Thirteen Shots – Black Smiles

Thirteen Shots - Promo Picture_Reputation Radio/RingMaster Review

With every release since they emerged in 2011 and unleashed the instantly captivating track Danzig, UK rockers Thirteen Shots has evolved their sound, each encounter seeing the Birmingham quartet infuse richer and broader flavours and styles into their core tempest of horror bred rock ‘n’ roll. Each step has also come with an increasing amount of acclaim but fair to say that Thirteen Shots have easily outdone themselves with new album Black Smiles. It is a dramatically eclectic mix of songs and genres honed into one increasingly captivating and addictive proposition, and what it might lack a touch in consistency it more than makes up in riotous contagion.

Since whipping up attention with the horror punk sculpted Danzig, Thirteen Shots has been on a creative and attention grabbing roll. Shows with the likes of Demented are Go, The Peacocks, Rezurex, Howling Wolfmen, and Graveyard Johnnys helped establish the band as one of the UK’s most exciting horror/garage punk newcomers and now a band whose shows and releases are constantly highly anticipated. Previous albums Vaudeville and Tales That Start With A Whisper certainly pushed the band’s sound and presence forward but it was last year’s White Noise which made the biggest step in bold adventure and diversity. Hindsight though shows its potent success and contents were just an early hint for bigger and more ambitious things now ripening within Black Smiles.

Recorded with Paul Hughes, Black Smiles is based on the old school movie experience of double features with each song playing part in a cinematic experience. It all starts with Cobradeer, which acts like a promotional trailer to the other tracks which are like serial episodes within the main feature of the album. The opener is an immediate rush of fiercely slapping rhythms and ferocious riffs, the song blasting ears into keen attention before relaxing into a more tempered stroll as the distinct vocals of Johnny Rose open up the narrative. The chorus kicks the adrenaline switch again with the song swinging between both attacks as it provides an increasingly spicy musical/lyrical introduction to the album.

Thirteen Shots - Black Smiles- Cover_Reputation Radio/RingMaster Review   It is a strong and enjoyable beginning quickly surpassed by the following Run and Hide. From the great initial throaty bassline cast by George Chick and the quickly joining equally predatory beats of drummer Tom Fenn, the track has imagination and appetite hooked. The surf shimmer of guitar and controlled tones of Rose only increase the potency as drama and sinister seduction blossom their tempting too. Subsequently a more hard rock enterprise is spun by guitarist Lewis Machip as the encounter’s chorus roars, contrasts swapping moments in the lengthening landscape of the excellent song. With its weave also knitted with garage and melodic rock as well as punk and blues tenacity, it is a swift unveiling of the variety and diversity destined to continue through sound and album.

Next Cupid´s Dead romps through fresh scenery too, its punk/garage rock devilry seemingly bred from a mix of The Clash and Blitzkid. At not much more than a brain munch past a minute in length, the track is a punk stomp to breed an addiction for and quickly matched in its individual way by the dirty rock ‘n’ roll revelry of Warewolf Party. A spicy groove is the first infection with the song’s raw air and fiery sound the second, it all united in a riveting and easy persuasion lorded over by the honest tones of Rose before it then makes way for the anthemic rampage of Garage Crew. Chick once again is the kindling to a feisty blaze with his opening dark bass prowl, every note a resonating treat leading ears into the brawling surge of riffs and rabid rhythms fuelling the song. That bass becomes even more bestial in tone as the song lurches from one explosive assault to another premeditated predatory stroll and back; punk, horror, and subsequently blues rock entwining in its anthemic contagion.

Night of Sin doses itself up with a big shot of blues guitar and rock ‘n’ roll next, Machips’s enterprise tangy liquor in the heavy intimidating embrace of the rhythms. The ever unpolished punk delivery of Rose ensures an alluring earthy feel is always present o the album, even here where strings reveal their most accomplished and intoxicating beauty. It is a constantly rewarding mix again in evidence, after the tantalising refreshment of the melodic and acoustic croon that is Interlude, in the psychotic Skitzo. A delta blues tang coats the guitar’s endeavour bringing the incoming stomp into view, the flavouring a persistent tempting as the song erupts and blazes with persistent blues punk tenacity.

A enticing swagger comes with Black Eyed Girl next, the song like a moonlit seductress swinging its melodic hips as the more restrained and continually impressive voice of Rose introduces the moment’s protagonist. It is a gripping danger and intrigue which retains its potency as the song expels another bluesy flame of raw energy and sound. The entwining continues until the song can contain itself no more and reveals itself as a dirty raucous rocker for a bellow of a persuasion.

The swinging hips of Punk Betty flirts in a similar vein to its predecessor, its saunter a punk infused hard rock bait but with the same catchy resourcefulness. It does not admittedly have the same spark as previous songs, that inescapable lure but with one delicious bassline and the anthemic mischief of the vocals, it only keeps appetite and satisfaction eager before passing attention over to the album’s title track. It too is missing something to set, as earlier tracks, personal tastes ablaze, a particular uniqueness to spark their lust but once more its dark hearted rock ‘n roll and lyrical enterprise, not forgetting predation bass and sonic veining, is nothing less than rousing.

Lost Soul is soon a full seduction though. Its surf and horror rock romance is a sultry incitement of ears and imagination, undiluted persuasion caressed by a garage rock smoulder and flirted with by a ska seeded tempting. To be honest there is an even richer tapestry of flavours in easily the best song on the album, plenty to be discovered as the track alone sparks real excitement and anticipation for the continual and increasing potential and growth of Thirteen Shots.

There is a final raw explosion of punk and garage hostility in the shape of Friday 13, a bracing and unpolished finale to another thoroughly enjoyable and riveting adventure with Thirteen Shots. As always with a record from the band there is a dramatic potential of even bigger and major things ahead, the foursome getting closer to their pinnacle each time but equally raising that bar with every offering too. They have a classic within them for sure and it will have its day but right now we all have the opportunity to go on a rigorously enjoyable romp in great exploits like Black Smiles.

Black Smiles is released on June 29th and can be pre-ordered via https://thirteenshots.bandcamp.com/ and https://itunes.apple.com/gb/album/black-smiles/id994668019 in various options.

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RingMaster 10/06/2015

Copyright RingMaster: MyFreeCopyright

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Graveyard Johnnys – Dead Transmission

Ester Segarra

There has always been a fire in the belly of the Graveyard Johnnys’ sound, as well as a constant entwining of varied strands of rock ‘n’ roll, but the band has tapped into their richest vein of belligerent contagion yet for new album Dead Transmission. The release is a glorious incitement of punk and rockabilly, though as ever the Welsh band infuses plenty of additional rock bred spices in provocations impossible to pin down but very easy to greedily devour. If you had to make a comparison it would have to be The Living End, though Graveyard Johnnys, as evidenced by their new offering, create something a little dirtier and more unpredictable.

Formed in 2008, the Chepstow hailing Graveyard Johnnys has earned a massive reputation for their fiery and frantic live performances, an aspect also echoed as close as it is possible to ever achieve in the studio within Dead Transmission. It is fair to say though that starting with their debut EP Streetblocks and City Lights, the band’s releases have persistently been a voracious slab of energy, as epitomised by first album Songs From Better Days in 2011. These only emulated as mentioned a live presence which has stirred up audiences Europe wide over the years, persistently luring new and loyal appetites to their sound. Graveyard Johnnys has shared stages with the likes of Turbonegro and Hayseed Dixie, toured with bands such as Mad Sin, The Peacocks, and Nekromantix, and left crowds exhausted with their own headlining shows, all earning greater acclaim and increasing a potent reputation. Now the threesome of vocalist/upright bassist Joe Grogan, drummer Thomas E Lord, and guitarist Callum Houston, arguably the first really stable line-up within the band and its most potent, are poised to open a new storm of attention with Dead Transmission, a release which will not take no for an answer.

Album opener is The Poison, a song entering on the regimented stomp of marching feet, equally eager beats, and subsequently a rich lure of flavoursome enticement which is as much melodic rock as it is classic rock ‘n’ roll seeded. Settling into a landscape of catchy energy and invention, a blues air lays over melodies and dust coated vocals whilst hard rock revelry creeps into the hook lined swing of the encounter. Straight away the band has expectations perfectly defeated, the song bounding through ears like a mix of Turbonegro, The Hives, and The Black Keys yet not. It is a tasty appetiser for things to come, but quickly outshone by the following For Tonight, and indeed the rest of the increasingly virulent album.

Dead Transmission Cover   The second track spills a delicious hook straight away, one swiftly joined by the excellent voice of Grogan and a potent rapping of drum skin by Lord. The singer’s bass is also quickly stirring up ears and appetite, its pungent bait a dark temptation within the swinging enterprise of Houston’s fingers and strings. A great mix of restrained and keenly strolling energy, it has an essence of The Peacocks to it though again it is easy to suggest other styles and artists as references to something quite distinct to Graveyard Johnnys.

The album’s title track is next, static caressing ears before majestic and instantly rousing rhythms and riffs ignite body and imagination. Scythes of guitar and an open spillage of attitude soon join the punk bred incitement too, its snare drum rim clicking and thumping beats irresistible and matched in slavery by the constant adventure of inescapable hooks and brawling energy. Again the band keeps things too lively for expectations, its passage another mix of feverish fury and predatory reserve, and simply sensational.

One major highlight passes the passions over to another in the feisty shape of Because Of You, an old school rockabilly stomp with modern tenacity and attitude. It is the kind of song that if Gene Vincent was stomping around in his young leathers now he would be unleashing. It is one minute and a half of pure and spicy rock ‘n’ roll; a description applying to the punk seeded One Day Or Forever and its individual march upon ears and emotions just as easily. Its rhythmic stroll has feet shifting and head bobbing whilst its alluring Bad Religion meets Flogging Molly like melodies and tempting has ears gripped.

     A similar punk fired persuasion colours the next up Ready To Roll, riffs and rhythms instantaneous seduction reinforced by a tenacious enterprise of guitar which at times flirts with a seventies spicing a la Mud/Showaddywaddy, though blink and you miss it as like so many, the song is a busy cauldron of flavours and temptation which has attention solely in its grasp, much like the following pair of I Won’t Wait and Compromise. The first of the two merges raw punk and vintage rock ‘n’ roll resourcefulness for its decades fusing, passions firing riot. It snarls relentlessly, and expels a dirt encrusted breath of predation, but with the throbbing string slaps of Grogan, the hypnotic bait of Lord, and the ear entangling prowess of Houston, the song was never going to be anything other than an epidemic of infectiousness. Its successor swaggers in with its own appetite binding lures as well as the potently confrontational lyrical craft which flows across the whole release as impressively as the sounds. The Living End is an unavoidable comparison to the outstanding song but again the British three create something as unique from as it is similar to any references.

Fair to say by the end of the song the body is weak from the energy given to the insatiable romps within Dead Transmission, and seemingly sensing this Graveyard Johnnys offer Mothers next, a calm acoustic rock ballad with a country rock breath. It is an engaging and increasingly magnetic croon but admittedly before its increasingly lively end, feet and appetite greedily wanted to let loose again which they do with the closing Little Witch. A smog of sonic aggravation and rhythmic intimidation, the punk/ hard rock explosion is the perfect book end to the start of the album, a fiery and tempestuous maelstrom of fiercely flavoured rock ‘n’ roll with a flirtation of melodies and keys to keep things even more fascinating.

It is a blistering end to a thrilling proposition, Graveyard Johnnys at a new peak with songs which tap into every instinctive want of any rock ‘n’ roll fan, a broad genre which just does not get much better than this.

Dead Transmission is available now via Bomber Music @ http://store.bombermusic.com/products/545212-graveyard-johnnys-dead-transmission-cd-or-download or https://graveyard-johnnys.bandcamp.com/releases

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RingMaster 13/05/2015

Copyright RingMaster: MyFreeCopyright

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Thirteen Shots – White Noise EP

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Ever since the release of the single Danzig in 2011, UK rockers Thirteen Shots have been evolving a sound which seemingly chooses its own direction through each release. It is an organic journey which constantly surprises fans and at times maybe even the band itself. The predecessor to the band’s new EP hinted at one potent and striking shift which the White Noise EP now confirms whilst also suggesting more and that it too is just a sign post towards a yet to be reached destination. Early tracks and debut album Vaudeville offered rock ‘n’ roll with a voracious psychobilly/ punk ‘n’ roll devilment but the unleashing of last year’s Tales That Start With A Whisper seven-track brawl explored rich strains of horror and garage punk in its varied adventures. Now White Noise has stepped forward to push those essences further, the result a diversely flavoured slab of rock which is as at ease employing blues and classic rock as it is garage punk and rock, the result a mouth-watering blaze of raw and dirty rock ‘n roll.

Formed in 2011, the Johnny Rose led Thirteen Shots was swiftly firing up attention, especially after the release of the acclaimed Danzig which was backed up by a live presence which had also garnered equally potent recognition, the band sharing stages with bands such as Demented are Go, The Peacocks, Rezurex, Howling Wolfmen, Graveyard Johnnys and many more these past few years. Their following releases only reinforced their emerging presence whilst relishing the movement in the band’s sound, a journey continued with captivating ferocity through White Noise. The beginnings of the Birmingham quartet when Rose linked up with co-founder guitarist Joe Public, saw the pair move away from a hard rock breeding but with the new release it almost feels as if Rose is drawing on the best essences of that earlier time and flavour to add another flame and spice to the next twist in the ascent of Thirteen Shots.

The new release also sees the introduction of drummer Tom Fenn, who replaced the departing and also band original Chelsea McCammon, and opens with the imposing turbulence and attitude Thirteen Shots- White Noise- Coverof Doom. From its first breath, intense and corrosive riffs graze the senses whilst a bulky bassline joins crisp rhythmic punches in accosting ears. It is a formidable wall of sound, almost Sabbath-esque in tone and predation as fiery grooves wind around the distinctive tones of vocalist Rose. Lyrically the band is still spinning great tales from b-movie and horror inspirations but in sound the track instantly reveals a fiercer and more intimidating air, though it is just one aspect in the varied character of the release.

Next up is the first of two recorded tracks taken from last encounter Tales That Start With A Whisper, and in some ways reveals the most about the shift in sound as you compare versions. Nekrosexual whips up an immediate rich garage blues fuelling to the southern kissed garage punk encounter. There is admittedly not a major change in the song’s textures and sonic winery but everything has a new flood of intensity and incendiary colour to it, a rawer rock ‘n’ roll clarity which just gets the juices dribbling.

The following Blue Lagoon features Silpha, the vocalist from German horror punks Silpha & The Corpseboners and label mates on Rose’s own label Undead artists. The track roars from its first second, a bracing horror punk causticity scarring the air around the expressive and magnetic tones of Rose and Silpha. The track is a contagious stomp, the guitar of Lewis Manchip an uncompromising squall and the pulsating throaty bass lures uncaged by George Chick inescapable bait as they collude with the wicked swings of Fenn. The track is punk rock at its finest at its core and a lingering treat even after making way Psycho Jukebox, the other song re-recorded from the EP’s predecessor. A firm favourite of ours from Tales That Start With A Whisper, the new version is a little less convincing yet with its new roar and bluster turning the swagger loaded rocker into a ferociously compelling provocation, the track only adds bruising drama and incendiary enterprise to the release.

Inspired by the romance of the silent film star and film icon Mary Pickford, First American Sweetheart is the EP’s pinnacle, its infectious gait and rockabilly temptation wrapped in hard rock grooves and garage punk contagion. The song is outstanding; another in a line of underground classics sculpted by the band and the deserving of a wider spotlight. It plays with a Turbonegro and The Damned meets Rezurex type stomp and alone does enough to confirm that the new generation of their sound’s evolution is a step in the right and thrilling direction for the band.

Final song Padded Cell Blues is exactly as it says on the tin, a feisty blues drenched slice of deranged rock ‘n’ roll which shuffles and rampages across its sultry confinement with captivating tenacity and invention. Adding another open colour to the canvas of the EP, the song is a thickly satisfying close to another fascinating and exciting release from Thirteen Shots. Playing as a taster of the band’s continuing journey and an anticipation triggering teaser to a new album out next year, White Noise is a treat for all Thirteen Shots’ fans but also a rigorously enticing invitation for all appetites of unpolished, unclean, and masterfully invigorating rock ‘n’ roll.

The White Noise EP is available now via Undead Artists digitally and as a limited CD @ http://thirteenshots.bandcamp.com/album/white-noise

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RingMaster 03/12/2014

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Thirteen Shots – Tales That Start With A Whisper

13 shots

After the success of their excellent debut album Vaudeville just over a year ago, UK horror punk n rollers Thirteen Shots teased the appetite further with songs like Zombies From The USSR, a track which made up one of their contributions to a split release with fellow raisers of the dead, Trioxin Cherry and Raizing Hell. Little did it and fellow song Get In My Crypt fully reveal was the step forward and extra adventure the Birmingham quartet had explored for their outstanding new album Tales That Start With A Whisper. Employing even richer flames of numerous genres and decades, the nine track release is a riot to ignite the senses and passions, a seemingly uncomplicated yet fully involved feast of dirty decaying invigorating rock n roll.

Formed in 2011 by vocalist Johnny Rose and guitarist Joe Public, long-time friends who moved from the hard rock sound they had earned a good name for into bringing a unique form of horror punk n roll, Thirteen Shots immediately drew attention with the release of debut single Danzig in the September of their first year. Completed by guitarist Izzy, bassist GMT, and drummer Chelsea, the band had over 300 downloads within a week of the release of the single. As the year rested in its grave and the new broke free, the five-piece entered the studio to record their first album, Vaudeville which was self-released on April Fool’s Day 2012. With a subsequent re-release via Psycho-go-go Records, the album drew great and eager acclaim and set the band up for two full tours across the UK. With the band also having gnawed and infested audiences alongside the likes of Demented are Go, The Peacocks, Rezurex, Howling Wolfmen, Graveyard Johnnys and more, across the years and finding great appetite for their sounds not only from fans but people such as Michale Graves through that first single, Thirteen Shots stand at the gate to the widest recognition within all shadowed corners of rock n roll, the new album promising to be the key to swing the iron clad entrance wide open.

As their previous releases, Tales That Start With A Whisper finds the band infusing elements and textures of sixties rock n roll, front covergarage blues, and horror punk with plenty of spice from psychobilly, punk, and rock, but this time it is all sculpted into brawling encounters which are more rounded, sure of their intent, and in league with each other whatever their individual stance in attitude and style. Whereas Vaudeville at times lost its way and has an undulating effect, its successor is one big eclectic bang on the senses; simply the band has come of age with a maturity honed into their sound for one insatiable and perpetually rewarding treat.

Opener Death Jam 2000 steps forward with a Jerry Lee Lewis like fired up hungry rockabilly call, with blues driven guitars flaming up the air and the vocals of Johnny snapping at the ear. With punchy rhythms caging the senses the song romps across the senses for the perfect start, simple, dramatic, and inciting not forgetting exciting. It is an easy introduction to the release which hands over to the outstanding Zombies From The USSR, an anthemic lure which never loses its potency and success no matter how many times you face its charge. With an intimidating riff driven gait and challenging breath, the song prowls and claws at the emotions, its crowding unrelenting stalking of the ear a restrained but deceptively quick and lethal hook to match the raptorial groove and vocal recruitment; it is the perfect soundtrack to any George Romero or modern zombie film. Having heard the song enough times to recall its declaration and words before remembering the names of all family member there is still the impossible to resist itch to hear the song at least twice before moving on to the rest of the album such its addictive hold.

The excellent Bewitched comes next, its scuzzy breath a fire within the garage punk unpolished embrace of the belligerent sonic confrontation and rhythmic caging. The bass of GMT is an exceptional temptation, its throaty grizzled snarl a contagious predator to menace and pushed the shadows of the song forth from behind the burning flames of the guitars. It is not the most infectious of the songs on the album but still consumes the passions with unbridled vehemence leaving Psycho Jukebox to work on the addiction side of things. Starting off with an Eddie Cochran like beckoning, the song then merges ska carved strokes and surf rock persuasion for a ridiculously catchy persuasion whilst its chorus is where the storm has its wildest greedy moments. Again bass and drums steal their share of the limelight with skilled mischief and again a different tone to their invention whilst the guitars simply sizzle with enterprise and swagger.

Get In My Crypt is another fiery garage punk rampage that sparks full participation and ardour, everything from guitar to vocals and harmonies to rhythms conspiring to leave an exhausted rapture clinging to its refreshing corpse whilst Nekro Sexual is a salacious and provoking slice of dirty devilry, a b-movie driven suggestiveness with a chorus of ‘Stomp On my Balls’ which defies anyone not to shout it persistently during and long after its devilment.

The album closes firstly with the brilliant title track, a groove laden addict making beats of a track writhing in classic/glam rock misbehaviour and horror rock roguishness not forgetting hook loaded grooves which would do the Buzzcocks proud. It is followed by two live tracks, Dead Girls Don’t Scream and This Looks Like A Job For Batman which tells you all you need to know about the band on stage and why you should not miss them if at a venue near you.

Anticipation and expectations were high going into the album but Thirteen Shots and the Freaky Pug Records released Tales That Start With A Whisper left them behind in their triumphant and impressive flesh chomping attack. A must have album for all horror, garage, rock, and punk fuelled fans.

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9/10

RingMaster 26/04/2013

Copyright RingMaster: MyFreeCopyright

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Doctor Caligari: Self Titled E.P

DR Caligari

Giving a voice to the heart of the graveyard and brewing a potent irresistibility to its darkest musical shadows UK psychobilly band Doctor Caligari is a band which leaves the heart inflamed and dark hearted tendencies wide awake. The trio from Cardiff produce mischievous slices of rock which in the shape of their self-titled EP just ignites the fullest passions. With a psychobilly core and a strong breath of rock n roll to its presence the release is a contagious riot of energy, sound, and pleasure.

Doctor Caligari began as the solo project of song writer and guitarist Johnny Horror, the band name taken from 1920 German silent horror film The Cabinet of Dr. Caligari, though originally the project was to be called Doctor Caligari’s Secret. As he worked on an EP of songs in the closing darkness of 2011 his search for a vocalist linked him up with former Ghostfire member Mr. E. Together the pair decided to move the project from a studio based band to one also embracing the live arena. Next to be recruited was drummer Gwyn Jones whilst for the recording of the Neil Michael Waters produced EP, the band was joined by bassist Joe Grogan (Graveyard Johnny’s, Estevez) and session drummer Stephen MacLachlan (27th Letter Music).

The release begins with the Western scented Creepy Horror Town, a track with heated skies and a golden eager touch to its doctorcalcdcoverinfectious stroll. The vocals of Mr. E. have a clean yet intimidating tone as he unveils the dark tale whilst the guitar of Horror winds the passions round its every string and note inciting further primal instincts to those teased into play by the stirring bass and drum incitement. The track is a mix of Zombie Ghost Train and Reverend Horton Heat distilled into a refreshing wash of seduction which could grace the latest Tarantino film with ease.

The brilliant She Likes It Spooky steps forward next to unleash its wanton rhythms and compelling grooves. The track stomps through the ear with a viral infection of lingering melodic hooks and rampant rhythms whilst again the great vocals complete the deal for the heart. With his tones on the song one is reminded of Karl Blake in his Shocked Headed Peters guise, the track itself seemingly holding loud whispers of the song I, Bloodbrother Be. As the track romps across its compelling course, voice and limbs are recruited with a not to be denied hunger with a fullest pleasure in place by the time the last delicious note has placed its thrilling touch upon the ear.

The following magnetic storm London After Midnight is just as insatiable and impressive, its transfixing onslaught of thumping rhythms and incendiary sonic teasing an unrelenting joy. The song likes its predecessor riles up the senses with a magnificent embrace of raw edged energy and irresistible rockabilly shadowed playfulness. The guitar of Horror manipulates and taunts with a majestic wink of its eye whilst the bass of Grogan is a pulsating brooding delight adding darker depth against the perpetually excellent vocals. The two tracks side by side make the release an essential psychobilly purchase on their own but the band are if nothing else generous with their quality and thrilling encounters as shown by the next two songs.

The EP is completed by firstly the zombie cored assault The Dirty Dead which offers a senses slapping bass display to drool over whilst once more the guitar lights the skies of a song with sonic flames which burn and seduce. Lastly the outstanding (She’s Got) Corpses in Her Bed is a rampaging bruise of frantic energy and activity from all elements.  It has an unappeasable greed to grab the soul and ignite the feet and as it sets free its unrestrained uproar of sadistic glory with dictating gnawing bass sounds and barbed compelling drums, it simply leaves one exhausted whilst basking in psychobilly at its very best, a statement more than appropriate for the whole of this excellent release.

If you are lucky enough to grab the CD of the EP, but move fast as it is almost sold out, there is the additional triumph of The Curse Of The Monkey’s Paw to get excited over, but even without the song the download version of the EP is a must have for all fans of rock n roll.

Check out The Bone Orchard podcast on January 23rd @ www.audioburger.com for the psychobilly special featuring amongst others this impressive band.

http://www.facebook.com/DoctorCaligariBand

http://www.doctorcaligari.co.uk

RingMaster 15/01/2013

Copyright RingMaster: MyFreeCopyright