Fossils – The Meating

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Released a year ago, Flesh Hammer from Danish noise alchemists Fossils has, from fusing the senses and passions on its first touch, continued to reign on our weekly playlist, and more often than not in a daily burst or two. The outstanding release from the instrumental noise rockers as their sound generally, is a primal temptation sculpted by the bass and drums of Simon Tornby and Per Silkjær respectively. In that union though, the band breeds hooks, grooves, and rhythms which are as sinister and predatory as they are contagiously all-consuming. The album was pure addiction in our ears and the band exactly one year later have done it all over again with a new release, this one coming with a thrilling twist.

With their new instrumental exploration scheduled for 2016, Fossils have filled the gap between albums and impressively fed anticipation with new EP The Meating. Where that twist comes in is in the fact that this encounter is awash with tempestuous vocals. At the time of the unleashing of Flesh Hammer, the duo enlisted various singers to interpret tracks vocally from the album at its release show. Originally planned as a one off occurrence, the band subsequently took the performers into the studio to record their additions to the original songs, and now we have the quite scintillating and compelling devilry of The Meating; seven pieces from the last album re-interpreted and ignited again vocally. Renamed and presumably re-mixed or re-tweaked musically, unless the vocals transform tracks even more potently than we thought, the EP is another irresistible and storming onslaught from Fossils.

Opener Deadringer features Jacob Bredahl of The Kandidate and once of HateSphere, and under the torrential bombardment of Silkjær’s addictive beats it instantly has ears and attention submissive. It is of course prime Fossils bait, the snarling lure of the bass and its crunching riffs aligning to voraciously swinging rhythms for immediate manna to the ears. Bredakl is soon roaring with his distinctive tones, challenging and raging with attitude and animosity within the increasingly virulent sounds. Already a pungently confronting encounter, the song is given extra causticity and rancor by the singer, and as all the songs becomes a brand new proposition.

The following Taxon is graced by the blistering industrialised contribution of Ultimate Combat Noise, the track brewed into a corrosively attractive and psyche scorching antagonist whilst next Printup Meat Lover takes on a punk crafted guise thanks to Mads Stobberup of Cola Freaks. He vocally brawls over the spicy infectiousness of the equally agitated sound; the track like his voice is not exactly looking for a fight but given a nudge will lash out with relish. It is not the last track to have an infusion of varying punk revelry and those tracks do emerge as favourites, though everything excites without reserve.

   Marie Højlund of Marybell Katastrophy gives Ridge and the Rock a siren-esque seduction next, her ethereal and seductive tones wrapping like a temptress around the wiry lures of the bass and the ravenous energy of the drums. It is a bewitching infestation of senses and lust, an increasingly rabid and psychotic enchantment matched by the punk ferocity of Speedbacon. Seb Doubinsky provides the voice to the Dead Kennedys like take on the original rasher of noise bestiality. The track is ravenous in nature, though nicely contrasted by the vocal porcine fun in a presence barely lasting a minute of length.

The final two tracks steal the show, even if by a slither. Firstly Ham Reader expels an acidic and venomous bluster over its tempest of noise through Mikko Mansikkala Jensen’s bracing throat bred squalls. It is a ferocious and wholly magnetic assault which sets the emotions up perfectly for the final devilment of Ködhabit. The track is blessed by Kim Kix, one half of psyche rock ‘n’ rollers Powersolo, who thanks to Fossils and this release have just swiftly been added to our lustful favourites list. The song as expected launches a torrent of delicious grouchy bass growls and insatiable rhythms but grows further with the deranged tones and delivery of Kix. The song we would suggest is the most startlingly evolved of the bunch from the original templates set by Flesh Hammer, a hellacious rocker which relentlessly flirts with the passions in a way which only an image of Gene Vincent being twisted inside out by and thrust on stage by Cleve Barker’s Cenobites, who then provide the backing sounds fits. We said that every track is a massive and equally thrill, and they are, but the final song of The Meating is another type of creature and looks down on all with majestic lunacy.

The Meating is and feels like a brand new offering from Fossils as we await their next instrumental escapade. Flesh Hammer graced many a best of list in 2014, and we can find no reason why this new offering will not be doing the same come December.

The Meating is available from March 2nd via Indisciplinarian.

FOSSILS will be performing at the three Danish Indisciplinarian Label Nights in late March with label mates Piss Vortex and Anti Ritual at…

26/3 – Stengade, Copenhagen (DK)

27/3 – Radar, Aarhus (DK)

28/3 – 1000fryd, Aalborg (DK)

http://www.meatrush.com/   https://www.facebook.com/fossilsmusic

RingMaster 03/03/2015

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://reputationradio.yooco.org/

Warped romances and deathly seductions: exploring the psyche theatre of Dedwardians

Dedwardians

The recent release of AA-sided single Love Sick/ Like An Animal reinforced UK garage punk/psyche rockers Dedwardians as one irresistibly primal and infernally seductive incitement. Breeding a raw and scuzz lit infestation of the senses and imagination from the essential essences of psychobilly, garage punk, psyche rock, fifties rock ‘n’ roll and plenty more, the London quartet has emerged as one of Britain and garage punk’s most exciting and flirtatiously inventive propositions. Already carrying a lustful appetite for the band’s sound we thought it was time to learn more about the dark sonic beast that is Dedwardians, so with thanks to drummer Ben Auston we explored the band’s origins, sound, new single and much more…

Hi and thanks for sharing time to come chat with us.

Firstly can you tell us about the background to the band and how you all linked up?

Hello there. Paul (vocals) and Gaff (guitar) found me (Ben, bass) via the bands manager at the time. We met up for a few drinks in Soho and we took it from there. We went through a couple of drummers before finding the boy wonder, Dan Bridle. As for our backgrounds, I can only guess that Paul and Gaff, being men of the North, were raised listening to Venom whilst working in a shipyard or something equally manly. We’ve all grown up playing in rockabilly, punk and rock ‘n’ roll bands….so we’ve all been cut from a similar cloth. …Faux leather.

The band members I believe hail from cities like Liverpool, Leeds, and London, but now all London based for the band. Why the choice of the Capital for the band’s home and would you Dedwardians Bencontemplate living anywhere not beginning with the letter L? ;)

We wanted to move to Aleister Crowley’s old dwelling, Boleskine House on Loch Ness, but the bedroom tax malarkey ruined that, so we settled on a 6 berth caravan in South London.

Many bands seem to start with one direction or idea of sound before emerging with or evolving to their true sound, Ministry maybe the biggest named example. With Dedwardians, I get the feeling you were all born to create the music you do, so was the sounds gracing your two singles it from day one?

Kind of…We started off with a bit more of a 1950’s rock ‘n’ roll sound with our first single – almost Jerry Lee-esque, but somehow we have gone a bit darker and twisted with the newer stuff…which I guess is more true to how we actually sound live. The name was a bit of a play on the Edwardian Drape Society/Teddy Boy thing, so we’ve not strayed too far off from the original ethos.

In our review of the new AA-sided single Love Sick/ Like An Animal we drew on comparisons to the likes of The Cramps, The Dropper’s Neck, and Eighties Matchbox B-Line Disaster, and we could have mentioned Gene Vincent, The Heartbreakers, early Misfits for example too. What are the predominate inspirations which have shaped your tastes and influenced your invention?

You’ve pretty much nailed it on the head with those, but The Cramps are the band we’d all agree on though if I had to pick one. We’re an eclectic bunch on the whole though. Glam through to Psychobilly, Garage Punk to Goth…we’ll borrow shamelessly from wherever. Might confuse some listeners, but hey ho.

As you just mentioned your sound really is a creative frenzy whipped up from essences of numerous styles. Has this diversity just come from all your varying tastes over time or always been there in the songwriting from day one?

It’s been there from the start. It’s becoming more diverse as things progress, which has been tricky in the past when it comes to picking what to play live as we’ve been worried about jumping too far from one style or genre to another. Somehow it always sounds like us nonetheless, so it can’t be too far off. I think we’ve got it down now though, so not too many perplexed looking faces in the crowd. Hopefully.

How would you describe your music to newcomers?

Errr, something along the lines of Gene Vincent, Lux Interior and Captain Sensible on a night bus home.

We love the band name, The Dedwardians speaking for itself and of course you touched on it earlier, but who came up with it?

I think it was Paul and his love for Teddy Boys…Or boys with teddies…Can’t remember. Good though.

Are both your singles Bang Bang Die/Stop Destroy and now of course Love Sick/ Like An Animal songs written around the same time or over different periods?

There was a bit of a gap, maybe a few months at the most. What delayed things was trying to find the right studio to get the sound we were after. Some studios we tried made us sound way too clean…completely not what we wanted, but then we didn’t want to sound too digital or heavy metal. We ended up picking Andy Brook to work with, who I’ve known for years. I wish we’d just gone to him in the first place. We’d have an album sorted by now…maybe.

Dedwardians2How are you seeing the evolution in your songwriting and sound as the band grows and matures together?

The songs are getting a bit more thought through and taking longer to sort out the final arrangements. I don’t mean in a Math Metal/Prog direction, we’re just trying to get the most out of the dynamics and avoiding becoming formulaic. Sometimes it’s tricky doing so with just one guitar, bass and drums. Saying that, Gaff is often louder than two guitarists…Sound men love him.

Is there a predominate inspiration to the lyrical and emotional side of your songs?

The only recurring theme I’ve managed to pick up on is DEATH. Which is odd, as Paul is generally a pretty cheerful chap.

Tell us about the recording of the new single. Did you have any particular intent with the tracks?

We wanted it to be loud; fuzzy guitars, big drums, over driven vocals and dirty bass. Andy Brook (engineer) pretty much got what we wanted straight away. He knew our influences better than the other studios we had recorded in, so that took a lot of the guess work out.

The songs have an instinctive, almost primal lo-fi breath. This edge makes them predatory and insatiably addictive, certainly for us drawing out the true heart of the tracks. Many bands seem almost afraid to tap into raw sounds, what lures you into this approach?

It’s probably the hatred for the opposite. We’re not Hi-Fi for sure. We’re really not about high end boutique guitar amps and overly compressed tracks. Our influences aren’t squeaky clean, perfectly auto-tuned performers. Raw is always better…Red raw.

It is fair to say you make music for you, sounds that you adore and then hope others feel the same?

Yep. Haha. Utterly selfish. When me and Gaff are writing together, we’re honestly not bothered about trying to please a certain scene or genre. If you go that route, you’d just end up sounding like you’re trying to suit a certain style.

Tell us about the video for Sick Of Love?

We shot it in a dark rehearsal room in a few hours, again, about as lo-fi as you can get. I shot most of it and edited it…DIY all the way. It’s not that we can’t afford something more grand though…we saved up enough cash to get Martin Scorsese interested, but we ended up blowing it on a night out in Skegness.

You have earned strong praise and acclaim for your live performances as well as the singles. Rampaging in front of the audience is where you really get a fire in the belly I am guessing?dedwardians3

Yep. We go for it on stage. Who doesn’t want to watch 4 sweaty blokes playing too loud for 25 mins?!

Where can people catch the band live next?

Butlins. No, err, The Finsbury, 18th December.

Any Christmas treats in store for fans with shows?

Yes, naturally. The venue’s ceiling will be so heavily adorned with mistletoe that it resembles stalactites. We have a list of all the naughty girls – Dan will be dressed as Santa for their pleasure. Paul will be dressed as an Elf. Me and Gaff will be head to toe in black leather, with tinsel detailing…humming Wizzard’s festive classic – I Wish It Could Be Christmas Everyday. We’re the gift that keeps on giving.

Thanks again Ben for sharing your time, anything you wish to shout out to finish off with?

A dog is for life, not just Christmas…and buy our fucking record!

Cheers Pete! Merry Crimbo!

Ben Auston

Read our review of Love Sick/ Like An Animal @ https://ringmasterreviewintroduces.wordpress.com/2014/11/22/dedwardians-love-sick-like-an-animal/

https://www.facebook.com/Dedwardians

Pete RingMaster

The RingMaster Review 11/12/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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The BossHoss – Cowboys From Hell

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The first full week of November sees German rockers The BossHoss stomping with their inimitable presence and sound as support to Motorhead in a UK tour. To accompany the three date rampage and to commemorate ten years raising rock ‘n’ roll revelry, the Berlin septet has released a UK only compilation album. Cowboys From Hell is a sixteen track rabble-rouser consisting of The BossHoss classics and live staples, a selection of tracks unleashing the full uniqueness, depth, and diversity of the band’s country rock/rock ‘n’ roll voracity.

Listening to the album you are soon stirred up by the thick weave of flavours which make up the band’s propositions. Infused in the styles just mentioned, there are just as rich and healthy blazes of punk, funk, metal, and rock pop involved, and that is still only scratching the first few layers of their contagious enterprise. The band creates rock ‘n’ roll to have fun with, sounds to lose inhibitions to, and insatiable devilry to wreak mischievous havoc to. Like a mix of Volbeat, Gene Vincent, Johnny Cash, and ZZ Top in league with The Damned, Helldorado, James Brown and Faith No More, The BossHoss is an instant provocateur and best friend with songs as evidenced on Cowboys From Hell, which are somehow instantly familiar yet a brand new incitement for ears and body to romp with.

Opening with the bluesy twang and hard rock feistiness of Bullpower, the album swiftly has feet and imagination, not forgetting ears wrapped up in its impending revelling. The multiple and varied vocals of the track, as proven across the album, is a potent lure to match the sounds around them, whilst its straight forward and highly persuasive blaze of old school and modern rock ‘n’ roll united, is one infectious and muscular stomp.

It is a powerful start which never dips below full satisfaction across the release; the following Volbeat seeded contagion of new single Whatever an immediate and richer temptation for ears and passions. Brass flames heat up the busy sonic underbelly of the song whilst heavy rhythmic baiting grips ears with predatory intent. Ultimately though, the song is a party in the ears, its electro swagger and striding urgency an addictive canvassing of thoughts and passions.

Through the hypnotic and lively anthemic prowling of Liberty Of Action, with its sizzling guitars scythes and metronomic beats, and the country spiced rap breeding of the album’s title track, God Loves Cowboys continues to recruit greater submission of body and emotions, the second of the pair an irresistible calling which shares plenty with bands like Hollywood Undead. It is fair to say that The BossHoss is still a relative secret across the UK but already four tracks in they make a potent doorway into their rigorously eventful presence and sound for newcomers and vague acquaintances.

A western twang coaxes in the start of Do It next, but is only the initial spice and lead into the funk fuelled diablerie of the song, keys and brass especially saucy in the sultry Electric Six like seduction before the psychobilly teased Stallion The-BossHoss-God-Loves-CowboysBattalion charges into ears and imagination. Hooks and grooves play with a Queens Of The Stone Age colouring whilst the weighty striding of the track is part Turbonegro and part Tiger Army, and all The BossHoss. Both keep the blood racing through veins and feet locked in an inescapable carousing, the pair straight away backed up in might and infection by the R&B/fifties flavoured rocking that is Shake & Shout. As most tracks it feels as if it is already an old friend on the first play but it does not diminish any of its enticement and unpredictable hues.

As you would expect there are particular pinnacles in any collection of songs and one comes in the mighty presence of Backdoor Man. Smouldering in tone and temptation from the first breath, the song with brass sighs and low key vocals swiftly enthralling, is an instant trap from where rockabilly and heavy rock tenacity with jazzy mischief seals the deal. A heavy and fleet footed shuffle, the track is pure rock alchemy, every twist a primal temptress clad in salacious shadow and aural deviltry. Normally any following song would struggle to live up to such triumph but both the punchy funk loaded Don’t Gimme That and the energetically simmering My Personal Song make an irresistible continuation of great times and lingering seduction. There is no way anyone can avoid swinging their body and voice to the contagion of the first of the two whilst its successor is simply what would emerge if Johnny Cash did funk pop, again the blend of different voices as thrilling as the adventurous yet unfussy sounds themselves.

It is fair to say that certainly in recent times no album involves the listener’s body and voice as mercilessly and relentlessly as Cowboys From Hell, the jumpy enterprise and energy of Keep On Dancing being no different especially as the band craft another chorus which is as incendiary on the listener as it is explosive on the air. There is a spellbinding ingenuity in how the band sculpts such virulent eruptions to enslave their recipients yet never goes for the easy route into and out of what is pure creative toxicity.

Through the hard rock powered My Way with its country rascality and the punkabilly Last Day (Do Or Die) things only continue to inflame the passions whilst Break Free with its mellower fifties pop and melodic rock crooning wrapped in soothing harmonies, incites the imagination again whilst revealing yet another texture in the band’s invention. Each track leaves a licking of appetite’s lips and emotion’s lust before the release closes up with a couple of exhilarating cover songs. First the band takes on Motorhead’s Killers, a twisting of rockabilly/blues rock drama into pure infectiousness and mouth-watering temptation, before they rip up the Cameo classic Word Up, and give it the best make-over heard anywhere. It is rockabilly funk with the blood of cowpunk running through its veins, an addiction which would be topping lists in illegality if a drug.

God Loves Cowboys is The BossHoss’ first official UK album I believe and about time after ten years of tearing up Europe and the world. If the band is new to you then the album is a must, you will never hear a more delicious and devilish slab of epidemic rock ‘n’ roll anywhere.

God Loves Cowboys is available now @ http://www.recordstore.co.uk/recordstore/recordstore/God-Loves-Cowboys/3IJC0000000

http://thebosshoss.com

RingMaster 06/11/2014

Copyright RingMaster: MyFreeCopyright

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Norm And The Nightmarez – Psychobilly Infection

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     “From within the thighs of hell’s most wanton temptress, a tempest of psychobilly grooves and rockabilly hooks will converge upon mankind to turn its existence into one incessant stomp of devilish predation and virulent demonic revelry.”

Obviously that is not one of the more well-known pestilences deemed suitable to be included in religious teachings but if it was, it would go under the name of Norm & The Nightmarez and debut album Psychobilly Infection. Thirteen tracks of wickedly contagious and warped rock ‘n’ roll cultured with rockabilly seeded guitar and psychotic imagination, the release is a storming slab of rapacious psychobilly which sets a new provocative and sinisterly sculpted template for emerging genre bands.

Hailing from Birmingham, Norm And The Nightmarez is the creation of vocalist/guitarist Norm Elliot. From first band The Phantom Zone in the eighties, the musician has played in a few bands, last year most notably Mickey & The Mutants where he linked up with ex-Meteors/ex-Guana Batz bassist Mick White and Sharks drummer Paul ‘Hodge’ Leigh. The trio released the outstanding album Touch The Madness, a release it was hard to see anything bettering in UK psychobilly for a long-time to come but then we did not foresee Norm & The Nightmarez preying on the passions. Completed by drummer Frank Creamer (ex- Colbert Hamilton & the Hellrazors) and double bassist Mark Bending (ex-Sgt Bilko’s Krazy Combo) for the Western Star released album, the band embraces the decades of rockabilly infusing their ripest essences into the insatiable jaws of old school bred psychobilly irreverence and invention. It is a varied and riveting incitement which steals the will of everything from feet through to emotions, taking all on a skilful and hungry romp of mischievous enterprise.

Produced by Alan Wilson, the album is straight away gnawing on the senses with opener Stompin in My Grave, its initial earth encrusted riffs immediate potent bait to which the wrist flicking rhythms of Creamer and the dark hearted slaps of Bending add even juicier lures. Unfurling around a repetitive hook led by Elliot’s guitar, his potent vocals colour the imagination with their lyrical enticement. A flame of melodic scorching also adds a rich hue before the song takes a breather, allowing the listener’s body one too before it revs up its hypnotic suasion all over again.

The addictive start is swiftly matched by The Mischief Maker, a dark hearted slice of intimidation with robust basslines and sultry grooves which enslave attentions whilst beats slowly bruise the senses. Whether unleashing a keen gait normandthenightmarezpsychobillyinfectioncdor stalking ears, the track is an incendiary protagonist to give a blissful appetite further hungry urges which are rapidly fed by the acidic twang of The Lights Went Out. There is a scorched country-esque lilt to the invigorating prowl, the guitar of Elliot entwining ears with citric melodies and pungent hooks whilst vocally he snarls with a grizzled tone which sparks perfectly off of the heated climate of the song. The track has whispers of Tiger Army and The Quakes to its rich imposing breath but as with all songs no matter the hints it stands alone as something distinct to album and Norm And The Nightmarez.

The title track, though living up to its title, is rockabilly spawned even with its slight punkish nature. The bass and guitars sculpt a weave of riff and lures which play with body and soul like a sly puppeteer, twisting and turning imagination and passions inside out for a fevered submission. Its contagion lingers far beyond its stay though both Nightmare and Ton Up ensure in their company it is a distant memory at least. The first of the two right away triggers thoughts of The Reverend Horton Heat and Matchbox with flavourings of Johnny Burnette and Hasil Adkins also spicing the fiery encounter. Rhythmically and sonically the song entrances before the adrenaline rampage of its successor rumbles across the senses. Beats descend on ears with an unrelenting coaxing whilst the bass call of Bending brings delicious dark textures to the irresistible road trip. Elliot as ever commands the scenery with his vocals and guitar exploits whilst the trio unite for another ridiculously compelling and magnetic parade of roguish rockabilly incitement.

The flirtatious Sex Kitten teases senses with a salacious sexuality next, its smouldering grooves and sensual melodic curves as infectious as they are seductive. There is no denying a certain Stray Cats swagger to the song but also a danger to its stroll which could be compared to something with the edge of Guana Batz and addictiveness of Gene Vincent. It is an inescapable persuasion though one soon left in the shadow of the wonderful instrumental Devil Girl From Mars. There is something poetic to an intensively crafted piece of psychobilly music with its primal predation and sonic toxicity, and certainly it comes with no finer shape and beauty than here. Imagine a blend of The Tornadoes and The Frantic Flintstones and you get a whiff of its virulent might.

Both Pardon Me and The Past is a Place that I Just Can’t Go have energies and passions in a raw riot of pleasure, the first with its caustic sonic grazing and thumping rhythmic enticement whilst the following track stretches a menacing bait over ears again with jagged riffs, pulsating throaty slaps, and ear crowding beats. As impressive as its predecessor was, the second of the pair is another merciless encroaching on freedom with its rhythmic slavery, melodic venom, and vocal rapacity. It is impossible to choose a track which stands out over the rest on the album but this is always a forceful contender.

The fun filled Elvis Was a Zombie keeps things stomping along nicely and though it lacks the spark of other tracks for personal tastes it is impossible to dismiss because of that mischief and its rhythmic badgering. Its paler presence is soon swamped by the brilliant closing of the album. Massacre at Devils Plain with its Native American croon and howls over a gritty stride of sonic stabs and heavy footed rhythms, sets the imagination alight next whilst final song The Man with the X-Ray Eyes, leaves Psychobilly Infection on arguably its highest pinnacle. Bursting from a sample from the film of the same name, the track is a psychobilly irritant at its most potent and brilliant. It is a predator of a track, rhythms climbing all over the senses whilst guitar and vocals stir up the imagination with rich imposing hues. It is fair to say the song has elements of The Meteors all over it; The Hills Have Eyes springing to mind, but again Norm And The Nightmarez defuse any comparisons with their distinct invention and adventure.

From start to finish there is no escaping the might and sheer glory of Psychobilly Infection and the emergence of a brand new creative devil in our midst, though whether the UK, come to that the world is ready for Norm And The Nightmarez and their hellacious tempting only time will tell.

Psychobilly Infection is available now via Western Star Recordings @ http://www.western-star.co.uk/western-star-releases—cds_36/psychobilly-infection—norm-and-the-nightmarez_146.aspx

https://www.facebook.com/Normandthenightmarez

10/10

RingMaster 29/07/2014

Copyright RingMaster: MyFreeCopyright

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The Creeping Ivies – What Would Joey Ramone Do? /Ramona Wolf

The Creeping Ivies

Continuing to provide a raw pleasure and sound which no-one else seems able to come near, Scottish garage rockers The Creeping Ivies unleash their next seductive persuasion with the double-A-sided single What Would Joey Ramone Do?/Ramona Wolf. The duo from Dundee of vocalist/guitarist Becca Bomb and drummer Duncan Destruction create a brew seeded in fifties rock ‘n’ roll, sixties garage rock, and seventies punk which they force through a scuzz lined filter of noise rock to make one of the most challenging and refreshing encounters around. This alchemy has already recruited a legion of ardour driven fans through the Ghost Train EP and debut album Stay Wild, and with the ever evolving sound and potency found on the new single The Creeping Ivies has set another deliciously scarring marker and plateau for themselves to erupt from.

What Would Joey Ramone Do? is an irresistible conjuration of Gene Vincent, The Ramones, and The Cramps with Becca a2278793946_2producing her finest Wanda Jackson strength and charm. Her guitar strokes equally spark an always eager appetite for the band into the usual hungry reaction, a want increased by her raw Cochran/ Poison Ivy Rorschach like guitar sound which rubs the senses and emotions into a delirious expulsion of emotions whilst the crisp thumping beats of Duncan lead the body into a kinetic dance. The groove of the song is out of the Road To Ruin songbook but with its caustic kisses and sonic intrusiveness it is a temptation unique to the pair.

Second song Ramona Wolf emerges from a sonic lure, its beckoning leading the ears into a glorious wall of acidic riffs, even paced punchy rhythms, and a cavernous atmosphere speared by an intermittent senses scrubbing causticity of guitar. The vocals of Becca ride the sound with the skill and toxicity of a temptress, a sorceress like enchantment washing every syllable expelled through the chilled ambience of the song. The encounter is a bewitching soundtrack to the sirenesque call of a devil witch from outer space, well the narrative to another ridiculously addictive song from The Creeping Ivies but that is pretty much the same thing right?

The Creeping Ivies just get better and better as What Would Joey Ramone Do? and Ramona Wolf both show and with the band’s second album Ghost World expected early next year anticipation and excitement are already showing some impatience in the wait.

http://thecreepingivies.com/

10/10

RingMaster 14/11/2013

Copyright RingMaster: MyFreeCopyright

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The Kings Of Outer Space – How To Fly A Rocket

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There is not a great deal we can tell you about UK rockabillies The Kings Of Outer Space, but one thing we can declare with loud confidence is that their new album How To Fly A Rocket is one exhilarating trip you will just want to climb on board with. Hailing from Bristol, the quintet has earned a fine reputation for their live performances, invigorating sound, and their impressive debut album Cosmic Debris. Released via Western Star Records, as its predecessor, the new album offers thirteen riotous dances of irrepressible and addiction causing temptation, rockabilly brought with passionate mischief and riveting enterprise. There is no pretence to be what it is not; the album and its tantalising contents just honest fun driven rock ‘n’ roll at its exciting best.

Themed from the likes of science fiction sexual teasing through to shadow draped mysteries with numerous energetic exploits in WSRC073_300between, How To Fly A Rocket takes barely seconds to have ear, senses, feet not forgetting emotions engaged and belted up for the soaring journey of opener P.G.I.T.U. Introduced with a galactic announcement, the song instantly cups the ear with a delicious melodic tease of guitar with swipes of muscular rhythms drawing in the excellent upright bass croon brought by Greggsy and the great vocals of Giggsy. Straight away you know what you are going to get from song and album, the uncluttered and precise devilry of the guitars and their irresistible hooks matched by a rhythmic seduction. Feet and voice is the song’s plaything pretty much from its opening and chords too, whilst the track impressively manages to have a familiarity to it but also a fresh originality. Not for the first time on the album the band offers essences of other genres with a subtle craft, punk and country just two spices which add ingenious individuality to tracks and release.

The next up 44 opens with an accordion dance provided by guest Ian Norrys, a Parisian breath toying with the opening romp of beats and guitar coaxing from Mickey and Matt. Straight away it offers a distinctively different treat, the variation continuing across the album with each song having its own character and personal toxicity for the heart. From the canter of the second track the album next steps into the menacing mystique of Fall From Grace, the shadowed romance of danger embellished with an excellent harmonica flame from another guest musician in Paul Lynch. Paced by equally heated guitar craft and the rhythmic stepping of drummer Steve, the union makes for a countryesque slightly Cajun invitation which only stokes the fires all the more.

The following Daggertrap twists around the senses with a psychobilly and surf rock mix, the instrumental one of those pieces which has feet hoofing across the floor and emotions in close attention as it lingers welcomingly long after departure, the same which can be said of the excellent Monkey Alarm. Impossibly contagious the track is an old school rockabilly cored slice of rapacious recruitment of the emotions. With an impossible to resist joining chorus and a rampant energy to its stomp, the track is another infection drenched pinnacle with the diablerie of King Salami & The Cumberland Three and the punk grit of Guan Batz.

Both Watch Me Burn and Creepy Crawl keep the release on the highest plateau, the first with a more antagonistic attitude to vocals and its darker but still magnetic sound whilst its successor is a tantalising prowl of sinisterly goings on brought to the imagination upon a gliding shadow and brooding almost taunting seductive tones. There is no decline in thrills with the easy going Cochran like Haunted Man or the smouldering Smilin’ Eyes either whilst the brilliant Cosmic Thrust just climbs up another rung with its rhythmic shuffling and melodic fascination embroiled in more rockabilly enslavement. The warning groove which erupts halfway through sends the track into the deepest reaches of rapture, its Buzzcocks like toxin pure discord touching manna.

From the enticing country twanging Long Dry Summer the album bows out with the space dwelling glories of     Moon Buggy Baby and Rocket Ride, the first a planetary crossing love affair with Gene Vincent guile, and a touch of cheesiness   which just works, and the final song a simple but energised contagion again merging vintage rockabilly and surf rock into a potent fascination. How To Fly A Rocket is nothing less than pure joy, a release which also touches thoughts of band such as The Stargazers, Mickey & The Mutants, The Ghastly Ones, and The Phenomenauts but stands distinctly as The Kings Of Outer Space at the end of the day…a great album for good times.

https://www.facebook.com/pages/The-Kings-Of-Outer-Space/110452709023793

9.5/10

RingMaster 10/09/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Mickey & The Mutants: Touch The Madness

picture by Cathy Bloxham

picture by Cathy Bloxham

If anything from psychobilly to fifties rock ‘n’ roll and rockabilly to rhythms & blues gets your feet and heart eagerly moving than we just might have the album of the year for you in the mighty shape of Touch The Madness, the debut release of UK rockers Mickey & The Mutants. Multi-flavoured and insatiably contagious, the album is a storming slab of mutated rock ‘n’ roll brought with all the craft and devilish guile you would expect from the experience and invention of its creators.

Mickey & The Mutants is made up of double bassist/vocalist Mick White (ex-Guana Batz and ex-Meteors from the Mutant Rock/Wrecking Crew and arguably best era of the band), guitarist/vocalist Norm Elliott, and Sharks drummer Paul ‘Hodge’ Leigh. It is a trio which on past history we admit we here had greedy expectations of but with Touch The Madness they surpassed everything wished for with a wonderful devilment borne from honest uncomplicated rock music. Formed in the summer of last year the band, on the evidence of their debut, only has the single intent and that is to provide an unforgettable, high quality, bruising party for the senses and passions, something they succeed in doing within the first three songs alone and reinforce time and time again across the twelve track release.

The title track opens up the excursion through the ‘bedlamic’ enterprise’ and imagination of the band, a lone guitar and distant WSRC072_300psychotic wails displaced by a barrage of rumbling beats from Hodge and sabre like riffs from Elliott. Amongst their instant persuasion the nimble fingers of White bring throaty bass slaps into the mix and slightly crazed vocals which within the devil bred brew being cast recalls The Orson Family in touch. The song is pure psychobilly and an evocation of primal urgency to join its hungry commanding mood. The track also gives portent of the album ahead, its body a twisting and varied temptation that has limbs and voice offering their well in our case, feeble blasphemous help.

The following Elvirista (Queen Of The Dead) teases with again a single coaxing of guitar before once more the rhythmic potency of the thumping drums and belligerent bass provoke and fill the song with such depth and menace you feel you are about to succumb to aural voodoo. The vocals of this time Elliott, the vocalist within songs being who penned them, have a dark demonic shadow to their narrative which like and with White before, brings great character to each slice of devilry and the release as a whole. The track smoulders with wanton seduction and enchanting intimidation which again receives no resistance as it takes passions into realms of rapture.

These Ol’ Bones explores a country rock seeded field of compulsion which sounds like a mix of Th’ Legendary Shack Shakers and The Screaming Blue Messiahs, whilst veining itself with some tantalising blues guitar licks and flames which ignites further the immense pleasure the impossibly addictive song has already sparked. It completes one of the strongest starts to any album in a long time, but it does not sit back on its laurels or take a rest as the excellent Jacob And The Well Of Love and its successor Something Bad’s Comin’ Outa The Ground soon show. The first also walks with a rhythm & blues swagger and lilt to its mesmeric stroll whilst the second of the pair is a slow canter around another blues narrative that leaves the lips of satisfaction licking feverishly.

Adrenaline soon opens its boosters again as the old school stroll of Blonde Haired Assassin takes the ears in its Gene Vincent/Blue Cats like palm of sound. Not for the first time on the album the guitar of Elliott is a delicious blaze across the sky of the song whilst White leaps over the senses with his upright skills and Hodge simply hypnotises from start to finish with instinctive rhythmic bait.

If the album stopped here it would be fair to say acclaim would still only ooze from these words but thankfully it is only midway into its rewards and soon raises the temperature further with firstly the contagious punk driven Rock n Roll Messed Up My Mind and even more so with Phantom Of The Opera. The second of the two is to all extent and purposes a cover of the Meteor gem on their Wreckin Crew album of 1983, though as it was written by White anyway maybe cover is the wrong word,  nevertheless he has just reowned it with the stunning version on Touch The Madness which we would suggest surpasses the previous version, it is that good and still one of the most riveting psychobilly songs of all time.

Burn You Sinners Burn just stomps over the already seduced heart with another dark toned piece of rockabilly majesty, White and Hodge creating a menacing wrap of rhythmic menace psychotically ridden by the vocals of Elliot and his sweet toned guitar caresses. It is pure aural manna which is sidled up to in quality by the sultry and dangerous mystique of Kiss Of The Spider Woman. Winds of surf rock wash over mariachi whispers to draw out a sweltering ambience which soaks every pore of the body and senses.

The album ends on the twin psychobilly enticement of Zombie where every aspect of band and sound stalks the passions with all the relentlessness of the risen dead, the song feeding off on the eagerly given submission to its virulently infectious jaws, and the insatiable Mind Control, the only time the band really reminded of The Meteors. It has to be said expectations to like Touch The Madness were strong but to the depth that we did was wholly unexpected and greedily taken. Mickey & The Mutants has opened its account with a killer album, one which is not quite up there with the major genre classic but easily one of the very best rock ‘n’ roll albums heard in a long time.

https://www.facebook.com/MickeyAndTheMutants

10/10

RingMaster 23/07/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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