The Rattlin’ Doors – In A Tree House

Rattlin Bones pic

With their debut single, UK rockers The Rattlin’ Doors stand before us as a compelling and scintillating piece of devilment, a band with a sound which it would not be a surprise if it was claimed by the devil or any wickerman ceremony bred by pagan worship. In A Tree House is a riveting and thrilling shadow stomping slice of aural mischief, a song born of folk rock and cultured in a psychobilly, hillbilly, and garage punk vat of caustic revelry. Imagine the mutant offspring from a union of Eighteen Nightmares At the Lux, The Cramps, The Fall, and especially The Dancing Did, and you get a whiff of the psyched out rock ‘n’ roll of The Rattlin’ Doors.

Consisting of guitarist and vocalist Andy Teece, bassist Phil Elt, and drummer Leeroy Evans, the Worcester trio bring a fusion of rockabilly, punk, and blues into a unique recipe of their own and already have made a strong impression in the UK and over the pond. In A Tree House will only accelerate and enforce their striking and imagination capturing presence, their first introduction to the widest audience a tantalising almost niggling seed of triumph which truly ignites the passions.

The first of their ‘tainted tales of country life’ to be unleashed, In A Tree House charges up to the ear in a blaze of intense 582219_193591974104886_1351463910_nstrumming before breaking into a hungry stroll of expressive and sinisterly grinning vocals alongside slide guitar teasing and rhythmic prowling. It is an immediate recruitment with a sonic hook which seduces the passions instantly. Around that barbed lure the bass of Elt romps and crawls over the ear with a rapacious greed, its menace bringing dark corners to bear upon the country rock lined stomp to find a dark union with the equally nightmare seeded lyrical narrative wonderfully expelled by the vocals of Teece.

In A Tree House is an exceptional treat with the skills of Evans caging its contents and the ear in an inescapable and irresistible encounter of sacrificial caustic beauty, village life taken to extremes for a delicious dance of picturesque malevolence. The Rattlin’ Doors is destined to find a legion of eager victims for their startlingly fascinating cause as they take over UK rock, we are already a willing conspirator so come join the burning with us.

Released July 1st, In A Tree House will be available as a free download from The Rattlin’ Doors website.

Upcoming The Rattlin’ Doors gigs:

15th June @ Flapper & Firkin – Birmingham

16th June @ Himbelton Cricket Club – Himbelton


RingMaster 31/05/2013

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Hells Fire Sinners – Confessions Of the Damned


As rampant and hungry as a single Katie Price (non Brits feel lucky not knowing who we mean), Confessions Of the Damned from hillbilly rioters Hells Fire Sinners is one of those bruisings you just cannot get enough of. Consisting of ten tracks which refuse to take a step back from vigorously seizing and rampaging across ear and senses, the album is a thrilling and devious instigator of and conspirator with the passions.

The Columbus based Hells Fire Sinners began in 2006 going through different members alongside the constant, vocalist and guitarist Alan Dude. Bringing together a blaze of rockabilly, punk, country rock and plenty more psychotic teased flavours, the band from a first show which according to their bio was in a ‘a piss smelled, burned out basement on the OSU campus’, have tirelessly exhausted the east coast with their energetic live show, playing for anyone who will listen. It has been a steady unrelenting ascent which finds a pinnacle with the excellent Confessions Of the Damned.

The Psycho A-Go-Go Records re-released storm begins with the outstanding Ninety Nine, a track which leaps for the throat gripping tightly whilst screaming through the ear with abrasive riffs, crisp rhythms, and the excellent expressive slightly scorched vocals of Dude, who is also not averse to throwing a great guttural squall into his assault. It is a direct and uncomplicated confrontation with a great emerging bass groove and fiery riffing all wrapped in a contagion which refuses to be told no as it takes feet and voice on a recruitment drive into its scintillating brawl. The song provides one of those starts to a release where you instantly think it is going to struggle to follow it up without slipping in standards such its impressive first engagement, but no such worries here as of A Little Gone A Little Crazy and Muddy Water Murder lay out their feisty temptation.

The first of the two is a cowpunk lilted stroll with delicious twang to the vocals and a greedy appetite to the roaming guitar enterprise both accompanied by the bass with its flavoursome prowl adding extra depth to the brief but again easily recruiting suasion, whilst the second reaps the essences of heavy metal to drive its adrenaline soaked rock ‘n’ roll for an intensive charge of high octane rockabilly. To be honest you can cast many spices as references to the song, all valid and all just showing the tasty tempest of enterprise it is.

As it continues to chew on ear and thoughts with attitude and at times middle finger raised belligerence, the release leaves stronger epidemically laced hooks in the passions to cement the need to regularly return to its raucous embrace. Every track spreads their irresistible toxin upon those barbs to ensure full subservience but of course there are some with more potency as with Psycho and Almighty Dollar. The first of the pair like the opener has an uncompromising intent to rile up the senses and take them on a dirt track ride of mischief and sinew clad devilry. With a murderous breath to its air and a sense of ruin coating its fingertips, the song stomps and swaggers to spark the fullest satisfaction and hunger for its psychobilly rustling. Following this glorious moment the second of the two puts on its country boots to open up a bottle of liquor fuelled riffs and melodic flaming which simply inspires another blaze of greed.

     Thick Of It walks the highest plateaus of the album too, it’s virulently catchy hook and searing sonic riffs a spicery of enterprise and invention which rages with veins of passion and is only surpassed by the opener and closing song Zombie Killer. The last track assaults the ear with a muscular hold whilst riffs assisted by talons of rhythmic rabidity rampage, though the song has the delicious skill of reining it all in and then unleashing the barbaric attack in spasms. It is an excellent track which perfectly ends an equally impressive album, its psychobilly core generously enhanced with some blues seeded imagination and blustery intensity for a scintillating tempest.

Hells Fire Sinners is a name which suits the band and their creative ferocity well whilst Confessions Of the Damned is the natural title for a collection of songs you can imagine the devil having a horn or two in. A must have release for all fans of rapacious rock ‘n’ roll.


RingMaster 23/05/2013

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