Norm & the Nightmarez – Wild ‘n’ Rockin’

There is no denying if there is a sniff of psychobilly or rockabilly in a release we instinctively lick our lips and with real zeal if it comes under the moniker of Norm & the Nightmarez. The band has been the source of tracks and albums which have unerringly ignited our appetite for those and aligning genres past and present so you can imagine we had a spring in our step when the gent behind the outfit sent over their new 7” EP, Wild ‘n’ Rockin’ containing four rich slices of what Norm and co do best.

Northern Ireland born but living in Birmingham since the age of 4, vocalist/guitarist/songwriter Norm Elliott has been stirring up the psychobilly scene long before his latest band was a spark of an idea. The eighties saw him step forward with The Phantom Zone, an outfit which supported the likes of Guana Batz, The Vibes, and The Sting-Rays in its time. Numerous other projects followed before Norm linked up with ex-Meteors/ex-Guana Batz bassist Mick White and Sharks drummer Paul ‘Hodge’ Leigh for Mickey & The Mutants, the band releasing the outstanding album, Touch The Madness in 2013. From there Norm created Norm & the Nightmarez and has released a pair of equally impressive albums in Psychobilly Infection of 2014 and Psychobilly D.N.A. two years later. There was rumours that the band might be calling it a day or at least on a hiatus but thankfully last year it was re-energised and now in fresh inspiring form as proven by Wild ‘n’ Rockin’.

The band’s sound has always been more adventurous than the psychobilly tag suggests. It is undoubtedly psychobilly bred, nurtured, and perpetually grounded in its first love but also keenly embraces the cleaner cut rockabilly from the fifties onwards as well as further diversity inspired by both styles. It is that fact which EP opener Too Rockabilly deals with; a song going eye to eye ball with all dismissing its imagination and rich flavouring as not psychobilly, presumably accusations the band has had to dismiss despite their music always doing the talking. The rousing track opens with a juicy rockabilly chord, immediately bursting into a swinging canter with rhythmic predation as melodic tendrils entangle ears and Norm’s vocals challenge. The throbbing double bass of Chrissy Royle alone had us bouncing, the ear clipping beats of Dave Prince egging on even greater participation whilst Norm had vocal chords in league and hips swinging to his melodic antics with ease. There are essences of Ray Campi meets The Sharks to the track but as always the case to date, it is a song pure Norm & the Nightmarez.

It is followed by Bop, a track living up to its name once initially teasing with a flirtatious guitar lure. Again the body was soon lost to its manipulation, its core hook infesting the psyche as rhythms again brought the bounce in body and spirit alive. As with the first, decades of rockabilly and especially its early Sun days are embraced in its psychobilly groove, the wondering if Johnny Burnette fronting The Meteors might sound something akin to this brought about by its attributes.

The B-side to the EP starts with Catwoman; its dark salacious antics immediately toying with the senses as the guitar courts and preys on the imagination. Primarily a deliciously seductive instrumental with melodic finesse and shadow clad threats crossed by almost portentous yet encouraging echoes of its title, the track needed little time to enslave.

That success was just as quickly inspired by the closing stomp of Lonely Avenue. Considering selling its soul from the off, the encounter gallops through ears reaping melodic rewards and dark temptations; the trio spinning a web of each with their inventive craft and enterprise. It might escape the clutches of the horned one but is a devil in itself and had ears hungry for more, addiction increasing with every devouring.

Among so many great previous tracks, the four within the Alan Wilson produced Wild ‘n’ Rockin’ just might be the most thrilling bunch yet from the band. Certainly with the great artwork of Sherrie Gunstone similarly flirting from the front cover, they are some of their most contagious and arousing. Rock ’n’ roll is indeed the devil’s music and Norm & the Nightmarez’s sounds quite possibly the most devilish of them all.

Wild ‘n’ Rockin’ is out now on 7″ coloured vinyl via Western Star; available @ https://western-star.tmstor.es/cart/product.php?id=37163

https://www.facebook.com/Normandthenightmarez/

Pete RingMaster 05/06/2018

Copyright RingMaster: MyFreeCopyright

Norm And The Nightmarez – Psychobilly D.N.A.

N&TN_RingMasterReview

After the stomping triumph of their debut album two years ago, anticipation here for a successor from Norm And The Nightmarez was always heading towards the lustful side. Psychobilly Infection was a devilish treat of the trio’s distinctive multi-flavoured psychobilly; a rousingly virulent bout of “wickedly contagious and warped rock ‘n’ roll” which Psychobilly D.N.A. has now only gone and eclipsed.

The Norm And The Nightmarez sound is a magnetic blend of old school psychobilly drawing on and infusing the heart and creative blood of early day and beyond rockabilly and rock ‘n’ roll. Formed by guitarist/vocalist Norm Elliott (Mickey & The Mutants/ Phantom Zone/ The Bionic Krugerrands), the Birmingham based band’s line-up is a fluid proposition around the core of Norm and his lively and imaginative songwriting, as further evidenced by his solo single She last year. For Psychobilly D.N.A., Norm has enticed the striking craft and enterprise of drummer Paul Mummery and double bassist Nile ‘The Rev’ Robbins; a threesome which just feels like they were meant to be as the album sparks the instincts from start to finish.

Inspirations to Norm include the likes of The Meteors, The Cramps, Johnny and Dorsey Burnette, and plenty of artists making up the Sun Records catalogue as well as various rockabilly and psychobilly offerings over the decades. They are essences which proudly and uniquely spice up Psychobilly D.N.A. from start to finish, immediately teasing ears within opener Thank You Very Much. A tribute to Elvis, the track is a contagion of anthemic beats and spicy grooves around Norm’s vocal homage. Within seconds hips are swinging and feet a blur to the lively temptation pouring from the speakers, vocal chords swiftly engaged too as the rockabilly nurtured track provides a collage of stirring enterprise bred by the trio.

The following Misery is just as forcibly infectious, its psychobilly instincts colluding with tangy melodies while being driven by the pulsating slaps of The Rev on darkly taut strings. Vocally Norm is as inviting and potent as his flair with grooves and hooks; it all matched by the eagerly landing beats of Mummery as smile sparking humour fuels the lyrical heart of the encounter. As its predecessor, the song quickly enslaves attention and enjoyment before Bury Me With My Guitar reinforces the album’s already firm hold with swinging rhythms and nagging riffs. A web of inescapable and inventive hooks invading body and imagination like a mix of The Polecats and Tiger Army infested by the spirit of Johnny Burnette, the track is a glorious trespass dictating movement and pleasure with ease.

cover_RingMasterReviewThe album’s title track steps up next, providing its own invasive catchiness and irresistible demand on the senses and limbs. The vocal backing of The Rev and Mummery is as sinisterly flavoursome as Norm’s lead as darkly toxic groves and niggly riffs all add with instinct rousing rhythms to psychobilly manna for ears and appetite.

That hunger for the album’s body and spirit ailment is instantly nourished again by the opening of The Sun Burned Down, The Rev’s shadow soaked bass line pure temptation soon joined by just as flavoursome crisp beats and the toxic beauty of guitar melody. Narrating the demise of planet earth, they combine like a final sultry sunset, seducing with portentous beauty as Norm’s vocals echo their apocalyptic radiance.

It Made Me Lose My Mind surrounds the listener next, its rhythmic palpitation alone a delicious infestation infused with the psychotic grooves of Norm while the following and irrepressible Wild Wild Woman carries a great Gene Vincent / The Shakin’ Pyramids groove before the band spice up Voodoo Street with some early Stray Cats sultriness. All three show the variety honed within and shaping the album and its creatively energetic character, a success nailed down once more in the unquenchable flirtation of the sci-fi bred Timeslip where hooks and grooves command as rhythms control whilst throughout Norm takes the imagination on a time defusing romance for yet another impossible to resist defeat of inhibitions.

Old school textures wind around psychobilly seducing for The Devil’s Gate next, its smouldering atmosphere as blood red as the dark moon shining upon is toxic tale. The track is sheer captivation, maybe not quite holding all the sparks of songs before it and certainly of successor Bad Evil Woman, but another treat to devour greedily. It is fair to say that an even lustier response was nurtured by the second of the two, a song offering another chorus which simply demands participation whilst its grooves and rhythmic enticement take swift control of body and intent with not for the first time within Psychobilly D.N.A., a touch of Leiber and Stoller like spicing colouring the songwriting.

As shown by previous releases Norm also has a handy knack at composing instrumentals which grip the imagination with their suggestive characters and melodic endeavours, Lynch Mob another fine example with it’s on the run intrigue and creative espionage. With The Rev and Mummery simply compelling too, it is an easy to get lost in adventure passing keen attention over to the fifties spawned Love You Little Baby, a scintillating track anyone like Eddie Cochran, Sweet Gene, and Link Wray would embrace in their discography.

The rhythmic voodoo of Night Fever is enough alone to send the passions into ecstasy next; the song blossoming into a boisterous bout of mouth-watering fiercely enterprising psychobilly equipped with feverish grooves and passion ensnaring hooks as rhythms cast a relentless tapestry of temptation. The track is superb but still overshadowed by the album’s outstanding closer.

To Victory is a canvas of battle strewn valour and destruction; a bold romance of bravery treated with honesty and reality as basslines eagerly prowl and beats scythe across the sonic and vocal dexterity of Norm. It is a glorious end to an album which infests every aspect of the body and emotions to leave instinctive and unbridled pleasure in its wake.

Norm And The Nightmarez might by primarily tagged as psychobilly but trust us, their sound and certainly Psychobilly D.N.A. is something any heart for rock ‘n’ roll in its various broad flavours over the decades will beat excitedly to.

Psychobilly D.N.A. is out now via Western Star Records on CD @ https://western-star.tmstor.es/cart/product.php?id=30216

and through https://www.raucousrecords.com/norm-nightmarez-psychobilly-dna-cd.html

https://www.facebook.com/Normandthenightmarez/

Pete RingMaster 03/11/2016

Copyright RingMaster: MyFreeCopyright

Norm Nightmare – She

She Cover_RingMaster Review

He has given us the thrilling Norm & the Nightmarez and been part of the mighty Mickey and the Mutants in the past couple of years or so alone, but now Norm Nightmare unveils his new solo single in the shape of the dark romance She. It is a croon from the shadows, a haunted serenade from a melancholic heart; quite simply acoustically shimmering rockabilly for emotions and the imagination to immerse in.

As mentioned Birmingham hailing singer/songwriter/guitarist Norm Elliot, with already a long and potent CV of bands and success behind him, created psychobillies Norm & the Nightmarez a couple of years back, a quickly and eagerly supported band which released the outstanding album, Psychobilly Infection last year. Now ahead of maybe hopeful rumours of another offering from the band in the future, the man has gone into the studio to record, as well as a Xmas treat to be freed ahead, new single She.

Haunting from its first breath, the song is an enticing lure of Norm’s captivating warbling tones and nimble guitar craft. Lyrically it has an intimacy which translates into the swarthy air and charm of the track, and equally a wonderful sinister shadow which courts the narrative and physically ebbs and flows in resonance across the song. At times, Norm toys with the listener, building crescendos that swing away from expectations whilst once or twice he lingers on a note before springing to the creative point with relish and a mischievous invention.

She is a flirtation, one as imaginative and resourceful as its central character and a song relishing its simplicity as it seduces with magnetic charm and attraction.

She is released via Western Star on November 2nd.

https://www.facebook.com/Normandthenightmarez

Pete RingMaster 29/10/2105

Copyright RingMaster: MyFreeCopyright

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Warm crypts and sizzling corpses: an interview with Norm Elliot of Norm And The Nightmarez

Norm

Wickedly contagious and a diversely warped fusion or rockabilly and psychobilly at its most incendiary best, Psychobilly Infection the debut album from Norm & The Nightmarez is one of those standard forging releases which breeds inspiration and exhilaration. Thirteen tracks of intrigue lit and passion drenched rock ‘n’ roll, the album is a storm of rapacious creativity flourishing in decades of influences and twisting them in something new and template casting. The band is the creation of vocalist/guitarist Norm Elliot, already renown with Mickey & The Mutants and their impressive first release last year. Norm & The Nightmarez is a new kind of a riveting beast and we seized on the chance to find out more when Norm kindly spared his time to let us explore his history, the album, psychobilly and much more…

Hi Norm and many thanks for sharing your time with us.

Before we talk about Norm And The Nightmarez and debut album Psychobilly Infection, tell us about yourself and your musical history up to previous band Mickey And The Mutants.

Hi Pete … I was born in Northern Ireland, to escape the troubles we moved to Birmingham England when I was 4. I’ve been here ever since. I picked up a guitar when I was 13 and found I could play it quite easily, it was the 1st thing that actually made sense to me, school just went over my head and bored the shite outta me. I joined a R’n’R band after 2 weeks of playing, then developed into Rockabilly and then I discovered The Meteors and my life changed forever. I formed a psychobilly trio called the Phantom Zone, we were OK and supported all the new upcoming bands including The Guana Batz, The Stingrays, and The Vibes. I then travelled the world for years just playing my acoustic around bars developing my writing skills on the way.

Has rockabilly/psychobilly always been the main source of your strongest musical pleasure personally and creatively?

Simply: YES !!! It’s in my blood, when it’s there, it’s there for life.

You have seen and been involved in numerous decades of the psychobilly scene here in the UK, would you say it’s in one of its healthiest moments right now?

I was there very near the beginning, then as I say travelled the world, it’s amazing to see how big it’s become again. Its healthier than ever and an amazing scene to be involved in, full respect to those that kept playing, they saved the music I love and I thank each & every one of them for that. Also people like The Bedlam Crew and Little Jo, her MySpace was one of the 1st psycho related sites I came across and I’m sure that played a huge part of the returning scene.

We mentioned Mickey And The Mutants, how did the link up with ex-Meteors/ex-Guana Batz bassist Mick White and Sharks drummer Paul ‘Hodge’ Leigh come about?

I was in my own Crampish Garage band called The Bionic Krugerrands and Mick liked what we did, and my guitar style so asked me to join him. I said no many times but then my drummer left and as I was at a loose end I caved in, I’m glad I did. Then the drummer he had left and we found Hodge, simple as that really.

I may be wrong but I get the impression that you are happier and more fired up creating and driving your own bands than playing in other’s projects, though I hasten to say that your own penned songs and vocals on the MATM album Touch The Madness do not suggest that to be fair.

No, you’re correct, I love to create and have a deep passion for what I do and after 37 years of creating music in one form or another I know how it works so understand the process and what to do to get the best out of it. It was fine working normandthenightmarezpsychobillyinfectioncdwith Mick and he was kind enough to listen to my input, and you know what? We made one hell of an album Hodge, Mick ‘n’ Me and I’ll always be proud of it.

What are your strongest inspirations would you say in sound and your guitar style?

Guitarists: Cliff Gallup, Grady Martin, Paul Fenech, and Ivy Rorschach

Songwriters: Nigel Lewis, Paul Fenech , Johnny & Dorsey Burnette, and Leiber & Stoller.

Artists: Most of the Sun Rockabilly’s and various Rockabilly and Psychobilly over the years.

Norm And The Nightmarez has just released its first album, the undeniably brilliant Psychobilly Infection. There seems to have immediately spread a swift and lively buzz about the band and release. Would you say this has been the most dramatic impact a band or release you have been involved in has made?

HELL YES !!! But as soon as we heard the album mixed, myself and Alan Wilson knew we had created something special. That’s from a punters point of view not from an arrogant stance. I’m thrilled with the way it turned out!.

Did you have any expectations or hopes beyond simply having people like it once it had emerged in the studio?

Oh Yes, I want to play this devils music all over the world as much as possible, I’m never happier then when I’m onstage doing this material, it honestly sends me wild, sometimes I have to rein myself in a bit for fear of injury ! Whatever you see me do onstage is from the heart, nothing is staged or acted, any scream, any grimace any movement, it just gets into my bones and transports me to a place I love to be.

You seem to have found the perfect blend of rockabilly and psychobilly on the album, both teasing and seducing without overpowering the other. Has this been an instinctive and natural find or something you have cultivated over time?

Purely and Simple Instinct!!!

I get the impression that the band is very new as a presence; is that the reality and were the songs on the album bred after its emergence or do some have a longer history to them?

10443120_680915955319815_6023845040549483159_oI just sat down over a weekend and wrote the songs as I always do, on my own with my acoustic. A few were already in existence but most totally new. I think I’ve had Sex Kitten for about 30 years but never used it till now.

How did you meet drummer Frank Creamer and bassist Mark Bending and how easy was it to get them on board for the album?

Frank Creamer was briefly around in the late part of the early days so I kinda knew him a little from then and I got Mark Bending from an advert I placed.

I am right in believing the band has a different line-up for live shows now?

Yes you are, I have a very talented young buck called Jake Lyon on drums, he has a degree in music and filled in with the Mutants on a couple of gigs, I’ve honestly never worked with such a gifted live drummer. John Goodey is on double bass, he’s been in rockin’ bands for the past 30 years plus and is an awesome double bass player.

Tell us about the recording of Psychobilly Infection, was it all smooth sailing?

I honestly can’t remember much about it, it went by in a flash and as ever recording with Alan Wilson was really pressure free. I did the ground work and preparation before I went in and as a trio we practiced hard for it. We did have one hiccup as the bass player’s bass wasn’t up to it and Alan wanted to make it special so Steve Whitehouse put his underpants on over his jeans and saved the day by driving his own personal bass over for us to use in a super hero styleeee.

Any tales you can tell us from that time, any solicitous meetings or the occasional salacious summoning? 😉

Yeah, there were the 9 prostitutes, two if which were lady boys (I can’t tell you who had them ) and the mountain of coke night !!!. Nah, only kidding, all quite boring really we just concentrated on getting it bang on, capturing the threat and suspense we wanted to create. Early nights and Earl Grey!!!.

Is there a particular moment or aspect to the album which gives you the biggest chill and tingle of satisfaction and pleasure?

It all gives me a tingle I just honestly cannot believe how amazing it’s turned out, though if I’ve got to pick one moment it’s at the end of the 2nd lead break in the song Psychobilly Infection just before I start to sing, it’s like a Buddy Holly dum dad dum da dum, dum dum, it just moved me and I get a thrill now every time I do that bit live, its ace.

What is on the near horizon of Norm And The Nightmarez?10446663_680914721986605_2839446702070720291_n

The Beldam Breakout festival in September & a lot of gigs booked, to be honest amazing stuff is coming in daily but we’re up for anything and just wanna get out there both in the UK and around the world and play, play, play.

Thanks again for talking with us, any final thoughts to leave us pondering?

Norm & the Nightmarez are here to stay, come to a show and see for yourselves … come get the PSYCHOBILLY INFECTION !!!.

And finally tell us five of the most important or simply thrilling releases which have had a part in your evolution as a musician and songwriter.

In Heaven – The Meteors

Elvis Presley – Sun Sessions

Johnny Burnette Rock n Roll Trio

Stray Cats – Stray Cats (that’s the 1st album only )

Gene Vincent & the Blue Caps – 1st two albums.

Sneaky Bonus ::: Sex Pistols – Never Mind the Bollocks

Of course, there’s also Eddie Cochran, Billy Fury, Buddy Holly, The Ramones, The Undertones, The Clash, all the Rockabilly Sun Recordings etc. etc. 🙂

Hey thank you Pete, it’s been fun mate.

 

Read the review of Psychobilly Infection @ https://ringmasterreviewintroduces.wordpress.com/2014/07/29/norm-and-the-nightmarez-psychobilly-infection/

https://www.facebook.com/Normandthenightmarez

Pete Ringmaster

The Ringmaster Review 01/08/2014

Copyright RingMaster: MyFreeCopyright

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Norm And The Nightmarez – Psychobilly Infection

10338304_659631760781568_1219199448069057947_n

     “From within the thighs of hell’s most wanton temptress, a tempest of psychobilly grooves and rockabilly hooks will converge upon mankind to turn its existence into one incessant stomp of devilish predation and virulent demonic revelry.”

Obviously that is not one of the more well-known pestilences deemed suitable to be included in religious teachings but if it was, it would go under the name of Norm & The Nightmarez and debut album Psychobilly Infection. Thirteen tracks of wickedly contagious and warped rock ‘n’ roll cultured with rockabilly seeded guitar and psychotic imagination, the release is a storming slab of rapacious psychobilly which sets a new provocative and sinisterly sculpted template for emerging genre bands.

Hailing from Birmingham, Norm And The Nightmarez is the creation of vocalist/guitarist Norm Elliot. From first band The Phantom Zone in the eighties, the musician has played in a few bands, last year most notably Mickey & The Mutants where he linked up with ex-Meteors/ex-Guana Batz bassist Mick White and Sharks drummer Paul ‘Hodge’ Leigh. The trio released the outstanding album Touch The Madness, a release it was hard to see anything bettering in UK psychobilly for a long-time to come but then we did not foresee Norm & The Nightmarez preying on the passions. Completed by drummer Frank Creamer (ex- Colbert Hamilton & the Hellrazors) and double bassist Mark Bending (ex-Sgt Bilko’s Krazy Combo) for the Western Star released album, the band embraces the decades of rockabilly infusing their ripest essences into the insatiable jaws of old school bred psychobilly irreverence and invention. It is a varied and riveting incitement which steals the will of everything from feet through to emotions, taking all on a skilful and hungry romp of mischievous enterprise.

Produced by Alan Wilson, the album is straight away gnawing on the senses with opener Stompin in My Grave, its initial earth encrusted riffs immediate potent bait to which the wrist flicking rhythms of Creamer and the dark hearted slaps of Bending add even juicier lures. Unfurling around a repetitive hook led by Elliot’s guitar, his potent vocals colour the imagination with their lyrical enticement. A flame of melodic scorching also adds a rich hue before the song takes a breather, allowing the listener’s body one too before it revs up its hypnotic suasion all over again.

The addictive start is swiftly matched by The Mischief Maker, a dark hearted slice of intimidation with robust basslines and sultry grooves which enslave attentions whilst beats slowly bruise the senses. Whether unleashing a keen gait normandthenightmarezpsychobillyinfectioncdor stalking ears, the track is an incendiary protagonist to give a blissful appetite further hungry urges which are rapidly fed by the acidic twang of The Lights Went Out. There is a scorched country-esque lilt to the invigorating prowl, the guitar of Elliot entwining ears with citric melodies and pungent hooks whilst vocally he snarls with a grizzled tone which sparks perfectly off of the heated climate of the song. The track has whispers of Tiger Army and The Quakes to its rich imposing breath but as with all songs no matter the hints it stands alone as something distinct to album and Norm And The Nightmarez.

The title track, though living up to its title, is rockabilly spawned even with its slight punkish nature. The bass and guitars sculpt a weave of riff and lures which play with body and soul like a sly puppeteer, twisting and turning imagination and passions inside out for a fevered submission. Its contagion lingers far beyond its stay though both Nightmare and Ton Up ensure in their company it is a distant memory at least. The first of the two right away triggers thoughts of The Reverend Horton Heat and Matchbox with flavourings of Johnny Burnette and Hasil Adkins also spicing the fiery encounter. Rhythmically and sonically the song entrances before the adrenaline rampage of its successor rumbles across the senses. Beats descend on ears with an unrelenting coaxing whilst the bass call of Bending brings delicious dark textures to the irresistible road trip. Elliot as ever commands the scenery with his vocals and guitar exploits whilst the trio unite for another ridiculously compelling and magnetic parade of roguish rockabilly incitement.

The flirtatious Sex Kitten teases senses with a salacious sexuality next, its smouldering grooves and sensual melodic curves as infectious as they are seductive. There is no denying a certain Stray Cats swagger to the song but also a danger to its stroll which could be compared to something with the edge of Guana Batz and addictiveness of Gene Vincent. It is an inescapable persuasion though one soon left in the shadow of the wonderful instrumental Devil Girl From Mars. There is something poetic to an intensively crafted piece of psychobilly music with its primal predation and sonic toxicity, and certainly it comes with no finer shape and beauty than here. Imagine a blend of The Tornadoes and The Frantic Flintstones and you get a whiff of its virulent might.

Both Pardon Me and The Past is a Place that I Just Can’t Go have energies and passions in a raw riot of pleasure, the first with its caustic sonic grazing and thumping rhythmic enticement whilst the following track stretches a menacing bait over ears again with jagged riffs, pulsating throaty slaps, and ear crowding beats. As impressive as its predecessor was, the second of the pair is another merciless encroaching on freedom with its rhythmic slavery, melodic venom, and vocal rapacity. It is impossible to choose a track which stands out over the rest on the album but this is always a forceful contender.

The fun filled Elvis Was a Zombie keeps things stomping along nicely and though it lacks the spark of other tracks for personal tastes it is impossible to dismiss because of that mischief and its rhythmic badgering. Its paler presence is soon swamped by the brilliant closing of the album. Massacre at Devils Plain with its Native American croon and howls over a gritty stride of sonic stabs and heavy footed rhythms, sets the imagination alight next whilst final song The Man with the X-Ray Eyes, leaves Psychobilly Infection on arguably its highest pinnacle. Bursting from a sample from the film of the same name, the track is a psychobilly irritant at its most potent and brilliant. It is a predator of a track, rhythms climbing all over the senses whilst guitar and vocals stir up the imagination with rich imposing hues. It is fair to say the song has elements of The Meteors all over it; The Hills Have Eyes springing to mind, but again Norm And The Nightmarez defuse any comparisons with their distinct invention and adventure.

From start to finish there is no escaping the might and sheer glory of Psychobilly Infection and the emergence of a brand new creative devil in our midst, though whether the UK, come to that the world is ready for Norm And The Nightmarez and their hellacious tempting only time will tell.

Psychobilly Infection is available now via Western Star Recordings @ http://www.western-star.co.uk/western-star-releases—cds_36/psychobilly-infection—norm-and-the-nightmarez_146.aspx

https://www.facebook.com/Normandthenightmarez

10/10

RingMaster 29/07/2014

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