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