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

pic debbie-attwell

pic debbie-attwell

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

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

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

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

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

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

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

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

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

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

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

Pete RingMaster 14/12/2016

Copyright RingMaster: MyFreeCopyright

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

Thee Infecteds – The Macabre Tale Of The Harlots Curse

art_RingMasterReview

Imagine Misfits meets The Meteors with the salacious touch of Demented Are Go and the thumping might of Grumpynators involved and you get a sense of the treat to be found within The Macabre Tale Of The Harlots Curse. The debut album from British rockers Thee Infecteds is a bloody stomp of garage punk and psychobilly; a slab of rock ‘n’ roll weaving its own distinct cavalcade of horror bred escapades from familiar and fresh creative cadavers in sound and enterprise, and one rather irresistible blood lust.

Hailing from Newcastle, emerging from its dark mausoleums this year, Thee Infecteds draw on inspirations from the likes of Johnny Cash, Eddie Cochran, Hank Williams, Link Wray, Wayne Hancock, Motorhead, The Meteors, Demented Are Go, and The Cramps among many sparks for their own rousing exploits. They are flavours which at times openly shape The Macabre Tale Of The Harlots Curse but only add to its swift attraction and lingering hold on ears and imagination.

Playing like an aural Tales From The Crypt, each song an episode of blood and death shown in a theatre from where exits “all go down”, the album gets down to business after the introduction of Feature Presentation with The Harlots Curse. With a great cavernous air to its atmosphere, the track opens on the steely riff of Anth Bundy’s guitar, it soon joined by the menacing kisses of Sean Sinner’s beats and further riffs alongside the intimidation of upright bass slapped by Ruby Morgue. It is a carnivorous proposal guided by the potent tones of vocalist Howlin’ Jimmy, he not so much a barker but a narrator to your demise at the whim of the song’s curse.

It is a rousing start quickly matched by the strolling swagger of The Razors Edge, the song a mix of catchy hooks and fifties rock ‘n’ roll guitar courted by the already irresistible presence of Morgue’s bass. Each plucked string is a dark conspirator for ears and imagination more than matched by the tangy enterprise of pick on string by Bundy and Jimmy’s straight to the point attack. The track is too brief but an unstoppable appetite pleaser before the adrenaline fuelled Creepy Crawler has its moment of attention swiftly sealed. With a bit of Guana Batz to the song, its stomps around with attitude and creative barbs which soon has hips swinging and feet bouncing, Bundy’s salty grooves additional pleasure as the song blossoms on its repetitive character.

Both Skulls and It’s Them! keep the album in top gear and pleasure unbridled, each embracing an unmistakable Misfits influence woven into their own highly addictive and virulently infectious guises before Intermission allows a momentarily breather for mopping up sweat and ice cream. Eager involvement is a given throughout the album but the pair demand and receive some of the most zealous with the second of the two leaving the body breathless.

Never Go To Heaven is a less boisterous incitement next, at least initially, it’s gentle coaxing all melodic seduction and strolling rhythms as Jimmy romps alongside yet one more riveting bass riff as it heads towards a tenaciously feisty shuffle. The track does not quite find all the sparks which ignite its predecessors yet still has voice and body hooked before moving over for the lusty enticement of Lay That Chainsaw Down. Hooks and riffs are an enticement which enslaves the senses and imagination with ease, all teasing within a rolling canter under the commanding guidance of Sinner.

The thumping beats and melodic lures of Happy Jack are also an entanglement impossible to throw off, unbreakable chains further provided by the delicious throb of bass while its thick success is only eclipsed by that of Your Love Makes Me Itch, a song which is pure slavery as its nagging bass rhythms and repetitious hooks play with and seduce the imagination. The song is a web of slimline strands of barb littered lines from all concerned, and a united weave which is as rich and thick in temptation as anything on this and many other genre similar encounters in recent times.

The dirty, dark, and destructive romance of True Love Dies brings the album to a close; a Gene Vincent meets P. Paul Fenech flirtation which just hits the spot dead centre before it is time to make for the Exit and the inevitable journey.

With a real lust for good psychobilly/horror rock incitements here our wants are demanding. The Macabre Tale Of The Harlots Curse delivers on virtually every level whilst providing one seriously rousing and enjoyable excuse to unleash the blood lust.

The Macabre Tale Of The Harlots Curse is out now and available @ https://theeinfecteds.bandcamp.com/album/the-macabre-tale-of-the-harlots-curse

https://www.facebook.com/theeinfecteds/

Pete RingMaster 13/10/2016

Copyright RingMaster: MyFreeCopyright

Motel Transylvania – They Dig After Midnight

Promo Photo_RingMaster Review

If your local graveyard seems a bit dull, feeling a touch lifeless, then an invitation to Italian rockers Motel Transylvania and their new EP They Dig After Midnight will be sure to get things ravenously rocking again. Fusing horror punk and psychobilly in a salaciously dirty punk ‘n’ roll stomp, the Savona hailing trio whip up a keen revelry with their latest encounter, create a sonic hex able to get decayed bodies jerking in tandem with the moves of the living. It is raw, untamed, and an easy trigger for excitement over its wares and the open potential of the band to dig down to deeper success ahead.

Formed in the final throes of 2013, Motel Transylvania began as a solo project for stand-up drummer/vocalist Toxi Ghoul. Within a few months it had grown by two more corpses with the addition of bassist/backing vocalist Vec and guitarist Eli. Inspirations to the band’s sound include, unsurprisingly listening to They Dig After Midnight, Misfits, Zombie Ghost Train, Mad Sin, and Demented Are Go, whilst equally the likes of Frankenstein Drag Queens From Planet 13 and The Order Of The Fly spring to mind at times across the release. Fair to say though, the Motel Transylvania sound breeds its own character from that healthy mix of influences, resulting in a compelling and thoroughly enjoyable introduction for ears to their tenacious incitements.

From the scenery setting Intro and its dank atmosphere around cinematically gothic and carnival-esque suggestiveness, They Dig After Midnight explodes into life with the rousing Go Psycho! Rhythms and swipes of guitar grab ears from the first breath of the track, Toxi subsequently reinforcing the bait and hold with a solo roll of addictive beats before everything unites again in a heated invitation. The grizzly tones of his vocals growl just as potently as the bass of Vec drops an addiction lighting bassline through the fiery mist from Eli’s guitar, and though the track never explodes into rowdy life as it might it becomes more persistent in its catchy temptation with every rhythmic swing and caustic hook. There is a moment when a thought arose that if The Rezillos were psychobilly, they would sound something like this, a hint to the virulence and mischievous charm fuelling the encounter.

They Dig After Midnight_RingMaster Review   The track Motel Transylvania comes next and immediately makes a more forceful but equally infectious blaze of sound and intent. Group calls make an early pungent lure, they sparking the more belligerently energetic heart of the track within a body and nature carrying a contagious provocation with an always welcome Misfits scent to its grouchy temptation.

There is a great strength of variety within They Dig After Midnight, the first pair of songs quick evidence backed by the rockabilly revelry and psychobilly irritation of The Room. Like Guana Batz meets Norm and The Nightmarez whilst digging in a punk grave, the track rocks and rolls like a devil hound on heat. The bone splitting beats of Toxi are a prime instigator of the raucous toxicity fiercely pleasing ears with guitar and bass similarly devilish and antagonistic cohorts.

Summer In the Grave arrives on the sound of waves lapping a dark beach, the guitar carrying a matching tone in its surf lined charm as calm vocals caress ears. There is a devilish wink to the moment though, one which spins a subsequent slim bodied and irresistible Tiger Army meets Buzzcocks rock ‘n’ roll tale with a further glint in its punkish eye. Its warm light within romancing shadows is a thrilling proposal quickly contrasted by the carnivorous temptation of Night of the Living Dead. Graves are emptied as The Meteors toned predation spins a deliciously essential hook as a core to rapacious grooves and hungrily badgering rhythms, they matched by the rabid urgency and snarl of the vocals. The track is glorious, one of the biggest highlights of the album especially with its venomous swagger midway setting up another tempest of savage rock ‘n roll.

It is a triumph more than matched by It’s Not So Bad, the band’s recent single. Slipping in on a heavy noir coated bassline, becoming more vocal with another of the irresistible hooks and grooved enterprise the band has already shown themselves to be potent at sculpting, the song is like a skeletal tango. Its elements unite to form and wrap the song’s volatile frame, offering individual dances in the making of one boisterous romp. There is an old black and white animated film showing skeletons in a demented shuffle, bones twisting and coming unravelled but simultaneously performing an increasingly compelling devilry; It’s Not So Bad is a sonic equivalent.

The release closes with I Wanna Be Your Ghoul, a Morricone-esque croon within a sultry climate scattered with spicy hooks for a dark blood-coated romance for the imagination. It is not a track which grabs the psyche and passions as forcibly as its companions within They Dig After Midnight though but still only pleases as it reveals another strain of imagination in the Motel Transylvania songwriting and sound.

As They Dig After Midnight infests ears for another thoroughly enjoyable romp whilst writing final thoughts, expectations are that Motel Transylvania has all the potential to grow into a formidable and even more striking proposition, and no doubt with plenty more successes like this littering the way.

They Dig After Midnight will be dug up and unleashed on December 18th via Undead Artists.

https://www.facebook.com/moteltransylvania/    https://twitter.com/MotelTransylvan

Pete RingMaster 17/12/2015

Copyright RingMaster: MyFreeCopyright

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

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

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

Dead By Dawn – Dead Time Stories

Courtesy of George Martin Photography_

Courtesy of George Martin Photography_

You can never have enough ghouls rocking the breath from your lungs by our reckoning, so it is great lusty pleasure that we bring you Dead Time Stories the new EP from UK horrorbillies Dead By Dawn. It offers four tracks, which like a swarm of the undead, unleash contagious bloodlust and decayed virulence across relentless stomps which increasingly become ravenously addictive.

Dead By Dawn rose from the cold dank earth in 2013; escaping graveyards in the North East of England and coming together to brew a plague of rockabilly, punk, and ska; all strains soaked in horror. Before their enrolling in the walking dead, the band’s members earned their musical claws and experiences playing in a host of hard rock, punk, metal, and ska bands. Their subsequent resurrection as Dead By Dawn has already seen the release of the well-received Re-Animation EP and attention grabbing debut album 13 Nightmares. Now it is Dead Time Stories prowling the nation and devouring the psyche with one thoroughly welcome and thrilling rock ‘n’ roll rampage.

The defilement starts with Romero & Ghouliet, its first touch a raw scraping of riffs quickly bolstered by the deeds of Shovel, who with a name like that you just know will be the drummer. His beats are like sledgehammers on the senses as guitarist Dead Bundy weaves a tendril of sultry enterprise around the mischievously alluring voice of Siouxsie Psycho once she joins the already forcibly infectious proposal. Her string prowess backs up her joyful vocal enticement and the spicy grooves of Dead Bundy whilst Ruby Morgue swings thick lures from her upright bass like a big boned seductress. It is striking stuff with a smiling chorus so catchy it borders on candy pop and works superbly within the predatory and salaciously enticing sounds around it.

Deadtime-Stories_RingMaster ReviewThe great start to the EP only get musically juicier and more creatively ravenous as Bloodlust: Hellbound Hearts takes over. Shovel brings the song in on a rousing roll of his ever intimidating beats, the guitars adding their lures swiftly as boisterous riffs and another web of wicked grooves and sonic endeavour escapes, their temptation lined with an exciting tinge of discord. The track’s body continues to rock like a dog in heat, bass and drums cultivating an addictive swing over which guitars devilishly prowl and Siouxsie spreads her siren-esque intent.

The Dead By Dawn sound lies somewhere between HorrorPops, The Bloodstrings, and Dragster but continues to find its own increasingly unique character as shown over the band’s trio of releases and indeed American Mary. The third track on the EP leaps from a slither of a cinematic tempting into a rhythmic stalking draped in punk hooks and intoxicated grooves, the guitar’s winey lure as compelling as the psychobilly growl uncaged alongside them. A whiff of The Creepshow and Zombie Ghost Train seeps through in different ways from within the bracing dark tango but again it only colours a heart bred devouring which is primarily Dead By Dawn.

Dead Time Stories saves the best till last in the mouth-watering heavy canter of its title track. Once more hooks and grooves provide a constant supply of inescapable traps laced with delicious discord whilst the band unleash their inner vocal bedlam around enchantress lures laid by Siouxsie’s delivery. There is great simplicity to the infection loaded bait uncaged within Dead By Dawn songs but it is with instinctive imagination and craft that it becomes so successfully woven into fiercer, predacious exploits without either contrast losing its impact. The final track, with another impossible not to get involved in chorus, is the perfect example as it gives a rousing end to one exhilarating encounter.

It might be fair to say that Dead By Dawn is still looking for their majorly unique sound but when they do, and you feel they certainly will on the evidence of Dead Time Stories, there is little to stop them finding real success ahead; though the fact that every genre of heavy music it seems has at least one band with the same name might be a shadow the band has to escape from too.

The Dead Time Stories EP is available now

Pete RingMaster 23/09/2015

Copyright RingMaster: MyFreeCopyright

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THE DROPPERS NECK release ‘200 Volts’ video

The Droppers Neck Promo shot_RingMaster Review

Fiery Brit sludgy punk rockers ‘The Dropper’s Neck’ have uncaged the spanking new video for ‘200 Volts’. The cut is lifted from the band’s exhilarating new EP ‘Nineteen | Sixteen’ and can be viewed here: https://www.youtube.com/watch?v=OAvTT3HbL2s

By drawing from the formidable powers of Cancer Bats, Eighties Matchbox B-Line Disaster and Gallows, The Dropper’s Neck hit you with robust riffery, compelling dynamism and mesmerising dark hooks. The enigmatic quintet are poised to break from the underground this Summer.

Hailing from Essex, The Dropper’s Neck were born in 2011 and feature the talents of Lloyd Mathews (Vocals), Chris Blake (Lead Guitar), George Barrows (Rhythm Guitar), Jamie Abela (Drums) and Jack Turner (Bass). The five-piece soon cultivated an engaging live set and quickly built a name for themselves on the live circuit through extensively touring and by delivering a series of highly energetic and frenzied shows.

The band’s growth continued as they released their debut album ‘Second Coming’. The record was recorded by producer Paul Tipler (Placebo & Eighties Matchbox B-Line Disaster) and helped launch them to a national level. The album picked up a glut of national press and radio support, with Rock Sound, Classic Rock Magazine, Powerplay Magazine, Big Cheese Magazine and Kerrang! all firmly backing the band. Last Summer, support continued for the sludgy punkers as they released their explosive video single, ’Line Me Up For The Firing Squad’, which was exclusively premiered by Metal Hammer.

The industrious combo are now back in the saddle and fully loaded with a brand new EP ‘Nineteen | Sixteen’. The record is their best work to date and is brimming with seven slabs of highly toxic dirty punk rock, dashed with hints of psychobilly, and brimming with unabashed energy and sheer force. The frenzied garage punk new video single ‘200 Volts’ is a key highlight of the record and displays the fivesome at their very best. With a plethora of shows mapped out for the Summer, you need to latch onto the band now before they lift off.

Read our Nineteen | Sixteen review @ https://ringmasterreviewintroduces.wordpress.com/2015/07/10/the-droppers-neck-nineteensixteen/

THE DROPPER’S NECK HAVE UNLEASHED ‘200 VOLTS’, WATCH IT HERE https://www.youtube.com/watch?v=OAvTT3HbL2s

https://thedroppersneck.bandcamp.com/album/nineteen-sixteen

https://www.facebook.com/thedroppersneck