Venus de Vilo – Edgar Allan Ho 5th Anniversary Edition

It seems impossible that it was five years ago that we, as so many others, were seduced by the shadowed clad, blood strewn creative world of dark seductiveness of Venus de Vilo through the Edgar Allan Ho EP. It is in some ways still a relatively undiscovered but certainly a revered and acclaimed gem by those in the know, and was the prelude to equally compelling tales of dark deeds, shadowed carnivals, blood drenched burlesques, and dead borne vaudevilles  in songs, literature, and art by the Irish songstress ever since. This October on Friday 13th, its release is celebrated by the artist in union with the great independent label, Undead Artists, with the unveiling of the 5th Anniversary Edition of Edgar Allan Ho.

Hailing from Dublin, Venus has frequently lit up rock/metal bars, Burlesque and Cabaret nights, open mic nights, and other numerous venues around her home city and further afield with her Goth-Shock anthems since emerging around 2011. The release of Edgar Allan Ho in 2012 saw fan and online radio attention gather with plaudits to the fore, our own podcasts eagerly among them with all persistently enthralled by subsequent encounters with singles, EPs, words, and comic books alike.

Venus is like a sultry vampiric temptress bred from artistic alchemy raised from the fire of Imelda May, the snarl of Wanda Jackson, and the energy of Fay Fife with a pinch of the rock ‘n’ roll infection Horrorpops for good measure. Edgar Allan Ho soon revealed though she is as unique as they come, all those essences rich hues in her own kaleidoscopic imagination and sound.

The Anniversary Edition of Edgar Allan Ho as well as regaling in the original tracks also features remixes and covers of its songs by notorious Gothic-Industrial, Cabaret Noir and Alternative musicians, unique artwork by some of the best underground horror artists inspired by its songs, some steampunk stories also based on the EP’s anthems, and a full Behind the Screams book by Venus discussing the entire processing of writing, recording and out-ing the EP.

The EP opens up with Heartless Horseman and immediately the riveting tones of Venus grab ears and attention. As her acoustic guitar stabs, a rockabilly feel reminding of The Creepshow swiftly joins the song, a flavouring in turn bringing even more potent bite to the voice and delivery of Venus, her soaring compelling vocal imagination and drama holding an Agnete Kjølsrud of Djerv meets Lene Lovich like agility. A sweeping lure into night terrors and dark romantic suasion, the irresistible track is still soon outshone by the brilliant Ringmaster. It is a mesmeric waltz of colourful enchantment and dark carnival cast by voice, harmonies, and guitar. As one of its protagonists, it swings like an aerial gymnast, swaying elegantly in ears like a glorious aural siren. It is also a spectacular with one delicious chorus sharing a riveting likeness to The Dickies’ Killer Klowns From Outer Space. It was our undeniable favourite back in 2012 and remains so but every track within the EP is a mighty challenge.

Miss Frankenstein is next, an aural incitement which is as cinematic as it is sonically suggestive. Its rhythms are a bold enslavement matched in temptation by the electronic strings and Venus’ ever inimitable and irresistible tones. It is an epidemic of sound, an almost toxic and certainly addictive contagion which leaves you no option but to dive voice and feet first into its twisted majesty.

The more understated but no less seductive Penny Dreadful Love is next, its shadowed climate and Victorian draped air a creeping tempting out on a funereal stroll.  As lady and song lace the senses and thoughts with their visceral love poisoned evocation, the track simply and sublimely absorbs the listener in dark hearted romantic serenade.

Crooning from within a gothic Bauhaus-esque mist, Carmilla’s Return atmospherically swarms around ear and imagination with keys and guitar caressing the continually powerful and virulently enticing tones of Venus, behind whom the chants of the ‘dead’ hauntingly harmonise. It is a pungent kiss on the senses but one wrought with threat and danger; the best kind of seduction there is.

Apocalips completes the EP, its rockabilly swagger and virulent swing pure manna to the soul. Again voice and guitar transfix like a celebratory incantation, rhythms scything across its dark beauty with relish and similarly teasing venom. The track flirts with the wantonness of a fifties siren and the intimidating composure of instinctive psychobilly, rich traits colluding with everything else for one wholly contagious shard of mesmeric delight.

Apart from a couple of live track and remixes by Elvis Einstein, all sheer passion fuelling theatre, we have yet to taste the whole package of the EP’s re-release but its core tracks alone make Edgar Allan Ho an essential must. It is time to feel the Venus de Vilo embrace world.

The Edgar Allan Ho 5th Anniversary Edition is released October 13th through Undead Artists @ https://www.facebook.com/events/100369350679694/

https://www.facebook.com/VenusDeViloTheVoiceOfHorror/    https://twitter.com/VenusDeVilo

https://venusdevilo.bandcamp.com/

Pete RingMaster 11/10/2017

Copyright RingMaster: MyFreeCopyright

Oh! Gunquit – Lightning Likes Me

This is your one time warning; prepare for your lungs to burst and veins to pop not forgetting hips to feverishly swing, rumble bop freakabillys Oh! Gunquit are back in town to tease and incite with a new album. The London based outfit left bodies sweaty, exhausted, and lustful with their first album Eat Yuppies and Dance back in 2015 but be warned it will all have felt like a warm up compared to the devilish antics Lightning Likes Me will have you getting up to.

Hints of things to come were alive in the band’s recent single Nomads Of The Lost, a track which suggested that the quintet had found wilder and even more salacious essences in their songwriting and sound; something Lightning Likes Me quickly and increasingly confirms song after song. It should be of no surprise really, since emerging in 2010/11 from the creative union of vocalist/trumpeter Tina Swasey and guitarist/vocalist Simon Wild, the band has only raised the ante and revelry of their psych-surf/garage-punk infused rock ‘n’ roll. With its members in bassist VV, drummer Alex De Renzi and newest member Chuchi Malpersona on sax alongside Swasey and Wild hailing from Italy, USA, Colombia, Spain, and the UK, there is a cosmopolitan fever to their music which in turn encourages its trickery to new heights, a plateau now set very high within Lightning Likes Me.

As soon as the fiery guitar strokes of opener So Long Sucker finger ears, the album is up and running, toning and driving the body like a puppeteer. Brass and rhythms are soon blazing and stomping across the infectious proposal, Swasey’s enthusiasm soaked vocals equally as persuasive while clad in defiance and carnal incitement. The track continues to twist and bounce like a rock ‘n’ roll dervish, every second getting under the skin and into the bones.

It is a tremendous start instantly backed up by the rhythmically tenacious antics of Get Wound Up. As De Renzi’s swings land with boisterous dexterity, sax and trumpet blaze away with suggestion and heat with Swasey all the while leaping across every strand of temptation with vocal agility. It is a song which dares you to get physically involved note by note, an invitation impossible to refuse in limb and energy before both are consumed all over again by the outstanding Nomads Of The Lost. With a swagger in its hips and confidence, the song saunters in with flirtatious infectiousness oozing from every note and syllable. Taunting riffs and sax teasing leads the way as vocals again ride the canter with their own irresistible persuasion, group calls another subsequent tempting impossible not to join as the chorus infests. Not for the last time, there are hints of bands like The Revillos and The Creeping Ivies to the devilry; bewitching essences in a captivation all of the Oh! Gunquit making.

Fireballs boogies in ears next with its garage rock psyche pop, its crescendo building surges a deceptive pleasure as they never erupt into a full-on blaze, just into the next cycle of irrepressible teasing for its own heat soaked orgasmic pleasure while Never Sorry plunders the decades for its psyche infesting rock ‘n’ roll, flirting with the inspirations of artists like the 5678’s and April March along the way. Both tracks are sheer addiction in the making though that equally applies to the whole of the album including the thicker boned Suzy Don’t Stop. The rhythmic bullying is raw feet temptation whilst the fire borne strains of guitar and brass are delicious toxins in the virulence of song and vocal exhortation.

The garage punk ‘n’ roll voodoo of Smiling Snake is a fifties bred, freshly re-animated thrill; a Wanda Jackson and Imelda May blended suggestion bound in the stringed imagination of Poison Ivy and quite irresistible though just as attention and lust is quickly stolen by it from its predecessor it is then lost to Walking The Streets which too has more than a rich spicing of The Cramps to its personality. Its creative stroll is manna to the passions and an unforgiving consumption of the hips, leading them to delirium soaked exhaustion. The track simply takes over body and spirit and take it from us just gets more potent and masterful with every groove woven outing.

Next up is Greasy Moves which, without credit on its press release or in any additional digital information sought so far, features guest vocals from someone which sounds inimitably like King Salami. The initial stomp of guitar and brass with rhythms swinging turns into a sweltering stroll of salacious suggestion, a primal dance which again has the ears and body locked into its blue kissed flirtation with no sign of resistance.

Finishing off the album with its own infernal devouring is Captain Of the Creeps; an incessant nagging of senses and limbs woven into a tapestry of iniquitous imagination and enterprise. It pretty much sums up all the attributes found across the whole of the unique rock ‘n’ roll contagion that is Lightning Likes Me, adding a few more of its own as the album leaves in rousing style though not for long as the urge to start the merciless party off again is king.

Last time around Oh! Gunquit gave us one of the best outings of the year this time it just might be the very best; there are few contenders to rival it for sure.

Lightning Likes Me is out now via Decapitator and Dirty Water Records https://ohgunquit.bandcamp.com/album/lightning-likes-me-lp-cd

https://www.facebook.com/ohgunquit/

Pete RingMaster 26/09/2017

Copyright RingMaster: MyFreeCopyright

Little Lapin – Wake Up With The Sun

There are many obvious things which are evidence of being in the throes of a seductive summer, most you will need no reminding of but there is something else which equally has emotions wrapped up in the beauty of its warmth and that is a new release from British singer-songwriter Little Lapin. Just short of two years ago, the Cornwall based songstress entranced and impressed with debut album Remember The Highs, repeating the event a year later with its even more striking successor Holding Out For The Kicks. Their collection of heart bred, spirit stroking songs firmly imprinted their creator on the indie folk/ alt country scene. Now third album, Wake Up With The Sun, is a day or so away from living up to its title and sparking a new melodic summer for the senses and imagination to bask in.

Quite simply Wake Up With The Sun puts its predecessors in the shade; easily eclipsing both impressing releases as Little Lapin’s (Lucy Hill) reveals her most potent, accomplished, and creatively imaginative and elegant songs yet. She is no stranger to acclaim, those releases and surrounding singles as well as her live performances drawing eager praise and attention. From radio shows to the scribbles of music blogs and magazines, plaudits have gathered as too a worldwide fan base through her shows and tours across Britain and New Zealand as well as New York. Wake Up With The Sun is also the call to the rest of the world to take notice with its season of melodic seduction.

Initially and no doubt continued to be inspired by the likes of Regina Spektor, The Cranberries, Florence & The Machine, Laura Marling, PJ Harvey, The Cure, and The Pixies, Little Lapin has persistently nurtured her own character of sound and songwriting; its current pinnacle and uniqueness coming within Wake Up With The Sun. From its first breath, the album smiles and kisses ears; opener and album title track stroking ears with the tender touch of acoustic guitar. That in turn sparks a skip of eager guitar and bass, their perky stroll wrapped in the warm caress of LL’s ever captivating voice.  A slice of pop folk, the song proceeds to radiate like its namesake; rays of energy and senses inciting warmth infusing body and spirit.

My Complexion follows, swiftly sharing its own infectious gait and nature as LL courts ears and thoughts with her evocative words and enticing voice. Its unique spice adds a delicious tang to her melodic prowess, essences emulated in the blend of jaunty guitar and jazzy bass alongside.  An eruption of fiercely fragrant guitar only adds to the temptation, a one off moment not to be repeated but lingering as long as the song’s general spring and beam.

Just as potent in its reluctance to leave ears and thoughts is the delicious animated serenade of Isn’t Life for Living, a blossom of beauty simultaneously sharing a smouldering flame and frisky waltz as it ignites feet and hips as easily as a lustful appetite for its virulent pop.  As throughout the album, there is a sixties/seventies scent, a whisper but giving the song another endearing hue to get hooked on as it sublimely captivates with its keen and poetic vivacity before latest single Narrabeen adds its own catchy enterprise and bold imagination to the release. With the haze of harmonica and a suggestive rumble interrupting its tenacious country spiced swing, the track is a sultry and dusty Kiwi hued adventure and, as its predecessor, just riveting.

Through the delicate melancholy lit Luna and the reflective hug of A Song for Alex, the album lures the listener deeper into its majestic yet intimate arms while Need a Change of Scene has the body on its feet again shuffling round with tenacious versatility to the song’s wonderfully unpredictable invention and evolving landscape. Like a mix of Laura Marling and Imelda May, LL has ears and imagination enslaved whilst revealing another aspect to the diversity shaping Wake Up With The Sun.

LL simply bewitches once more within Radio Nocebo, her tang lined voice an appetite inflaming siren and storyteller within the sparkle of hearty and innocence spun melodies. Captivation is swift and inescapable as the song provides another peak to the loft range of the album; its triumph followed by the final wash of warmth and melodic intimacy provided by closing song I Told You So. It is a last kiss on the lips of pleasure as Wake Up With The Sun leaves the listener wistfully bound in the hug of creative grace.

It is probably fair to say that Little Lapin has yet to ignite the biggest spotlights so far but it is easy to suspect that global attention will be stirred, as the sun, by her new and quite simply gorgeous album.

Wake Up With The Sun is released April 14th across most online stores.

http://www.littlelapinmusic.com/    https://www.facebook.com/littlelapin/    https://twitter.com/1littlelapin   https://littlelapin.bandcamp.com

Pete RingMaster 13/04/2017

Copyright RingMaster: MyFreeCopyright

Pussycat and the Dirty Johnsons – Dirty Rock ‘n’ Roll

pic debbie-attwell

pic debbie-attwell

As the band work and finish material to grace a new album, British rockers Pussycat and the Dirty Johnsons have linked up with Dirty Water Records for the long awaited digital release of second album Dirty Rock ‘n’ Roll and quite simply if you missed it first time around and have an instinctive appetite for insatiable bordering salacious punk infested rock ‘n’ roll, than it is a must.

Formerly in a band just called The Johnsons, the Basingstoke hailing trio is fronted by the wild feline wiles of vocalist Puss Johnson with founding guitarist Dirty Jake (Feckle, Lube) and drummer Filfy Antz (The Krewmen) alongside uncaging their own raw and incendiary antics. It is an explosive combination which saw their 2010 debut album Exercise Your Demons earn many plaudits as too over the years a blistering live show seeing the band share stages with the likes of The Jon Spencer Blues Explosion, Thee Oh Sees, The Fuzztones, Mad Sin, The Damned, 999, The Polecats, The Creepshow, The Rezillos, Bow Wow Wow, The Meteors, The Vibrators, Resurex, DragSTER, Trioxin Cherry, and Atomic Suplex.  Three years later, Dirty Rock ‘n’ Roll was the cause of even greater eager attention and acclaim upon Pussycat and the Dirty Johnsons; a spotlight sure to be regenerated by its digital uncaging ahead of as mentioned a new album.

Featuring eleven tracks spun from attitude loaded threads of everything from punk, garage rock, glam, psychobilly, garage punk and any other form of rock ‘n’ roll you wish to offer, Dirty Rock ‘n’ Roll is an explosive riot for senses and body alike. Produced by Alex McGowan and featuring guest double-bassist Phil Bloomberg of The Polecats on a couple of tracks, the album instantly prowls the listener as opener Burying The Bodies settles in to place, once set continuing to stalk but with an infectious swagger led by the biting beats of Antz. Straight away there is an obvious devilment in the band’s sound and the lusty roar shared by Pussycat, her presence and delivery a snarling seducing. With big hooks and winding grooves, the slab of predacious rock ‘n’ roll is an irresistible start to a release proving to be unrelenting in its fiery creative and aggressive incitement.

Hell Bent is swift agreement, its whining grooves courting flying rhythms and Pussycat’s plaintive cries, all united in another tenacious track which eyes you up with distrust yet reveals the most compelling enterprise amidst mouth-watering unpredictability before Livin’ With Mum And Dad sees the band move from raw rock ‘n’ roll into a more seventies flavoured encounter as much glam rock and power pop as it is old school punk. For personal tastes, it lacks the bite and spark of those around it but with its Pistols-esque hook and caustic catchiness there is no escaping being sucked in.

front-cover_RingMasterReviewPsychobilly flavours the magnificent stomp of Get Outta My Face next, Bloomberg bringing his masterful slaps to the Batmobile meets Imelda May scented stroll with Pussycat like a punk Wanda Jackson. Fiery guitar and senses badgering beats bolster the seriously rousing proposal as the song shows another aspect to the album and the Pussycat and the Dirty Johnsons sound.

The scuzzy blues punk of She Don’t attacks and excites next, its corrosive character and sound as virulently infectious as anything upon the album while Mirtazapine uses similar strains of flavouring for its own individual trespass. With a touch of post punks Bone Orchard to its untamed garage punk challenge, the track is a superb mix of rapacious restraint and unbridled furor taking ears and imagination into the darkest shadows of the fiercest volcano.

There is no let-up of the enjoyably exhausting confrontations as Why Do You Hate Me? sears the senses with its punk rock lava around a rhythmic tempest while Dirty Li’l Dog, with the magnetic craft of the Polecat returning, leaps around with uninhibited rhythmic rioting as blues guitars embrace numerous other spices around the carnival barker leadership of Pussycat.

The final trio of songs just epitomise the variety and devilish imagination in the band’s songs; Sort Yourself Out a fuzzy blend of growling punk and toxic blues within The Pirates like rock ‘n roll and Souvenir simply one glorious invasion of garage punk with a scent of The Cramps, Animal Alpha, and In Evil Hour in its unique best track earning triumph.

Closed out by the adrenaline fuelled and feeding Hideous, a final belligerent detonation of rabble-rousing incitement, the outstanding Dirty Rock ‘n’ Roll is its title and so much more. It might not be a new release but it deserves this new exposure and Pussycat and the Dirty Johnsons the fresh attention ahead of what can only be anticipated as another uncompromising uproar.

Dirty Rock ‘n’ Roll is available digitally through Dirty Water Records @ http://www.dirtywaterrecords.co.uk/shop/#!/Pussycat-and-the-Dirty-Johnsons-Dirty-Rock-n-Roll/p/75045471/category=2793895 with physical options @ http://thedirtyjohnsons.com/shop/4564430166

http://thedirtyjohnsons.com   https://www.facebook.com/thedirtyjohnsons/   https://twitter.com/Dirty_Johnsons

Pete RingMaster 14/12/2016

Copyright RingMaster: MyFreeCopyright

The Hillbilly Moon Explosion – With Monsters And Gods

THME_RingMasterReview

With a band like The Hillbilly Moon Explosion and a heavy clutch of ear thrilling and imagination gripping releases, it is hard to pick what might be the best. It is easy though to suggest that their new encounter, With Monsters And Gods is going to be right there as an option for most. The fourteen track stroll through their most eclectic and fascinating slices of rock ‘n’ roll yet is pure captivation. It stomps, it seduces, and rouses the spirit as it takes the listener on a magnetic escapade of creative fun, mischief, and imagination.

Returning to the local Swiss studio where they made their early rockabilly albums, The Hillbilly Moon Explosion have found a fresh edge and snap to their sound in whatever aspect it tempts from upon With Monsters and Gods. Vocalist/upright bassist and album producer Oliver Baroni recently said that the band wanted the album “to reflect the somewhat harder edge you get from the months on the road,” to create “a louder, more rock ’n’ roll album.” Fair to say they found success and more in an album which just seems to become more riveting and dynamic with every listen.

It opens up with the mesmeric In Space, a celestial romance of the senses with a disco beat and charm reminding a little of Blondie’s Autoamerican period. As exotic hues tease, the song evolves and blossoms into a sultry seduction with a persistence of nagging rhythms and surf rock scented melodic trails of guitar around Emanuela Hutter’s siren-esque tones. It is a hypnotic affair setting up ears and appetite for the adventure to come with Temptation next in line to live up to its title. Guest sax flames courtesy of Pete Thomas are soon licking at the imagination after an initial tenacious caress of guitar, their entrance lighting a lively stroll with celestial harmonies around the mariachi theatre provided by the horns of Calexico. As it swings and bounces, a ska bred flirtation adds to the persuasion too, just another twist and turn in the creative blaze of the anthemically outstanding and inventively cinematic track.

Depression throws the listener into a beefier rockabilly bred canter next; its riffs carrying a grouchy edge as Baroni’s bass and vocals swing with infectious enterprise. The scything beats of Sylvain Petite are just as catchy too, finding themselves bound in the spicily addictive grooves of guitarist Duncan James as the song provides a straight forward yet individual prime Hillbilly Moon Explosion stomp before letting Down On Your Knees gets in on the act of stirring up ears and appetite. A seriously catchy blaze of rock ‘n’ roll as potent in its mellow saunter as it is in its fiery roar, the song weaves a thrilling proposal with additional strands of seventies glam pop in its virulent rockabilly.

art_RingMasterReviewThe noir lit Midnight Blues brings some great sixties garage rock keys from Baroni into play next, that a decade equally referenced by Hutter’s glorious vocals and the harmonies swimming through the seductive air of the track. A blues hue coats the guitar solo at the heart of the seductive smoulder too, a tempting which never relaxes until it steps aside for the rockabilly saunter of Desperation where Hutter is again as magnetic as the contagious hooks and swinging rhythms.

If With Monsters And Gods stopped there, acclaim would be easily offered but things just continue to entice and spellbind as its title track creates a smooch with the senses and imagination. Country seeded essences mix with surf and again sixties nurtured serenading as orchestral and emotive drama ebbs and flows across the track’s bewitching landscape. There is a blues spicing hanging around too though it is a far thicker and a more vocal ingredient in the feisty stroll of Love You Better which follows. The track listing within the album is superbly thought out; small essences in one song being developed in the next while it in turn brews other hues to be explored in the next. As the blues textures are a fiery roar around the tones and piano of Baroni here, the slight discordance to its revelry is subsequently bred further within next up Black Ghost.

The song is the first of two almost expected and hoped encounters featuring Marky “Sparky” Phillips from Demented Are Go. Hutter’s tones glow and resonate within the sonic shimmer of the song while in the background Phillips prowls and vocally prods before bringing his great gravelly presence fully into the awaited duet between the two. Once they are aligned, honky tonk keys and a cowpunk swagger join the unpredictable and thrilling party; numerous other spices and textures also before many are brought to greater irresistible life in the quite brilliant Heartbreak Boogie. Th’ Legendary Shack Shakers like in its blend of dark rock ‘n’ roll, jazz flirtation, and almost steampunk rebel rousing; the song is an electrified fence of creative devilry with further provocative sax tempting beside the mighty vocal union of Hutter and Baroni.

That Blondie essence returns in its successor, though unsurprising as it is a swiftly pleasing cover of the US band’s Call Me with a rockabilly slant The Hillbilly Moon Explosion style. It soon has the body bouncing as too the garage punk contagion of You Miss Something where again a host of flavours collude for a virulent hop fuelled with blues liquor and fifties punk ‘n’ roll merriment.

The second song with Phillips on board comes next; Jackson a great cover of the Johnny Cash and June Carter track. Converting some of the country character of the original to a ska/reggae carnival of sound with the smiling swing of keys and seductive flames of sax further temptation, the song just hits the spot as too the union of Phillips and Hutter.

Completed by the boisterous r&b toned Rose Outside, think Imelda May meets Ronnie Dawson as a hint of its galvanic sound, With Monsters And Gods is simply a riot of fun and bold incitement for the ears. As mentioned earlier, it is hard to pick the band’s best release to date, so many choice moments for fans to devour, but as we press play again, With Monsters And Gods has to be a strong contender, maybe the strongest.

With Monsters And Gods is released May 13th through Fredonia Entertainment in the UK via Amazon on CD and Vinyl and digitally through iTunes.

http://www.hillbillymoon.com/   https://www.facebook.com/hillbillymoonexplosion   https://twitter.com/TheRealHME

Pete RingMaster 09/05/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Big Boy Bloater and The Limits – Luxury Hobo

BBB_RingMaster Review

Fancy a rich dose of spice to your rock ‘n’ roll then the new album from Big Boy Bloater & The Limits is a must. Luxury Hobo offers nine rich blues tinged slices of contagious rock ’n’ roll which relentlessly infests body and emotions like a sonic viral complaint to which no cure is available or wanted.

Guitarist, singer, songwriter, and radio presenter, Big Boy Bloater is an artist to which hungry ears and acclaim seem to flock to. His career and unique style in songwriting, playing, and sound has seen him the feast of the blues and roots scenes, playing numerous major festivals across the US and Europe, and tour across Europe, the Middle-East, the USA, and Canada. Equally he has played behind and with the likes of Imelda May, Paloma Faith, and Wanda Jackson and been invited by Sir Paul McCartney to record with him at Abbey Road. He is a wanted man and easy to see why from Luxury Hobo alone.

Forming latest band Big Boy Bloater & The Limits in 2011, Big Boy Bloater defies the description of being a bluesman as predominantly tagged by a great many. As proven by Luxury Hobo, he creates fusions of flavours which no-one else seems to have the notion of casting. For the new album R&B is at times entangled with swamp and delta blues, seventies rock ‘n’ roll merged with old school rockabilly and fifties garage rock, and…

Reality is that the fusions are rich and plenty resulting in songs which play like old friends yet are like few other companions you may have come across, certainly outside of the man’s own creative psyche. Luxury Hobo is Big Boy Bloater’s darkest collection of songs too; its themes bred from a bout of depression in 2013. Talking of the time and release, Big Boy Bloater openly said “I had a breakdown, the album centres around that we’ve got all these great things but are still pissed off and medicate ourselves to be normal,” further adding that “The basic idea of the title is we are all luxury hobos these days, we get to go here, there and everywhere but no one has it the hard way now do they? We all have our luxuries, it’s that juxtaposition; I think the whole album is about the modern day life and society.

artwork_RingMaster ReviewAs evidenced in the album’s opener alone it does not mean there is an absence of the flirtatious hooks and unpredictable twists, as well as the energy driven virulence fans have become so enamoured by in his music. Devils Not Angels is an irresistible start to the adventure; a flirtatious romp from its first guitar flame quickly breaking into a feisty swagger with a seriously catchy attitude and incitement of sound. From the smiling keys of Dan Edwards to the rousing rhythms of bassist Steven Oats and drummer Matt Cowley, the song has body and soul pumped with raw pleasure taken further care of by the gravelly voice and fiery guitar craft of Big Boy Bloater.

It is a superb start which still gets eclipsed straight away by the following and quite brilliant It Came Out Of The Swamp. It too bounces along with a contagious air to get swiftly involved with but its climate and textures are far more dark, sinister, and invasive. The bass borders on a carnal predation whilst the grooves are dirt encrusted flirtation as swamp blues get tainted with psych rock mischief and rockabilly devilry. Sea Sick Steve meets Th’ Legendary Shack Shakers is the best clue we have to describe the glorious infestation of the senses and imagination on offer, with hooks and melodies courtesy of a warped mix of B52’s and The Dirt Daubers.

I Love You (But I Can’t Stand Your Friends) rolls in with its pop ‘n’ rock charms next, tasty melodies cupping ears as vocals offer an opening romance with a sting in the tail. Both traits continue to entice and arouse ears as well as passions as the song strolls along with a grin on its face and rock flirtation in its heart. As its predecessors, the listener’s physical involvement is a quick success and equally drawn by the blues twang soaked seduction of The Devil’s Tail. Hips are soon swaying to its swerving body of grooves and alluring harmonies, ears there before them in submission to its sultry tempting before I Got The Feeling Someone’s Watching Me has the imagination engulfed in dark rock ‘n’ roll intrigue and salacious seduction. The outstanding song crawls over the senses, smooching with ears as the grainy tone of Big Boy Bloater’s vocals lays the seeds to dark deeds from unrelenting prying eyes whether in the noir lit streets of shadow thick towns, the bright romance of Parisian walkways, or more intimate surroundings.

From one immense highlight to another as the sexy swing of Luxury Hobo Blues takes centre stage with one wonderful nag of a tasty hook through a net of catchy rock ‘n’ roll. Potent harmonies and a web of sultry grooves only add to the riveting trap of a song before Robot Girlfriend offers futuristic love in a magnetic rockabilly/garage/blues rock shuffle. As all songs before it, even the dark crawls of It Came Out Of The Swamp and I Got The Feeling Someone’s Watching Me, it has a swing and vibrant energy which has the body tapping or indeed rocking in full allegiance, something All Things Considered decides to go against, though it too only see a sway take the body. Its soulful croon is wrapped in the smoulder of keys, that alone a simmering heat of temptation enhanced by the emotive cry of Big Boy Bloater and the spirals of melancholic yet invigorating guitar.

The album returns to tearing up the dance-floor with closer Not Cool Man, rhythms and riffs colluding to lay a canvas of energetic incitement whilst the bass flirts and grooves flare up above it. Rock ‘n’ roll to get close and personal with, the track perfectly concludes an album which has ears blissful and the body exhausted. Luxury Hobo is pure manna for the soul and if a better example of diversity loaded rock ‘n’ roll arrives this year, it will go down in history as a major classic, much as we suspect this treat from Big Boy Bloater & The Limits.

Luxury Hobo is released 11th March via Provogue/ Mascot Label Group through most online stores and @ http://www.mascotlabelgroup.com/big-boy-bloater-luxury-hobo-cd.html

http://www.bigboybloater.com   http://www.facebook.com/thebigboybloaterpage

Pete RingMaster 25/02/2016

Copyright RingMaster: MyFreeCopyright

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Venus de Vilo – Handle With Scare Pt 1

Venus de Vilo

Horror’s temptress of the night returns with the first part of her debut album Handle With Scare, and from the six tracks it is fair to say that Venus de Vilo has lost none of her seductive revelry and demonic enticements, in fact only increased their potency along with her musical toxicity. With macabre bred passion and tales aligned to an equally dark acoustic temptation, the first teasing of the album has just bout turned an already eager soft spot for her sounds into a stalker-esque compulsion.

Venus first drew blood and attention with the siren call of her previous Edgar Allan Ho EP, a collection of songs which lingered far beyond their intent to become a fixture on the playlist of fans and underground attention, including our own podcast. The Dublin born songstress of the dead has turned the graveyard into her canvas for sonic bloodlust and sinisterly melodic adventure since 2011, proceeding to find a growing legion of fans through her performances across the city’s rock/metal bars, Burlesque and Cabaret nights, and open mic nights. Her presence has subsequently seeped further afield which the Edgar Allan Ho EP only concentrated with its devilish charm and sounds.

Pleasingly Venus has not taken a detour from her individual sound and songwriting which so potently lit up her last release, instead honing it into an even more precise and sirenesque proposition as evidenced by the new songs, starting with I’ve Got 99 Zombies And A Witch Ain’t One. Venus immediately cups ear in her potent voice to open up the song, a Wanda Jackson like depth and potency an immediate hook to which her guitar stabs lend extra drama. Though just voice and guitar, the track is instantly anthemic, swiftly lighting the imagination and sparking cinematic ventures as lady and music unveil the heart of the narrative. Twists in the vocal delivery and guitar stroll beneath haunting harmonies only add to the great melodrama caressing thoughts and emotions, an invitation which feet and voice are unable to resist.

The following Absinthe Makes The Heart Grow Fonder is just as enthralling and compelling, harmonies a delicious croon around the infectious Imelda May like bait of the song primed by Venus and her stringed enticement. Once again a full engagement with the listener is an inevitable rapid success, imagination given further inducement to explore personal shadows and gothic climates. As this and other songs lay ravenously on the psyche, there is a feel of a new confidence and precise intent working away in the heart of the tracks subsequently providing a richer clarity and persuasive tenacity than found in the previous release.

Both Bubbleglum! and Dead! Dead! Dead! keep mortuaries and ears basking in dark vaudeville temptation, the first an incessantly striding tango of stabbing riffs and ghostly harmonies around bewitching vocal predation whilst its successor decides to stalk thoughts before similarly swiping at the senses with feisty chords and Lilith incarnate vocals. Both tracks dance with wicked intent and salacious suasion, enslaving the imagination with vocal hooks within a simple but virulent stroking of guitar.

The Dead Don’t Dance slips into something even more darkly comfortable, a psychobilly whisper flirting with the theatrical colour of the menacing as harmonies shape a thick fog of expression. It is a song which takes a little longer to wrap its shadow spawned tendrils around the passions but eventually does so with unbridled success to emerge as one of the most inventive and dramatically powerful track of the sextet.

Final song Personal Satan swings with sixties embrace in its addictive tempting, essences of Shangri-Las and in some ways the Walker Brothers permeating the mouthwatering graveside balladry. It is a riveting end to a thrilling introduction to Handle With Scare.

With the album’s second half looking to be unveiled later this year anticipation for its full uncaging has gone up in impatience and excitement thanks to this teasing, and if the likes of Horrorpops, The Revillos, Imelda May, and fifties female rock ‘n’ roll instigators is a very palatable attraction for you then Venus de Vilo is a venomous treat just waiting to inflame and devour your lives.

Check out Handle With Scare Pt 1 @https://soundcloud.com/venus-devilo/sets/handle-with-scare

https://www.facebook.com/VenusDeViloSongsFromTheStalkersPointOfView

9/10

RingMaster 18/06/2014

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