanks very much for sharing your time to talk with us, do you have any last thoughts you would like to share?

Yeah – I’m all outta whisky and my mouth is bone dry. But you probably had enough of me an mine – why don’t ya get down to a gig and share yours? Maybe check out our video too… www.dickvenom.com.

Finally Gillian Anderson?  I know you would and will you share?

Will I share Gillian Anderson?! Oh Heeeeeeellllllllllllls No! That ET bustin buxom she queen is aaaall mine. Hands off ya hear me?

The RockinRollin’ VampireMan is available now, for more information go to https://www.facebook.com/DickVenomandtheTerrortones or http://www.dickvenom.com/

Read the review @ https://ringmasterreviewintroduces.wordpress.com/2012/01/26/dick-venom-the-terrortones-rockin-rollin-vampire-man/

RingMaster 07/03/2012

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