Dirty Jane – Boogie Monster

Apr5

There is a new hypnotic rumble brewing in the belly of the Birmingham underground scene and it goes by the name of Dirty Jane. This salaciously flirtatious garage punk ‘n’ roll filly is not exactly brand new, the British trio emerging in 2014 but they have just made their national introduction with debut single Boogie Monster, a track with a primal swagger which simply infests body and spirit.

Consisting of vocalist/guitarist Jack Brown, bassist John Beadsmore, and drummer Elliot Morris, Dirty Jane has become an eagerly supported and talked about proposition within the Midlands music scene; earning a fine reputation for their energetic live presence amidst shows alongside the likes of The Strypes, The Sherlocks, The Computers, The Dirty Nil and most recently Hvmm. As mentioned, Boogie Monster is the band’s first fingering of national attention and surely lustful reactions such the infectious devilry breeding the single.

Fusing garage punk and punk rock with fifties rock ‘n’ roll, the Dirty Jane sound prowls ears and psyche like a fusion of The Cramps, The Phantom, Dick Venom and The Terrortones, and Eighteen Nightmares At the Lux; a creative breed of temptation which instantly has ears and appetite inflamed as the single sonically and vocally shatters the silence. Within another breath, rhythms are prowling the senses with a lively almost predacious gait casting catchy menace for Brown to vocally embrace. With insatiable hooks equally grabbing ears all along his guitar’s swarthy grooves, a delicious grumble to Beadsmore’s bass alongside, and the whole of the band courting thick involvement with their vocal roars, the song demands lusty participation, Morris’ tenaciously swinging beats extra incentive.

Produced by Gavin Monaghan, Boogie Monster is quite simply irresistible; its psych rock essences icing on the diablerie escaping the band and if a sign of things to come, the beginning of major mischief and adventure for and from Dirty Jane.

Boogie Monster is out now on 7” from the Magic Garden Vinyl @ http://magicgardenvinyl.uk/Store/ and digitally through iTunes.

http://www.dirtyjane.co.uk/ https://www.facebook.com/Dirtyjanemusic/ https://twitter.com/dirtyjaneuk

Pete RingMaster 04/04/2017

The Hangmen – Necronomicon

Mar17

photo by Phil Whiteley_Intial P Photography

It might not always have been openly declared but there is no escaping that British cult rockers, The Hangmen have been an inspiring force on the underground psychobilly scene since the early nineties and the first of seven greedily devoured and increasingly lauded albums. They defy, nay violate accepted musical conventions and expectations in attitude, deed, and sound whilst creating a blend of psychobilly and garage punk which only inspires in its uniqueness and irreverence; the evidence in the sounds escaping the imagination of bands like Dick Venom and The Terrortones and Dedwardians whether from direct or third hand inspiration. Now the trio return with a new three track infestation of body and psyche, an irresistible trespass sure to have even more willingly swinging from their creative gallows.

This new studio material has been a long awaited incitement, anticipation hanging on since the release of seventh album Cacklefest! in 2007, though there was also the rarities collection of Exhumed & Groomed to drool over three years ago. It has been fresh dark Hangmen swing fans have yearned for though and Necronomicon more than delivers. It is the most predatory and creatively deranged adventure yet with the threesome of vocalist/guitarist Loz Firewalker, bassist/vocalist Leapin’ Lizard Phillips, and drummer Dyin’ Ryan and with all its songs taken from upcoming full-length Hells Vagina, The EP is a salacious teaser of hell bent rock ‘n’ roll at its most deviously compelling.

The EP’s title track is first up, its homage to cult movie gem Evil Dead pure invasive theatre. From its initial piano cursed fingering of the imagination, the track twists into a predacious stroll with infection seeping from every pore. Swinging beats and a heavy rapacious bassline courts the senses whilst a seductively nagging hook teases, Firewalker barging in with his vocal roar as raucously backed by the vociferous tones of Phillips. Dragging the listener into its transfixing hellbound realm prone to caustic expulsions, harrying them with a gloriously plodding prowl, the track reveals itself as raw virulence cast in something approaching The Cramps meeting Th’ legendary Shack Shakers as The Orson Family add their incestuous lures ultimately emerging as a depraved invasion all of the band’s making.

The punk stomp of Collarbomb keeps the pleasure as lustfully inflamed, its own naturally mischievous and virulent swagger rapturous bait alone only matched up by the spicy grooves and fifties seeded boldness fuelling its persistently dynamic and insatiable two minute epidemic.

It is fair to say these ears and appetite were fevered by the end of the pair and only ignited again by closer The Great Brain Robbery, the song managing to find an even rawer toxic majesty to its clamour. Driven by a forceful strut with bedlam in its arsenal, the track as its predecessors swiftly gets under the skin incessantly ravishing the senses with its instinctive and inventive babel.

Necronomicon is the kind of treat for which any length of wait can be accepted while providing a taster of a release which will be even more desperately anticipated from this point on.

The Necronomicon EP is out now through Moon Skull Records on 10″ vinyl and download @ https://hangmen666.bandcamp.com/album/necronomicon-ep

Video directed/edited by Ryan Pilot

https://www.facebook.com/thehangmen https://twitter.com/Hangmen666

Pete RingMaster 17/03/2017

The Masonics – Obermann Rides Again

Mar5

masonics_RingMasterReview

Giving an instinctive passion for rock ‘n’ roll as big a work out as hips and feet, UK rockers The Masonics recently uncaged their ninth album, Obermann Rides Again, offering fourteen slices of their feverishly distinctive and tenaciously addictive sound. The trio rock and rumble through their new proposal with more of the beat infected garage punk which has seen them become the leaders of the Medway Beat first instigated by Billy Childish. In saying that, it equally breathes and roars with freshness again bringing something new and inspiring to ears and the scene around them, and most of all raw zeal and excitement to the listener.

The band consists of vocalist/guitarist Mickey Hampshire who was in the Milkshakes in the early 80s with drummer Bruce Brand who had played alongside Childish a few years earlier in the Pop Rivets and bassist John Gibbs once of Scottish group, The Kaisers. As The Masonics, the threesome have persistently cemented their position as one of the heads of British garage rock/punk with a sound becoming one of the essential inspirations of the ever eager charge of the genre’s young pups.

Released by Dirty Water Records as a limited 500 copies editions ahead of a series of limited vinyl and download releases from The Masonics’ back catalogue, starting with Outside Looking In and a new singles compilation, Obermann Rides Again swiftly reveals why the stature of the band remains stately. It all starts with I Ain’t Hurting For You and a guitar twang which provides the spark for a strolling jangle and rhythmic incitement forcibly engaging ears. The magnetic vocals of Hampshire are soon adding their lure; the boisterous sounds around him echoing his honest unfussy delivery. Within a handful of seconds feet are physically involved, appetite and those instincts just as eagerly hooked before the excellent opener hands its pliable slave over to the even more energetically captivating and persuasive Don’t Torment Me. With a Bo Diddley like stomp at its heart, the track twists and turns in its relentlessly vigorous shuffle with rhythmic rowdiness and sonic vivacity its virulent fuel. Rock ‘n’ roll was never meant to be flamboyant or polished to clean-cut limpness and this superb roisterer and its dirty ways proves why.

Your Dangerous Mind has a less undisciplined bounce, its saunter more flirtation than aggression and just as irresistible as Hampshire with grainy texture croons, backed by his cohorts within tangy grooves and hip inciting rhythms. The r&b essences of the song are just as ripe as its brisk punk serenade, chaining a body and imagination which is soon firmly hooked again by the sultry rumba of I Don’t Understand Her Any More. As with most tracks, a collusion of decades is at masterful play, sixties garage pop and seventies surf rock hues potent spices as too the fuzzy buzz of organ in the gentle but keen canter of a song.

Rhythm ‘n’ blues dexterity becomes even wilder in next up You Don’t Have To Travel; the beat swinging, hook casting romp has a flush of King Salami and the Cumberland 3 to it, a more mild-mannered but no less devilish cousin enjoying juicy melodies and the temptress vocal charms of Ludella Black alongside Hampshire. It also pushes the already keen diversity of sound within the album on again, as even more so does I’m The Unforgiver. The track is glorious, a dark rock ‘n’ roll saunter with Cajun spicing evocatively colouring attitude loaded vocals, the fiery shimmer of harmonica, and heavily loping rhythms. It infests ears and psyche like the mutant offspring from a dirty union between Th’ Legendary Shack Shakers and Ray Campi; quite simply it is garage punk to get truly lustful over.

The following and equally outstanding You’re A Stranger leaves body exhausted, senses punch drunk, and spirit ablaze next with its contagion loaded punk rock carrying a touch of The Mobbs to its rowdy exuberance while You Won’t See Me Again finds a predacious edge to its swinging, deviously catchy garage rock bred swagger.

Throughout the whole album, there is no escaping the physical manipulation of Brand’s nefarious beats or Gibbs infernal rhythms whilst Hampshire’s wiry melodies and jangling melodic hooks are trespasses more often than not breeding slavery. All are at bold play in the beat punctuated blues flamed I’m A Redacted Man and straight after in the smouldering fifties rock ‘n’ roll/sixties pop spun What Do You Do. A procrastinating stroll and anthem for lost love and its enslaving grief, the second’s raw seduction roars with soiled Walker Brothers like charm and salty melodic spicing reminding a little of The Birds.

Come On My Little Darlin’ bounces around like a dancehall ruffian after them, sonically tempting and rhythmically taunting as a mouth harp again seduces before You Gotta Tell Me shows its blues breeding with intoxicating hooks and intoxicated keys for a salacious slab of imposing but controlled rock ‘n roll. Both tracks continue the album’s appetite igniting prowess though both are quickly eclipsed by its closing pair.

The swinging country rock a-scented beat ‘n’ roll of The Unsignposted Road is sheer infectiousness with Black back courting ears alongside the band as one passion stoking hook persists and old school melodies flame. It is delicious to the ear but too is slightly shaded by the brilliance of the album’s title track bringing devilment to its exceptional close. Punk ‘n’ roll calling on the goodness of past decades, it stomps around and grips body and soul like The Pirates, both the Johnny Kidd and seventies eras, meeting Thee Headcoats as the likes of The Blue Cats spur them on; a glorious end to an equally stirring and enjoyable album.

As suggested earlier, The Masonics are the head boys of UK garage goodness and Obermann Rides Again is evidence they are in no mood to hand over that position.

Obermann Rides Again is out now on vinyl on the band’s own Grand Wazeau Records and digitally through Dirty Water Records and available @ https://themasonics.bandcamp.com/album/obermann-rides-again

https://www.facebook.com/themasonics/

Pete RingMaster 05/03/2017

Playboy Manbaby – You Can Be A Fascist Too b/w I’d Like To Meet Your Parents

Feb1

How to describe Playboy Manbaby? Hailing from Phoenix, Arizona, they are a six piece punk band where imagining the Banana Splits meets Swell Maps in cahoots with The Tuesday Club and Zebrahead feels the closest in portraying the band’s deliciously creative rioting. They are mayhem in the speakers, irreverence in the imagination and quite simply and as shown by their new single, irresistible.

Described as “the contradictory soundtrack to the contemporary life experience”, Playboy Manbaby is made up by the combined creative mania of Robbie Pfeffer (vocals), Chris Hudson (bass), TJ Friga (guitar), David Cosme (trumpet), Chad Dennis (drums), and Austin Rickert (sax). The past five years has seen the band steal the hearts and support of their local music scene and tear up stages alongside the likes of Mike Watt & The Missing Men, King Khan & BBQ Show, King Khan & The Shrines, Rocket From The Crypt, Thee Oh Sees, Cosmonauts, The Spits, Black Flag, The Descendents, The Replacements, The Slackers, Teenage Bottlerocket and many more. Grabbing major attention on broader landscapes has yet to find Playboy Manbaby, we ourselves only being introduced to them through latest proposal You Can Be A Fascist Too b/w I’d Like To Meet Your Parents, but thanks to the ever impressive discovery of talent by Dirty Water Records, things could be about to explode for the band.

With new album Don’t Let It Be in the works, Playboy Manbaby tease the appetite with You Can Be A Fascist Too, the first single from the impending release. Originally scheduled for a February unveiling, it was brought forward to coincide with the US presidential inauguration. From the off it assaults and lures with a belligerent guitar jangle quickly followed by the raw incitement of Pfeffer’s vocals. Second by second new invasive hooks and salacious grooves fling themselves into the punk mayhem, band shouts and off kilter harmonies wagging a beckoning finger as effectively as the caustic riffs and tenacious rhythms.

The track is a treat and mischievous brawl easy to devour as too is its companion I’d Like To Meet Your Parents. In fact it just about steals the show with its less intrusive but just as virulent dexterity in sound and flirtation. Leading up to a chorus which needs mere seconds to recruit and chain listener participation, the song strolls with minimalistic yet alluring melodies and enticing hooks as vocals make a plaintive proposal with a similarly swinging canter. It is glorious stuff with a foot in seventies punk as the band’s unique modern day mania bellows.

Dirty Water Records have a growing reputation for the eclectic range of their releases, the Playboy Manbaby adding yet another thrilling facet and while becoming one of the label’s best singles yet.

You Can Be A Fascist Too b/w I’d Like To Meet Your Parents is out now on Dirty Water Records and through http://playboymanbaby.com/shop/ and https://playboymanbaby.bandcamp.com/

https://www.facebook.com/ButterGravyButter https://twitter.com/playboymanbaby

Pete RingMaster 01/02/2017

Dearly Beloved – Admission

Jan31

beloved-12_RingMasterReview

It would have been hard to imagine Canadian band, Dearly Beloved majorly outdoing their last album Enduro at the time of its release, it one glorious slice of garage rock inspired sound built on instinctive and striking imagination, but they have done just that with its successor Admission. If there is such a thing as the perfect record, Dearly Beloved come so close with their new offering. Yet again the band recruits and manipulates the imagination with their sonic tapestries, embracing even greater adventure and variety whilst fully uncaging their rock ‘n’ roll instincts. If the last album was glorious, Admission is majestic; quite simply a primal and ingeniously conjured, addiction sparking roar.

As with its predecessor, the Toronto based band leapt upon and recorded fifth full-length Admission in quick time, using up fourteen days at Dave Grohl’s Studio 666. As ever centered around the vocal pairing of bassist Rob Higgins and Niva Chow, the quartet linked up with produced Daniel Rey (Ramones and Misfits) to record the album, using the famed, 70s era Neve 8028 analogue console that spawned Nirvana’s Nevermind. The result is a proposition which grips ears with vice like tempting while taking feet, hips, and rock ‘n’ roll instincts on a ride of their life.

RIP kicks things off, instantly chaining attention and an eager appetite because of previous successes with a grumbling yet vibrant bassline matched by senses rapping beats. A momentary breath uncages a torrent of hungry riffs and antagonistic rhythms, that in turn the prelude for a controlled yet ferocious rock roar. It is a fiery incitement perfectly contrasted rather than tempered by the warm inviting tones of Higgins and Chow, together a riveting lure in the creative storm. More virulent than the common cold, the track is pure dominance, irresistibly enslaving hips and feet as easily as ears and emotions.

The sensational start is more than matched by These Data, it too fleecing the passions with an opening lure of bass, a swinging groove woven coaxing infesting the psyche as a sonic shimmer sizzles around it. Beats dance with creative tenacity around that prime draw, Higgins again vocally captivating with Chow a similarly magnetic support as the track rumbles and grumbles. It is riveting stuff with guitars adding a great sour spicing to the mix as punk and grunge essences join the garage rock natured proposal.

I Tried To Leave brings a lighter poppier tone next though bass and drums still have that enjoyable crankiness as the pair explores a more Jane’s Addiction flavoured adventure. Every twist and turn in its intoxicating blaze brings fresh ingredients to devour, a psych rock invention only adding to a mouth-watering stomp before Who Wants to Know turns the album’s charge into a prowling, dark toned trespass. Vocally Higgins and Chow conjure a bewitching union whilst sonically the song sears the senses as rhythms dance on the debris with ridiculously infectious wantonness. A subsequent passage of relative calm enables a blues laced groan to emerge, its restrained air remaining as the track expands again until its volatility surges through ears as Chow’s harmonic lures beckon like a siren.

Through the kinetic punk ‘n’ roll of Strobe-Dosing and the abrasive funk of Currents, band and release use the listener like a puppeteer, the first as much pop natured as punk belligerent as it courses relentlessly like blood through veins into the psyche and passions. Its successor holds back its instinctive urge to career through ears, allowing its rhythmic heart and harmonic beauty to entice the senses like a raw blend of Shriekback and Ex Norwegian though as ever, a Dearly Beloved song is never slow in developing new detours and twists to enjoy.

The garage punk devilry of Blood In The Water provides the next major highlight of Admission, its dark heart and tantalising slow rhythmic prowl almost crawling over the senses as electronics atmospherically play and guitars toxically simmer. As vocals and harmonies radiate and yet another wicked bassline from Higgins grips, the track moves and burns like gothic lava.

Its startling presence is matched by that of Boxing Days straight after, the song aural seduction from its bewitching vocals and crabby bassline to its harmonic romancing and infectious tempestuousness. From a fascinating simmer it grows into a conflagrant eruption of sound and intensity impossible to evade not that you will wish to.

It is fair to say there are no weak moments within Admission; no times it comes close to loosening its masterful hold and creative success as proven once more by the closing creative outcries of When You Had The Choice and Future Shock. The former is a romping slice of rock ‘n’ roll with an unmistakable Foo Fighters like boisterousness and aggression in its punk heart while the latter skilfully blends calm and clamour in its own garage rock/punk driven trespass, each entwining a host of flavours in their spirit rousing traps.

It is very easy to keep heaping more praise upon Admission but the evidence is in the sound and time shared with it, though Dearly Beloved need little of either to convince and prove themselves one of the most exciting bands out there.

Admission is out now via Aporia Records across most online stores and @ https://dearlybeloved.bandcamp.com/album/admission-2

http://www.dearlybelovedmusic.com/ https://www.facebook.com/TheBeloveds/ https://twitter.com/thebeloveds

Pete RingMaster 31/01/2017

Frau Pouch – Fairymares

Jan24

I am sure we were not alone in eagerly anticipating a first album from British no wave post-punks Frau Pouch. They are a band which captured and ignited our imagination on our introduction to them in a split release with fellow Kent outfit Houdini back in 2012. Their sound is a sonically and creatively gurning fusion of post and garage punk with other feverish forms of wonderfully irritable and imaginatively twisted rock ‘n’ roll. Each release, since that first meeting, has seen the Medway trio stretch, twist, and inject their imagination with new creative psychoses, nurturing their most irresistible outcome yet in debut album Fairymares.

Released via Skingasm Records and recorded with Greg Webster of Houdini/ Punching Swans, Fairymares is warped manna for the ears especially if they have been nurtured on a diet of post punk seeded bands such as The Fall, Pere Ubu, and The Victorian English Gentlemens Club. The album swiftly enforces the fact that Frau Pouch has its own sound though, even with essences reminding of others, it stands boldly unique and creatively salacious to the threesome of vocalist/guitarist Joe Wise(also of Punching Swans), bassist Ollie Crook, and drummer Suzanne Freeman.

As previous tracks and the All Hail Space Chicken EP before it, Fairymares swiftly entangles ears in a web of sound and invention, opening up with the band’s lust breeding single of last year Biscuit Beard. From the glorious carnivorously natured, bestial toned growl of Crook’s bassline setting things off, the track infests body and soul. Wise’s riffs are just as carnal in touch and sound, his flowing grooves equally rapacious as Freeman’s controlled swings punch further subservience to the song’s call on an instantly lustful appetite. The track is pure addiction, its Gang Of Four soiled rhythmic tempting alone irresistible and the wiry web of sonic endeavour and vocal nagging Mekons like.

It is just the start of the album’s insane grooving and rhythmic baiting with the following Dracula Pukes revealing its own nest of creative vipers as cutting scythes of guitar and punch happy rhythms challenge and enthral for a mere fifty seven seconds; a gripping minute of cantankerous confrontation leading to the virulently infectious stroll of Ham Planet. Like Pere Ubu on steroids as Turbogeist writhes under the punk influence of The Fall, the track dances with pop infused boisterousness though every swinging movement of its creative hips comes with seductive venomous intent as Wise declares his vocal desires.

The exceptional Burn Baby keeps the lust hungrily burning next, its lo-fi canvas a tangle of steely petulant grooves, intimately flirtatious beats, and crabby bass groans as vocals install their own brand of psyche trespassing persuasion. It is aural corruption leaving a lingering touch though Witch Fingers straight after soon steals all attention. With we assume Freeman taking vocal lead, the track is like a demented fusion of Daisy Chainsaw and The Fire Engines, off kilter toxic melody and dancing vocals uniting in an adult nursery rhyme like trespass of sanity.

Ghost Fire offers its own cranky invention, stabbing riffs and sonic vining shadowing Wise’s compelling stabbing vocals as another gloriously testy and intrusive bassline sparks feverish submission across its single minute before the repetitive prowess of Erotic Clocks has ears tempted hook, line, and sinker. With a slight whiff of Spizzenergi to it, the track is another sure fire infestation of body and psyche with its rhythmic nag and caustic expulsions.

With seductive danger to its cartoonish and creative loco, Gotham Piper lures the listener in next, continuing to lay a certifiable creative hand on the senses before intermittently uncaging its inner meshuga in ferocious style. The Cardiacs comes to mind within the thrilling encounter, Mark E. Smith and co even more so in successor Cat Curfew though once more as Wise lords over his own weave of sonic wiring and the rhythmic union of Crook and Freeman, Frau Pouch imprint only their own uniqueness.

Sleepstalker completes the line-up of treats, its sombre yet vibrantly magnetic fingering of the senses the stuff of nightmares; Crooks’ grievous bassline the stalker, Freeman’s beats the trap, and Wise in voice and sonic intrusion the swamp impossible to escape from. They are all delicious ingredients in a thrilling end to not only the best thing to come from Frau Pouch but potentially 2017 as a whole.

Fairymares is released 27th January via Skingasm Records.

https://www.facebook.com/FrauPouch/ https://fraupouch.bandcamp.com/

Pete RingMaster 24/01/2017

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

Dec15

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.

front-cover_RingMasterReview 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