das GHOUL – The Video Nasty EP

Whether through TV or experience few have escaped the beauty of UK city Oxford and the medieval architecture of its renowned educational establishments and of course, university. It must though also have plenty of untapped shadows and a dark breeding ground for the likes of das GHOUL

Recently introduced to the band through its vocalist/guitarist Craig The Plague, das GHOUL is a quartet creating a contagious form of horror punk fuelled rock ‘n’ roll. They are also a group which would not a surprise if found invading mausoleums and graveyards for inspirations for their horror hued, gothic flavoured songs. Last year’s album, Noise Das Noire, was a rousing mischievous adventure through the depraved and creepy, one sound-tracked by a punk hued sound equally as ghoulish as the masks the foursome don. Now the band completed by Bernard Ghoul-Hefner on bass, drummer Mary Ghoul, and the keys of Octavia Von Wakeman, has recently opened up the vault of The Video Nasty EP to again take the listener into a highly enjoyable humour laced dark place.

Recorded, mixed and produced by Steve Bernard, the new EP opens with the outstanding Behind The Cobweb Veil, a brief but manipulative instrumental opening the curtains on the gothic clad show. Keys cast drama soaked on ears and thoughts in intimation, its theatrical breath as intimate as it is gothic picturesque and a captivating start to the release.

The EP’s title track immediately breaks the seduction of its predecessor but replaces it with its own individual rock enticement as the guitar springs classic hard rock hued flames. Soon senses swiping beats land as the dark groan of bass aligns to similarly magnetic vocals. In full stride, the track is a blast of feral rock ‘n’ roll bred on horror punk instincts draped in the melodic suggestion of those gothic dwelling keys.

It is another moment which only held attention firmly though a moment soon eclipsed by the following Formaldehyde Girl. Our favourite track might only linger a few breaths past a minute but straightaway it was under the skin and causing havoc with our eager bodies. Like a fusion of Misfits, Autopsy Boys, and The Adicts, a short shrift on time brought richness in temptation and pleasure before the release comes to a potent close through Porcelain. Another embracing a more classic rock essence to its colourful rock ‘n’ roll without losing that punk abrasiveness, the track hugs ears with the melodic dexterity of keys to spark the imagination and please a now set keen appetite for the band’s dark realm.

Having now flirted with their album and the demos before that, das GHOUL have made a habit of unleashing ear grabbing songs but The Video Nasty EP is their most tempting offer yet and a lure to the kind of attention which will draw them fully out of those dark Oxford shadows.

The Video Nasty EP is available now @ https://ghoul1.bandcamp.com/album/the-video-nasty-ep

https://www.facebook.com/666dasGHOUL666/

Pete RingMaster 11/05/2020

Copyright RingMasterReview

The Scabby Ghouls – Self Titled

Though horror punk is never slow in providing new excursions to venture six feet under with, of which many bring great memorable pleasure, there have not been quite so many in recent times to truly get the teeth into with sanguinary lustfulness. The Scabby Ghouls and their self-titled debut album is one such incitement, a collection of pulp horror driven devilry to bless any meeting of The Monster Club.

Hailing from Omaha, The Scabby Ghouls have dug up a sound as pop contagious as it is horror bloodied and punk driven; a mixture which if not on the major side of unique is fully immersed in the fresh and irresistible within their first full-length.

The album claws out from its mausoleum with opener Body Surfin’, immediately enveloping ears in dark mischief carrying drama as guitar lures mix with the voluptuous throb of the bass. The rolling beats of Nathan Christensen swiftly join and steer the incursion on ears and imagination as too the instantly alluring tones of vocalist/rhythm guitarist Denise Hazard. In no time the web of temptation becomes an appetite embroiling bedlam of creative mania entangled in the equally unhinged grooves and wires of guitarist Louie Hazard. Like a disembodied hand haunting Christopher Lee, the song stalks and fingers with increasing relish and like the big white lingering below its surface has no qualm about taking a more than welcome bite.

The great start is only escalated by the song named after the band. It too prowls the listener, checking them out before springing to its bold feet and instantly indulging in a rapacious saunter. With an essence which reminds of UK outfit Trioxin Cherry at times, the track is equipped with inescapable hooks and teasing riffs matched in temptation by vocals and the great throbbing bait escaping Alex Steffens’ bass. It all comes with a feral lining which is even more pronounced in next up Midwest Zombies, yet a raw wildness which only seems to enhance the instinctive virulence and catchiness of tracks let alone the individual prowess of the quartet.

Black Dahlia Bombshell is next up and soon eclipses its predecessor with its blood-lusting stalking and the subsequent rousing incitement of its viscera driven chorus. The track is pure horror punk wickedness resembling something inspired by the song books of early Misfits and Frankenstein Drag Queens from Planet 13 but quickly established as individual to The Scabby Ghouls before Dreaddy Krueger unleashes its own viral sonic blood-letting shaped by inescapable infernal hooks, rapacious riffs, and rhythms which twist the body like a puppet.

As potent and manipulative as both songs are, their ability to trespass and make the body do their bidding pales to the dexterity of the EP’s final and best tracks. Road Ragin’ is simply glorious, an insatiable surge of tarmac tearing, contagion loaded rock ‘n’ roll with a chorus which infests vocal chords within its first few words. The incitement musically is just as devious and enslaving while album closer, Knife Fight, is an old school punk nurtured holler taking in all-comers with voracious irritability to its infection loaded rumble.

Anticipation for the next endeavour from a band is nothing new or particularly rare but not often it comes with a side line of drool like that already escaping the wait for the next spook animated horror show from The Scabby Ghouls.

 The Scabby Ghouls album is out now via Out-O-Tune Records; available @ https://thescabbyghouls.bandcamp.com/album/the-scabby-ghouls

https://www.facebook.com/TheScabbyGhouls/

 Pete RingMaster 21/03/2019

Copyright RingMaster: MyFreeCopyright

Warish – Self Titled EP

Like a crawling yet animated pestilence, comes a sound and aural ruin which infests the senses like a carnivorous scourge; a sonic trespass which within the debut release from US outfit Warish rises up as one highly fascinating and seriously enticing affair.

Formed by guitarist/vocalist Riley Hawk and drummer Bruce McDonnell, the 2018 emerging SoCal based band has seen a bit of a buzz brewing around it and it is easy to hear why across the five tracks making up the first Warish EP. It is a ravenously malignant and carnally caliginous invasion as visceral as it is fearsomely compelling; a raw gripping trespass bred from a fusion of raw horror punk, sludge infested grunge and feral noise punk.

The EP took a mere breath to assault and stir ears and appetite through opener Bones, its initial riff struck bait the first thick lure in a voracious tide of punk ‘n’ roll. The effect tampered vocals only add to the already persuasive hell spawned temptation immersing track and listener, the threat and nag of rhythms escalating the insurgent swing and sonic infestation of the song’s slavery. Akin to a feral mix of The Scaners and The Hangmen in league with The Horrors and Misfits both in their formative years, the track effortlessly enslaved as too its successor which rises up from the sonic bridge between the two.

Riding in on a manipulative tide of rhythms, Voices quickly took control with its untamed groove and concussive attack easily sparking another round of lust with its inhuman exploits before Fight brings its own magnetic personality to proceedings. There is a mutual bedevilment and nightmare to the first pair of tracks even in their individuality but their successor reveals a whole fresh aspect to the Warish sound and adventure with melodic and psych rock imagination. It still has the punk and metal nurtured hues but entangled in a broader flavouring of styles and twisted enterprise.

The final pair of Human Being and Shivers similarly adds their own particular differences; the first seemingly fed on the riffs of Black Sabbath and the second seeded in old school punk subsequently soaked in the hellacious corrosiveness of stoner rock, heavy metal, and surf punk. Neither quite exploited the passions as the first trio of tracks but both easily escalated the lure and enjoyment of the debut Warish EP; and joined all in inspiring a hunger for plenty more from the rather exciting, potential strapped band.

The Warish EP is out now on 7” vinyl and download through RidingEasy; available @ https://www.ridingeasyrecs.com/product/warish-7/ and https://warish.bandcamp.com/releases

 

https://www.facebook.com/Warishband/

Pete RingMaster 12/02/2019

Copyright RingMaster: MyFreeCopyright

Motel Transylvania – Self Titled

We have not been alone in brewing eager anticipation for the debut album of Italian horrorbillies Motel Transylvania having been infected by the sounds of their They Dig After Midnight EP of 2015 as well as the numerous appearances the band has made on various compilations. Four years or so in the making finally that first full-length has crawled from the corridors of the band’s darkest corners and we can tell you it has been well worth the wait.

Formed in 2013 as a solo project of stand-up drummer/vocalist Toxi Ghoul, Motel Transylvania swiftly became a trio which unleashed a well-received debut single in the ghoulish romance of It’s not so bad. The release of They Dig After Midnight in turn established the Savona trio as a band with a potent sound and creative character equipped with the potential of bigger bolder things ahead. Their self-titled debut album realises plenty of that intimation without exhausting all the possibilities of even greater exploits ahead. Across thirteen views from the mausoleum, the album presents a multi-flavoured proposal embracing everything from horror punk and psychobilly to vintage rock ‘n’ roll, punk rock, and other death strewn hues.

It opens up with the portentously atmospheric Called, an invitation into the album’s crypt as intimidating as it is cinematically irresistible. The piece enticingly opens the gateway to the carnal goodness to come starting with Destination. The gorgeous rockabilly groove which harkens its trespass was enough to enslave attention, a submission swiftly rewarded by Toxi’s senses clipping beats and the dark upright bass grumble cast by Fish “The Scarecrow”. The guitar of Taison Gore continues to spin a web of temptation throughout only dropping its raised adrenaline for a breath to be taken before striking up again with salacious intent before the drummer’s lead vocals share their raw scowls. It is an excellent full start to the release and taster of the band’s richly flavoured and varied sound.

The following track shares the band and the album’s name, Motel Transylvania a rousing slice of horror punk with an early Misfits lilt within a labyrinth of psycho and rockabilly taunting. The predacious trespass of the rhythms and vocal causticity steals the show within a track which quickly left its indelible mark before Her Last Boogie launched its raw rock ‘n’ roll stomp on ears with zeal and increasing enterprise. A blend of the feral and the melodically precise, the track is a slice of death boogie needing little time to get punk hips whipped up.

The outstanding Drowning gives warning enough with its bass bred jaws lure before breaking upon the rocks with its blood tainted surf rock groove and barbarous intent while The Night of the Living Dead speeds rather than lumbers through ears with its The Order Of The Fly-esque stalking though the result is still an inescapable rock ‘n’ roll nagging of ears and the imagination. Both tracks add new shades to the album’s adventure and to the unfolding tales of terror; each new pleasure to devour though both are outshone by 4 and its Mad Sin meets Tiger Army like psychobilly shimmer, the albums best track.

The ghostly plains of Beyond The Lights comes next, its unearthly throes psych rock kissed seduction evolving a carnival of fevered temptation before slipping back into its ethereal decay, while its successor, It’s Not So Bad, coaxes ears with its puckered rockabilly lures before erupting in a punk nurtured hostility, repeating the cycle with greater imagination and psychosis. At every turn the track twists into unexpected escapades increasing its magnetism every step of the way.

Continuing the great multi-textured web of sounds within the album, A Place To End embraces Latin/mariachi hues to its Koffin Kats spiced uproar while the following Dead N’ Proud howls like a psychobilly inspired Frankenstein Drag Queens From Planet 13. In turn the simply superb STOMP! Cockroaches stamps around with a great Demented Are Go inspired irritability, these three alone showing the broad landscape of sound within the Motel Transylvania bloodlust.

I Wanna Be Your Ghoul completes the release, the song another psychobilly nurtured tempting under sweltering skies; gallows rock which has the body swinging as firmly as the cadaverous romance it shares.

It is a fine end to a record which certainly pleased and had praise leaving lips on the first listen but has blossomed to far greater heights and persuasion with every subsequent venture through its sonic charnel house.

The Motel Transylvania album is out now through Undead Artists and Archetype Records.

 https://www.facebook.com/moteltransylvania/    https://twitter.com/MotelTransylvan

 Pete RingMaster 15/11/2018

Copyright RingMaster: MyFreeCopyright

Horror Vision – Final Broadcast

As anyone, we have certain regular cravings here at The RR, one being for rabidly ravenous horrorpunk. It is a hunger that has to date been richly satisfied through Germany based label Undead Artists and continues through its latest offering. Founded by Johnny Rose, also the frontman of the formidable Blast Bomb, the label has unleashed the debut album from fellow country ghouls Horror Vision. Offering up ten tracks which prey on the senses as they arouse the spirit, Final Broadcast is an appetite filling anthology of punk infested horror rock ‘n’ roll.

Hailing from Ulm and consisting of vocalist/guitarist Evelyn van Bytingale, vocalist/bassist Andrew Lycanhead, and drummer Dr. Combat, Horror Vision lure ears and imagination into their cinematically inspired first full-length through an Intro setting the listener at the melodic heart of a brewing bedlam. Its sonic drifting eventually leads to the vintage invitation of the Godzilla feature King Of The Monsters. The track is an adrenaline driven punk roar, grooves and aggression entangled in a combative stomp where everything from riffs and bass grooving to predatory vocals and venomously swinging rhythms unite in a raucous trespass.

The following Ghosts Of Mars is just as tenacious and thickly enjoyable, its opening bass groove alone enough to have ears gripped. The subsequent lustful prowl of riffs and rhythms only added to the temptation as too the sonic wiring which veins the combined nagging. It is a raw yet seductive mix escalated by the rousing vocals embracing the same aspects.

Critters gnawed away at the passions next; again grooves getting under the skin before its more primal instincts expose the punk hunger of the track accompanied by an early Misfits meets Frankenstein Drag Queens from Planet 13 flavouring before Need For Meat reveals its fifties rock ‘n’ roll penchant. That is soon consumed by the ferocious punk nature and intent of a song though which is as infectiously catchy as it is persistently hostile.

Through the feral Balzac-esque holler of The Thing and the rockabilly nurtured Vampire Waltz, new shades in the Horror Vision creative psychosis uncage their taunting, each leaving the appetite hungry for more while Bathory lets its own individual hard rock laced bloodlust loose to equally persuasive and ferocious effect.

The punk ‘n’ roll harassment of We’re Gonna Get You is untamed catchiness which had the body bouncing and vocal chords roaring with ease, individual prowess uniting for an anthemic scourge before Calling Me Monster closes things up with its carnivorously predacious sounds and character. As all tracks, it demanded and received mutual participation whilst inflaming our instinctive horrorpunk urges.

There is definitely something of the familiar and the individual about Final Broadcast but a mix which left us beyond content and already greedy for much more from the bedevilment going under the name of Horror Vision.

Final Broadcast is out now via Undead Artists @ https://horrorvision.bandcamp.com/releases

https://www.facebook.com/horrorvision.horrorpunk/

Pete RingMaster 02/11/2018

Copyright RingMaster: MyFreeCopyright

Cavaverman – Women, Monsters & Cazzottis

After the acclaim lured by their album Tales From Cavafistool around Europe, Italian horror punks Cavaverman release their new EP, Women, Monsters & Cazzottis. Offering three tracks as a name your own price download, their latest encounter is equally as irresistible with the band stretching their sound to embrace an even richer array of flavours in its rock ‘n’ roll stomp. It builds on the last album with relish and enterprise with suggestive hints of where the band is going next.

Hailing from Monza, the trio of guitarist/vocalist Sal Champion, bassist Apocalypse Giò, and drummer Doktor Hell draw on the inspiration of bands such as The Ramones, Misfits, Alkaline Trio, and Entombed for their own enjoyably raw yet adventurous sound. A trio of albums in Dead Brains For Brain Dead, James Dead, and the aforementioned Tales From Cavafistool have more than marked Cavaverman out from the crowd and the Undead Artists released Women, Monsters & Cazzottis is no different.

It opens with Deadly Touch, a track featuring the potent vocals of Irene from Milan punks Viboras. The song itself is the punks inside Cavaverman coming to the fore; its horror punk ’n’ roll mixing with punk metal tendencies to unleash something akin to UK’s Trioxin Cherry meeting US bands Mongrel and Calabrese. From its first breath, the track stomps with attitude and an infectious lilt, the vocal union of Sal and Irene ear grabbing with the latter just as potent when tempting alone. Instinctive grooves and nagging hooks only add to the thick lure of the antagonism soaked song before Jamie Sommers steps forward.

The second song has a calmer persona, its psychobilly nurtured stroll and hearty croon showing a new maturity in the Cavaverman songwriting. Of course there is a snarl in the belly but one restrained as guitars weave their sultry serenade within a coarser tide of riffs and swinging rhythms. As the first, it is a richly magnetic affair captivating ears and imagination with swift ease before King of Cazzottis concludes the EP with its hard rock meets horror punk stomp. There is a healthy spice of pop punk to the chorus of the song too, another flavour in its bold mix needing little time to have body and vocal involvement from the listener on board.

Women, Monsters & Cazzottis is a band doing what they do best, unleashing instinctive rock ‘n’ roll whilst involving sound and creativity in new textures and explorations. There are surprises and plenty of familiar essences colluding in a slice of Cavaverman goodness which gets better and more tempting with every listen.

Women, Monsters & Cazzottis is out now through Undead Artists as a name your price download @ https://undeadartists.bandcamp.com/album/women-monsters-cazzottis  or https://cavaverman.bandcamp.com/album/women-monsters-and-cazzottis

https://www.facebook.com/Cavaverman/

Pete RingMaster 09/05/2017

Copyright RingMaster: MyFreeCopyright

Undead Artists presents Monster Mash-Up

Always one to push his music family and label’s adventure, founder and owner of Undead Artists, Johnny Rose (Thirteen Shots) set the task for his bands to record a cover of a track from the other label companion he paired them up with. It was not just to be a simple version though but a task with the remit to make the song their own helped by Rose’s sly move of matching up different genre bred bands and their contrasting textures and sounds. What emerged is the ten track treat of Monster Mash-Up; eight songs not to be found anywhere else as well as a pair of additional slices of very appetising goodness.

The compilation gets off to a flyer with The Bloodstrings and the track Dead In Berlin. Grabbing the song from horror punks Cavaverman with relish, the German quartet swiftly grip attention as the throaty upright bass twangs of Nick waggle a beckoning finger. As the swinging melodies and rhythms of Manuel and Fest respectively, only add to the growing lure soon led by the captivating tones of vocalist Celina, the band fully infuses the track with their punkabilly touch and contagion. In no time hips are swaying and feet a skittish blur in union with the excellent start to the album and just as enthused by next up Motel Transylvania, and indeed the rest romping across the already appetite pleasing release.

The 2015 formed Italian horrorbilly outfit get their claws into Stolen By The Night from Silpha and The Corpseboners next, gnarly riffs and firmly kissing beats from stand-up drummer/vocalist T.Ghoul prowling the senses before sparking a ferocious roar led by the sonic fire of The Wolfman and the grumbling bass of Fish”The scarecrow”. Within that raw dirty confrontation, warm suggestive melodies radiate and deceptive calm seduces until the blaze is ignited again. As those around them, the band live up to instructions and make the outstanding fan favourite song of its creators into something distinct to themselves, the texture of male instead of female vocals alone giving it a new carnivorous air.

It is truly fair to say it is a success all the swaps achieve, the bloody punk ‘n’ roll prowess of Dr. Hell taking Don’t Say The Z Word from Lupen Tooth’s debut EP and infesting it with punk vivacity and aggression as well as a delicious almost ska inspired devilment half way in. A repetitious chorus backed by group vocals demands involvement to top one virulent stomp to keenly embrace before we get an alternative version of a song recently part of a release already exciting the year. From Hamme in Belgian, horrorpunks Deadite recently released their album The Damned, a compelling slab of ravenous rock n’ roll within which its haunting Tiger Army-esque title track provided one of many major highlights. The trio offer an alternative take for this album, a just as captivating and in many ways even more seductive temptation with its cleaner cut yet thicker smoulder, a twist giving it a more Dommin like air.

Bremen hailing Jamey Rottencorpse and The Rising Dead are next to step forward, laying their hands on I Sold My Soul Tonight by Raizing Hell, a band sadly no longer with us who split up before they could return the favour. The enjoyably scuzzy horrorpunk of Jamey and co easily infuses into the original’s more punk based rock ‘n’ roll, giving it a dirtier toxicity without losing the boisterous virulence which just hits the spot like a doppelganger to its counterpart.

The UK’s Lupen Tooth ignites the senses yet again straight after, the Bristol band grabbing the visceral punk of Hamburg’s Dr. Hell found in the track Carl The Metrosexual Werewolf to give it two minutes plus of their horror punk revelry, resulting in an insatiable slab of infection loaded rock ‘n’ roll. In the often rare climate of every track within a compilation being as equal in quality and invention as any other, bigger favourites did still arise with personal instincts, this one of them but persistently challenged with every listen by all with Silpha & The Corpseboners proving the fact with Go Psycho. The Stein/Nürnberg based three piece led by the temptress tones and presence of Silpha Obscura bring their bloodlusting horrorpunk trespass to the Motel Transylvania track. As ever, theirs is a sound with a glorious schizophrenic nature; sax and keys sultrily toying with jazzy intent as the band deconstruct and rebuild the track in their own devilish design to bewitch ears and imagination.

From one treat to another as we get a glimpse at label newcomers, Wanton next. Undead Artists is poised to release the Finnish band’s new album Harmageddon Get-Together in the near future. Censor This! is taken from that encounter, a psychobilly roar quickly taking body and spirit on a ruggedly tenacious and contagious romp. With a flavoursome spurt of punk in their caustically catchy sound and a vein of melodic temptation, the Rauma hailing band makes a thrilling introduction to label fans, one sure to incite plenty of anticipation for their second album.

The Bloodstrings get their song In Love With A Monster devoured and ignited again in their own way by Italian horror punks Cavaverman right after, the band blending English and their homeland tongue in a fiery and energetically rousing version luring air lashing limbs and aroused vocal chords as easily as the original.

The album is completed by Somewhere Under The Graveyard, the Jamey Rottencorpse and The Rising Dead anthem seized by a host of musicians from the Undead Artists Family and given their own seriously rousing punk and rock ‘n’ roll zeal. It is a riotous and fiercely enjoyable end to a release which not only has you bounding feverishly around the room but hungry to check out its occupants even closer.

Last year was a big and successful year for Undead Artists with Monster Mash-Up suggesting we and they have seen nothing yet.

Undead Artists Records Monster Mash-Up is released March 24th with pre-ordering, also for Limited Edition CDs and T-Shirts/CD packs, available now @ https://undeadartists.bandcamp.com/album/monster-mash-up-2

http://undeadartistsbooki.wixsite.com/undeadartists   https://twitter.com/ArtistsUndead   https://undeadartists.bandcamp.com/

Pete RingMaster 07/03/2017

Copyright RingMaster: MyFreeCopyright

Deadite – The Damned

cover_RingMasterReview

After a fine year for the label, Hamburg based Undead Artists have got its successor off in fine style with the release of The Damned by Belgian horror punks Deadite. The album is a multi-flavoured roar blending strains of psychobilly, rock ‘n’ roll, and other ravenous textures into horror fuelled punk rock. It makes for a tantalising and captivating proposal becoming more compelling with every listen.

Hailing from Hamme, the quartet of Scarecrow, Wolfben, EvilOnly, and Von Nekromance have persistently stirred attention and eager support at home and further afield but for a great many The Damned will be an introduction; one sure to keep their ‘secrecy’ no longer.

From the cinematic Intro, the release roars into view with The Shadows and a surge of classic rock ‘n’ roll chords. It is the lead into a stomping charge of senses whipping rhythms and toxic grooves as vocals melodically growl. Psychobilly and horror punk collude as the track throws its lustful energy and sounds around, making for a potent start to the album though soon eclipsed by the outstanding Age Of Violence. With belligerence oozing from every note and vocal breath, the track’s nagging riffs and attitude loaded bassline alone seizes the passions, raw vocal antagonism and rhythmic trespasses reinforcing its punk rock lure as spicy grooves ignite.

The album’s title track steps forward next, its brooding climate and Tiger Army like air quickly seducing ears and imagination. Vocals too have a calmer presence and resonance which just adds to the haunting charm and atmosphere of the encounter resulting in the release stepping up another notch in impressiveness again.

Cored by a tangy hook, Collector grabs the appetite straight away next, its Rezurex/Plan 9 like stroll simultaneously menacing and infectious and the swinging relentless beats a greed inducing pressure while the following Show Me Some Love has a touch of Batmobile meets Misfits to it. The song is an equally predacious and virulent persuasion to the former with rhythms once more an irresistible infestation of body and instincts.

Pussywhipped shares its fifties breeding with relish after them; country seeds open within the excellent old school stomp before Empty Heart romances the senses with its sultry melodies and vocal croon. Rhythms and riffs insert the tenacious energy which instinctively flows from the band with Calabrese spiced enterprise playing around their eagerness throughout. The pair alone shows the variety in the Deadite sound, a diversity not always making big steps but certainly providing a broad and flavoursome adventure to get hooked on.

That bait continues through the feistier muscular throes of Damnation and the predatory prowl of The Taker, another track sparking references to the likes of Calabrese and Tiger Army within its own bold character. The Mark Of Cain after them though is proud to wear its inspirations boldly, the song a mix of Misfits and Samhain and also easy to breed greed for.

Roadkill is a grouchy assault of punk and hard rock whipping up rich satisfaction next, its success matched by the similarly punk driven Same Shit Different Day offering a minute and half of intrusively catchy rock ‘n’ roll before Cursed brings the whole pleasurable time to a close with its smouldering psychobilly serenade.

It is a great end to an impressive and richly enjoyable release; not quite a classic but not far off from a band with the potential for such a genre igniting proposal in their growing imagination.

The Damned is out now through Undead Artists @ https://undeadartists.bandcamp.com/album/the-damned

https://www.facebook.com/pg/deadite138   http://www.deadite.be/

Pete RingMaster 02/03/2017

Copyright RingMaster: MyFreeCopyright

Thirteen Shots – Self Titled

13 Shots_RingMasterReview

Though the band is no longer active, the hunger and want for Thirteen Shots continues to be vocal. The new release of a self-titled compilation album is a dose of their raw and voracious horror punk sure to be devoured and earn many more belated fans as it treats ears to the best of the band as a free proposal. Bringing together fifteen tracks spanning the band’s releases, one previously unreleased track, and an irresistible live take of the band’s mighty track Graveyard Stomp, the album is an offer no fan or horror punk loving newcomer to the British outfit should and will be able to resist.

Formed by the now Hamburg, Germany residing Johnny Rose and featuring Lewis Manchip, George Chick, Joe Dempster, Chelsea McCammon, and Tom Fenn in its line-ups, the Birmingham hailing Thirteen Shots unleashed a distinct and rousing form of rock ‘n’ roll as seeded in sixties garage rock and blues as horror punk itself. From debut album Vaudeville of 2012, through subsequent releases such as Tales That Start With A Whisper the following year, the 2014 White Noise EP, and their final outing through second album Black Smiles last year Thirteen Shots pushed their boundaries and expanded their sound without losing the incisive rough diamond roar which marked them out from day one. The new compilation brings it all into one thrilling place; all together for one final stomp.

First track is the fiery rock ‘n’ roll of Cobradeer, an encounter which flies from the traps, drops into a predacious prowl before bursting into a rush of fiercely slapping rhythms and ferocious riffs led by the distinct vocals of Rose. It provided a rousing introduction to Black Smiles originally and makes the same attention grabbing impact here before passing ears over to the flesh dropping infections of band classic Zombies From The USSR. Cored by a delicious Caped Crusader like hook, the track expels raptorial grooves and vocal incitement in a battle cry/warning rising up against undead hordes which just gets under the skin and into the psyche.

cover_RingMasterReviewThe variety in the band’s sound has been an open book and illustrated in the garage blues blaze of Nekrosexual and the following drama of Bewitched as well as across the album. The first is a scuzzy roar while the second again uncovering a hook which just fits an eager appetite, uncages predatory basslines and irritable riffs as Rose scowls in the colourful horror punk confines of the excellent encounter.

Within the Thirteen Shots catalogue numerous tracks were like beacons to their presence and sound, arguably the most tempting being Danzig. A tribute to the obvious, the song is a swinging punk brawl wearing its influence clearly but casting is own horror punk ‘n’ roll character with more hooks and temptations than a stripper at a fishing convention.

Punk rock in varying degrees is also an ever present in the band’s sound, Get In My Crypt for example simply fuelled by it in its virulent charge wrapped in metallic flames while other songs like Night Of Sin infuses it into their own individual imaginations, it a liquor soaked blues rock proposal with searing grooves and restrained but heavy rhythms. The outstanding Dead Girls Don’t Scream takes the vital essence into a psychobilly spiced romp, like Misfits meets Resurex while wearing a New York Dolls t-shirt. It is also another of those songs which the band is particularly memorable and noted for, a rock ‘n’ roll stomp to get lustful over.

Through the writhing blues grooved Padded Cell Blues, the scuzzy heavy metal Sabbath-esque riff loaded crawl of Doom, and the severely infectious rockabilly lined stroll of First American Sweetheart, the album does what all good compilations should do; reveal and celebrate the depth and invention of its focus. The last of the trio especially whips up the spirit with its hard rock grooves and garage punk contagion offering something akin to Turbonegro meets The Heartbreakers.

Grooves are equally a major tempting within next up Tales That Start With A Whisper, twisting within ears with salacious intent as the track shares classic/glam rock misbehaviour equipped with the spiciest hooks before Black Eyed Girl enters with a flirtatious and slightly sinister prowl like a dark dusted feline seductress swinging melodic hips to blues bred flames.

There have been a few songs from the band too which have blossomed to greater heights over listens rather than with an instantaneous convincing; the raw shuffle of Black Smiles being one which proves its point perfectly amongst its companions on the album though gaining its first ever outing here, Creak’n The Coffin needs little time to grab ears and the passions. A contagious punk driven slab of rock ‘n’ roll, it stomps and roars with all the flavours the band has consistently shown itself so adept at weaving into their raucous proposals.

The album is completed by the sultry blood red romance of Lost Soul with its mariachi laced smoulder and finally that stomping live roar of Graveyard Stomp, which while drawing eager participation, reminds us what we are all missing from the band at each and every venue they graced.

There are certainly tracks we would have added to the album, This Looks Like A Job For Batman for one, but Thirteen Shots is undoubtedly the life and creative voice of the band to a tee and a certain must for all punk ‘n’ roll fans. Go check it out and grab a rare and free treat @ http://thirteenshots.bandcamp.com/ with a possible very ltd edition CD possible if demand is high and similarly a final UK tour from the band if they are wanted; so go tell them @ https://www.facebook.com/thirteenshotsband

Thirteen Shots is also available for FREE from Google Play and available to stream from Spotify and Deezer from Undead Artists.

Pete RingMaster 09/11/2016

Copyright RingMaster: MyFreeCopyright

Dr. Hell – Apocalypse Boobs

dr-hell_RingMasterReview

Once more confronting ears with sounds suitable to voice an eager resurrection of the undead in a zealously riotous rampage, Dr. Hell unleash a new death dance of blood strewn horror punk going under the notoriety of Apocalypse Boobs. The German quartet’s mini album is a carnival of infectiously decayed punk rock and ravenous enterprise weaving familiar and individual exploits into their finest offering to date.

Since emerging from their respective North Bavarian mausoleums in 2010, though rumours are they actually formed in 1812 a secret place known as “The Bloody Islands”, Dr. Hell have released two albums of their raw and predatory horror punk, When I was just a little ghoul … in 2012 and Drunken Zombies two years later, and shared stages with the likes of The Meteors, Demented Are Go, KoffinKats, Blitzkid, The Other, and BananeMetalik to name just a few. Set to uncage their live ferocity on the UK this November, the band whets the appetite and scars the psyche in anticipation with the Undead Artists Records release of Apocalypse Boobs.

drhrll art_RingMasterReviewFrom its melodic Intro, the album leaps at the senses with Dead Girl with hungry riffs and swinging rapier like beats on the frontline. Swiftly led by the growling tones of DanDan Delirious, band and song career through ears with contagious punk/hard rock revelry and though there are no major surprises it is irrepressibly addictive and soon gaining full and eager listener involvement before Hate launches its more venomous and fiery tirade. With a touch of Frankenstein Drag Queens From Planet 13 to its irritability and raw trespass, the track binds ears with a toxic groove as again the rhythms of bassist Ina Insanity and drummer Mike Maniac growl and bite respectively.

Both tracks spark an eager appetite for the album’s assault and each is quickly eclipsed by the riotous stomp of Zombie Zoundz. With a whiff of The Sweet like seventies glam and the invasive predation of The Damned to its character, the track stalks the imagination around unbridled bouts of virulent aural voodoo resulting in a track for which lustful participation is a given.

Shrunken Heads is just as irresistible next, opening with heavy metal bred grooves around rockabilly riffs which only increase their and the song’s potency with every passing second of catchy enterprise. As in its predecessors, the song has a chorus ripe with contagion while guitarist Podo Panic entangles it in greed sparking melody sick flames throughout. As impressive as it starts, the album is at its pinnacle over the two tracks and only reinforces the point with Wasted Horror Punkrock Princess and a caustic punk brawl resembling a mix of Angelic Upstarts, Blitzkid, and Turbonegro with just a touch of Madball to its inescapable catchiness.

Completed by the anthemic incitement of Zombies in Town, another track as captivating in its antagonistic nature as its web of enterprising flavours within a rousing punk roar, Apocalypse Boobs  is primal rock ‘n’ roll to get loudly enthused over. As suggested it is not always the most unique proposal yet every track is pretty much distinct to Dr. Hell, igniting a lusty reaction and greed for much more; reason alone to stand in its bloodlust we say.

Apocalypse Boobs is out now via Undead Artists Records and @ https://bloodypunkrock.bandcamp.com/album/apocalypse-boobs

https://www.facebook.com/bloodypunkrock

Pete RingMaster 28/10/2016

Copyright RingMaster: MyFreeCopyright