Scanner – Splat

scanner_RingMaster Review

Seeding their own devilish riots in old school punk bred both sides of the Atlantic, Pennsylvanian rockers Scanner unleash their third album to keep the aggressive roar of nostalgic and organic punk rock snarling. There is plenty more essences to the thirteen tracks making up Splat, variety as keen as the attitude fuelling the release, but ultimately album and band is raw rock ‘n’ roll in heart and temptation.

Scanner was formed in 1979 by vocalist/bassist Joe Brady and guitarist/vocalist Junnie Fortney, the band name inspired by the David Cronenberg film Scanners after Brady read about it in a monster magazine. Pretty soon the band was stirring up attention and a loyal following throughout the Central Pennsylvania, Maryland, and Washington D.C. areas. Their sound embraces inspirations from 50’s rock and roll, 60’s hard rock and surf, and 70’s glam and punk, honing it into the band’s own horror/ punk rock, surf and garage punk exploits. 2012 saw the current line-up come together with the addition of drummer/vocalist Troy Alwine, with a year later the trio releasing debut album One Foot In The Grave, And More Pissed Than Ever. It was an acclaimed introduction to the band for a great many and confirmation of the qualities Scanner fans had been enthusing about for the previous pair of decades. Last year was marked by the release of Exploding Heads in Harrisburg – Live Recordings From 1982, a live album of old material as well as the Monsters Axes & Choppers EP from Brady’s other project, horror rockers Losers After Midnight.

With the Brady conceived and produced 45 band strong critically acclaimed benefit compilation album Assault & BATtery, which raised funds for Bat World Sanctuary, also on the CV for 2014, Scanner now set sights on the broadest attention yet with Splat, and as soon as opener Fist in the Air has ears gripped and emotions elevated the thought is that punk fans of all ages and eras need this encounter in their lives. The track quickly ensures the listener is following its title, its opening throaty bassline the lure into familiar yet refreshing punk riffs and sonic spicery. Attitude is ablaze as the plain but inviting tones of Brady incite lyrically and in expression, his bait an easy involvement within the more calm but forceful blend of crisp rhythms and raw riffs.

_0_SPLAT_Cover_RingMaster Review   The strong start is soon overshadowed by Just Like Bela, the band’s horror punk invention lining the predatory gait and design of the song. There is a healthy whiff of Misfits/Wednesday 13 to the encounter but its own character shines through, especially with the inventive mix of vocals and hard rock enterprise which frees itself. As it eclipsed its predecessor, so the track is outdone by the outstanding Living Life to the Emptiest. The third track has the edge and air of Dead Kennedys to its belligerent and anthemic confrontation, entwining it with great slithers of melodic acidity from Fortney’s guitar and punching it through with the raunchy bass and whipping beats of Brady and Alwine respectively.

A rapaciously commanding cover of The Angels’ Straight Jacket comes next, the song given a no frills make-over and emerging with a feel of The Saints to its richly satisfying punk ‘n’ roll, before Biker provides its own seventies inspired enticement. The song takes ears and thoughts right back into the breaking storm of punk rock, its DIY feel a bracing two minutes of raw endeavour and tenacity.

   Letter to the Government spills seventies glam and southern dirt rock revelry in its political attack within a bluesy entanglement of sound and enterprise whilst Running Riot sees Scanner take on the Cock Sparrer’s street punk classic to captivating success before haunting the psyche with Ghost Song. All three tracks have ears and emotions fully enlisted but it is the last of the trio which seduces the imagination and passions most. Its surf/psychobilly climate has echoes of The Meteors and Tiger Army to it but, as with all songs, variety is a vocal part, here punk and seventies garage rock bring extra juicy hues.

The Turbonegro meets Jello Biafra smelling Queen of the Stage has the body bouncing around next whilst a broad smile and further burst of pleasure is sparked by the band’s reworking of Bowie’s Suffragette City. The song has everything which you will have enjoyed in the original but roughed up and twisted around a bit, resulting in a great version to rival any other you may have come across.

Mischief and humour is as much a healthy asset as the flavours and invention of the Scanner sound and all give a fun time in Yeah We Suck, a round-up of ‘advice’ they and most bands will have gained at one time or another. That urge to have a ball continues in the album’s title track, an infectious brawl of virulence which is for the most instrumental but does have a lyrical bounty consisting of just its title being repeated with increasing relish. It, as most before it, has a claim for best song within Splat but the favourite spot gets grasped at the last moment by closing song Kaw-Liga. A country music song written by Hank Williams and Fred Rose, and covered by the likes of Johnny and the Hurricanes, Del Shannon, Roy Orbison, and The Residents over the years, Scanner turn it into a dark rock ‘n’ roll predator. Riffs and rhythms almost stalk the senses as the outstanding blaze of vocals ebb and flow across its sinister surf spiced landscape. It is only half the adventure though, the band breaking out into cow punk devilry too, switching between both provocative contagions throughout for one riveting and thrilling romp.

The US hailing Scanner might be an unknown secret right now but they hopefully and should not be for much longer as Splat trespasses on increasing numbers of ears for an increasing awareness. Go get some is our suggestion.

Splat is out now.

RingMaster 26/08/2015

Copyright RingMaster: MyFreeCopyright

For more independent exploration check out http://www.zykotika.com/

Morguenstern – Sepulchral Burden

Sepulchral Burden

     Embracing the senses in a gothic caress of engagingly elegant shadows and rapaciously honed enterprise, Sepulchral Burden the debut album from Russian metallers Morguenstern is a potent capturing of the imagination which unerringly lures you deeper into its provocative depths the more you entertain its dark temptations. Seemingly tagged more often as a horror-punk/gothic metal like proposition, the inventive quintet definitely upon their new release explore the latter of the flavours, an eighties breath as rich as the sonic colour and uncompromising undercurrent of intimidation which prowling each and every song. The album is a riveting fascination of Poe-esque drama and fiery metal passion wrapped in mouthwatering weaves of guitar and keys adventure led by acutely seductive vocals.

     Formed in 1999 by Morgana (vocals, keys, music and lyrics) aided by her brother Morok (guitar, back vocals) of Bog-Morok, Shexna, Downgrade, and Vo Skorbyah, Morguenstern recorded the demo Blood that same year before expanding with the addition of drummer Dan Sobolev (ex-Bog-Morok, ex- OPRICH ) and bassist Alexei Fominsky (ex-Bog-Morok, ex- Smuta) in 2000. After playing many successful shows the project was suspended in 2001 but now returns in striking form with the GlobMetal Records released Sepulchral Burden. Consisting of bassist Penguin and drummer Vladimir alongside Morgana and Morok with Smeat providing samples and backing vocals, the band unleashes tales of zombies, vampires, and cemeteries in a release which certainly wakes up the imagination.

   We will get the main niggle about the album out of the way before entering its body, and that is the fact that the lyrical delivery comes solely in Russian, not normally a problem but with tracks full of aural intrigue and adventure, being unable to enjoy that aspect due to limited linguistic skills does frustrate throughout. Nevertheless the album easily steals attention and breeds an eager appetite for its suggestive climate starting with С Новым Гробом (Happy New Coffin). A gothic organ makes the first incitement on the ears soon joined by a cinematic sample and an increasingly darkening ambience. It is a menacing coaxing which increases its threat until the song spreads into a radiant stretch of keys led melodic expression, thumping rhythms and caustic guitar strokes soaked and guided by the immediately enticing tones of Morgana. An increasingly contagious potency also flows from within the encounter, toying with electro invention and intense metallic urges within a gothic metal narrative. It all combines for a powerful and immensely persuasive start to the release.

      That success is matched by the following Мертвый Храм (The Dead Temple) and Идём со мной (Come With Me), the first teasing ears with an eighties gothic pop dance within a cauldron of aggressive yet restrained predatory metal. Not for the last time on the album, the track sparks up thoughts of March Violets with its vocals and melody drenched shadows but just as strongly forges a distinct presence for itself which marks Morguenstern as different. The second of the two almost stalks the senses in its beauty, malevolence, and irresistible seduction whilst like its predecessor, fusing harsh and caustic aggression aligned to the equally intensive vocals of Morok with a bewitching melodic climate for an impressive and fluid union, the resulting web if sound incendiary for the imagination.

    Another big aspect of the album is the variety brought into the songs under the constant gothic cloak, next up Тяжесть Могильная (Sepulchral Burden) for example exploring heavier mausoleum like atmospheres compared to the more intensive night aired sceneries of earlier songs, and though the melodic and heavy metal lilted track does not emulate the heights of those songs, it offers a refreshing twist in the melodrama of the album’s theme. Both the sultrily tempting Соната (Sonata) and the moonlight radiant Последний Путь (The Last Journey) provide further adventurous sounds and endeavour, the mesmeric vocals of Morgana washing around the senses as infectiously as the electronic and electrified enterprise courting her almost siren like tempting. The pair are like atmospheric magnets on thoughts and emotions, both increasing the undeniable lure of Sepulchral Burden.

     Кровь (Blood) is the next highlight to dramatically seize a rapturous response, its carnivorous voice of riffs and bass snarling imperiously away within the vampiric radiance of the keys and the suggestively masked lyrical suasion. It is a masterful platform for the imagination to play upon even without the aid of understanding its words, painting an evocative and colourful realm for thoughts to devour and expand within. That is a trait you can attribute to all songs to be fair with an even greater mastery to be found in the next up До Свидания (Farewell) with its sonically poetic jeopardy and the vampire heralding Нечеловек (Inhuman). The second of the two sculpts a merger of almost punk bred metal and sonic savagery tempered by the ever crystalline tones of Morgana magnificent creating another pinnacle on the album.

    The quality and evolving might of the album continues through the likes of Came from Ад (Came from Hell), a track like a few to be fair which could soundtrack any classical gothic and noir driven horror movie, the tantalising Пустые Глазницы (Empty Eyesockets) where the melodic and piano sculpted resplendence comes with a haunted voice, and the brilliant electro driven Morguenstern with its glorious Middle Eastern adventure and uncompromising antagonistic predation. All three leave ears and passions with a healthy want for more which the closing Отдай Свой Разум (Give Away Your Mind) supplies in a final ravaging of air and sound, its gothic landscape ripe with exhausting energy and mischievous rabidity to create a last great twist in the album’s invention with male vocal furies leading the towering charge.

    It is an outstanding end to an equally tremendous release which just grows over each subsequent journey through its exciting dangers for increasing success. Featuring guest vocals from Alex Raymar (Desert), Sam (Enemy Pain), Nybras (Iconoclast), Sherman (Bog-Morok and Shexna), and Dirty Scoundrel (Ministry of Truth), it is only the mystery of the lyrical content with provides any ‘annoyance’ on Sepulchral Burden, the album an expansive and immersive gothic romance of terror within which Morguenstern offers very tempting rewards.

https://www.facebook.com/groups/morguenstern/

8.5/10

RingMaster 20/02/2014

 Copyright RingMaster: MyFreeCopyright

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The Howling Bullets – Ghoul County

photo: Lily Lemonpie

photo: Lily Lemonpie

With a blood thirst to their invention and predatory stench to their sounds, Canadian horror rock band The Howling Bullets return with new EP Ghoul County to resume their preying on the psyche. Following their excellent From The Public Domain EP of 2012, the new six track stalking is a ravenous expanse of horror rock, psychobilly, and country punk unleashed in diverse permutations and uncompromising passion.

Hailing from the darkest corners of Toronto, The Howling Bullets came together around 2011, DanO Villano and Jordan Sane coming together a little earlier to write and expand on songs the former had already been working on. Soon a full band The Public Domain EP brought the band to closer attention beyond their strong local reputation including an internet presence which brought them to hunger of shows like The Bone Orchard at www.audioburger.com. A line-up change brought in guitarist Seanbelly Sewell alongside the dual attack of vocalists and bassists Sane and Villano later that year with Alvin Lapp joining on drums. Shows and festival appearances alongside the likes of Christian D and the Hangovers, Owen Mays, Bloodshot Bill, The Brains, Koffin Kats, The House Of Haunt and many more, only enhanced their stature and the appetite for their fiery horror bred sounds. April of this year saw the current line-up in place with Elena Red taking control of the rhythms with her stick mystique and now September 27th sees the next instalment of The Howling Bullets bloody alchemy set loose.

The EP growls into view with Ghoul County Limits, a carnivorous bass riff drawing in the equally rapacious guitars and rhythmic lashing 1291623_10153251806110361_950545741_nof Red. A hunger driven intensity and stroll to the song provides an unrelenting temptation which is raised further by the great vocals, the two frontman trading verses, and the melodic flames which flare up across the contagious charge. Like a meat clad bone before a hound the horror punk introduction to the release is potent bait, its equally delicious psychobilly tonic only increasing its lure and grip on awakening passions.

The addiction causing start is followed by Zombie Bat, a rampage which takes its lead from its predecessor in showing no thoughts of restraint in the riffs and rhythmic enticement. In its gait and invention the song twists, turns, and stops at a whim to show immediate diversity whilst keeping the senses and appetite greedily attentive and wrapped in unpredictable seduction. There is a familiarity to the swagger and tone of the song it has to be said, and though saying Misfits is too easy but certainly there is a sense of that flavour of horror rock at mischievous play.

Cold Cold Skin shimmers from its opening breath with a sonic guitar mist which rains down on the emerging prowl and intimidation of the song whilst caressing the imagination. There is a Samhain growl and menace to the song from the start which only ignites greater rapture for the already impressive release. Equipped with blues fumes and an uncompromising snarl, the slowly stomping burn of the track traps the passions with a blaze of guitar blues excellence in the midst of the predacious smothering of the senses, the result a seizure of the passions from the persuasive offering.

The heat is turned up with the scintillating instrumental The Djinn, a middle Eastern surf rock blaze of grumbling rhythms and tight acidic enterprise coaxed and goaded by the ever riveting dual bass attack. Wrapped in chilling mystique and dangerous melodic enchantment the piece of music is another irresistible magnet making the perfect appetiser for the best track on Ghoul County, the ravenous New Age Hex. Adrenaline fuelled with a certain punk rabidity to its Cramps like gnawing of the psyche, the track is as virulently infectious as it is skilfully intimidating, and over far too soon for these greedy passions. Impossible for feet and voice not to join in its devilry, the song lands enjoyably somewhere between Guana Batz and King Kurt in sound and as mentioned The Cramps in its rawer lining of epidemic suasion.

The closing That Hellbound Train enters into the realm of country rock for its ghostly tale of a railroad haunting. Now country music for us is as welcome as an octogenarian stripper but with its more of an outlaw cowpunk spicing and excellent guitar work it is a very pleasing finale to an excellent release, even if not quite igniting the fires inside of other songs on the EP.

For prime rockabilly/horror rock with a multifarious depth of flavours and imagination, The Howling Bullets has crafted one of the true exciting dangerous adventures, but are you brave enough to enter Ghoul County .

http://www.thehowlingbullets.com/

9/10

RingMaster 26/09/2013

Copyright RingMaster: MyFreeCopyright

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Dead White and Blue – Mary Jane

dead white & blue

    Mary Jane the debut album from Dead White and Blue has in many ways been twelve years in the making though that is not quite the true story. The band/album is the invention of Arizona vocalist/guitarist Russell Workman, a musician who had previously played in various bands around Phoenix, artists who had supported the likes of Iron Maiden, Dio, and Korn. Laying down his self-penned tracks for the album at the Tim Rastas Studio in Tempe in 2001 everything was going to plan until Workman was arrested and sentenced to 6 years in prison for a minor drug charge. The experience brought his thoughts and determination into keen focus. In 2012, after trawling through vaults and closets for the raw master tapes of his unreleased album, Workman was ready to bring it fully to life, setting to work overdubbing and updating certain sections of songs, re-mixing and finally mastering his long overdue release. Bringing in long term friends bassist Mykel Sane (John Waite, Saigon Saloon, Faster Pussycat), guitarist Harry McCaleb, and drummer Rich Contadino to make a full line-up, Dead White and Blue emerged hungry to ravage the senses and the world of dirty unbridled rock ‘n’ roll.

Consisting of eleven raucous, riotous, and rapacious confrontations bringing the essences of bands such as Murderdolls, Motley Crue, 320071_366849386766732_1802976537_nand Sex Pistols into their own voracious adventure and spite, the album is not unearthing new ground but considering the songs were written and created well over a decade ago you feel at the time of its birth the it was ahead of the game at the time. As the lead off track and first single from the album Take launches caustically at the ear attention and senses are immediately awoken with a seed of good appetite also finding its bearings as the vocals of Workman and the great fiery riffs make their presence firmly known. Expecting the track to explode into a fury of energy it wrong foots with a lumbering almost doom lit twist before unleashing the full intensity of the track with rhythms and guitars offering a compelling abrasion and the bass prowling it all with saliva dripping malice. The song continues to bring an ever evolving unpredictable venture, a seamless flow of ideas and direction which makes captivation and hunger an easy response.

From the strong and riveting start the album continues to impress, the title track coming next to roughly dance with the senses whilst littering its antagonism with infectiousness and easily accessible pop rock hooks. Its successor Dragonhead steps up after equipped with a punk belligerence merged into a glam rock nearing wantonness. Though neither matches the opener they more than leave a satisfaction which is lingering and ripe for more.

The likes of the snarling California, a track with sultry climes designed by the excellent sonic flames of the guitars, and the magnetically jagged Hot Wheels add gripping highlights to the release but it is as Suitcase Punk steps up that the album really lights up thoughts and senses once more to new levels. Bursting from a sonic spiral riffs and rhythms charge rabidly through the ear whilst around them punk bred intensity coaxes adrenaline into rabidity. With Dead Kennedys like contagion and a Fuckshovel styled delivery, the track is a virulently addictive confrontation, its grooves and hooks magnetic lures alongside simply irresistible riffs. Easily the best track amongst it is fair to say nothing but well-crafted and enthralling brawls, the song leaves on a high which the following Soul Thief runs with to great effect and pleasure. A rawer destructive intensity sprawls over the vocals and their at times vacuous production, whilst guitars and bass create an intensive squall of sound and predation sparking another wave of insatiable devouring.

Completed by the pleasing Let The Dead and the outstanding and incendiary Burning In Hell, a track which sears the flesh of the ear whilst scorching the senses, Mary Jane is a thoroughly enjoyable and thrilling release. Though its pinnacles do leave some of the other songs in shade at times, not one departs without having taken the listener on an energy driven creative ride of undoubted pleasure. Dead White and Blue is a band to keep an eye on; here’s hoping it is not another twelve years before another treat.

http://www.deadwhiteandblue.com/

8/10

RingMaster 09/09/2013

Copyright RingMaster: MyFreeCopyright

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Death SS – Resurrection

death-ss (1)

    Resurrection the follow-up to the critically acclaimed previous album The Seventh Seal sees the return of Italian heavy metal band Death SS and their compelling tales and sounds of horror soaked devilry. Formed by vocalist Steve Sylvester with its first recordings as far back as 1988, the Pesaro band has been an ever potent presence within Italian heavy metal and to a lesser degree the world. Taking, one suspects a more than healthy influence from the likes of Alice Cooper, and possibly inspiring again on assumption the likes of current bands such as Houston! and Superhorrorfuck, Death SS create a blend of metal and drama inspired by horror movies and literature and apparently also this time around the Italian sexy-horror comics of the Seventies especially in the album art work. Resurrection is at times a riveting excursion through crimson red temptation but also has tracks where inspiration is lacking for song and listener, something which suggests that many of the bands they may have sparked life within have since surpassed their own creativity. Despite that for the main the album is a pleasing and easy to return to riot of familiar fun.

For the first half of the Lucifer Rising / Scarlet Records released album, Resurrection is a bit hit and miss, the alternating tracks bringing death-ss-coverrides of horror rock and more straight forward heavy metal, and the former much more thrilling than the latter style. For the first time Sylvester produces a Death SS album and does a great if unspectacular job whilst alongside guitarist Al Denoble, keyboardist Freddy Delirio, bassist Glenn Strange, and Bozo Wolff on drums, he leads the stirring passions through a disjointed but appealing journey of rock ‘n’ roll. The album certainly gets better the further into its body you go too, finding a stronger consistency to the variation working its devilment.

Opening track Revived opens on a pulsating heartbeat with a sinister ambience soon emphasised by the vocals of Sylvester. This menace is accelerated by the joining throaty bass and wide rhythmic punches all scored by sonic guitar lashes. Into its thumping stride with a blanket of refreshing electro temptation, the song is a rampant stroll of horror rock which instantly brings thoughts of Wednesday 13, Frankenstein Drag Queens from Planet 13, and as mentioned earlier Superhorrorfuck. It is not bursting with originality but as the riffs and rhythms cast their contagious net around the senses and the vocals unleash their raucous grazing it is imagination capturing fun.

The following track The Crimson Shrine avails itself of a more classic heavy metal breath, riffs and drums a tower of sinews whilst the keys paint a symphonic picture upon the big boned canvas. The guitar work of Denoble is impressive and creates enthralling shards of melodic flames across the song whilst the additional female vocals temper things with grace and beauty, but the track is pale in potency against its predecessor and next up The Darkest Night. To be fair some of this is down to personal preference towards the two styles offered but it is an uneasy lie in many ways nevertheless. Its successor takes a mere breath before launching another muscular stomp of horror rock/power metal like persuasion. The electronic veins provided by the keys are like torches, lighting the thick shadows of the narrative which dance within the crushing frame of rhythms and hungry predatory riffs. Like the first song there is nothing unheard before but delivered in the accomplished and energetic style of Death SS leaves a very satisfied appetite.

The decent enough melodic charms of classic metal honed Dionysus lead into the rapacious growl and hold of Eaters, the track a bestial torrent of steely jawed riffs and mountainous rhythmic provocation driven by great vocal incitement, lyrically and in delivery. Again it is no coincidence that the song is a Cooperesque/Murderdolls like romp with lethal dangling weaponry disguised as guitars solo and bass lines to enslaved and tear the senses into bliss, and is the style exciting these ears.

The likes of the Ogre’s Lullaby, with its psychotic whispers and heavily laden vocal tempting, and the metallic swing/swagger of Santa Muerte both ignite thoughts and a little bit of greed for their sinew stretching and especially in the first, schizo charms, whilst The Devil’s Graal is a crawling provocative beast that leaves welcomingly entrenched sonic claws and dramatic teeth in the senses. As mentioned previously, Resurrection gets stronger and more perpetually appetising as it works nearer its climax, both the Manson like Precognition with its rhythmic juggling and carnivorous riffing and the bruising rock n’ n’ roller Bad Luck proof as they leave limbs and passions laying down an accompanying energetic escort. They make a thrilling conclusion to the album and compensates for the disappointment of songs such as the bland The Song of Adoration, certainly in comparison to this last pair. Wrapped in the great artwork of Emanuele Taglietti, an internationally renowned painter and author of all the covers of cult adult comics such as ‘Belzeba’, ‘Zora’, ‘Sukia’, ‘Cimiteria’, ‘La Poliziotta’ to name a few, Resurrection is a very enjoyable album even with songs which just do not ignite any heat for their presence included, and though there is nothing truly new here which has not been discovered and reaped elsewhere, it is hard not to like and want to return to.

http://www.deathss.com/

7.5/10

RingMaster 31/07/2013

Copyright RingMaster: MyFreeCopyright

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Dirty Danzig: Horror Vibes From Nowhere

DD

    If you have the feeling in the dead of night that someone, something is watching with a dark lust in their eyes, then feel yourself very lucky if it is the crypt stalking horror rock conjurors Dirty Danzig. Not that you will be safe in their company or escape a horrendous fate but whilst committing their heinous deeds they might just treat you to a healthy dose of musical sensation to be found on their demo, Horror Vibes From Nowhere. The release from the Italian trio is a delicious mortuary of cinematic mayhem and thunderous ground shaking menace which ignites the fullest fire deep inside.

Formed on Halloween in 2010, the Grottammare threesome of mayhem in the persuasive shape of vocalist/guitarist Christina Deth, bassist Kellen Deth, and drummer Markus Carpenter, with no surprise bring the heavy influence of Glen Danzig into their creativity, from both Misfits and Danzig eras. Despite that obvious spice the songs which make up the EP stand as their own aural death dealing card with a presence which stands the band away from and to the fore of most. The release is also inspired by horror movies with film soundbites relating to the songs they inspire, a potent introduction to what are unreservedly compelling songs.

Voodoo Death opens up the all-consuming horror, a track which within seconds has the senses dancing through its raucous riffs, 300 (1)punchy rhythms, and the excellent vocals of Christina, her delivery a biting yet seductively melodic instigator of pleasure and intimidation. Her vocals snap at the ear as well as harmonically caressing them to add extra menace to the predatory basslines of Kellen, the merciless beats of Markus, and her own insatiable guitar abrasion. It is an excellent song which is pure infection and total magnetism, a storm of Misfits, Mongrel, and Calabrese like splendour.

The following House on The Hill with its sample of Vincent Price from the film House On Haunted Hill has attention riveted before a note is lit but when the track explodes into vindictive action the addiction is pure and torrential. Like the first it is prime horror anthem as catchy as a fever and energetically a brawling irresistible burn upon the senses. It is a rawer assault than its predecessor but leaves just as rich and potent a satisfaction through its unrelenting growl and predacious riffs framed by bone splintering rhythms.

With already a full submission to its terrific confrontation the band seal the deal with the ferocious Vampire, a track which goes for the jugular, naturally, and dances on its victim with a fiery groove spearing a tempest of uncompromising rhythms and gnawing riffs, whilst the vocals just tear at the senses with bloodlust. It is another simply outstanding encounter to end the release but…the band has not finished with its prey yet. As the final note leaves its glorious scar keep patient and wait within the silent shadows of the release as the band have one hidden unnamed treat to enjoy. The mystery song is a furnace of intensity and energy, a bear of a track with more muscle and hunger than before and just as much majestic malice.

Horror Vibes from Nowhere is quite brilliant; a hellacious ride from a band in Dirty Danzig which has one drooling in anticipation for what is next and breathless from what they have just inflamed the heart with.

Grab the EP as a free Download @ http://bit.ly/W5qNq6

https://www.facebook.com/dirtydanzig

9/10

RingMaster 16/02/2013

Copyright RingMaster: MyFreeCopyright

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Full Story At Midnight: No Rest For The Rotten

   Full Story At Midnight-

   Reaching out from beneath the damp heavy earth of Tucson, Arizona graveyards, horror rock band Full Story At Midnight is poised to stalk every living nightmare with their debut album No Rest For The Rotten. Eight tracks of sonic evil and blood-letting menace, the album brews up a potent potion of horror rock, punk and psychobilly which is as heavy as the night and as intimidating as shadows.

The band began in 2004 as a solo project of vocalist/guitarist Elvis Aron Deadly under the name The Sacred Profane. Going through a few names the band eventually stepped forth as Full Story At Midnight with Deadly having recruited some equally creative ghouls alongside him. 2007 saw the band as The Sacred Profane appear on the Halloween Compilation from Fear The Dead Records and release the successful Alone In The Dark EP. Then and since Full Story At Midnight has appeared alongside the likes of Michale Graves, The Koffin Kats, Mercy Kill, Mommy Sez No, The Independents, Calabrese, The Returners, Wednesday 13, and Demented Are Go with a fine live reputation in tow which their well-received Drive In Horror Show EP built further upon with equally impressive responses.

Their debut album is an explosive riot of sound with a raw live feel which makes it coarse but fully engaging and organic, the passionfsamcolor and energy of their richly flavoured horror rock a coarse and incendiary gnaw on the senses. The release opens with Lawnmower Limb Thrower, its initial electric feed sizzles in the air before concussive rhythms and snarling riffs rip up the chilled ambience. It is immediately into a rampant stride with an insistent intensity covered by the excellent vocals of Deadly, his Jerry Only like tones a seductive lure against the rasping shouts and caustic squalls behind him. The song is a vibrant mix of Misfits and Blitzkid with a scowl which is pure punk.

The crawling heavy malevolence of Boogieman Like Me spreads its vindictive charms next with thumping rhythms and ravenous riffs chewing up the ear whilst the sonic persuasion of the guitar flames against the tumultuous energy. Unleashing its bruising might the early-AFI spice of the song sparks against the muscular punk fire of the song and continues the strong start to the album with ease.

A smoother melodic breath smoulders within next up Everything But A Tomorrow, the song offering warm melodies and harmonies within a heated sonic embrace framed by sturdy sinews of rhythmic fervor. It has to be said though that the production on the release is a mixed bag. On one hand it gives the great unpolished element of the album as on this song a strong platform to bring the live power of the band to the release but against that it does deny a clearer clarity which the excellent tracks deserve. Despite this tracks like Total Hate with its carnivorous riffing and seductive vocal croon and Hideous Infant with its gnawing guitar grazing and bass prowl, stand as absorbing and challenging encounters which only satisfy.

Before departing the death drenched release brings further mental violations through the rapacious Making A Monster, its startling insatiable sonic bloodlust a furnace of The Ramones. The Meteors, and Frankenstein Drag Queens From Planet 13, and the fiery Puzzle Box, a song rippling with rockabilly passion and hardcore energy. Both songs again bring diversity to the album to keep the listener fully attentive and pleasured.

Ending with a final charge of unbridled energy and eager psychobilly/horror rock in the raucous Trick Or Trick, the album completes a fully pleasing and exciting confrontation. No Rest For The Rotten is an album to re-animate any dormant rock n roll hearts and invigorate the living dead, and suggests that if you give Full Story At Midnight the studio and tools to fully bring out their undeniable invention and craft then the living best start running.

http://www.facebook.com/FullStoryAtMidnight

7/10

RingMaster 15/02/2013

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