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
Pyrite follows uncaging its full punk metal roar straight away. It rips into the senses, Charlie the ringleader with her attention grabbing presence and delivery but just as potently matched by the tide of antagonistic riffs and biting rhythms. There is a touch of Boston metallers Mongrel about the song but a scent generally lost in the combative and rousing blaze.
The punchy exploits of Same Sound bound in next, riffs and beats a feisty lure reinforced by the vocal defiance of Hardy. The metallic edge and texture of the track reminds of US punk metallers Mongrel, whilst the scything expulsions breaking up the song midway are the trigger to adventurous twists before the assault returns to its initial confrontation and sets ears up perfectly for the outstanding tempting of Media Faces. Like early The Duel with a Ruts like reggae predation, the track prowls and roars, forcibly stirring up appetite and imagination through the magnetic guitar craft of Macbeth and the irritable infection of sound and vocals.
It is a rousing and exhilarating start backed as forcibly and enjoyably by the EP’s title track next, followed after by the thoroughly pleasing Silhouette. The release swiftly reveals a broader canvas to its adventure, guitars casting a spicy stoner-esque toning to the steadily brewing and eventually erupting grooves. With the dramatic and skilled swipes of drummer Luke McCormick guiding and puncturing its body, the song sculpts a web of antagonistic rhythms and creative contagion, every hook, twist, and vocal incitement unpredictable and inventively virulent. Again it is a track as much punk and metal as it is intensive rock ‘n’ roll, and again quite irresistible before it makes way for its successor. The third song stalks the senses with riffs and beats before slipping into not so much mellower essences but more expansive scenery of warm melodic rock and emotional resourcefulness.
The following Not My Way comes with a more even tempered but no less compelling presence. Moon and guitar embrace ears initially with expressive restraint before the track erupts with predatory riffs and heavy jabbing beats in a furious and highly flavoursome weave of sound. Part confrontation but more magnetic croon, the song captivates and tantalises with evolving adventure. The guitars of Dave Adams and Jeremy Sparta alone absorb an eager appetite but aligned to the pungent rhythms and Moon’s increasingly impressive tones, it is a mouth-watering trap for the imagination and passions.
mix of UK’s The Duel and Mongrel from the US, plundering ears with a throaty bass line aligned to increasingly rapier like beats as Felony roams their frame with her ever fiery and magnetic vocals. The track continues to antagonise and flirt with thoughts and passions, reinforcing their swift allegiance as the guitar of Nasty conjures wicked hooks amongst the abrasive sonic avenging to ensure even deeper satisfaction.
joined by a pulsating bass call from Michael Ariza and the crisp beats provided by drummer Mike Hogan. Settling into an open temptation, the power and thrust of the song is taken up another level as Sierra punches the lyrical intent forcibly and melodically into the imagination. All the while there is a reserved but persistent groove which wages seduction upon the senses throughout the song, it enticing greater passion and hunger from the listener and it is fair to say that at this point the single has submission already in its hands. This is not enough though it seems as the instigator then shifts seamlessly into an evocative and intimidating yet smouldering flame of sonic endeavour and emotive persuasion which has the band pushing their boundaries and ideas without losing their core energy and intensity. The moment is brief but potent and makes for a building step for the final adrenaline lit finale. There is a certain pop punk element to Snakes which arguably has not appeared before with Mongrel and it is a refreshing move brought with craft and adventure which avoids eroding any of the band’s confrontation and inciting invention.
rock rawness which combines to create a confrontation which leaves you breathless and gripped by a hunger for more. Imagine The Distillers and The Duel tied down and milked for their antagonistic charms whilst Karn8 stands astride adding their wantonness and you get a sniff of what the album offers. There is also a melodic fire and bite which harkens back to the late seventies with both The Photos and Penetration coming to mind at times. The moment opener Sick Sick Sick bursts into a blaze of hypnotic riffs laced with a contagious groove and commanding rhythms, there is a cage around the passions sparking them into life especially as Kelii brawls into the ear with sexy intimidation. There is a sense of US rockers Mongrel about the song too when it flares up in pissed off crescendos around its virulent infectious call. It is a scintillating start that lingers around for a long time inside though it is soon matched by the brilliant Regurgitate.
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.