Buzzkillz – Scum Of The Earth

There is always great enjoyment in the snowball effect of discovering one new band which in turns leads to another and so on. Checking out the new album from Finnish band Wanton on Undead Artists inspired the thought of what other psychobilly bands were hidden in the underground of their homeland. Quickly standing out amongst a potent many was Helsinki quartet Buzzkillz for which a like on their Facebook profile was inevitable. This in turn sparked the band to get in touch with their latest album Scum Of The Earth and now an eager recommendation of its contagious punkabilly.

Buzzkillz was formed in 2011 by vocalist/guitarist Ultima Foole and double bassist Jybe, the pair after playing for many years in their own respective bands “decided to do better music together”. A few personnel changes led to the current and potent line-up of guitarist Antti and drummer Joiku alongside the founding pair stepping forward in 2015 with an arsenal of punk/rockabilly bred tracks. The following year saw the band record their debut album with the uncaging of Scum Of The Earth coming in its fall and still luring a host of new hungry appetites for their sound week by week,.

Scum Of The Earth opens up with Sick Of It All, enticing with a Clash like beckoning before stomping through ears with psychobilly muscle and virulence. Rhythms take no prisoners, beats a thumping trespass backed by the delicious resonating bait that only a double bass can offer. The vocal growl of Ultima is quickly in the bullying mix, his grouchy tones backed potently across the band as the song cantankerously bounds across the senses. With wiry melodies adding to the pleasure, it is a great start swiftly backed up by the addictive punk ‘n’ roll shuffle of Deepest Pockets. Like a mix of Russian punks Biting Elbows and the Danes Grumpynators, the track soon has body and spirit locked in its grip and with consummate ease.

I’m Not The One comes next, its cowpunk flavouring another easy to embrace temptation and the spicy lining to the track’s contagious swing before the album’s title track brings a dirtier, grittier slab of rock ‘n’ roll to the party. Both tracks hit the spot dead centre, the second with a tone reminding of The Peacocks but equally each is overshadowed by the rousing rumble and incitement of Losing The Fight. With anthemic rhythms alone stoking up feverish fires, the song ensnares eager ears and appetite, treating both to a mesh of sultry melodies over relentlessly catchy rhythms.

Through the punk ‘n’ roll intimidation of Outside, Jybe unleashing another simply irresistible infection of bass, and the sinister rockabilly seduction of Fear Of The Unknown, band and album further share rich variety and salacious flirtation while Roll The Dice delves into some ska punk seeded devilment to stretch that diversity within those three songs alone.

Psychobilly drives the irritable charge of Monsters next, the track a rapacious trespass of ears and pleasure simultaneously infesting and captivating the imagination. Its melodies entice with zeal as riffs and rhythms badger and trap an instinctive appetite for their source genre; a psychobilly flavouring just as eagerly fuelling the carnivorous exploits of Some Scars, a track something akin to The Meteors in league with Nekromantix.

There is a whiff of Tiger Army to the smouldering seduction of Sleepwalking but at times even more so of Th’ Legendary Shack Shakers with its dark off-kilter invention. Persistently, the song unveils a fresh twist and hue to its rock ‘n’ roll, emerging the most unique and thrilling proposal in a horde of only striking encounters.

The album ends with the muscular rock ‘n’ roll of Cross To Bare, a slab of punk rock putting a feisty cap on one rousing and thoroughly enjoyable release. There are plenty of familiar hues to the album but with a freshness and inventive prowess which employs rather than relies on them. Buzzkillz is a band ready to embrace attention far beyond their homeland, they have done their part in that aim with Scum Of The Earth; the rest is down to you. Now the question is from their discovery where will we be next led…

Scum Of The Earth is available now @ https://buzzkillzband.bandcamp.com/releases

https://www.facebook.com/Buzzkillzband/

Pete RingMaster 18/04/2017

Copyright RingMaster: MyFreeCopyright

Raizing Hell – Monsters Prefer Blondes

RH_RingMasterReview

If you have found the ground rumbling under foot in recent weeks, it is not the earth in rebellion but the dead rising to join the living in descending on the long and eagerly awaited second album from Romanian horror punk n’ rollers Raizing Hell. Providing devilish slices of graveyard boogie fuelled by punk rock attitude, Monsters Prefer Blondes is a carnivorous incitement from the crypt and quite irresistible.

Raizing Hell emerged in 2010, formed by vocalist/guitarist Liv Decay (ex-Howling Saints), guitarist Mr. Zombie, and drummer Oly Sinn. The line-up was soon completed by bassist Demented Vlash with the band laying down their live presence from 2011 and going on to share stages with the likes of Blitzkid, The Silver Shine, Tazmanian Devils, Fancy Dolls, The Argies, A Wilhelm Scream, Koffin Kats, Daily Noise Club, Orlok and the Rockin Ghouls, The Irradiates and many others over the years. Drawing on inspirations from bands such as Motorhead, The Plasmatics, Wendy O. Williams, Misfits, Nekromantix, Blitzkid, Demented Are Go, Horrorpops, and The Meteors, the Bucharest quartet soon evolved their own distinctive shade of horror punk which fuelled debut EP Psychoholics Unanimous in the December of that year and in turn provided a tasty part of the excellent Chainsaw Ballads split EP with UK bands Thirteen Shots and Trioxin Cherry via Psycho A Go-Go Records in 2013. First album Of Ghouls And Men was an even bigger attention grabber when released later that year; thirteen tracks which pushed the band into the full spotlight of the European horror punk and rock ‘n’ roll scene.

2014 saw Raizing Hell sign with the excellent Germany based label, Undead Artists Records, which quickly brought Of Ghouls And Men to a broader expanse of ears while last year the departure of Sinn, after the recording of their new album, brought the stick swinging corpse of Marky B. Morbid into the Raizing Hell mausoleum. Unleashing Monsters Prefer Blondes a couple of weeks back, Raizing Hell has not only provided a bigger and bolder slab of their horror gripped sound but also brought a real feel of their live energy and aggression to the recording and presence of the album. At times it borders on predatory and throughout is a constant blaze of contagious intensity coated with the organic rawness so many bands only manage to create on stage.

Raizing Hell Cover_RingMasterReviewIt all starts with I Like It Wrong and the resonating hefty beats of Sinn. Swiftly they are joined by tangy grooves with a hint of blues toxicity to their invitation. The distinctive tones of Decay are soon adding their dark flirtation and defiance to the mix too, her snarl climbing all over the virulent contagion of the hooks and grooves which are still working their temptation. It is a potent slab of rock ‘n’ roll with maybe few surprises yet making up for it with heart and attitude before Sold My Soul For Rock ‘N’ Roll saunters in with its punk ’n’ roll incitement. There is a touch of In Evil Hour to the song, an irritable hue which adds to the great blend of melodic enterprise and the grouchy snarling of voice and sound.

Two songs in and already it is easy to hear the fresh blossoming of the qualities and craft the band had already shown and the maturity and realisation of potential found in previous releases. I Am The Damned is quick confirmation as it eclipses its predecessors with its psychobilly swagger and flirtatious hooks. Vlash’s bass reveals its most cantankerous growl yet as it stalks the swinging lures of guitar and beats, a bestial essence echoing the edge in Decay’s otherwise clean and infectious tones.

Time Of A Killer Flies brings some delta blues scented enterprise to its robust and fiery body next whilst This Is It flirts with garage rock ‘n’ roll as it prowls of the senses to echo the creature crawling within its sci-fi themed narrative. As usual, Raizing Hell draw most on horror movies and dark tales for the lyrical seeds of the album, very often crafting their sound to echo and reflect the actions of the protagonists within their stories and here turning that first wave of stalking into a rabid devouring of ears and appetite by its finale.

Through the sultry Django-esque climate and landscape of The Sun Is Down, the band has the imagination as forcibly involved as the body whilst Dead Girls Don’t Cry kicks up a feisty stomp with its punk rock. The dark harmonies and lone whistling within the first of the two simply adds to a compelling theatre of guitar and rhythms while a tinge of folkish temptation lines the spicy veining of the second to similarly magnetic effect. Both are further examples of the new adventure and imagination in the band’s songwriting and sound, laying down new pinnacles within the album for a success soon matched by the smoky dark seduction of Trouble where Decay is the kind of temptress you know you should escape but cannot resist.

I’m Not A Monster is a grizzly stomp of an encounter; one again maybe feeding expectations a touch but with a chorus impossible not to join in on as the body bounces throughout, it matters little as it leads ears to the equally captivating antagonism of I’m Not Evil (I’m Just Bad). The next song is appetite pleasing punkabilly with a whiff of Trioxin Cherry meets Midnight Mob to its thick pleasure giving; another energy rousing persuasion more than matched by both the excellent old school punk infested Braindead, a track spinning a web of punk and horror rock strands  from recent decades, and Killing Time. The last of the pair is the kind of romp which has the feet engaged almost before ears; commanding body and attention with scything rhythms and punchy riffs as the band vocally rouses the spirit.

Monsters Prefer Blondes is completed by its title track, a predacious tango again aligning an array of punk rock with further instinctive rock ‘n’ roll diversity. We always like an album to end on a bang, and this anthemic infestation of ears and the passions certainly provides. As for Monsters Prefer Blondes the album, it provides a rich and thoroughly enjoyable blood soaked rebel rousing with adventure and creative fun. It is high time that Raizing Hell is recognised by the broadest rock ‘n’ roll spotlights; this album just might be the key lure. If not it is only a matter of time.

Monsters Prefer Blondes is out now via Undead Artists @ https://undeadartists.bandcamp.com/album/monsters-prefer-blondes

http://www.raizinghell.com   https://www.facebook.com/Raizing.Hell

Pete RingMaster 10/05/2016

Copyright RingMaster: MyFreeCopyright

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Graveyard Johnnys – Dead Transmission

Ester Segarra

There has always been a fire in the belly of the Graveyard Johnnys’ sound, as well as a constant entwining of varied strands of rock ‘n’ roll, but the band has tapped into their richest vein of belligerent contagion yet for new album Dead Transmission. The release is a glorious incitement of punk and rockabilly, though as ever the Welsh band infuses plenty of additional rock bred spices in provocations impossible to pin down but very easy to greedily devour. If you had to make a comparison it would have to be The Living End, though Graveyard Johnnys, as evidenced by their new offering, create something a little dirtier and more unpredictable.

Formed in 2008, the Chepstow hailing Graveyard Johnnys has earned a massive reputation for their fiery and frantic live performances, an aspect also echoed as close as it is possible to ever achieve in the studio within Dead Transmission. It is fair to say though that starting with their debut EP Streetblocks and City Lights, the band’s releases have persistently been a voracious slab of energy, as epitomised by first album Songs From Better Days in 2011. These only emulated as mentioned a live presence which has stirred up audiences Europe wide over the years, persistently luring new and loyal appetites to their sound. Graveyard Johnnys has shared stages with the likes of Turbonegro and Hayseed Dixie, toured with bands such as Mad Sin, The Peacocks, and Nekromantix, and left crowds exhausted with their own headlining shows, all earning greater acclaim and increasing a potent reputation. Now the threesome of vocalist/upright bassist Joe Grogan, drummer Thomas E Lord, and guitarist Callum Houston, arguably the first really stable line-up within the band and its most potent, are poised to open a new storm of attention with Dead Transmission, a release which will not take no for an answer.

Album opener is The Poison, a song entering on the regimented stomp of marching feet, equally eager beats, and subsequently a rich lure of flavoursome enticement which is as much melodic rock as it is classic rock ‘n’ roll seeded. Settling into a landscape of catchy energy and invention, a blues air lays over melodies and dust coated vocals whilst hard rock revelry creeps into the hook lined swing of the encounter. Straight away the band has expectations perfectly defeated, the song bounding through ears like a mix of Turbonegro, The Hives, and The Black Keys yet not. It is a tasty appetiser for things to come, but quickly outshone by the following For Tonight, and indeed the rest of the increasingly virulent album.

Dead Transmission Cover   The second track spills a delicious hook straight away, one swiftly joined by the excellent voice of Grogan and a potent rapping of drum skin by Lord. The singer’s bass is also quickly stirring up ears and appetite, its pungent bait a dark temptation within the swinging enterprise of Houston’s fingers and strings. A great mix of restrained and keenly strolling energy, it has an essence of The Peacocks to it though again it is easy to suggest other styles and artists as references to something quite distinct to Graveyard Johnnys.

The album’s title track is next, static caressing ears before majestic and instantly rousing rhythms and riffs ignite body and imagination. Scythes of guitar and an open spillage of attitude soon join the punk bred incitement too, its snare drum rim clicking and thumping beats irresistible and matched in slavery by the constant adventure of inescapable hooks and brawling energy. Again the band keeps things too lively for expectations, its passage another mix of feverish fury and predatory reserve, and simply sensational.

One major highlight passes the passions over to another in the feisty shape of Because Of You, an old school rockabilly stomp with modern tenacity and attitude. It is the kind of song that if Gene Vincent was stomping around in his young leathers now he would be unleashing. It is one minute and a half of pure and spicy rock ‘n’ roll; a description applying to the punk seeded One Day Or Forever and its individual march upon ears and emotions just as easily. Its rhythmic stroll has feet shifting and head bobbing whilst its alluring Bad Religion meets Flogging Molly like melodies and tempting has ears gripped.

     A similar punk fired persuasion colours the next up Ready To Roll, riffs and rhythms instantaneous seduction reinforced by a tenacious enterprise of guitar which at times flirts with a seventies spicing a la Mud/Showaddywaddy, though blink and you miss it as like so many, the song is a busy cauldron of flavours and temptation which has attention solely in its grasp, much like the following pair of I Won’t Wait and Compromise. The first of the two merges raw punk and vintage rock ‘n’ roll resourcefulness for its decades fusing, passions firing riot. It snarls relentlessly, and expels a dirt encrusted breath of predation, but with the throbbing string slaps of Grogan, the hypnotic bait of Lord, and the ear entangling prowess of Houston, the song was never going to be anything other than an epidemic of infectiousness. Its successor swaggers in with its own appetite binding lures as well as the potently confrontational lyrical craft which flows across the whole release as impressively as the sounds. The Living End is an unavoidable comparison to the outstanding song but again the British three create something as unique from as it is similar to any references.

Fair to say by the end of the song the body is weak from the energy given to the insatiable romps within Dead Transmission, and seemingly sensing this Graveyard Johnnys offer Mothers next, a calm acoustic rock ballad with a country rock breath. It is an engaging and increasingly magnetic croon but admittedly before its increasingly lively end, feet and appetite greedily wanted to let loose again which they do with the closing Little Witch. A smog of sonic aggravation and rhythmic intimidation, the punk/ hard rock explosion is the perfect book end to the start of the album, a fiery and tempestuous maelstrom of fiercely flavoured rock ‘n’ roll with a flirtation of melodies and keys to keep things even more fascinating.

It is a blistering end to a thrilling proposition, Graveyard Johnnys at a new peak with songs which tap into every instinctive want of any rock ‘n’ roll fan, a broad genre which just does not get much better than this.

Dead Transmission is available now via Bomber Music @ http://store.bombermusic.com/products/545212-graveyard-johnnys-dead-transmission-cd-or-download or https://graveyard-johnnys.bandcamp.com/releases

http://www.graveyardjohnnys.com/   https://www.facebook.com/graveyardjohnnysUK

RingMaster 13/05/2015

Copyright RingMaster: MyFreeCopyright

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Demoni – Day of Demoni

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Described as a ‘surfabilly band which fuses punk rock beats, psychobilly bass, and surf guitar’ it is easy to go slightly astray with expectations over US rockers Demoni and their much more flavoursome sound. Certainly those essences make up the core of the band’s sound as evidenced on their outstanding album Day of Demoni which recently had its UK released via British cassette/digital label Graveyard Calling, but as the nine track rampage infests ears and ignites emotions there is plenty more to the band’s alchemy of invention. At times there is a hard rock fury at work, and in other moments a seventies glam teasing at play, whilst throughout there is a pungent whiff of fifties honesty to it all. Day of Demoni is a thrilling onslaught which dares to be just that little bit different in the world of psychobilly whilst embracing the seeds of the genre with a full ardour and revelry.

The Boise, Idaho trio take inspirations from the likes of Cramps, Dick Dale, Mad Sin, and Misfits to their adrenaline powered and relentlessly voracious sound. An early self-titled demo in 2008 seemed to draw strong attention but it was with their albums Dawn of Demoni a year later and Day of Demoni which was released in 2012 that a spotlight really hit the band. It was an interest which has only been enhanced by the band live which has seen them play shows with the likes of Koffin Kats, Chop Tops, Three Bad Jacks, Stellar Corpses, The Hedcat, Sawyer Family, The Recently Deceased, and The Rocketz. Their new UK release of Day of Demoni sees the five songs which appeared on the US version joined by one originally found on the first album and another pair from the band’s Surf City of the Dead release, as well as one more track. Together they combine to make one of the most exhaustingly enjoyable encounters to hit the UK shores this year.

From first track And Now the Screaming Starts, band and release has the imagination bound and ears hungry. It opens with a sonic squeal before launching into a thunderous charge spiked with spicy twangs of warped grooving. Riffs coverand rhythms are in top gear within seconds, their eagerness almost ravenous as they swiftly build an anthemic temptation upon which the smooth delivery of vocals lay perfectly. The click of drum stick wood on rims is irresistible whilst the brawling attitude of the guitar is contagious persuasion, but it is the unpredictable slides of grooves and caustic melodies which turns the outstanding song into a classic.

Its glory is followed by the instrumental Black Lagoon, its stomp speared by a hook which is fifties seeded but coming with a seventies air. That initial temptation is soon evolved into a sultry surf rock enticement though both lures switch and entwine across the rest of the compelling track. Like a sonic stroll across a blood soaked beach beneath a sinister moon, the track has the imagination casting its tales whilst feet still find no respite from the involvement inspired by its predecessor. The magnetism of the song is intensified in the exceptional They Crawl, another virulent surge of riffs and rugged enterprise equipped with a cowpunk lilt and riotous hard rock intent. The song is as persistent as the protagonists in its lyrics, scampering relentlessly with tireless rhythmic feet and feisty sonic tenacity. Sparking thoughts of  Koffin Kats and Tiger Army, the track is another peak to the album and makes one wonder why the band has not been recognised over here before.

Scared to Death is no slouch in setting ears and passions ablaze either, it’s almost smouldering sonic presence and rhythmic control, certainly compared to the previous song, a transfixing instrumental narrative providing another surf spawned slice of heated suggestiveness. Its sultry presence makes way for the fiery and robust harrying of the imagination unleashed by Night of the Creeps. Thumping heavy rock beats courted by a caustic punk abrasing of riffs offer a contagious tempting from which vocals and acidic melodies surge with eagerness. Again a heavier rock aggression adds to the flavouring whilst at times there is a softer melodic catchiness which merges easily with the strenuous suasion of the song. You can almost call it as psychobilly pop punk.

Both No Pain No Gein and Beware the Moon bring another twist to the album and satisfaction, the first akin to Turbonegro with its punk rock rapacity but also you can hear tinges of Nekromantix and The Ramones in its rowdy enterprise. With the bass a delicious standout texture and voice to the song, it is an insatiable stomp swiftly matched in sweaty contagion and voracious energy by its successor. There is an immediate sense of The Dickies to the punk side of this song whilst its expansive psychobilly design offers up suggestions of Mad Sin and a little of Rezurex. It is a flaming beast of a track and another to squeeze out a little more lustful acclaim for the release.

The album uncages a final two slabs of thick persuasion through first of all the instrumental scourge of blistering riffs and niggling grooves that is Session 9 and lastly Die! Die! Die!, which is maybe an instrumental too many on the album but such its exciting climate and creative blaze it is impossible not to greedily devour its presence. They make enthralling climaxes to a ridiculously addictive release, which itself sets Demoni as a thrilling new protagonist for British psychobilly appetites.

Day of Demoni is available via Graveyard Calling @ http://graveyardcalling.bandcamp.com/album/day-of-demoni digitally and on very Ltd Ed blood-red cassette.

http://www.demonipsycho.com

9/10

RingMaster 28/08/2014

Copyright RingMaster: MyFreeCopyright

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Grumpynators – 666 Rpm

grumpynators pic

What do you get if you merge psychobilly, hard rock, and hungry metal into one bruising riot? Whatever it is called Danish band Grumpynators is probably the best at it, certainly on the evidence of their latest EP 666 Rpm. Rife with rousing and aggressive rock ‘n’ roll or what they call Danish Motorbilly, the five track release is a thrilling muscular storm which unleashes all the primal pleasures inside with hungry energy and rapacious devilment.

Formed in Copenhagen in the January of 2011 by ex-members and crew of Taggy Tones and Volbeat, Grumpynators made their live debut at the Danish underground festival Barnyard Rumble in the August of the same year going on to build a big reputation for their performances which has also seen them tour with Magtens Korridorer in 2012 and Volbeat earlier this year. Musically the quartet of vocalist/guitarist Emil Øelund, guitarist Christian Nørgaard, double bassist Jakob Øelund, and drummer Per Fisker create a presence and confrontation which is like being accosted by the joint animosity of Motorhead and Nekromantix wrapped in the shadowed intent of Johnny Cash, Resurex, Social Distortion, and Volbeat. Equally the band has a distinct flavour which sets them apart from the rest, first shown with their first demo EP late 2011 and evolved into real brute force with 666 Rpm. The new EP is an instigator for limbs and instinctive passions to raise a storm and enjoy rock ‘n ‘roll at its riveting best.

As soon as the rampaging hypnotic beats of Fisker open up first track No Monsters In My Bed, an instantaneous connection Grumpynators+30827045331seeded in a personal love of psychobilly erupts, the spine of the impending song spawned from the same passion. The choppy riffs and potent bass slaps confirm the stance and poised around the Lemmy like growls of Oelund makes for a formidable and infectious lure to which defences crumble immediately. Stomping across the senses like a gang of lustful rockabillies on a Saturday night cruise, the track punches and prods the ear potently with rhythmic provocation and guitar lashes which coursing with sonic flames which leaves the passions alight. Virulent in its addictiveness and merciless in its ability to have limbs and voice joining in its charge, the song is incendiary glory which steals top honours on the release straight away though it is seriously challenged as the other songs state their declarations.

The following Paranormal Heads equally has sinews and aggressive breath unleashed from its opening seconds before sculpting an epidemic of infectiousness which is impossible to resist. Its presence has a more heavy metal/rock intention and body which merges essences of The Meteors into the more dominant demands of again Motorhead and the likes of Anthrax and The Wildhearts. Once again it is a track which recruits the listener into its dirty honest sounds with ease and leaves lungs and senses gasping for breath once it takes its leave.

1985 has a swagger and blues lilt to its slower crawling gait aligned to a southern psychobilly call which swings and lures the senses and body into a teasing hard rock waltz. As it progresses the song expands and opens up sonic flumes of enterprise and melodic rock flames which sizzle on the flesh before that confident croon of the track returns to command further physical union from its recipients.

The release is completed by the stalking Miss You and then Grumpynator. The first song again brings essences of cowpunk and rockabilly into a feisty metallic boil of sound and invention which erupts to singe the senses and feed the now fully evolved hunger for the release. With a Volbeat meets Mad Sin and Tiger Army with strong whispers of Metallica and Flogging Molly to its seduction, the song brings ardour into another pinnacle of lustful submission whilst the final song is unrelenting heavy metal/hard rock  you can only compare to Motorhead in sound and quality.

It all makes for an exciting and impossibly satisfying release which marks Grumpynators as a band set to ignite and push rock music on with striking power and efficiency in the near future. Volbeat now has a real rival as Denmark’s best metal/rock band, though to be honest every rock ‘n’ roll band in the world had better watch out as Grumpynators is coming to challenge their status and they do not accept no as a response.

http://www.grumpynators.dk/

10/10

RingMaster 22/07/2013

Copyright RingMaster: MyFreeCopyright

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The Grave Slaves -Roam with the Dead

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The perfect soundtrack to the rampage of the darkest ruinous shadows expelled from head stone violated revengeful corpses; Roam with the Dead is a storming unrelenting feast of prime psychobilly veined with venomous whispers of punk, rockabilly, and horror punk. Unleashed by Orange County rioters The Grave Slaves, the album is an irresistible and mischievous maelstrom of essential sounds and thrilling energy conjured into an encounter which is tagged as gothabilly. The release is a treat which devours the ear and passions in exchange for the deepest ravenous rewards and unbridled pleasure, it is a two way rapture which leaves one drooling with lust for much more.

There is not much to the background of the band we can tell you about apart from the quartet of vocalist/guitarist Jaysin Graves, lead guitarist Blood Sweat Brett, bassist Sideshow, and drummer Johnny Nails being the perpetrators of the lingering passion which erupts for their tasty sounds, but their sensational release we can enthuse about with knowledge and ardour. Consisting of fourteen graveyard screams forged upon thunderous rhythms, barbarous bass brawls, and hunger driven riffs, the album seizes the heart from the opening strains of track one right through to its final parting spiteful whisper. It draws from the wells providing the previously mentioned sounds before filtrating them through the band’s own expressive venom for a stirring rampant treat.

Opener Suicide breezes in on sirens and an announcement giving fair warning of the carnage to follow. Leaping on all brave enough255440_421125601279594_1964325353_n to stick around the song bursts into romping bass taunts and scarring riffs driven by the impressive vocals of Graves. The track is one which does not venture too far from its core and arguably from the sound one expects from a psychobilly track but nevertheless feeds every desire you could have. The great solo from the guitar of Graves is an additional pleasing flame within the open tempest of villainous musical intent on the charge.

From the strong start things really pick up through firstly the haunting throes of What Have I Become and then a sensational trio of violations soon after. The second song on the release though dances with the ear like a demonic dervish brought through sizzling guitar caresses and exhausting energy. Again the rhythms of the song demand attention but make full payment with their anthemic potency whilst the vocals and heart of the track breathes vibrantly from within a Misfits/Calabrese like gait.

The impressive three prong attack which takes things to even greater triumphant lust comes in the feisty shapes of Outlaw, Maybe Tonight, and Lies. The first track is a delicious uproar of provoking rhythms and compelling riffs surrounding a contagious groove and middle finger charged vocals. It has an air of Nekromantix and Skitzo to its defiant tone and easily has one submissive to its towering excellence. Maybe Some Day is the same in effect, the slowly dawning prowl of the track lifting to a compelling stroll once into its stride. Again the vocals of Graves and the group chants ignite the need to join in whilst the sounds ripple with sinews which ebb and flow through skilled enterprise. The gentler surge of the song leads to the rampaging glory of Lies, a track which grabs the heart and whirls it on a fevered dance of deathly rhythms and expressive melodies. More horror punk than psychobilly in many ways it is a sensational brew from the two genres and pure contagion.

Every track in all honesty is immense and deserves a mention but further personal favourite and highlights come in the psycho pop Devil In Disguise which includes a great flame of harmonica from guest Tony The Harp Man G, the Resurex/Zombie Ghost Train spiced Blood Red, and the excellent instrumental Grave Slaves World which is borne from the same infection causing creative depths that Tiger Army plunder so well.

The schizo treat Crazy Psycho and the final aggressive bruise Till Death also create greater sparks within but every song on the album is a dark tempest to relish and devour with lustful eagerness. Roam with the Dead is a furnace of beatitude and The Grave Slaves one of the best emerging bands within psychobilly and dark tainted rock n roll.

https://www.facebook.com/GraveSlaves

RingMaster 16/01/2013

Copyright RingMaster: MyFreeCopyright