The Scabby Ghouls – Self Titled

Though horror punk is never slow in providing new excursions to venture six feet under with, of which many bring great memorable pleasure, there have not been quite so many in recent times to truly get the teeth into with sanguinary lustfulness. The Scabby Ghouls and their self-titled debut album is one such incitement, a collection of pulp horror driven devilry to bless any meeting of The Monster Club.

Hailing from Omaha, The Scabby Ghouls have dug up a sound as pop contagious as it is horror bloodied and punk driven; a mixture which if not on the major side of unique is fully immersed in the fresh and irresistible within their first full-length.

The album claws out from its mausoleum with opener Body Surfin’, immediately enveloping ears in dark mischief carrying drama as guitar lures mix with the voluptuous throb of the bass. The rolling beats of Nathan Christensen swiftly join and steer the incursion on ears and imagination as too the instantly alluring tones of vocalist/rhythm guitarist Denise Hazard. In no time the web of temptation becomes an appetite embroiling bedlam of creative mania entangled in the equally unhinged grooves and wires of guitarist Louie Hazard. Like a disembodied hand haunting Christopher Lee, the song stalks and fingers with increasing relish and like the big white lingering below its surface has no qualm about taking a more than welcome bite.

The great start is only escalated by the song named after the band. It too prowls the listener, checking them out before springing to its bold feet and instantly indulging in a rapacious saunter. With an essence which reminds of UK outfit Trioxin Cherry at times, the track is equipped with inescapable hooks and teasing riffs matched in temptation by vocals and the great throbbing bait escaping Alex Steffens’ bass. It all comes with a feral lining which is even more pronounced in next up Midwest Zombies, yet a raw wildness which only seems to enhance the instinctive virulence and catchiness of tracks let alone the individual prowess of the quartet.

Black Dahlia Bombshell is next up and soon eclipses its predecessor with its blood-lusting stalking and the subsequent rousing incitement of its viscera driven chorus. The track is pure horror punk wickedness resembling something inspired by the song books of early Misfits and Frankenstein Drag Queens from Planet 13 but quickly established as individual to The Scabby Ghouls before Dreaddy Krueger unleashes its own viral sonic blood-letting shaped by inescapable infernal hooks, rapacious riffs, and rhythms which twist the body like a puppet.

As potent and manipulative as both songs are, their ability to trespass and make the body do their bidding pales to the dexterity of the EP’s final and best tracks. Road Ragin’ is simply glorious, an insatiable surge of tarmac tearing, contagion loaded rock ‘n’ roll with a chorus which infests vocal chords within its first few words. The incitement musically is just as devious and enslaving while album closer, Knife Fight, is an old school punk nurtured holler taking in all-comers with voracious irritability to its infection loaded rumble.

Anticipation for the next endeavour from a band is nothing new or particularly rare but not often it comes with a side line of drool like that already escaping the wait for the next spook animated horror show from The Scabby Ghouls.

 The Scabby Ghouls album is out now via Out-O-Tune Records; available @ https://thescabbyghouls.bandcamp.com/album/the-scabby-ghouls

https://www.facebook.com/TheScabbyGhouls/

 Pete RingMaster 21/03/2019

Copyright RingMaster: MyFreeCopyright

Motel Transylvania – Self Titled

We have not been alone in brewing eager anticipation for the debut album of Italian horrorbillies Motel Transylvania having been infected by the sounds of their They Dig After Midnight EP of 2015 as well as the numerous appearances the band has made on various compilations. Four years or so in the making finally that first full-length has crawled from the corridors of the band’s darkest corners and we can tell you it has been well worth the wait.

Formed in 2013 as a solo project of stand-up drummer/vocalist Toxi Ghoul, Motel Transylvania swiftly became a trio which unleashed a well-received debut single in the ghoulish romance of It’s not so bad. The release of They Dig After Midnight in turn established the Savona trio as a band with a potent sound and creative character equipped with the potential of bigger bolder things ahead. Their self-titled debut album realises plenty of that intimation without exhausting all the possibilities of even greater exploits ahead. Across thirteen views from the mausoleum, the album presents a multi-flavoured proposal embracing everything from horror punk and psychobilly to vintage rock ‘n’ roll, punk rock, and other death strewn hues.

It opens up with the portentously atmospheric Called, an invitation into the album’s crypt as intimidating as it is cinematically irresistible. The piece enticingly opens the gateway to the carnal goodness to come starting with Destination. The gorgeous rockabilly groove which harkens its trespass was enough to enslave attention, a submission swiftly rewarded by Toxi’s senses clipping beats and the dark upright bass grumble cast by Fish “The Scarecrow”. The guitar of Taison Gore continues to spin a web of temptation throughout only dropping its raised adrenaline for a breath to be taken before striking up again with salacious intent before the drummer’s lead vocals share their raw scowls. It is an excellent full start to the release and taster of the band’s richly flavoured and varied sound.

The following track shares the band and the album’s name, Motel Transylvania a rousing slice of horror punk with an early Misfits lilt within a labyrinth of psycho and rockabilly taunting. The predacious trespass of the rhythms and vocal causticity steals the show within a track which quickly left its indelible mark before Her Last Boogie launched its raw rock ‘n’ roll stomp on ears with zeal and increasing enterprise. A blend of the feral and the melodically precise, the track is a slice of death boogie needing little time to get punk hips whipped up.

The outstanding Drowning gives warning enough with its bass bred jaws lure before breaking upon the rocks with its blood tainted surf rock groove and barbarous intent while The Night of the Living Dead speeds rather than lumbers through ears with its The Order Of The Fly-esque stalking though the result is still an inescapable rock ‘n’ roll nagging of ears and the imagination. Both tracks add new shades to the album’s adventure and to the unfolding tales of terror; each new pleasure to devour though both are outshone by 4 and its Mad Sin meets Tiger Army like psychobilly shimmer, the albums best track.

The ghostly plains of Beyond The Lights comes next, its unearthly throes psych rock kissed seduction evolving a carnival of fevered temptation before slipping back into its ethereal decay, while its successor, It’s Not So Bad, coaxes ears with its puckered rockabilly lures before erupting in a punk nurtured hostility, repeating the cycle with greater imagination and psychosis. At every turn the track twists into unexpected escapades increasing its magnetism every step of the way.

Continuing the great multi-textured web of sounds within the album, A Place To End embraces Latin/mariachi hues to its Koffin Kats spiced uproar while the following Dead N’ Proud howls like a psychobilly inspired Frankenstein Drag Queens From Planet 13. In turn the simply superb STOMP! Cockroaches stamps around with a great Demented Are Go inspired irritability, these three alone showing the broad landscape of sound within the Motel Transylvania bloodlust.

I Wanna Be Your Ghoul completes the release, the song another psychobilly nurtured tempting under sweltering skies; gallows rock which has the body swinging as firmly as the cadaverous romance it shares.

It is a fine end to a record which certainly pleased and had praise leaving lips on the first listen but has blossomed to far greater heights and persuasion with every subsequent venture through its sonic charnel house.

The Motel Transylvania album is out now through Undead Artists and Archetype Records.

 https://www.facebook.com/moteltransylvania/    https://twitter.com/MotelTransylvan

 Pete RingMaster 15/11/2018

Copyright RingMaster: MyFreeCopyright

Horror Vision – Final Broadcast

As anyone, we have certain regular cravings here at The RR, one being for rabidly ravenous horrorpunk. It is a hunger that has to date been richly satisfied through Germany based label Undead Artists and continues through its latest offering. Founded by Johnny Rose, also the frontman of the formidable Blast Bomb, the label has unleashed the debut album from fellow country ghouls Horror Vision. Offering up ten tracks which prey on the senses as they arouse the spirit, Final Broadcast is an appetite filling anthology of punk infested horror rock ‘n’ roll.

Hailing from Ulm and consisting of vocalist/guitarist Evelyn van Bytingale, vocalist/bassist Andrew Lycanhead, and drummer Dr. Combat, Horror Vision lure ears and imagination into their cinematically inspired first full-length through an Intro setting the listener at the melodic heart of a brewing bedlam. Its sonic drifting eventually leads to the vintage invitation of the Godzilla feature King Of The Monsters. The track is an adrenaline driven punk roar, grooves and aggression entangled in a combative stomp where everything from riffs and bass grooving to predatory vocals and venomously swinging rhythms unite in a raucous trespass.

The following Ghosts Of Mars is just as tenacious and thickly enjoyable, its opening bass groove alone enough to have ears gripped. The subsequent lustful prowl of riffs and rhythms only added to the temptation as too the sonic wiring which veins the combined nagging. It is a raw yet seductive mix escalated by the rousing vocals embracing the same aspects.

Critters gnawed away at the passions next; again grooves getting under the skin before its more primal instincts expose the punk hunger of the track accompanied by an early Misfits meets Frankenstein Drag Queens from Planet 13 flavouring before Need For Meat reveals its fifties rock ‘n’ roll penchant. That is soon consumed by the ferocious punk nature and intent of a song though which is as infectiously catchy as it is persistently hostile.

Through the feral Balzac-esque holler of The Thing and the rockabilly nurtured Vampire Waltz, new shades in the Horror Vision creative psychosis uncage their taunting, each leaving the appetite hungry for more while Bathory lets its own individual hard rock laced bloodlust loose to equally persuasive and ferocious effect.

The punk ‘n’ roll harassment of We’re Gonna Get You is untamed catchiness which had the body bouncing and vocal chords roaring with ease, individual prowess uniting for an anthemic scourge before Calling Me Monster closes things up with its carnivorously predacious sounds and character. As all tracks, it demanded and received mutual participation whilst inflaming our instinctive horrorpunk urges.

There is definitely something of the familiar and the individual about Final Broadcast but a mix which left us beyond content and already greedy for much more from the bedevilment going under the name of Horror Vision.

Final Broadcast is out now via Undead Artists @ https://horrorvision.bandcamp.com/releases

https://www.facebook.com/horrorvision.horrorpunk/

Pete RingMaster 02/11/2018

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

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.

https://www.facebook.com/moteltransylvania/    https://twitter.com/MotelTransylvan

Pete RingMaster 17/12/2015

Copyright RingMaster: MyFreeCopyright

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Hell Puppets – Theatre of Sin

Hell Puppets_RingMaster Review

Picture the scene, after one flawed but certain success Victor Frankenstein’s ambitions go full out to feed his appetite for rabid music. So with bodies embalmed with the raw irreverence of Frankenstein Drag Queens From Planet 13, the ravenous metallic animus of Morgue Orgy, the virulent contagion of Dope, and the punk mischief of Dirt Box Disco, he created EviL-P, BeLiaL, GRavES, BeeLzEBeN, and SaTurNiST to spread the red and devour the soul. Or it might simply have been the Devil which dragged Hell Puppets from their English graves to conjure and release the lustful addiction that is Theatre of Sin.

The debut album from the Sussex bred quintet is a carnivorous vaudeville of horror and creative drama cast across a dozen songs which just thrust a knife of contagion through the heart and continually twist it with a bounty of punk ferocity, metal predation, and rock ‘n’ roll devilry. It drew a big grin on the first listen and a lustful stalking from the second, and fair to say since its release a couple of weeks or so back, we are not alone in adding the release to our cellar of favourites.

With members hailing from London, Brighton, Chichester and Lucifer’s right hand, Hell Puppets emerged in 2011 infusing inspirations from the likes of White Zombie, Pantera, Sex Pistols, Slayer, and Misfits into their swift attention grabbing fusion of punk and metal draped in horror, the occult, and Demonism. The first year saw the band solely concentrate on creating and honing their sonic infestation before setting out on their live scourge of the UK. A live session for a local radio station marked the growing emergence of the band during the next year before in 2013 they began recording debut EP No Strings Attached which was released in the following January. An increasing number of acclaim garnering shows surrounding its well-received introduction to the band and since with a support slot with The Hell later in 2014 another highlight. It was a successful year certainly eclipsed by this, as fresh from playing Bloodstock and touring with Meta-Stasis in support of their debut album, we simply have Theatre of Sin.

Theatre of Sin_RingMaster Review   From the opening carnage of Bow Bells, band and album has ears and imagination gripped. The brief track is a visceral scene setter for the following …From Hell, a blood dripping, flesh ripping introduction to the murderous streets of Victorian Whitechapel and the lust of Jack The Ripper which its successor impressively runs with. The second track to a concussive ring of bells rolls out an epidemic of inciting rhythms and growling vocals within a horde of punk riffs and tenacious hooks. All those bands initially mentioned come to thoughts as the track throws its sinew loaded attitude and mischievous insanity across the senses, yet as good as a hint that they are, the track is something demonically distinct to Hell Puppets, as too it emerges, the album. The band certainly cuts straight to the chase with the best track on Theatre Of Sin but there is no downward slope to follow, even if tracks can only closely sniff at the brilliance of the full opener.

Hung, Drawn and Slaughtered is one which runs it close, its blackened soul and horror punk fury colluding in another quick slavery of infectious hooks, grooves, and unpredictability. As many songs within the album there is a familiarity to it which seduces with the charm classic evil always has, a broad smile which captivates as djent kissed riffs and death instilled voracity works away at the senses and psyche narrated by the varied squalls of vocal animus.

From that metallic tempest another in the caustic shape of Born To Die steps forward, its body a maelstrom of glam and hard rock with punk ‘n’ roll tendencies aligned to metal ferocity. It is a stomp which seizes neck muscles and vocal chords to do its bidding before Project Mayhem uncages its primal anthemic roar laying somewhere between Black Dahlia Murder and Therapy?, and Political Diarrhoea taps into the punk beds of The Damned, The Vibrators, and Misfits for its rapacious stroll and lyrical agenda which gets the job done without fuss or wastage.

From an imposing shadow cast by the classic shark attack sound, complete with nasal secretions, the deranged hardcore fuelled roar of Drugged Up Shark excites and disorientates leaving ears prey to the clutches of Halloween, the band’s Christmas song. Only kidding, but it is a track which just keeps giving from its Carpenter inspired theme and melodic coaxing through to its grungy death infused sonic rancor. The track is glorious, another revealing new nuances and defiling attributes with very listen, much as We Are The Enemy and its whirlpool of insidious death metal, bracing rock ‘n’ roll, and juicy grooving. Imagine The Sex Pistols, Turbonegro, and Venom severely shaken until their juices merge and you get a glimpse of another big highlight amongst many within Theatre of Sin.

Morbid Mirror twists and turns like a clawed seductress next, its lithe grooves and rasping vocals bringing a mix of Grumpynators and Murderdolls whilst slipping into richer blackened spite throughout, especially vocally. Once more ears and emotions are lost to Hell Puppets and kept by firstly the bestial, mordant sound of The Decunted and finally the mouth-watering discord and sonic antipathy of Face the Reaper. The track is a bad-blooded smog of noise and sonic pollution which just brings the bedlamic acts of Theatre of Sin to a fitting ravenous climax.

The album is a wonderful desecration of body and soul and if any of those bands we mentioned as hints appeal, as well as something new and dirty to the touch, and the fact the Hell Puppets is our new favourite trespass, then hopefully we have incited you to be brave and enter the Theatre of Sin.

Theatre of Sin is available now via Hell Puppets’ Bandcamp.

Pete Ringmaster 15/09/2015

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Füneral Käb – Self Titled EP

Funeral Kab

A noise fuelled collision with the senses from which only a hunger for more can be the outcome, the self-titled EP from US punk rockers Füneral Käb is one of those treats which no matter the warnings your parents ingrained, you ignore and give your soul to. Unashamedly hostile and cantankerous, enthusiastically abrasing and ravenous, the release as the band’s presence, is a delicious effrontery on senses and common decency. If punk rock with the swagger and devilry of dirty rock ‘n’ roll is your recipe to filth encrusted bliss, then Füneral Käb and their raw and sonically dishevelled release is a must.

Füneral Käb was the inspiration of vocalist Derek Krisitan Nordlof (bassist with Confuzatron and Orange Platypus) who with bassist Mark Vance Arroyo (ex-The Moistboyz) started up the band around 2011. The pair swiftly brought in guitarist/vocalist David Rangel (bassist of Black Earth and guitarist/vocalist of Orange Platypus) next, before after a few drummers completing the line-up with Ben Scott (Vermicous Canids). Most of the band already had connections through their previous exploits at some time or other, a kinship which if we take their debut as evidence, seems to fire up the antagonistic mischief and fury of their sound with relish.

Straight away the EP is crawling over the psyche and stirring up the imagination with opener Church Maus. It coaxes attention with a rugged mix of guitar and bass predation bound in a further sonic lure as beats jab with simple venom. It is a slow crawl of an entrance which is almost leering at its target before exploding into a caustic and fiery rampage of punk riffs and heavy footed provocation guided by an excellent blend of raw vocals from Derek K backed by Rangel. Ridiculously contagious and intimidatingly testing with sharper hooks than found in abattoir, and with a similar blood lust, the track is punk rock at its feverish best, an inescapable toxicity for all genre fans.

The following Christian Sheep is steeped in even richer old school punk animosity and flavouring. It is a sneering blaze of pungent riffs and searing grooves riddled with inhospitable rhythmic provocation, and again another virulent persuasion. There is a definite English punk breeding to the Texan’s sound which is certainly evident on the second song but also loudly whispering in the dirty rock ’ n’ roll song of the next up . . . And Now You’re Shit. Flaming with bluesy enterprise and heavy rock tenacity but equally equipped with punk spawned bait, it is a romantic primal assault to get feet and vocal chords engaged, though just a taster of the bigger anthemic temptation to come with 1717 17th Street. Rolling in on a devilish rhythmic saunter and sonic tempting, the song is soon spewing its melodic acidity around like aural confetti before settling into another impossibly addictive stomp which is as much a rage vocally and sonically as it an epidemic persuasion. Addressing issue of drugs with its title taken from the address of the high school where 15 kids overdosed on a bad batch of heroin, the track is a funked up, hard rock punk shuffle and quite irresistible.

The release closes with the grouchy, dirt smothered HEY Hollywood, a track with a healthy essence of Frankenstein Drag Queens From Planet 13 to its unpolished and infectiously unsavoury beauty. It is a brute of a final track revealing another twist to the varied punk and heavy rock sound the band toys with and twists into their own severe and thrilling trespass on the senses.

Füneral Käb has a sound which embraces the punk ages; it has the unbridled spite of a Sex Pistols or The Adicts, the confrontational hunger of a Suicidal Tendencies or Exploited, and the warped devilry of a Melvins or Dope Body. If any of those tick your boxes or punk at its abrasive best in general, then why are you still here… go explore this great band.

The Füneral Käb EP is available digitally and on 10” vinyl now. Get in touch with teh band to order @ https://www.facebook.com/pages/F%C3%BCneral-K%C3%A4b/221157981243934?sk

RingMaster 11/11/2014

Copyright RingMaster: MyFreeCopyright

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