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

pic debbie-attwell

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

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

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

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

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

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

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

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

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

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

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Pete RingMaster 14/12/2016

Copyright RingMaster: MyFreeCopyright

Royal Oi! – Bootboys and Hooligans

Getting fed up of a punk roar is never a possibility, especially when it comes in the oi fuelled shape of the debut album from Scottish incitement Royal Oi!, a quartet creating street punk anthem after anthem. The release is a passion driven riot of sound and intent, uncaged by a band which, in their own words, just write and sing “songs about their passions and everyday struggles.” There is no agenda to their music, just the want to create a rebellious revelry for all to get personally engaged in; that an undoubted success found by their first full-length.

Hailing from Glasgow and drawing on inspirations from the likes of Bonecrusher, Perkele, and Cock Sparrer, the foursome of vocalist/guitarists Dave and Ana, bassist James, and drummer Jim first gave attention a healthy nudge with a four track demo in the December of 2014, its presence backing up a live presence already causing stir. Now it is Bootboys and Hooligans doing the contagious badgering and raucous persuading, a thick persuasion set to put Royal Oi! firmly on the punk map.

The album erupts with its title track, the opener a virulent stomp of punk riffs and spicy hooks driven by cantankerous rhythms. It is instantly a marker of things to come within Bootboys and Hooligans, an anthem setting the scene and the first great taster of the twin attack vocals from Dave and Ana. The former leads the track here with the pair alternating to some extent across the release, but always it is a dual incitement that hits the spot as resourcefully and potently as the grooves and hooks igniting ears.

Skinhead Warrior keeps the impressive start going, Ana’s snarling tones, backed by scything beats and grouchy riffs, alone an inciting call. Great backing shouts only add to the drama and catchiness of the track too, with the bass and its throaty bait another heftily compelling element before Docs and Tattoos takes over, sauntering in on a tasty groove spearing a charge of insatiable energy. Like a mix of 4 Past Midnight and Angelic Upstarts with a scent of dragSTER to it too, the song further whips up energies and an already awoken appetite with its punk ‘n’ roll devilry.

Both In My Heart, with its antagonistic passion and enterprise, and the fist in the air call of Punx and Skins ‘Football, Oi! and Rock n Roll’ keep body and emotions energised and greedily content; the first as a sing-a-long anthem no one could refuse. Its successor is more of a bruising confrontation but no less infectious as it draws the listener into full involvement of its rowdy adventure. The same can be said of all tracks within the album, Skinhead Loyalty swift proof with its inviting canter of sound and voice. Though the song is a less intensive proposal and without the extra spark of other songs around it, it still leaves ears, feet, and contentment enjoyably busy.

Musica Oi! enters ears on a great shadow lit predation, guitar and bass a prowling temptation leading to an eyeballing charge led by the thumping rhythms of Jim. Ana vocally growls and entices with typical prowess and energy as the track proceeds to twist and evolve through a varied landscape of imagination, intimidation, and enthralling enterprise. It is a mighty slab of punk matched in success by the old school bred Survive, a track rocking and rolling with prickly hooks and rapacious rhythms as vocals brawl with ears. It is another gem amongst only treats within Bootboys and Hooligans, a lingering protagonist keeping a firm hold on memory and provoking a hunger for more just like the outstanding Together. A chest beating call to arms, the song is glorious, a punk rock infestation stirring up the passions with an honest and open heart.

Bootboys and Hooligans ends on the raw onslaught of Violence, a challenging and tenacious roar on the state of the world today, and a highly pleasing and formidable way to end one thoroughly thrilling release. We cannot tell you how long Royal Oi! has been around but to our, and we suspect a great many others, their album is an introduction and wake up call to their rousing bellow. So for us there is a new and fresh oi incitement in town which excites and incites in impressive manner.

Bootboys and Hooligans is out now as a co-release between LastPunkRocker Records (150x Scottish Flag Blue), Crowd Control Media (150x White /w Blue Splatter), and Rebel Sound (150x Scottish Flag White) with an additional albums pressed in 50x Classic Black.

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Pete RingMaster 22/11/2015

Copyright RingMaster: MyFreeCopyright

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

Bad Mary – Killing Dinosaurs EP

Photo by Nick P Jiannaras of Nicolai Patrick Photography_

When presented with a band name like Bad Mary mischievous thoughts of course spring up as well as hopes that they have a sound to back up the devilish allure of their name. The Long Island quartet has that and more on the evidence of new EP Killing Dinosaurs. It is six highly flavoursome and raucous slices of punk ‘n’ roll unafraid to be as pop catchy as they are belligerently irritable. It is steeped in seventies punk and power pop with the attitude and tenacity of modern rock ‘n’ roll, and quite irresistible.

Bad Mary’s beginnings sprung in 2010 from the regular happening of Hofstra University’s professor of drama and guitarist David Henderson putting a band together with students each semester to play a bunch of covers. At this moment in time vocalist Amanda Mac and bassist/vocalist Mike Staub were the students who became involved, with a time of turnover in drummers ending with Amanda’s dad and veteran drummer Bill Mac joining the band. Playing songs from favourite new wave and punk artists from several eras, initially as Madame X, Bad Mary was officially launched in 2012, and through each member’s individual love of punk and rock from different decades, the band’s own sound grew and blossomed. Debut album Better Days was the first offering, a 2014 release going on to garner three first-round ballot Grammy nominations, success matched by their live presence and their songs luring media and radio attention on both sides of the pond.

     With inspirations ranging from The Ramones, The Sex Pistols, and Motorhead to The Tom Robinson Band, The Police, Blondie, and Green Day amongst many, the band’s new EP is a non-stop stomp that growls as it invites, bullies as it sets ears and imagination alight. Recorded with producer/engineer Matt Storm and assistant engineer Francisco Botero at Studio G in Brooklyn, Killing Dinosaurs gets straight to the point with opener Soapbox. Amanda leads the confrontation from the off, her potent tones the first touch and fiery guitars around rampant rhythms the next. It is an infectious and grouchy start with the growl of bass alone a brooding impossible to resist temptation as the guitars release their similarly enticing caustic flames. The backing roars of Mike brings a fiercer texture to compliment the intimidatingly tantalising tones of Amanda whilst more metal bred hues add to the overall brawl of the excellent start to the EP.

Whereas the first track has a presence crossing years, the following Want What I Want carries a great old school punk character, strolling with a swagger which is part Vice Squad and part The Objex. The bass of Mike again captivates with its heavy swagger whilst David weaves a hook lined web of enterprise part venom part flirtation as Bill slaps the listeners’ proverbial cheeks around. Eclipsing its predecessor, it too is shaded a touch by next up Hanging Around, a boisterous canter carrying the glam rock of Sweet, the mischievous pop punk of the Rezillos, and the rapacious virulence of dragSTER. The track steals the show, leaving an already strong appetite greedier and already by this time an exhausted body more wasted but energised.

A cover of The Police song Next to You swings in next with a similar swagger and nature whilst delving into more classic heavy rock enterprise whilst adding a tasty scent of early No Doubt punk pop to it . Again physical involvement is a given as it spins its lures, a success emulated by the X-Ray Spex meets The Avengers like Sucks to Be You, another rousing middle finger of word and energy

Killing Dinosaurs is completed by One More Song, a compelling mix of fifties rock ‘n’ roll and sixties pop embroiled in power pop/punk rock imagination and dexterity. It is an infectious end to an increasingly enjoyable encounter; a collusion of old school and twenty first century punk ‘n’ roll to lift emotions from the doldrums and bodies into feverish participation.

The Killing Dinosaurs EP is out now @ https://badmary.bandcamp.com/album/killing-dinosaurs-ep

http://badmary.com/  https://twitter.com/BadMaryBand   https://www.facebook.com/badmaryband

Pete RingMaster 22/10/2105

Copyright RingMaster: MyFreeCopyright

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

Dead By Dawn – Dead Time Stories

Courtesy of George Martin Photography_

You can never have enough ghouls rocking the breath from your lungs by our reckoning, so it is great lusty pleasure that we bring you Dead Time Stories the new EP from UK horrorbillies Dead By Dawn. It offers four tracks, which like a swarm of the undead, unleash contagious bloodlust and decayed virulence across relentless stomps which increasingly become ravenously addictive.

Dead By Dawn rose from the cold dank earth in 2013; escaping graveyards in the North East of England and coming together to brew a plague of rockabilly, punk, and ska; all strains soaked in horror. Before their enrolling in the walking dead, the band’s members earned their musical claws and experiences playing in a host of hard rock, punk, metal, and ska bands. Their subsequent resurrection as Dead By Dawn has already seen the release of the well-received Re-Animation EP and attention grabbing debut album 13 Nightmares. Now it is Dead Time Stories prowling the nation and devouring the psyche with one thoroughly welcome and thrilling rock ‘n’ roll rampage.

The defilement starts with Romero & Ghouliet, its first touch a raw scraping of riffs quickly bolstered by the deeds of Shovel, who with a name like that you just know will be the drummer. His beats are like sledgehammers on the senses as guitarist Dead Bundy weaves a tendril of sultry enterprise around the mischievously alluring voice of Siouxsie Psycho once she joins the already forcibly infectious proposal. Her string prowess backs up her joyful vocal enticement and the spicy grooves of Dead Bundy whilst Ruby Morgue swings thick lures from her upright bass like a big boned seductress. It is striking stuff with a smiling chorus so catchy it borders on candy pop and works superbly within the predatory and salaciously enticing sounds around it.

The great start to the EP only get musically juicier and more creatively ravenous as Bloodlust: Hellbound Hearts takes over. Shovel brings the song in on a rousing roll of his ever intimidating beats, the guitars adding their lures swiftly as boisterous riffs and another web of wicked grooves and sonic endeavour escapes, their temptation lined with an exciting tinge of discord. The track’s body continues to rock like a dog in heat, bass and drums cultivating an addictive swing over which guitars devilishly prowl and Siouxsie spreads her siren-esque intent.

The Dead By Dawn sound lies somewhere between HorrorPops, The Bloodstrings, and Dragster but continues to find its own increasingly unique character as shown over the band’s trio of releases and indeed American Mary. The third track on the EP leaps from a slither of a cinematic tempting into a rhythmic stalking draped in punk hooks and intoxicated grooves, the guitar’s winey lure as compelling as the psychobilly growl uncaged alongside them. A whiff of The Creepshow and Zombie Ghost Train seeps through in different ways from within the bracing dark tango but again it only colours a heart bred devouring which is primarily Dead By Dawn.

Dead Time Stories saves the best till last in the mouth-watering heavy canter of its title track. Once more hooks and grooves provide a constant supply of inescapable traps laced with delicious discord whilst the band unleash their inner vocal bedlam around enchantress lures laid by Siouxsie’s delivery. There is great simplicity to the infection loaded bait uncaged within Dead By Dawn songs but it is with instinctive imagination and craft that it becomes so successfully woven into fiercer, predacious exploits without either contrast losing its impact. The final track, with another impossible not to get involved in chorus, is the perfect example as it gives a rousing end to one exhilarating encounter.

It might be fair to say that Dead By Dawn is still looking for their majorly unique sound but when they do, and you feel they certainly will on the evidence of Dead Time Stories, there is little to stop them finding real success ahead; though the fact that every genre of heavy music it seems has at least one band with the same name might be a shadow the band has to escape from too.

The Dead Time Stories EP is available now

Pete RingMaster 23/09/2015

Copyright RingMaster: MyFreeCopyright

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

Silent Divide – Master Of Disguise EP

Let us introduce you to Silent Divide, a UK quintet who has just released one stonking beast of a debut unleashing some of the best heavy, voracious rock ‘n roll heard in an introduction in a long time. It is a highly anticipated proposition from a band having already ignited their local scene and now with a national submission to their roaring sounds in their sights, and it is hard to imagine the Master Of Disguise EP failing to achieve that success.

Essex bred Silent Divide, since forming in 2014, have gigged nationwide igniting crowds at venues such as O2 Academy Islington, Barfly, and The Waterfront Norwich along the way. Even before the EP’s release, the band had been approached to have its sounds played on numerous radio stations across England, Europe, and America; that enthusiasm adding to the eagerness of the band’s fans in wanting to devour the now revealed seriously impressive collection of songs.

Silent Divide’s sound is a fiery mix of metal, heavy rock, and plenty more; every song within Master Of Disguise bringing its own individual character and flavour to the diverse yet flowing landscape of the EP. There is also a snarl and dynamism to their music which can savage and seduce or roar and caress simultaneously, and it all begins with Pieces That Bleed. The track is an attention grabbing, adrenaline igniting slab of punk metal which along with a sonic trespass opens with the gnarly barracuda bass tempting of Jonny Darko. His strings growl with bestial seduction, gripping ears and imagination as the guitars of Joe Wright and Anthony Berry score the air as they uncage their own predacious set of riffs and grooves. In full swing, the song has ears and appetite truly alive, especially once it settles into a stalking stroll of a gait around the quickly impressing tones of Marianne Harrington. Things are soon tenaciously grouchy and lively again though, the song like a mix of US band Mongrel and Britain’s dragSTER with Harrington’s superb delivery reminding of the former’s front lady Jessica Sierra.

   It is a rousing and exhilarating start backed as forcibly and enjoyably by the EP’s title track next, followed after by the thoroughly pleasing Silhouette. The release swiftly reveals a broader canvas to its adventure, guitars casting a spicy stoner-esque toning to the steadily brewing and eventually erupting grooves. With the dramatic and skilled swipes of drummer Luke McCormick guiding and puncturing its body, the song sculpts a web of antagonistic rhythms and creative contagion, every hook, twist, and vocal incitement unpredictable and inventively virulent. Again it is a track as much punk and metal as it is intensive rock ‘n’ roll, and again quite irresistible before it makes way for its successor. The third song stalks the senses with riffs and beats before slipping into not so much mellower essences but more expansive scenery of warm melodic rock and emotional resourcefulness.

As we suggested earlier, each song is an individual in sound and ideation, proven again by Crimson Crier. A southern drawl lines the opening coaxing of acoustic guitar, a sultry twang which is emulated in the country-esque/folkish delivery of Harrington. The tantalising balladry ebbs and flows in intensity as emotional and musical crescendos blaze away within the reflective and seductive croon of the song. Fair to say the track was not as immediate on these ears as others around it but has grown to be one of the major highlights with its Heart like hues and simply mesmeric presence.

The EP ends as it began, with a thunderous incitement bringing body and emotions a feverish offering to get involved with. Broken Name is more alternative metal than its predecessors, more proof to the depth of the band’s songwriting, but again has a raw and aggressive edge which is metal bred and driven by punk attitude. Arguably the most anthemic song on the release, it leaves EP and listener on a major high.

You may have heard good things about Silent Divide previously or they may be new to you, but all the rich things said have been proven and more by Master Of Disguise, one of the most thrilling and potential thick proposals this year.

The Master Of Disguise EP is out now digitally and on CD @ https://silentdivide.bandcamp.com

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RingMaster 03/07/2015

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://www.reputationradio.net

 

The Bloodstrings – Coal-Black Heart

It is hard to miss the buzz emerging around German band The Bloodstrings, especially after the release of debut album Coal-Black Heart. Now having been infected by its seriously accomplished and salacious mix of horror punk, psychobilly, and just plain old dirty rock ‘n’ roll, it is easy to see why. With a sound which is again more than the brief description above, the Aachen/Stolberg hailing quartet is beginning to kick up a storm which their album’s CD release via British indie Undead Artists can only accelerate.

Formed in 2009 and consisting of the seductive yet predatory tones of vocalist /guitarist Celina, the thumping beats of drummer Festus, the predatory bass slaps of Doctor Nick, and the melodic toxicity offered by lead guitarist Krösus, The Bloodstrings have a bloodlust to, and horror driven imagination in their songs which leaves ears and emotions only wanting more. Coal-Black Heart is contagious proof of this seductive quality and of the anthemic voracity which steals the resistance of limbs and energies with consummate ease.

The End Of It All is the first to explode from the album, its initial sonic yawn evolving into a rigorous shuffle of crisply delivered beats and tangy grooves all around an infectious rockabilly riffing. With the fine voice of Celina beckoning with every alluring syllable, as do her skills with keys, the song is soon leaving expectations behind as it sculpts a tasty bait of spicy melodies on the way to a slower more salacious swing for its finale. It is a magnetic start surpassed by the raucous swagger and enterprise of the outstanding Better Drop Dead, a song which romps like a mix of Horrorpops and Midnight Mob. It is an instant anthem for ears and feet to enlist in, and with highly flavoursome endeavour from Krösus across its contagion soon after, has the passions fully entwined.

Both Cannibal and Skeleton bring fresh and infectious devilment to the party, the first merging melodic and classic rock essences into its horror punk tenacity whilst the second unleashes a rhythmic jungle of temptation courted by a just as compelling bassline. Both tracks draw their share of limb and voice activity, especially the latter with its psychobilly theatre and virulent magnetism. Once again vocals and guitar endeavour bring juicy and captivating colour to both romps before the pair makes way for the prowling predatory charm of Stalker. A hint of Guana Batz spices the song’s entrance before everything turns into a menacing and fiery blaze of melodic and sonic drama, with group vocals calls to match.

By this point band and album have done all the convincing needed to recommend its toxic glory, but does itself only further good with the wholly satisfying rampancy of In Love With A Monster, which has a great air of Spanish horror punks The Monster Ones to it, and the pungent rhythmic stamp of Devils Wine with its web of sonic and melodic liquor. The two tracks in their different guises both have feet pounding upon the floor and blood coursing just that faster through veins, a success taken to greater heights by the metal lined Soul Eaters. Steering through ears on a wave of feistily rolling beats and vocal tempting, the song proceeds to entertain melodic metal vivacity through the guitars and bruising punk metal voracity in its turbulent tempest of a body.

Any Last Words comes forward next with a delicious musical and vocal croon to ignite any graveyard and death stalked romance. Its smooch though is just the first step to a bedlamic rampage, riffs and rhythms a flurry of aggression and gripping attitude bound in mesmeric flames of melodic invention and the dark seduction of Celina’s voice. Revolving through the calm and stormy passages a couple of times, the song sets itself up as another best song contender and a long-term romance for the passions.

Der Nebel Steigt with its traditional Germanic whispers and narrative lights ears next, the lack of lyrical understanding easily compensated by the hypnotic dance of rhythms and the tender yet lively addictive caresses of the guitars. The similarly potent resonating slaps of the bass do it no harm either nor the exceptional riot of Til Death Is Coming which bursts in right after. Thoughts of The Creepshow show themselves in the strenuous blues kissed rock ‘n’ roll side of the song whilst its punkier elements has a feel of dragSTER to their insatiable enticements, the result being yet another irresistible and thumping treat.

The album’s title track has a surf and dark country feel to its melodic and atmospheric climate, a bewitching sultriness which sparks the imagination as potently as the sounds excite ears. A pleasure continued in the closing Digging Our Graves which ensures Coal-Black Heart leaves on a final hellacious furore of sound and energy. Anthems on the album or indeed horror punk/psychobilly do not come more feverish and voracious than with the last fury of adventure.

Coal-Black Heart is an encounter which leaves ears ringing, energies breathless, and satisfaction brimming over. It might not be quite a classic but The Bloodstrings ensures that few storms of rock ‘n’ roll revelry will surpass it in passion and instinctive persuasion this year on their way to creating that future major triumph you can just feel brewing up inside them.

The Bloodstrings are undertaking a European tour from mid-February with confirmed dates at…

14.2. Birmingham, Adam and Eve, UK

15.2. Manchester, Tiger Lounge, UK

18.2. Glasgow, New Hellfire Club, UK

19.2. Leeds, The Boneyard at Bad Apples, UK

20.2. Canterbury, Lady Luck, UK

27.3. Essen, Cafe Nord W/ The Rocket Dogz, GER

28.3. Koblenz, Jamclub w/ Tony Gorilla, Bloodstains, GER

31.3. Lille w/ Gutter Demons (official), FR

02.04. Hengelo w/ Gutter Demons, NL

15.4. Trier w/Bloodsucking Zombies from Outer Space OFFICAL, GER

18.4. Auggen, Sternen w/ Blue Rockin, GER

25.4. Lünen w/ Kitty in a Casket, GER

 

Coal-Black Heart is available digitally and on CD via Undead Artists @ http://undeadartists.bandcamp.com/album/coal-black-heart

https://www.facebook.com/thebloodstrings

RingMaster 04/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from http://www.thereputationlabel.today

 

 

dragSTER – Dead Punk

Photo by Uglypunk

 

Not sure about you but the quality of British punk rock right now is inspiring tingles not that far removed from those felt when its first generation of sounds and bands were in their heyday. This is all down to bands like Coventry quintet dragSTER and ridiculously exhilarating releases like Dead Punk. Rampaging with thirteen riots of hostile punk ‘n’ roll, the band’s third album is a tempest of feet inflaming, passions rousing ferocity with a strength of invention and virulence to match. There has been some extraordinary rock ‘n’ roll storms in recent times but few can be said to have come close to the fire and flare of Dead Punk.

Formed in 2006, the Coventry hailing dragSTER built, on a love of 50’s iconography, sci-fi and B movie horror, and ‘dirty, fast and energetic music’, their own punk turbulence which was soon stirring up a nest of attention with its voracious energy and aggressively forceful sounds as pungently evidenced on the Rat Scabies produced Trailer Trash EP. Extremely well and greedily received by fans and media alike, the band reinforced their emergence with first album Step Into The Deathray in 2007. It was swiftly devoured upon release whilst subsequent shows with the likes of The Damned, The Buzzcocks, Sham 69, Eighties Matchbox and Electric Frankenstein only enhanced and increased their reputation before second album Here Come The Meat Robots in 2010 had its impressive say. Released as Dead Punk on STP Records, the release marked out the band as one of the most exciting prospects in UK and European rock ‘n’ roll. Featuring ex and current members of bands like UK Subs, Texas Terri Bomb, Criminal Class, and Pigface, dragSTER has pushed on again in both songwriting and sound to now uncage one of the modern punk classics.

A slither of an intro leads ears into the opening fury of Gatecrasher Hostage as Dead Punk begins consuming ears. The song is an instant roar, expelling abrasing riffs and thumping rhythms around the fiery confrontational tones of vocalist Fi Dragster. Ears and appetite are immediately seduced by the onslaught, especially as potent hooks and spicy grooves add their bait to the straight forward but already juicy sound. The machine gun bursts of beats from drummer Ryan Murphy only inflame the intensity and addictiveness of the encounter, leading the listener into a predacious web of dark temptation from guitarists Diesel and Ben Kelly, the latter following up with a short toxic solo of magnetic enterprise. It is a delicious bellow of a song and entrance by the album, a triumph straight away surpassed by its title track.

Dead Punk is, as all tracks to be honest, an addiction forging anthem of belligerence and cantankerous endeavour bound in grooves and hooks to lose inhibitions over. With nostrils flared and muscles giving ears a thorough going over, the track compounds its might with a chorus even the deaf and deceased would be drawn to engage in. There is no escaping the slavery of the song, a potency grabbed by Drink You Pretty next and twisted into a new furnace of tangy grooves and chorus placed vocal roars. The song growls and rages with a raw infectiousness and diversely flavoured enterprise, squalling like a mix of X-Ray Spex and Midnight Mob with a healthy dose of  Distillers added. Also repeating and increasing its prowess and bait is the bass of Tom AK, the throaty and at times grizzled tones conjured bringing a perpetual primal lure to this and surrounding tracks, bait again is impossible to resist.

Through the broader dirt clad hard rock spicing of Cattle Prod, band and album keep the variety and thick attraction of the album blazing before Evil Craze provides another massive thrill with its balls to the wall punk rock savagery quipped with another seriously habitual roar of a chorus. The protagonist bursts from the speakers with an almost physical and certainly visceral presence, Fi raging over it like a Queen of attitude and defiance whilst vocally and musically the band beside her unleashes their individual and creative furies to equal intensity and glory.

Such its magnificence, there is an instant fear or feeling that maybe the next track has a mountain to climb to impress but that is soon dismissed by the rampant fifties seeded rock ‘n’ roll of The Dead Are Out In Droves. Garage and old school punk meets horror punk with metal bred venom for company; the track casts its own unique anthem of quarrelsome and addict making sounds, passing on the same challenge to compete to Terminal Loser. Opening with a Generation X like lure of guitar courted by a demonic bass temptation, the song is soon rumbling and grumbled with every note and swiping beat. That antagonistic intent is matched by the fearsome and ever captivating Fi as she opens up the pop tainted heart of the song. A Spinnerette whisper adds to the rigorously seduction at work whilst the guitars scowl and tempt with a canvas of vicious and riveting endeavour which ensures that the track easily matches the potency of the previous storms.

The furiously caustic sounds of Just Wanna Fuck provides one minute of unbridled punk lust next before Liar Like That stamps its raucous authority on ears and emotions with a volatile union of vocals for the chorus the final key in the corrosive passions chaining encounter. Both leaves ears exhausted and spark a serious greed for more, a want and need fed copiously by firstly the Misfits stroked raging of Death By A Thousand Cuts and straight after by the stalking temperament of Indonesian Buzz Cut. The first of the two seizes ears with a raw wind of riffs and bass grievances splintered by the crippling swings of Murphy whilst the second, from a prowling gait of an entrance is soon a viper’s nest of incendiary rhythms, stabbing riffs, and vocal incitement. The pair also come with their own breed of contagion posing as choruses and a lack of thought of using their toxic hooks and inflammatory grooves sparingly.

The refreshing melodic and mellower tones of Fight Fire With Gasoline infuse more new spicery to the album, though that is not to suggest it lacks the same unforgiving attitude in sound and voice as any other proposition with Dead Punk. Thoughts of Penetration come to the fore as the fascinating encounter croons and blazes within its inventive presence before leaving final track Skull Ring to bring it all to a highly satisfying end. The closer is a dark protagonist openly sculpted from the gene pool of seventies punk, The Adverts a suggested spicing, and a bracing and ravenous bruising of unfriendly and irresistible rock ‘n’ roll impressively completing an outstanding provocateur of a release.

Dead Punk is not only one of the finest if not best punk release of recent times but stands on the front line of any emotionally and energetically charged slab of rock ‘n’ roll heard over the past twelve months or so.

Dead Punk is available via STP Records now on CD @ http://www.stprecords.co.uk/page4.htmn and digitally @

www.dragsteruk.com

RingMaster 16/01/2015

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