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

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

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

Grumpynators – Wonderland

Grumpynators_Reputation Radio/RingMaster Review

Two years can seem like a very long time when you are excitedly anticipating something. Certainly the wait for the debut album from Grumpynators has felt like a life time after being hooked by their previous releases. Once arrived and there waiting to explode from the speakers, thoughts turn to pondering if it will now live up to probably over demanding expectations and hopes. The Danish quartet’s self-titled motorbilly has been one of the few fresh sounds to really ignite ears and emotions over recent years and yes the band has forged another landmark in their ascent with Wonderland. The band’s mix of hard rock, psychobilly, punk, metal, and old school rock ‘n’ roll is maybe not over fuelled with major originality yet the way the band hone and twist the blend, it emerges as something distinct and specific to Grumpynators whilst providing a healthy and rousing option for fans of anyone from Motorhead to Metallica, The Damned to Volbeat, Mad Sin to Tiger Army. So it is again with Wonderland, a slab of ferocious rock ‘n’ roll pushing the band’s voracious sound and our passions to new heights.

The Copenhagen band was formed in 2011 by former band members and crew from Taggy Tones and Volbeat. Their first rampage on stage came that year at the Danish underground festival Barnyard Rumble in Denmark, the opening riot in an ever increasing and feverish attention following the band thereon in. Across the years the band has on shows and tours shared stages with the likes of Magtens Korridorer and Volbeat amongst a great many. A self-titled demo EP in 2011 just as potently awoke ears and appetites, though arguably it was the 666 RPM EP two years later which was the major spark to trigger a much further spread awareness. Wonderland is a bigger, bolder beast standing before us all now with the potential to break the band into the keenest spotlight possible.

The album opens up with its title track, and instantly has ears and imagination intrigued and enthralled by a thirty second kaleidoscope of haunting sounds and evocative textures. From its sinister coaxing, a flash of guitar opens the door for a predatory lure from the double bass of Jakob Øelund to immediately seduce an appetite always open to that kind of bait. Scything beats from Per Fisker equally adds to the brewing drama of the song whilst the guitars of Christian Nørgaard and Emil Øelund stir up air and senses with their belligerent persuasions. It is a fiery mix only increasing in energy and intensity as the song expands to its full height, the at times Lemmy like tones of Emil a magnetic roar in the midst of the infectious tempest. The encounter is equipped with the distinctive Grumpynators sound but already show a new adventure and creative theatre in the band’s invention and tenacity, hooks and swinging rhythms as mischievous as they are predatory whilst a guitar solo simply sizzles on the senses.

Wonderland cover _Reputation Radio/RingMaster Review   The stunning start is matched by both Walking in the Night and Burning in the Snow, the first dangling before the listener a spicy groove from its first breath, subsequently wheeling it in and using it to core the spinning of a feisty web of psychobilly contagion and hard rock devilry. The stomp just increases its attraction as vocals and another incendiary bass tempting fills its rampant prowl. Like a flirtation happy to brawl at any given moment, the track has ears and body leaping to its puppetry before making way for the similarly irresistible lures of its successor. The third track is a more even tempered stroll with restraint to its energy but even more virulence to its rockabilly meets punk ‘n’ roll devilment. Things do get over excited in its chorus but the band always pulls it back for a pungent croon of a seduction around the verses, led by Emil who is as ever impressively backed by calls across the band.

Walked Away winks with a dulled country twang initially before launching its own individual and tenaciously striding heavy rock persuasion. Of course as with all songs, it is a maelstrom of flavours colouring its anthemic canvas and tearing through ears, a thick flavoursome mix of rock infusing varied textures and spices soon emulated in The Calling. The track is a predator, prowling ears with an intimidating bassline and imposing grooves carolled by the excellently switching twin attack of the vocals. Track and band show you do not have to go hell for leather to create an inescapable anthem with the song, its character and potency a lingering thrilling threat. The short number of tracks in previous EPs generally meant each song bordered on a major highlight, the cream of that crop of songs so to speak, and it is easy to say that Wonderland follows suit, this point in the album already offering five dead on Grumpynator classics.

The Stalker steps forward next, this a lighter hued cantor despite its title but lock ‘n’ loaded with more addiction forging grooves and nagging hooks cast with a swagger and smiling contagion. As all offerings, it defies the listener not to join in with its epidemic of persuasion, poking the thought does rock ‘n’ roll get any better? Maybe not but it can be equalled as shown by Speeding #2, a reworking/recording of a track from their demo EP. It is does not venture too far from its first outing but provides a fresh and magnetic nature to an already established fan favourite.

The carnivorous This Is My Life growls next, its grouchy presence delving into more metallic scenery whilst laying down one pure rock ‘n’ roll groove through the forever masterful string plucks of Jakob. The guitars of Emil and Christian spread sultry strands of sonic endeavour around the instinctive catchiness of the proposal too, and driven by the forceful commanding swings of Per, yet another highlight is forged and soon matched by the voracious Pray For Your Life. It is a bruising antagonistic affair that, with its sterner caustic attitude, only captivates as its spreads its heavy and hard rock invention.

Both songs though are outshone by the steamy Mama No, probably the most diverse track on the album in that every strain of sound found on Wonderland is embroiled in the hectic and irresistible punk metal ‘n’ roll rampaging. Every riff and groove comes with a thick splattering of those flavours to their colour, an impressive feat and success driven by rabid rhythms and the rousing tones of Emil. The track is the perfect end to the album but the band knows better and closes things off with A Life Without You, an acoustic seducing of guitar and vocals embraced in the melancholic beauty of cello provided by Richard Krug. The song is a dark romance in ears, one sparking a tingle in the senses and a sigh of satisfaction by its, and Wonderland’s end.

It is fair to say that Grumpynators had a head start on raising the passions thanks to their excellent previous EPs but that also led to greater, greedier demands on Wonderland, something tossed aside with ease. As declared a little earlier, rock ‘n’ roll does not get much better than this.

Wonderland is out now via Target through most online stores

http://www.grumpynators.dk/ https://www.facebook.com/grumpynators

RingMaster 21/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

The DiggerZ – A Psycho’s Tales

The DiggerZ_Reputation Radio/RingMaster Review

There are numerous things to love about the debut album from German psychobillies The DiggerZ; from songwriting to sound, invention to unique devilry it is a rampant ride of contagious rock ‘n’ roll. Maybe the most notable thing about its success though is the fact it leaves the listener continuing to strut around after its departure as if they were indeed the cause of its glories. A Psycho’s Tales is a gripping and refreshing slab of diversely flavoured stomping, and one of the most compelling psychobilly incitements of recent times.

The DiggerZ emerged from Essen in 2010, the union of three musicians already well known to each other from mutually attended local shows. The line-up is Köppy (who is also the drummer for Pitmen), Andre Zaremba (guitarist of Messerstecher Herzensbrecher), and vocalist /double bassist Mo, a trio who like all good stompers decided to form a band after the consumption of a beer or ten. Shows around Essen established their adventurous sound whilst in turn breeding a potent fan base and a growing reputation only enhanced by festival appearances at the likes of Psychobilly Earthquake in Bremen, Satanic Stomp at Speyer, and Potsdam’s Psychomania Rumble, as well as an increasing number of gigs across Germany. Musically, as shown by their first album, their temptation is a mix of psychobilly snarling, eighties rockabilly infectiousness, and additional spices of surf, punk , and old school rock ‘n’ roll. It is a fascinating and excitable blend which at times plays like a fusion of The Frantic Flintstones, Pitmen, and Stray Cats but everything honed into something distinct to The DiggerZ.

The Crazy Love Records released encounter opens with the haunted Intro, a web of sinister sounds and passing tormented/innocent noises playing like a deranged opening to a horror TV show. It is slightly too long and it must be admitted after a couple of listens of the album, the tendency is to leap ahead to the first riotous offering in the compelling shape of Forgotten Son. The guitar of Andre instantly warms ears and imagination with its enticing, bait quickly joined by an intermittent juicy hook and the thumping beats of Köppy aligned to a rumbling bassline and gruff vocal pokes provided by Mo. A raging appetite is swiftly incited by the sounds and presentation, every element given its own spotlight but united in a storming stroll of a song. Spicy melodies and grooves continue to feverishly colour the infectious romp whilst the impressive tones of Mo, again clearly spotlighted within the tapestry of the track, direct the attack.

diggerz_psychos_tale_Reputation Radio/RingMaster Review   The following Breakout merges into its sultry tempting a guitar jangle which is almost ska like, whilst a shimmering melodic enterprise has as much of a surf swelter to its air as a rockabilly croon to its enticing. As with its predecessor there is no escape from its lure for feet and indeed voice, full involvement easily achieved though not quite as quickly as with Fresh Flesh From The Graveyard. A tangy hook opens up the decayed attraction, vocal cries and roving beats not taking long to leap into the affair either as a more psychobilly defined heart reveals itself within the song. To it though, spices across decades of rock ‘n’ roll again bring their hues to the death dance as the track incites its victims into bounding across the floor with limbs a blur as throats join the anthemic call.

Already a potent variety is blossoming across A Psycho’s Tales and continues in the rigorous seducing of Dreamgirl, a seductive energetic prowl of the senses and psyche. Its dark lure comes as a collection of punchy rhythms, addictive basslines, and acidic strands of sonic toxicity, all wrapped in a siren-esque melodic serenade. Its craft is so masterful that it simultaneously has the body not knowing whether to sway with its romance or rampage with its predation, in the end both is the best answer as the song ignites the passions ready for the addictive shuffle of Hangover and the heated swing of BBQ On Lost Island, again mouth-watering songs weaving a host of delicious, at times bluesy, hooks and melodies into a tenacious union of spiky beats and feverish rapacious grooves. As all tracks upon the album, both have their own confident and infectious swagger which almost alone has ears and emotions locked in and grinning broadly.

Jealousy is a frenetic motion of dark string plucking aligned to agitated rim and skin jabbing, again the rhythms a insatiable provocation to body and soul whilst the mix of tart and melodic escapades cast by the guitar alongside the magnetic vocals of Mo, flirt with ears and imagination. It is a furiously virulent uproar of sound and persuasion matched in energy and catchiness if not identity by I Want Her. Whereas the previous song seems to have the intent of wanting to brawl in its belly, its successor explores a mellower but humid landscape of melodic surf and rockabilly caressing. It is very different in sound to Jealousy but a mirror of addictiveness as the album brings itself to a raw and rousing close through a live cut of Set Me Free. Dirty and uncompromising, the song tells you all you need to know as to why The DiggerZ should be checked out in the flesh.

A Psycho’s Tales is a treat, a must for psycho/rockabilly fans providing something recognisable but very different from the crowd. The DiggerZ is the name and the sinister devouring of your passions the game.

A Psycho’s Tales is out now via Crazy Love Records @ http://www.crazyloverecords.de/diggerz-a-psycho-s-tale-cd.html

https://www.facebook.com/diggerzpsycho

RingMaster 21/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

The Obnoxious UK – Horror Movie Matinee

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With a title like Horror Movie Matinee, you cannot help expecting a viscerally imposing and furiously bloody proposition unafraid to go where angels fear to tread, and it is fair to say that the new album from UK punkers The Obnoxious UK does not disappoint. Bulging to the point of bursting with fifteen tracks which resourcefully draw on horror punk and psychobilly flavours as well as a thick dose of punk rock from over its most potent ages, band and release makes for one compelling and thoroughly enjoyable punk ‘n’ roll roar.

The Midlands based band began in 2001, and whilst going through a few line-up changes over the years has persistently grown and lured in devoted local attention and support which over recent times has solidly spread, Horror Movie Matinee poised to be the band’s biggest and most potent instigator yet. The release of the video for album track God For A Day really whetted the appetite for the forthcoming full-length, though it turns out it is only one particular spice in the hellacious riot.

Anthemic rhythmic bait is food and drink to these ears and that is exactly how album opener Drinking With The Dead makes its first wave of persuasion. The drums of Fez roll in and along with attitude and catchy tempting, swiftly joined by the raw and similarly magnetic riffs of guitarists Bri and Kimbo. The latter is close behind with his vocals too, potently adding to the infectious incitement of the horror punk escapade. It is not a song with a startling statement of originality yet with its punk tenacity and carnivorous shadows, easily provides a soundtrack for any salacious moonlit and cemetery based jiggery-pokery.

The tremendous start is backed by Walking Dead, another horror punk spawned proposal equipped with spicy hooks and melodic fire, though the blood lust seems restrained, as indeed the song, in presence and effect in comparison to the first and the outstanding Drag Me To Hell which follows. Psychobilly is given a poke this time but equally the track has an old school rock ‘n’ roll blaze to its addictive stomp. The string pulls of bassist Jacko resonate across the song whilst the duller but no less gripping beats only help infuse a great vintage tone to the song. With fiery enterprise from the guitars employed too, the track sets down a lofty plateau for the album which is matched and worried time and time again.

     Loaded Roadkill is one straight away unleashing a potent challenge. Fusing a hard rock and rockabilly tenacity into its punk attitude, the song bounces over and pounds the senses with accomplished vindictiveness and anthemic charm. Already across a quartet of tracks there is a distinct variety on show which continues in the mischievous Elvis Is Dead. Opening with what just could be the final croon of the man before he died, we wish, the track erupts into one of those irresistible old school punk sing-a-longs. It is barely over a minute of unbridled shouting and stomping from band and listener alike, loosening things up ready for the more intensive might of Burn and straight after Cadaver Doll. The first of the two snarls and growls in sound and vocals, Misfits like toning coating the caustic punk heart of the contagious track whilst the second takes the influence of the US protagonists even deeper into its primal instincts and expels an extremely tasty and feisty prowl of horror punk with a dash of Calabrese. It is another of the biggest peaks in the landscape of the already highly thrilling release.

The same kind of recipe igniting the last two songs is a flavoursome essence in God For A Day, though the song has a more volatile punk intensity which reminds a touch of Crashed Out. Veined by a great sonic groove and adventure, the track hits the personal sweet spot before making way for the excellent Time For Change. Think Angelic Upstarts meets 4 Past Midnight yet singular to The Obnoxious UK, and you get a thick idea of the excellent encounter, which in turn has to depart to allow the hard rock sculpted When Angels Fly Away to blaze away. Initially the song is a classic rock like croon but once its switch is flicked, it bursts into sonic flame fuelled by a punk abrasion and heavy rock temperament. It is another strong offering but lacks the same kind of spark as other songs and especially that within 3 Dead Souls which preys on ears right after. Another irresistible parade of dark rhythmic tempting opens up the encounter, soon followed by a melodic and sonic venture just as shadowed and gripping. As the song pulls back slightly on its predation for the vocals, a raw Tiger Army breath adds to the intrigue and invention, entangling with the rest of the track’s rock ‘n’ roll for a hefty slab of virulence.

Through the psychobilly/horror punk washed Ginger Is A Werewolf and the hostile punk ‘n’ roll of Iceman, the album tightens its grip further on ears and emotions. Both are inescapable offerings which ruggedly seduce and intimidate respectively before Amelia brings a little caustic ‘necro’ romance to the mix.

The bonus track of The Cottage Strangler brings the CD to a close, and it is indeed a bonus as the band slips into a ska punk and dub warped treat of a finale. Like the Vox Dolomites meets Ruts and probably more so Ruts DC, the song is pure pleasure.

Horror Movie Matinee is not really troubling boundaries and forging new inventive templates for punk and rock ‘n’ roll but The Obnoxious UK has definitely unleashed a romp which has body and imagination eager, and pleasure oozing from every receptive pore. That alone is one big reason for all punksters to check out band and album.

Horror Movie Matinee is released on Friday March 13th on STP Records and can be pre-ordered now @ http://www.stprecords.co.uk/page4.htm

The same day sees the album’s launch party the Cottage of Content in Chasetown where The Obnoxious UK will be joined by Dirt Box Disco.

https://www.facebook.com/pages/The-Obnoxious-UK

RingMaster 04/03/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/