The DeRellas – High Rise Supersize

Pic David Newbold

Paving the way to a new album later this year, UK glam punks The DeRellas have just released brand new single High Rise Supersize. Consisting of three tracks, it is a rousing slab of punk ‘n’ roll sparking sure anticipation for the band’s forthcoming full length.

With previous mini album of 2016, Freakshow, thrusting the band’s sound to a new plateau in craft, imagination, and energy, it has been easy to hope, even expect, another elevation in prowess and adventure in any successor. Eighteen or so months on, High Rise Supersize more than offers, indeed realises, plenty of the potential of such success.

Producer by ex-Vibrator, Pat Collier, High Rise Supersize is the first release to feature new vocalist/rhythm guitarist Joey DeRella and comes as the band venture across the UK on a string of live shows including playing Rebellion in August. High Rise Supersize opens with one of those hooks you just have to take a bite of, guitarist Luca DeRella luring swiftly keen attention, leading it into the waiting rhythmic incitement of bassist Timmy DeRella and drummer Billion Dollar Bish. There is boisterousness to the track which just entangles the spirit especially once Joey’s eager tones join in the rock ‘n’ roll romp. The track is DeRellas typical yet soon shows a fresh character and intent with its animated melodies and sneaky hooks. Equally there is a touch of old school punk devilment to its roar which only adds to the fun.

The lead song is accompanied by I Got Something To Say and a great cover of The Sweet classic Fox On The Run. The first similarly lays down tasty guitar bred bait to set things going, rhythms in tandem snapping across the senses. As quickly the track shows a darker and dirtier attitude loaded nature to its predecessor, snarling as it stomps spilling open belligerence as it swings. The track is superb, for personal tastes even eclipsing the lead track, and another reason to get a touch excited about that impending album.

Its successor also carries that dirty texture in its infectious stroll, The DeRellas infesting the veins of Fox On The Run with their own creative and mischievous juices. The band does not dissect and rebuild the well-known encounter but gives it a growl and a raw layer of rock ‘n’ roll soil which works a treat.

It is set to be a very busy summer for The DeRellas and if High Rise Supersize is a sign of things to come an extremely successful end of year through the release of that new album.

High Rise Supersize is out now on the band’s own label, Rockaway Records; available on 7” vinyl, CD, and download @ https://store.cdbaby.com/cd/thederellas

https://www.derellas.com/   https://www.facebook.com/TheDeRellas/   https://twitter.com/thederellas

Pete RingMaster 03/05/2018

Copyright RingMaster: MyFreeCopyright

The DeRellas – Freakshow

DeRellas_RingMasterReview

Kicking off their own album Rockaway Records in rousing style, UK punk ‘n’ rollers The DeRellas release new mini-album Freakshow. It is an insatiable six track roar of the band’s familiar glam infested sleaze punk rock ‘n’ roll but equally their most instinctive punk rock centred trespass upon the senses. The result an incitement which just fires up the instincts to be bad whilst treating ears to their most irresistible proposal yet.

Freakshow is also the first offering from the London hailing quartet without vocalist Robbie, one of the band’s founders along with bassist Timmy DeRella. Stepping forward to fill the spot as if he has always been there is Stevie D, the band’s line-up completed by lead guitarist Luca DeRella and also new drummer Bish, once of Flesh for Lulu. It is a foursome which goes straight for the jugular with the Pat Collier produced Freakshow; from its first breath tearing up its surroundings like Johnny Thunders meets The Boys infested with the raw power pop of The Quakes.

Rip It Up descends on the senses first, from its first rap of drums and spicy grooves winding around ears with a salacious attitude backed by tangy grooves and predacious rhythms. Stevie’s vocals are just as cantankerous as the sounds around him, carrying a great irritable edge potently backed by Timmy and Luca as a strong catchiness invades song and ears. Carrying a touch of The Damned to its darker riffs and rhythmic imposing, the song without ripping up trees is a strong and enjoyable start to Freakshow which blossoms into a greater beast hereon in.

Strung Out Sin City grumbles and rumbles upon an already keen appetite straight away next. A nagging potency lines its riffs whilst rhythmically the track is enjoyably heavier and darker than its predecessor, it all combining with a lively imagination which sees the song quickly eclipsing the opener. It too has a chorus which demands involvement whilst Stevie’s rhythmic guitar prowess is a great echo of the sonic enterprise cast by Luca. There is plenty about The DeRellas sound which is familiar but as here rarely to the detriment of creating its own character and persuasive individuality.

cover_RingMasterReviewHinted at in the last song, a great 999 flavouring invades next up Soho Hotel, an essence which accentuates the virulence of the song and its fiercely catchy demeanour led by the swinging bass groove of Timmy and Stevie’s rousing delivery. Bish’s beats equally make a lively impact throughout as sonic flames escape the strings of Luca. The song is another step up in power and adventure within Freakshow more than matched by the album’s outstanding title track. Taking best track honours, it is a bad boy encounter; defiant in heart and aggressive in bearing stirring up all the punk rock/rock ‘n’ roll instincts within itself and the listener.

Dress Up, Mess Up is another pushing thoughts towards 999 comparisons without losing its own DeRellas identity; the song a boisterous stomp of hungry riffs and bitchy rhythms as vocals and melodic toxicity inflame an eagerness to get involved. Again you could say surprises are low yet everything about the song and indeed Freakshow is fresh and all persuasive.

The release closes with a captivating version of the Adam and The Ants track Plastic Surgery, The DeRellas giving it a rawer Sex Pistols/The Adicts edge which just hits the spot dead centre.

Freakshow is The DeRellas at their most punk yet and no coincidence that the album outshines their previous and thoroughly enjoyable reputation marking encounters. It is also a great start to their new label which we would suggest in providing more of the same will be hitting, like the band, far loftier heights.

Freakshow is out now through Rockaway Records digitally and on CD and 10” green vinyl @ http://thederellas.bigcartel.com/

Up Coming Live Dates:

Friday 11 November – Birmingham, Hare & Hounds (with The Black Bombers and The Primevals)

Thursday 17 November – Bristol, Thunderbolt (with The Setbacks)

Saturday 19 November – Reading, Rising Sun Arts Centre (with Rage DC and The Go Go Cult)

Sunday 27 November – London, The 100 Club (with The Crunch)

Sunday 11 December – Edinburgh, Bannermans (with Buzzbomb + more TBC)

http://derellas.com/   https://www.facebook.com/TheDeRellas/   https://twitter.com/thederellas

Pete RingMaster 03/11/2016

Copyright RingMaster: MyFreeCopyright

Mr. Strange – The Wonderful World Of Weird

Mr. Strange promo

Just to prove that insanity can be the sweetest potent seduction The Wonderful World Of Weird is here to exploit and uncover the darkest secrets of your mind whilst travelling the exotic and dangerous mental halls of its creator Mr. Strange. The former frontman of the UK’s greatest still to be truly discovered musical mutants The Shanklin Freak Show, though he is still healthily involved in the band, Mr. Strange voraciously stalks the senses and emotions with his fourth album. It is a release which soundtracks a bedlam of sound and adventure from a quite maniacal imagination.

The Isle Of Wight hailing songwriter/producer/vocalist/musician began his musical exploration as ‘The Mad DJ’ in 1998 before emerging as Mr. Strange in 2006. He founded circus rock/steampunk band The Shanklin Freak Show in 2003, guiding the band as songwriter and vocalist up until starting an extended break from performing live at the end of 2011. Alongside The Shanklin Freak Show albums including Act II – The Light Fantastic of 2009 and Welcome To The Show of 2011, a few other projects, and producing a couple of albums by Global Citizen, Mr. Strange unleashed his solo musical rapaciousness. Sounds From The Asylum came first to be followed in 2011 by the releases of The Fall and Freakshow, the last a 38 track retrospective album chronicling the songs that he wrote under the Shanklin Freak Show name  which included new, unreleased, and re-recorded or re-mixed tracks. Now the sanity puppeteer steps forward again with the magnificent temptation of The Wonderful World Of Weird, the finest Mr. Strange musical and mental examination yet.

With more flavours than a giant box of Jelly Bellies, the album is a dramatic and exhilarating flight through the darkest yet 555928_584429381594861_1695733989_nmagnetically and vibrantly compelling mind of the fictional character of its creator, employing everything and anything from industrial and steampunk to gothic rock and progressive metal, and that is just scratching the surface. With many of the tracks co-written with Gary ‘Stench’ Mason, The Shanklin Freak Show guitarist and provider of the majority of the guitar invention across the release, the album immediately lures in senses and imagination with the opening spoken narrative leading in the title track. It instantly intrigues as the scene setting premise strolls into the irresistible stomp of the song. Rhythms bounce around with a heavy mischievous gait matched by the electro and bass taunting whilst the guitar casts lines of sonic and melodic bait which is pure infectious toxicity. Best described as Dr. Jekyll meets ICP as early Marilyn Mansion helps Victor Frankenstein create aural life for them to toy with upon a set designed by Willy Wonka, the track is a delicious fascination and the first irresistible hint of the lunacy to come.

Creating the World is an expansion to the landscape previously crafted with a gentle psychedelic ambience washing the dawning scenery. It is a mesmeric, almost meditative soaring of harmonies and guitar elegance with rubs of dub and scratching teasing the riveting flight. The seducing continues right up to the doorway into the Psycho Surfing-A-Go-Go, one of the major pinnacles upon the album. Again as between numerous songs, the narrator lays down an invitation before the surf rock contagion drops its shoulders and swerves through the ear with irrepressible virulence. The grooves enslave the passions within seconds whilst the rhythmic dance only builds a cage for rapture to breed within as fire kissed keys add smouldering lures to the hot and epidemically addictive romp of sonic lava. The song is one of the best heard anywhere this year; a beach party in the mind of Hunter S. Thompson hosted by The Cramps and The Bomboras with Two Wounded Birds, B52s, and The Revillos adding extra entertainment.

From the dark sinister realm of The World’s Dark Heart, Mr. Strange lurks in the steampunk/industrial graced world of Metropolis 2984, a track which equally extends some classic metal and psyche sculpted imagination to its captivating persuasion. There is a swing and energy to the track which infects feet and emotions but equally an underlying dark tone beneath the celestially soaring harmonies which suggest more 1984 than Fritz Lang. Again the album and artist has the listener in a tight grip of pleasure and suasion, though it never slipped from the first breath of the album to be fair, which tightens with firstly Clockwork Man and explodes through Fire. The first of the two stalks the ears with the drama and theatre of a Tim Burton vision sculpted by the melodic ingenuity of Danny Elfman, though it has to be noted that every song despite the references sound like no one but Mr. Strange. This masterful manipulation of the senses and passions is soon left in the shade by its successor, the track another major peak in nothing but highs. The song is the closest to a Shanklin Freak Show tune that the album gets, its sexy tango pulsating mouth-watering foreplay for the beats and funk bred keys to add intoxicating spice to. There is something familiar to the hooks and stomp of the song aside from the earlier comparison, but it is indefinable and wholly galvanic.

Through the noir shadows of Don’t Stay (Where the Dead Ones Lay) with its jazz smooching funk lined temptation and the excellent gothic majesty of White Rabbit, the song reminding of The Damned at times, The Wonderful World Of Weird intensifies its resistance free toxin whilst the electro swing heart of Exile and the psychedelia soaked gothic tempting of Anti-Christ only spark further flames of lustful submission to the call of the release and its psychotic beauty. Every song is a wanton temptress in whatever guise and sonic clothing they frequent, and though admittedly hopes and expectations were of big things from Mr. Strange on past successes, the album left those assumptions insultingly short of the brilliant reality.

Completed by the classically crafted Journeys End, an enchanting epilogue if not to the levels of what came before, The Wonderful World Of Weird is pure certifiable aural manna. The CD version also has a track exclusive to its version, a very enjoyable cover of the Dr. Steel track We Decide. The able shows that there is only one Mr. Strange and his form of weird, one you can charter a sensational cruise through via our favourite album of the year, The Wonderful World Of Weird, that is if you are brave or eccentric enough.

http://www.mrstrangemedia.com/

10/10

RingMaster 28/11/2013

Copyright RingMaster: MyFreeCopyright

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