Grumpynators – City Of Sin

People talk of “the difficult second album”, especially after a debut which leaves a trail of lustful fans and critical acclaim in its wake, something the first from Danish band Grumpynators certainly did. If it has been a tough period for the Copenhagen quartet it does not show within City Of Sin, their second album a seriously rousing and accomplished slab of muscular rock ‘n’ roll, or as the band calls it motorbilly. As impressive as Wonderland was, its successor outshines it in every way, from songwriting to sound, energy to contagion; it is a mouth-watering and exhilarating incitement leaving a deep and greedy hunger for more.

Formed in 2011, Grumpynators’ ever escalating reputation and rock ‘n’ roll prowess has been unmissable from day one, the band tearing up venues at a rate of knots while their first two EPs were no slouches in waking up ears beyond their already eagerly receptive homeland. It was Wonderland which truly caught broad attention though, something City Of Sin can and will only open the floodgates for. Grumpynators’ sound sits somewhere between metal and hard rock, psycho/rockabilly and punk; distinctive from day one it has only honed a uniqueness which fuels the beauty and triumph of City Of Sin today. Quite simply rock ‘n’ roll is the best way to describe it; the most arousing, devilishly aggressive, and irresistible kind making their new album essential stomping.

Produced by the renowned Jacob Hansen and featuring Volbeat guitarist Rob Caggiano, City Of Sin has ears and admittedly an already eager appetite because of past successes reeling from its first breath as opener Tears Of Whiskey bursts upon the senses. Straight away the driving beats of Per Fisker whip up hungry energy, the slapping incitement of Jakob Oelund’s double bass just as insatiable and matched by riffs and inflamed grooves. Feet and spirit are a quick submission to the bait; Grumpynators continuing to grip both with their Motorhead meets Volbeat scented charge led by the inciting vocal growl of Emil Oelund.

It is an outstanding start still managing to be eclipsed by the following pair of roars. First up is Hotel 2nd Age which needs barely seconds to hook allegiance with its initial melodic line. Christian Noergaard is a master at spinning the most addictive hook lined lures and webs, they often seemingly simple but always honed to instinctive temptation as here. As the initial tendril continues to wind around ears, a just as potent rally from Per joins in, riffs gathering behind before initiating one boisterous canter. If that was not enough to tempt the devil, Jakob uncages a deliciously throbbing bassline, raw seduction which is unrelenting from hereon in to add to the virulent and bold tango. With each hook seeming to intensify in taunting the passions as exotic hues tease from within Christian’s enterprise as Emil’s vocals and riffs further stir things up, the track is just glorious and quickly matched by its successor.

New praise gathering single Take The Last Dance With Me launches at ears with a zeal and energy again impossible not to be caught up in, riffs and rhythms colluding in tenacity as they lead to a chorus which simply demands participation. A song to ensure blossoming romances within any mosh pit it stomps and pumps its sinews like The Pirates meeting Misfits in many ways, but as all stands as something uniquely Grumpynators while preying on the weakness for heart bred rock ‘n’ roll.

Things relax a touch as the swinging throes of Then We Cried takes over, sharing its regrets and wishes borne from lost love. Jakob alone has the body bouncing, the heart yearning with the melancholic melody as Emil’s words which court self-reflection. As inherently and persuasively catchy as anything on the release; it’s tempting is full and multi-faceted ensuring thick involvement of the listener though that last lure applies to all songs as proven straight after again by Pretty Little Devil. Musically as tempting and darkly seductive as the temptress at its heart, the song croons and roars with that bass again instant slavery from within nothing but addictive temptation.

Through the heavy metal toned Far Away with its exhausting sonic gasoline and the rockabilly swinging Now I Know, the album shows even more of the diversity and adventure flowing through the Grumpynators release and imagination. The irresistible sing-a-long potency of the latter is just as persuasive in the psychobilly hued Fame, a spellbinding proposal with something of The Peacocks and Danzig about it, and indeed within St. Elvis Day after that; a song which you would expect is pure rock ‘n’ roll, a multi-flavoured romping stomping celebration.

The album’s title track sets another vertigo inducing peak in the lofty landscape of City Of Sin, the track managing to be the dirtiest most insatiably infectious slice of rock possible, almost poppy in its vocal chords stoking chorus. With rhythms relentlessly probing and sparking movement as Emil roars, the track is a bone shaking, spirit infesting uproar.

The album concludes with firstly the punk ‘n’ roll stand of We Are The Outcasts, anthemic defiance to hook and unite personal grievances with, and lastly the horror punk lit, blood strewn warning of Werewolf; together a thrilling end to an exceptional creative howl.

After Wonderland we will admit we wondered if Grumpynators could better it. Little did we know; better it? They have smashed it.

City Of Sin is released March 24th through Mighty Music.

Upcoming Live shows

24/3 Drafthouse, Hamburg (DE)

25/3 High Voltage, Copenhagen (DK).

7/4 Tante Olga, Randers (DK)

8/4 Paletten, Viborg (DK)

22/4 Sønderborghus, Sønderborg (DK)

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

Pete RingMaster 17/03/2017

Copyright RingMaster: MyFreeCopyright

Wanton – Harmageddon Get-Together

After their recent introduction as the newest member of the Undead Artists family though the label’s compilation album Monster Mash-Up, we had real eagerness to check out the new album from Finnish psychobilly outfit Wanton. Their track was a potent teaser to their forthcoming second album, but only hinting at the bloody fun and raw adventure which was discovered within Harmageddon Get-Together.

Hailing from Rauma on the Finnish west coast, Wanton infuse a healthy dose of punk and instinctive rock ‘n’ roll in their psychobilly bred sound, a mix giving it a strain of individuality which sparks the imagination. and creates the visceral captivation cast by the Häiriö Piirinen recorded and Toni Randell mixed and mastered Harmageddon Get-Together. Wrapped in the artwork of Saara Jansson, the album casts its horror bound Intro before hitting the ground running with Fun ‘n’ Gore. With swinging beats from Eetu Ritakorpi aligned to the plucked throbbing of Santeri Toivonen’s double bass, the track is swiftly into its darkly aired stroll with swagger as compelling as the suggestive melodies and scything riffs from the guitar of Oskari Nieminen.  There is no escaping the predacious tone of the song, its gait never forceful but more a stalking of ears as the grisly growl of vocalist Santeri Kero prowls. Even so, its catchy swing is openly lively and persuasive, leading ears to a truly seductive chorus and more flirtatious enterprise. Like a mix of Demented Are go and Zombie Ghost Train, it is an irresistible full start to the album quickly matched by its successor.

Censor This! is just as tenacious and catchy, Toivonen driving the temptation with his resonating strings as a rockabilly seeded guitar jangle courts the vocal growling of Kero. It is an easy going and simple to get involved in roar leaving a lingering snarl even as the excellent theatre and rapacious intent of Bump In The Night brings its ghostly haunts to bear on ears and imagination quickly after. Shadows line its corners, infection its vaunt as body and spirit bounces to its eager twists and turns. Nieminen’s guitar again spins a web of intrigue and melodic adventure, keys just as keen to toy with the senses as they spook the atmosphere.

DAG again comes to mind as 21st Century Haunting stomps through ears next, riffs and grooves compelling incitement within a web of imagination before Town Of Nihilo serenades with its suggestive caresses. Of course that initial smoulder is soon a feisty blaze as riffs and rhythms escape their restraints. Throughout the song they are caught and escape again and again as the western air of the song coats the senses with its sultry embrace.

There is a touch of cowpunk to next up Cyanide & Arsenic too, the song featuring a duet between Kero and an unknown but seductive female companion. It is like a bend of The Hillbilly Moon Explosion and The Only Ones when vocalist Peter Perrett dueted with Penetration front woman Pauline Murray and quite captivating, charming ears ready for the rhythmically skittish and hungrily infectious Meteors scented Scare Tactics And Human Frights. As in all tracks, Wanton soon sculpt their own creative character, an identity subsequently turning the outstanding Hyde into an insatiably addictive proposal with Ritakorpi ‘s anthemically stabbing beats and Toivonen’s pulsing riff the virulent heart to the enticing tangle of varied guitar and vocal devilry.

From one big highlight to another as Dystopia romps and rumbles with riotous intent and contagious endeavour straight after. It carries all the ingredients and zeal to ignite instincts and revitalise the spirit; psychobilly to leave the body and soul uninhibited. It is a prowess just as impressively found within the raw mouth-watering quick step of Second Coming and the passions nagging rockabilly bred Front Row Ticket. Imagine The Comets under the leadership of P Paul Fenech and you get a sense of the joy found in the latter alone.

Drama and attitude fuel the escapades of Vendetta next, where melodies and grooves are just as dangerous as the rhythmic and vocal trespass enslaving the appetite, while Infected is a corpse strewn infestation of senses clipping beats, brooding basslines, and sonic clang, all dripping decay and raw temptation as putrefied raw vocals scowl. Both are a trespass to devour and on their own a reason to declare Harmageddon Get-Together is a must.

The album’s fine conclusion is provided by the cleaner cut presence of The End; a warm and seriously enticing slice of boisterous balladry which may be missing some of the sparks of those before it but only leaves behind a lingering greed for more.

Psychobilly is blessed with some truly exciting potential loaded bands at this moment in time but, such the mighty assault of Harmageddon Get-Together, it is easy to suggest that Wanton have stolen a march on them all.

Harmageddon Get-Together is released April 1st through Undead Artists with pre-ordering available now @ https://wantonpsycho.bandcamp.com/music

https://www.facebook.com/wantonpsycho/

Pete RingMaster 17/03/2017

Copyright RingMaster: MyFreeCopyright

The Hangmen – Necronomicon

photo by Phil Whiteley_Intial P Photography

It might not always have been openly declared but there is no escaping that British cult rockers, The Hangmen have been an inspiring force on the underground psychobilly scene since the early nineties and the first of seven greedily devoured and increasingly lauded albums. They defy, nay violate accepted musical conventions and expectations in attitude, deed, and sound whilst creating a blend of psychobilly and garage punk which only inspires in its uniqueness and irreverence; the evidence in the sounds escaping the imagination of bands like Dick Venom and The Terrortones and Dedwardians whether from direct or third hand inspiration. Now the trio return with a new three track infestation of body and psyche, an irresistible trespass sure to have even more willingly swinging from their creative gallows.

This new studio material has been a long awaited incitement, anticipation hanging on since the release of seventh album Cacklefest! in 2007, though there was also the rarities collection of Exhumed & Groomed to drool over three years ago. It has been fresh dark Hangmen swing fans have yearned for though and Necronomicon more than delivers. It is the most predatory and creatively deranged adventure yet with the threesome of vocalist/guitarist Loz Firewalker, bassist/vocalist Leapin’ Lizard Phillips, and drummer Dyin’ Ryan and with all its songs taken from upcoming full-length Hells Vagina, The EP is a salacious teaser of hell bent rock ‘n’ roll at its most deviously compelling.

The EP’s title track is first up, its homage to cult movie gem Evil Dead pure invasive theatre. From its initial piano cursed fingering of the imagination, the track twists into a predacious stroll with infection seeping from every pore. Swinging beats and a heavy rapacious bassline courts the senses whilst a seductively nagging hook teases, Firewalker barging in with his vocal roar as raucously backed by the vociferous tones of Phillips. Dragging the listener into its transfixing hellbound realm prone to caustic expulsions, harrying them with a gloriously plodding prowl, the track reveals itself as raw virulence cast in something approaching The Cramps meeting Th’ legendary Shack Shakers as The Orson Family add their incestuous lures ultimately emerging as a depraved invasion all of the band’s making.

The punk stomp of Collarbomb keeps the pleasure as lustfully inflamed, its own naturally mischievous and virulent swagger rapturous bait alone only matched up by the spicy grooves and fifties seeded boldness fuelling its persistently dynamic and insatiable two minute epidemic.

It is fair to say these ears and appetite were fevered by the end of the pair and only ignited again by closer The Great Brain Robbery, the song managing to find an even rawer toxic majesty to its clamour. Driven by a forceful strut with bedlam in its arsenal, the track as its predecessors swiftly gets under the skin incessantly ravishing the senses with its instinctive and inventive babel.

Necronomicon is the kind of treat for which any length of wait can be accepted while providing a taster of a release which will be even more desperately anticipated from this point on.

The Necronomicon EP is out now through Moon Skull Records on 10″ vinyl and download @ https://hangmen666.bandcamp.com/album/necronomicon-ep

Video directed/edited by Ryan Pilot

https://www.facebook.com/thehangmen    https://twitter.com/Hangmen666

Pete RingMaster 17/03/2017

Copyright RingMaster: MyFreeCopyright

Undead Artists presents Monster Mash-Up

Always one to push his music family and label’s adventure, founder and owner of Undead Artists, Johnny Rose (Thirteen Shots) set the task for his bands to record a cover of a track from the other label companion he paired them up with. It was not just to be a simple version though but a task with the remit to make the song their own helped by Rose’s sly move of matching up different genre bred bands and their contrasting textures and sounds. What emerged is the ten track treat of Monster Mash-Up; eight songs not to be found anywhere else as well as a pair of additional slices of very appetising goodness.

The compilation gets off to a flyer with The Bloodstrings and the track Dead In Berlin. Grabbing the song from horror punks Cavaverman with relish, the German quartet swiftly grip attention as the throaty upright bass twangs of Nick waggle a beckoning finger. As the swinging melodies and rhythms of Manuel and Fest respectively, only add to the growing lure soon led by the captivating tones of vocalist Celina, the band fully infuses the track with their punkabilly touch and contagion. In no time hips are swaying and feet a skittish blur in union with the excellent start to the album and just as enthused by next up Motel Transylvania, and indeed the rest romping across the already appetite pleasing release.

The 2015 formed Italian horrorbilly outfit get their claws into Stolen By The Night from Silpha and The Corpseboners next, gnarly riffs and firmly kissing beats from stand-up drummer/vocalist T.Ghoul prowling the senses before sparking a ferocious roar led by the sonic fire of The Wolfman and the grumbling bass of Fish”The scarecrow”. Within that raw dirty confrontation, warm suggestive melodies radiate and deceptive calm seduces until the blaze is ignited again. As those around them, the band live up to instructions and make the outstanding fan favourite song of its creators into something distinct to themselves, the texture of male instead of female vocals alone giving it a new carnivorous air.

It is truly fair to say it is a success all the swaps achieve, the bloody punk ‘n’ roll prowess of Dr. Hell taking Don’t Say The Z Word from Lupen Tooth’s debut EP and infesting it with punk vivacity and aggression as well as a delicious almost ska inspired devilment half way in. A repetitious chorus backed by group vocals demands involvement to top one virulent stomp to keenly embrace before we get an alternative version of a song recently part of a release already exciting the year. From Hamme in Belgian, horrorpunks Deadite recently released their album The Damned, a compelling slab of ravenous rock n’ roll within which its haunting Tiger Army-esque title track provided one of many major highlights. The trio offer an alternative take for this album, a just as captivating and in many ways even more seductive temptation with its cleaner cut yet thicker smoulder, a twist giving it a more Dommin like air.

Bremen hailing Jamey Rottencorpse and The Rising Dead are next to step forward, laying their hands on I Sold My Soul Tonight by Raizing Hell, a band sadly no longer with us who split up before they could return the favour. The enjoyably scuzzy horrorpunk of Jamey and co easily infuses into the original’s more punk based rock ‘n’ roll, giving it a dirtier toxicity without losing the boisterous virulence which just hits the spot like a doppelganger to its counterpart.

The UK’s Lupen Tooth ignites the senses yet again straight after, the Bristol band grabbing the visceral punk of Hamburg’s Dr. Hell found in the track Carl The Metrosexual Werewolf to give it two minutes plus of their horror punk revelry, resulting in an insatiable slab of infection loaded rock ‘n’ roll. In the often rare climate of every track within a compilation being as equal in quality and invention as any other, bigger favourites did still arise with personal instincts, this one of them but persistently challenged with every listen by all with Silpha & The Corpseboners proving the fact with Go Psycho. The Stein/Nürnberg based three piece led by the temptress tones and presence of Silpha Obscura bring their bloodlusting horrorpunk trespass to the Motel Transylvania track. As ever, theirs is a sound with a glorious schizophrenic nature; sax and keys sultrily toying with jazzy intent as the band deconstruct and rebuild the track in their own devilish design to bewitch ears and imagination.

From one treat to another as we get a glimpse at label newcomers, Wanton next. Undead Artists is poised to release the Finnish band’s new album Harmageddon Get-Together in the near future. Censor This! is taken from that encounter, a psychobilly roar quickly taking body and spirit on a ruggedly tenacious and contagious romp. With a flavoursome spurt of punk in their caustically catchy sound and a vein of melodic temptation, the Rauma hailing band makes a thrilling introduction to label fans, one sure to incite plenty of anticipation for their second album.

The Bloodstrings get their song In Love With A Monster devoured and ignited again in their own way by Italian horror punks Cavaverman right after, the band blending English and their homeland tongue in a fiery and energetically rousing version luring air lashing limbs and aroused vocal chords as easily as the original.

The album is completed by Somewhere Under The Graveyard, the Jamey Rottencorpse and The Rising Dead anthem seized by a host of musicians from the Undead Artists Family and given their own seriously rousing punk and rock ‘n’ roll zeal. It is a riotous and fiercely enjoyable end to a release which not only has you bounding feverishly around the room but hungry to check out its occupants even closer.

Last year was a big and successful year for Undead Artists with Monster Mash-Up suggesting we and they have seen nothing yet.

Undead Artists Records Monster Mash-Up is released March 24th with pre-ordering, also for Limited Edition CDs and T-Shirts/CD packs, available now @ https://undeadartists.bandcamp.com/album/monster-mash-up-2

http://undeadartistsbooki.wixsite.com/undeadartists   https://twitter.com/ArtistsUndead   https://undeadartists.bandcamp.com/

Pete RingMaster 07/03/2017

Copyright RingMaster: MyFreeCopyright

Deadite – The Damned

cover_RingMasterReview

After a fine year for the label, Hamburg based Undead Artists have got its successor off in fine style with the release of The Damned by Belgian horror punks Deadite. The album is a multi-flavoured roar blending strains of psychobilly, rock ‘n’ roll, and other ravenous textures into horror fuelled punk rock. It makes for a tantalising and captivating proposal becoming more compelling with every listen.

Hailing from Hamme, the quartet of Scarecrow, Wolfben, EvilOnly, and Von Nekromance have persistently stirred attention and eager support at home and further afield but for a great many The Damned will be an introduction; one sure to keep their ‘secrecy’ no longer.

From the cinematic Intro, the release roars into view with The Shadows and a surge of classic rock ‘n’ roll chords. It is the lead into a stomping charge of senses whipping rhythms and toxic grooves as vocals melodically growl. Psychobilly and horror punk collude as the track throws its lustful energy and sounds around, making for a potent start to the album though soon eclipsed by the outstanding Age Of Violence. With belligerence oozing from every note and vocal breath, the track’s nagging riffs and attitude loaded bassline alone seizes the passions, raw vocal antagonism and rhythmic trespasses reinforcing its punk rock lure as spicy grooves ignite.

The album’s title track steps forward next, its brooding climate and Tiger Army like air quickly seducing ears and imagination. Vocals too have a calmer presence and resonance which just adds to the haunting charm and atmosphere of the encounter resulting in the release stepping up another notch in impressiveness again.

Cored by a tangy hook, Collector grabs the appetite straight away next, its Rezurex/Plan 9 like stroll simultaneously menacing and infectious and the swinging relentless beats a greed inducing pressure while the following Show Me Some Love has a touch of Batmobile meets Misfits to it. The song is an equally predacious and virulent persuasion to the former with rhythms once more an irresistible infestation of body and instincts.

Pussywhipped shares its fifties breeding with relish after them; country seeds open within the excellent old school stomp before Empty Heart romances the senses with its sultry melodies and vocal croon. Rhythms and riffs insert the tenacious energy which instinctively flows from the band with Calabrese spiced enterprise playing around their eagerness throughout. The pair alone shows the variety in the Deadite sound, a diversity not always making big steps but certainly providing a broad and flavoursome adventure to get hooked on.

That bait continues through the feistier muscular throes of Damnation and the predatory prowl of The Taker, another track sparking references to the likes of Calabrese and Tiger Army within its own bold character. The Mark Of Cain after them though is proud to wear its inspirations boldly, the song a mix of Misfits and Samhain and also easy to breed greed for.

Roadkill is a grouchy assault of punk and hard rock whipping up rich satisfaction next, its success matched by the similarly punk driven Same Shit Different Day offering a minute and half of intrusively catchy rock ‘n’ roll before Cursed brings the whole pleasurable time to a close with its smouldering psychobilly serenade.

It is a great end to an impressive and richly enjoyable release; not quite a classic but not far off from a band with the potential for such a genre igniting proposal in their growing imagination.

The Damned is out now through Undead Artists @ https://undeadartists.bandcamp.com/album/the-damned

https://www.facebook.com/pg/deadite138   http://www.deadite.be/

Pete RingMaster 02/03/2017

Copyright RingMaster: MyFreeCopyright

Bad Luck Gamblers – Casino Maldito

bad_luck_gamblers_RingMasterReview

We are not sure how big the Brazilian psychobilly scene is but if Bad Luck Gamblers are anything to go by, it is a bold and raucously creative pasture. The trio from Sao Paulo make a riotously enjoyable taster for it with their new album, Casino Maldito, a stomping proposal sure to be a constant involvement in our playlists hereon in and inciting a greedy appetite to know and hear more of the scene it is bred from.

Formed in 2004, Bad Luck Gamblers infuse their psychobilly exploits with just as potent strains of rockabilly, country, and punk rock; it all entangling into virulent slices of rock ‘n’ roll in thrilling evidence on their second album. Its predecessor Don’t Bet on Us appeared in 2008; a well-received debut chosen by their homeland’s music magazine Rockpress as one of the top 25 Brazilian underground albums of that year. Equally live the band has increasingly impressed and whipped up a fevered fan base, sharing stages with the likes of Slim Jim Phantom, Frantic Flintstones, Mad Sin, AstroZombies, and Gorilla among a great many. 2010 saw Bad Luck Gamblers make their first European tour with shows in France, Holland, Germany, and Belgium playing the Sjock festival as part of their successful venture. Casino Maldito will ensure the band is keenly welcomed back over this side of the globe and that a great many more eager ears are aware of the threesome of vocalist/guitarist Joe Marshall, who we thank for bringing his band to our attention, slap bassist/backing vocalist Maniac Biffs and drummer Renan Pigmew.

The album’s title track kicks things off, Casino Maldito an addictive liquor of spicy grooves and flirtatious rhythms prone to fiery outbursts of tempestuous mischief. Vocally and with his invasive hooks, Marshall snares ears, the rhythmic dance of his companions equally as compelling as twists and turns come with salacious enterprise. Biff’s slaps are like a puppeteer for feet, Pigmew’s tenacious beats boisterous bait whilst combined the trio seize body and spirit with their devilish stomping.

artwork_casino_RingMasterReviewFrom the contagious mayhem of the opener, the album intensifies its temptation through Like a Bat. It uncages an even more intensive nagging of body and senses, its rousing persuasion and infernal swing cored by a delicious hook swiftly infesting the imagination and passions with vampiric hunger before 8% uncages its own attitude loaded roar. Like a mix of Demented Are Go and Zombie Ghost Train, the song has the body leaping eagerly in union with its own physical prowess. A cowpunk spicing just adds to the fiercely agreeable romp, the album getting better and bolder with every passing minute.

The darker threat of Terror Train is next; its carnally visceral character equipped with toxic grooves and predatory rhythms as well as a mix of melodically nurtured ingredients carrying a Batmobile lining to their seduction. The track is a snarling beast welcomingly preying on the imagination and setting it up for the tangy gasoline fuelled Rusty T-Bucket. The band discover yet another hook to drool over, bass slaps and swinging beats courting it’s tempting as Marshall vocally romps in the midst of it all.

Thylacinus Attack provides the instrumental suggestiveness all good psychobilly releases conjure, the guitar painting a picture as rhythms bounce before the country infused Somebody Stole my Pet Possum mischievously dances in ears with a grin on its creative face and straight after Drinking with the Devil strikes it’s sinister deal with the dark one in a melodic waltz of bedlam bred rhythms and an evolving landscape of fevered melody driven revelry and sultry seduction.

The variety in the Bad Luck Gamblers sound ensures the album is a bag of pleasing diversity continued in the wiry web of enterprise that is Shoulder Mount, a punk bred encounter with imposing rockabilly seeded riffs and raw surf hued melodies. As with all tracks, there is no escaping the freely given involvement of feet and hips with the track, a submission just as eagerly shred with closing track No Chips No Chicks, another cowpunk lined romp to get breathless over. The fact that its richly enjoyable presence is the weakest moment of Casino Maldito shows the quality and might of the album, the song bringing the release to a fine, greed sparking conclusion.

Casino Maldito is a must for all psychobilly/rock ‘n’ roll fans and Bad Luck Gamblers a band deserving the luck to bring them to global attention within the genre. Meanwhile we are off to explore what other treats lay within the Brazilian scene, come join us.

Casino Maldito is available now via Hot Jail Records @ https://badluckgamblers.bandcamp.com/releases

https://www.facebook.com/badluckgamblers/

Pete RingMaster 28/02/2017

Copyright RingMaster: MyFreeCopyright

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

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Pete RingMaster 14/12/2016

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