The Dead XIII – Creatures Of The Night

The Dead XIII Online Promo Shot

It might not be the most startling introduction this year but there is something compelling and thoroughly enjoyable about Creatures Of The Night, the debut EP from The Dead XIII. Fusing horror punk with captivating traits of carnivorous metal and gothic predation, the band makes a strong and promising entrance. They certainly wear their influences on their sleeves but offer plenty to spark and invite the imagination and appetite to embrace future dark bred propositions.

Hailing from Manchester, The Dead XIII rose in 2013 and swiftly bred and earned a potent reputation for their live performances and raw dark hearted sound. Their influences are plain to see and hear, the likes of Misfits and Murderdolls as well as Defiled adding strong colour to their riveting sound so that as mentioned it is not the most original mix, certainly yet, but it also shows a rich potential and invention which should grow and evolve into something rigorously unique with time. The quintet’s stature has strengthened through sharing stages with the likes of The Fearless Vampire Killers, Ashes To Angels, and Bad Pollyanna since forming and now with the unleashing of Creatures Of The Night it is easy to see the band finding a stronger foothold in the UK metal scene.

From a sinister atmospheric mist opening track Stake My Date makes the first insurgence into ears and thoughts, guitars the initial graze of coaxing. Pushed by the firm beats of drummer Spike Owen and the dark bass tones of Paul The Dead XIII Cover ArtworkRyan, the song is soon striding purposefully with eager and caustic intent as vocalist Kurt Blackshard adds his excellent cold vampiric yet alluring delivery to the mix. His voice has a monotone quality which entices perfectly, especially when surrounded by the fiery guitar scrubs and riffs of Symon Lee and Ste Mahoney, the latter offering a sizzling solo as the track prowls and crawls all over the imagination. It is excellent thrilling bait to set things off, a success not quite matched by its successor it has to be said.

Stage Fright wraps ears in a gothic shadow of melancholic menace and drama initially before from its depths a gallop of hungry riffs and demanding rhythms emerge. Sonic hues spew from the determined stride of the track whilst keys offer a melodic haze of danger to breed an intriguing evocation within the raw canter of the song. To be fair the track is a heavily enticing beast but against its predecessor lacks the same spark, its invention and guitar designs less gripping and potent. Nevertheless the track with its mix of Wednesday 13 and Type O Negative holds attention and hungry appetite firmly in its grasp.

The following Monster Rehab marches in on a blaze of caustic riffs with addictive hooks and commanding rhythms. It again makes for an enthralling temptation but losses some of its potency once settling into a more predacious crawling around the senses. With its once more impressively delivered narrative presented by the almost mesmeric tones of Blackshard, the track is a sizeable offering but as the previous track its depth and its sonic invention comes without the strength and bite which fuelled the first song, though the chorus admittedly is an addictive roar providing an easily pleasing incitement.

The closing Army Of The Dead brings the release back to its opening heights, crawling all over the senses from its first touch and seducing venomously with an enthralling groove and rhythmic hypnotism. Hooks and melodies persist in their infectiousness across the song whilst the vocals again chain attention within the malevolent f bass and drum sculpted caging and its sonic colouring. The best track on the EP, the song brings Creatures Of The Night to an impressive and exciting conclusion, leaving plenty of satisfaction and rich promise stalking thoughts and emotions in its wake.

The Dead XIII has a way to go to find their own distinct presence and sound but with a first step as magnetic and captivating as this their horizons look potent and potentially dynamic. Find their distinct identity and we could be looking at a real pestilential scourge to ignite the British metal/horror punk scene.

The Creatures Of The Night EP is available now @ http://the-dead-xiii.bandcamp.com/album/creatures-of-the-night

http://www.thedeadxiii.com/

8/10

RingMaster 07/07/2014

Copyright RingMaster: MyFreeCopyright

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THE DEAD XIII unleash the ‘Creatures Of The Night’, on 7th July‏

The Dead XIII Online Promo Shot

BRIT METAL NEWCOMERS THE DEAD XIII DROP ENTICING DEBUT EP!

 

Rising UK Horror Metal outfit ‘The Dead XIII’ march forward with their mouth-watering mixture of filthy whiskey-soaked riffs, satanically scuzzy solos and contagious choruses. The youthful upstarts continue to sow their seed with a series of UK shows and the release of their spanking new EP ‘’Creatures Of The Night’, out Monday 7th July 2014 through all stores.

 

With a glut of influences stemming from the striking horror-punk of the Misfits and the Murderdolls to the bite of contemporary newcomers The Defiled, The Dead XIII have created an enthralling amalgamation of dirty sizzling metal ‘n’ roll underpinned by blistering guitar work and infectious hooks.

 

Born in the dark and dingy backstreets of Manchester in 2013, The Dead XIII have quickly gained notoriety  throughout the North West for delivering high octane performances complete with stunning imagery dedicated to each and every show. Comprised of Kurt Blackshard (Lead Vocals), Symon Lee (Rhythm Guitar and Vocals), Paul Ryan (Bass), Spike Owen (Drums) and Ste Mahoney (Lead Guitar), the fivesome have spent the past year spreading their venom throughout the UK, sharing stages with The Fearless Vampire Killers, Ashes To Angels, Dead and Bad Pollyanna along the way.

 

The irrepressible metal punks now plan to unleash their devilishly demonic debut EP ‘Creatures Of The Night’, which hits stores this July. With four slabs of unique horror metal, from the stomping refrain and fist-pummelling shout outs of their opener ‘Stake My Date’ to the onslaught pounding riffery and boundless energy of ‘Army Of The Dead’, the EP spews out vigorous vitality and is destined to ensure that the five piece transcend the underground. Be prepared as The Dead XIII hit the road this Summer; stay tuned to their Facebook for updates.

 The Dead XIII Cover Artwork

–THE DEAD XIII RELEASE ‘CREATURES OF THE NIGHT’ THROUGH ALL STORES ON MONDAY 7th JULY–

www.facebook.com/TheDeadXiii

 

 

 

Sister – Disguised Vultures

Sister1

    It is easy to declare that on Disguised Vultures, the new album from Swedish metallers Sister, there is very little new going on but you can just as comfortably announce that the album is a refreshing and imagination teasing slab of sleaze punk inspired metal which for the main thrills and ignites satisfying urges within feet and emotions. Raw and contagious, seducing like Frankenstein Drag Queens from Planet 13 meets Crashdiet in a glam cast pit of degenerate rioting, band and album create a provocative brawl where wantonness and salacious attitudes are encouraged and sonic bruising recommended.

    The ten track release follows debut album Hated which like its successor was unleashed on Metal Blade Records. Since forming in 2006, Sister’s sound has certainly evolved, if not dramatically, since first EP Deadboys Making Noise in 2009. Even more so their craft and adventure has spread from just horror punk type scenarios to maturer enterprises taking on greater conciseness and potency on the way as evidenced enjoyably by Disguised Vultures. Tours and shows with the likes of Hardcore Superstar, Wednesday 13, Crashdiet, Fozzy, and U.D.O. as well as festival appearances between albums has only strengthened the stature and awareness for the Stockholm based quartet’s sound whilst earning them a reputation as one impressive irrepressible live encounter but you feel that Disguised Vultures just might be the key to turn the lock of greater recognition even if it leaves expectations fed rather than starved predominantly.

    The band go straight for the jugular with opener My Enemy, its first breath a roaring blaze of punk infested scuzz which Coverthough immediately hitting full on between the eyes suddenly steps into what could have been its intro. A sudden chilled ambience littered with samples intercepts the imagination at this point whilst a ravenous heavy bass tone prowls inviting in rampant predatory rhythms which soon add their menace to the emprise. It is an intriguing and inspired start which arguably song and album never replicates again preferring to reinvent and twist existing flames of invention. As bass and rhythms enslave the ears and a sonic wind from the guitar shapes the landscape as the song hits full gear again, vocals and sounds slip into a more regular and predictable encounter. Nevertheless it is a rousing and compelling confrontation which uncages the same antagonistic belligerence and contagion found in Murderdolls and even more so the early and solo work of Wednesday 13.

    The impressive start makes way for the first single from the album Sick. With heavy metal melodic taunting and sinew driven rhythmic barracking leading to one of those anthemic choruses which you fight but always succumb, the song is an easily accessible and pleasing stomp offering nothing to be slack jawed over but providing a full and tasty meal for the appetite to eagerly embrace. Combined with its predecessor the album has already taken a tight grip which is sustained by both the title track and the next up Arise. The first of the two lacks the spark of the first two but romps with a juicy groove coring fiery riffs and melodic enticement whilst more restrained rhythms frame good group vocals and the rasping lead of Jamie. It is a decent enough track to settle down with but soon surpassed by its successor. Loaded with addictive barbed hooks which dig deeply and an infection soaked chorus driven home by again vocalised anthemic temptation, the song is three minutes of insatiable horror punk wrapped in sleaze rock, not ground breaking but quite irresistible.

     Another pinnacle of the album arrives with We Salute ‘Em, a heavy duty rapacious brute of a song which from its intensive weighty entrance steers the senses through a volcanic and quarrelsome tempest of scarring riffs and spiteful rhythms under a melodically cast sonic sky. Adding little twists and sparks of imagination to its absorbing body of sound, the track is another to seize and hold the imagination long past the departure of the album, something not all songs such as Naked and DMN can boast. Before them though Sister sets free Slay Yourself, a punk infused treat with a causticity which is as inciting and magnetic as the sonic storm around it. The next up Naked is a power ballad which though well-crafted just does not spark any hunger for itself unlike other songs. It is strong and skilfully presented though making a break from the rioting but soon has thoughts looking at what is next.

   From the again okay DMN, a predictable yet enthused growling fury, (Stop the) Revolution pulls the album back to its earlier heights. A rhythmic enticement opens up the persuasion and instantly has focus glued to its bait, a trap which never relents right through the whole of the song. A gnarly carnivorous bass predation is equally as seductive, combining with the drums for a dramatic canvas upon which sonic endeavour and melodic flames provide more potent adventure. The best track on the album it is punk metal at its best and the perfect lure into the band.

    The album closes with Please Kill Me, a song which feels like a filler more than anything. Certainly it does not live up to the strengths and exciting toxicity which marks the rest of the release but it cannot deter Disguised Vultures from being a fun album to play with. It is not going to provide you with anything startlingly new but for strong, pleasing, and enduring anthems of horror punk sleaze you could do a lot worse than Sister’s new tease.

Disguised Vultures is available now in North America and on the 24th of January in Europe.

www.sisterofficial.com

7.5/10

RingMaster 21/01/2014

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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

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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

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Raised Emotionally Dead – Memo

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     When we say that the sounds you hear on Memo are nothing you have not really heard before do not take this as a slight or criticism as the debut from Canadian hard rockers Raised Emotionally Dead is one of the most enjoyable releases to come along this year. It is pure metallic rioting, with songs and music to turn any occasion or hour into an adrenaline soaked, sonically sculpted thrilling storm. There is also a distinctive breath and tone to the album which does go against our opening line but simply if you are already seduced by the sounds of say early Marilyn Mansion, Murderdolls, Rob Zombie, and Dope you are going to have a ball with this Toronto quintet.

    Raised Emotionally Dead was born from the earlier project of vocalist Jezla and guitarist ZeeDee called The Hellz Kitchen Show. 2011 saw the pair build their own recording studio and start Red Channel Records as they sought to discover and perfect their own unique sound. Now you could happily argue that uniqueness is one of the less immediate attributes of Memo but to be fair it is hard to think of anyone who presents the familiarity in the same breath-taking way that these gentlemen do. With a line-up completed by ex-Zeroscape guitarist Specializt, ex- Papa’s Delicate Condition bassist Nibz, and drummer Naz, the band has opened for the likes of Marilyn Manson, L.A.Guns, John Corabi, Vince Neil, Gilby Clark, The Birthday Massacre, DOPE, Faster Pussycat, Dog Fashion Disco, Trash Light Vision, Carnival Diablo, Nash the Slash and many more. Memo is the next major step and one with luck which will open them up to the hunger of the metal/rock world.

     The release opens with one of the most contagious songs heard in a long time. Channel Radio stomps all over the senses the moment it leaps from the initial sample, drums thumping with antagonistic provocation whilst the guitars eagerly grind through the ear with compelling riffs and vigorously seductive grooves. With the throaty bass adding its devilry to the mix and the vocals of Jezla scowling over it all like an expressive tempest,  the track takes mere seconds to tempt thoughts and passions into joining its bruising cause. Every second and atom of the song is pure contagion, a wicked device to have the limbs, voice, and energy of its recipients expelling their enthused participation. Ok it has that call of recognition to it but the likes of Dope, Mansion, and Wednesday 13, whom the song reminds most of, have not had this effect and persuasiveness about them in a long time, if at all for some.

   The outstanding start is soon complemented by the equally hungry and tempting sounds of Shed It, guitars carving up the air with muscle clad riffs alongside an infectious rhythmic menace. The hard rock voice of the song is a clear call which suggest elements of G ‘N’ R whilst vocally again that confrontational squalling tone of Jezla assisted by great group calls, rides the torrent of aggressive energy like a sinewy surfer, syllables and words caught in the appealing wake. As the song and its successor Selfish Inc. rampage with varied intent and enterprise it is hard not to be wrapped up in the fun and energy of it all, whilst that openness of resources just makes it easier to engage and participate with the lure of each track.

     Whilst the previous two songs slip slightly below the immense opener both Resistance and Code Red have little trouble in staking their claim for top honours on the release. The first of the pair has a slight industrial lilt to its enticement which makes for a NIN/Pitchshifter like incitement with an extra unintended nod to Italian band Houston! which only adds to the imaginative craft and adventure of the song. The track also continues to push the diversity within the album beneath that surface recognition, something the second of the two equally reinforces with creative ease. There is a feel of Gruntruck at times here as the guitars shape the body of the song and rhythms cast their cage over the senses to appease further the greedy appetite slavering now over every song.

     The underlying mystique of Faceless makes an enthralling temptress next, even if the song falls short of the pinnacles set, whilst the likes of Out Of Control with its Jane’s Addiction like groove and the slow burning Messenger captivate with a virulent toxin that leaves nothing less than rich satisfaction.

   Closing on the fiery and reflective Applaud, a song which arguably is the weakest on the album yet still enlists full union with its badgering rock sounds, Memo is an album that leaves you exhausted but enriched in pleasure. Yes the band probably need to explore for a distinct voice ahead but right now they have delivered one undeniable treat.

https://www.facebook.com/pages/Raised-Emotionally-Dead/191217410892909

http://www.raisedemotionallydead.com

8.5/10

RingMaster 24/03/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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The Evil Dead – Pronounced The Evil Dead

If some good old style rock ’n’ roll blended with some thrash metal aggression and skilful classic rock guitar play is a flavour that has you licking your lips then make a swift line towards Argentinean metalers The Evil Dead and their new album Pronounced The Evil Dead. The release is a kick ass rumble of insatiable rock and harsh metallic power that will intrigue and fire up the urge to raise horns very high. The band claims their music is “to drink with the dead, and toast with the living” and that does just about sum it up. With songs about death, horror and drinking that emerges as a nonstop celebration with rampant riffs, irresistible grooves and straight forward aggressive intent it is hard not to be swept up in its surprising and often confusing flow but thorough great fun.

First notable thing about the release is that there is so much going on within songs and the band’s music. Imagine Motorhead, Black Sabbath, Iron Maiden, Municipal Waste, Alestorm mixed up with tinges of Murderdolls and a black metal vocal throughout and you are nearing the surprising sound of The Evil Dead. To be honest it takes a little getting used to especially the rasping black tones of vocalist Alejandro Regueiro which seem at odds to the vibrant and creative sounds beneath him but it works, given time and a few concentrated listens. Musically the band is impressive, their ability and creativity easily commendable and you cannot accuse The Evil Dead of being predictable either. The triple guitar attack of Federico Franco, Michel Regueiro, and Ian Regueiro who also adds further vocals to the band, brings a high quality, varied and engaging meld of sounds whether in straight forward pulse racing riffs, incessant and mesmeric melodies or unexpected diversions that makes each track a satisfying spending of time.

Released via Rising Records February 6th Pronounced The Evil Dead entertains unapologetically from the opening riff fest of ‘Graverobbin’’. The track charges like a runaway train throwing explosive melodies and wanton riffs at the ear from first note to the last. The bass of Lucía Velarde and drums from Santiago Botalla rattle the senses with contagious rhythms allowing the guitars to weave and treat the ear with diversity and eager melodies. The music is so absorbing the songs would work just as well as instrumentals, the energetic and well written sounds stirring and very pleasing.

Backing up the impressive opener the album gives the excellent songs ‘Perfect Day (In Planet Hell)’ another mesmeric track that unleashes wonderful hooks, melodies and teasing riffs to fire up the pulse rate, the bone rattling ‘Electric Evil Revival’ that is so hypnotic it could raise the dead, and the album’s best track the brilliant ‘Bootleggers’ to feast upon. All three continue offering up guitar play and instinctive sounds to make the heart race, at every twist and turn there is something different happening and always of the most appealing effect. ‘Bootleggers’ swaggers in with a southern rock type lilt and at first runs like a straight forward rock song. Strong sounds and harsh vocals strolling at an undemanding pace. Soon the song cannot hold back the distinct red hot guitars and burning riffs though, or the vein of black humour that lurks throughout the album. The track offers unexpected elements, turns, and more riffs that would grace any theme tune to a super hero cartoon or show. As always there is so much going on and it would need a page to tell of all the wonderful avenues and diversions the song offers up. It is worth a listen to Pronounced The Evil Dead for ‘Bootleggers’ alone.

      The Evil Dead has made an entrance with an album that is very worthy of your time. For many the vocals will be a struggle as even after numerous plays they still at times do not fit perfectly to the sounds alongside them. Regueiro is a great vocalist but one feels needs to temper the gut wrenching style. His approach is bold and adventurous against the defined and intricate creative melodies made musically but they distract too often as they are and will put as many off as those who connect.

The album for all that is great fun and truly worth a listen, it is of great quality and will leave riffs and melodies with you long after it departs they are that impressive. Try it and see.

RingMaster 03/02/2012

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