The Dahmers – Down In The Basement

For any sporting or physically demanding endeavour it is advisable to go into some sort of training. With music it is not a requirement that is until you come up against the new album from Swedish rock ‘n’ horror fiends, The Dahmers. The band has just released Down In The Basement, a beast of a record bursting with eighteen tracks of rock ‘n’ roll fever as ferociously energetic as it is virally infectious. From its first heartbeat to its last the bands third full-length is an insatiable incitement keeping the body rigorously and eagerly bouncing.  It is relentless, exhausting, and pure pleasure from start to finish.

Bromölla hailing, the Dahmers has been no strangers to keen attention having released a pair of ear enticing albums in Demons (2015) and In the Dead of Night (2017). Each has shown and evolved a sound which is bred on a patchwork of numerous flavours ranging from garage and classic punk to vintage rock ’n’ roll, sixties pop and garage rock. Each of those releases certainly pleased ears but have now been imply blown out of the crypt by the simply irresistible and irrepressible Down In The Basement.

With a mass of tracks the size Down In The Basement offers you would expect a few fillers here and there but they are conspicuous by their absence; from the opening surge of Blood On My Hands the album a full-on meal of prime cuts. The first track bursts into life on a tide of voice and guitar bred persuasion, straight away twisting and turning like a dervish whilst unleashing a wave of catchy mischief. The vocals of Christoffer Karlsson lead the way in manipulation but more than matched by his and fellow guitarist Josef Underdal’s devious hooks and the rhythmic salaciousness of bassist Tobias Augustsson and drummer Karl-Oskar Hansson. Something akin to The Hives meets Asylums the track simply stomped into ears and the passions setting the album off on a mighty course.

The following Murder Ride is just as reckless and tenacious in its own punk infused charge, sending insistent grooves and rapacious hooks through ears with a fifties rock ‘n’ roll meets seventies punk irreverence before Street Of the Dead brings its garage rock/indie pop boisterous to the already devilish party. More reserved than its predecessors but just as equipped with ripe catchiness, the song had the body fully employed in no time.

Across the classic hard rock tinted antics of Down On My Knees and the corrupted boogie woogie nurtured devilment of The Ripper new flavours and rascality sweeps across Down In The Basement, The Dahmers already revealing their most diverse web of sound which Hit ‘N’ Run exploits for its contagion loaded adrenaline fuelled punk ‘n’ roll romp. All three tracks infested body and spirit with ease, the latter mercilessly before Howling merged the rock ‘n’ roll decades with its nefarious holler for a matching success.

As suggested the album is a perpetual rush of treats which simply continue with the revengeful punk ‘n’ roll of I Spit On Your Grave and the fiendish infestation of Demon Night. Both had the body twisting like a possessed soul, their pop seeded rascality pure manipulation and inescapable corruption in the outstanding second of the pair.

Classic rock gets a nudge within next up Creepiest Creep, another track with hooks and grooves which worm under the skin like invaders into a six foot buried offering while Reoccurring Dreams is just a punk rock scourge of temptation draped with surf molestation. Both make a play for best track honours though already the list is a fair size and only about to grow as Without a Face declares its option through a sixties pop ‘n’ rock spiced saunter abound with rousing vocals and rhythms heated with fiery melodic flames.

The cinematic breath of Kiss of Dario has the imagination as busy as ever, Man Obsessed straight after sparking grinning lips as it flirts with Blondie for its prime hook as it teases an already lustful appetite for the album. Even so both are outshone by the voracious rock ‘n’ roll rascality of No One and a quite glorious cover of the Devo masterpiece, Social Fools. Both tracks show The Dahmers at their most irresistible, the first a prize roar of their untamed imagination and boldness, its successor of their inimitable punk ‘n’ roll enterprise which did not improve on an existing gem but certainly re-energised its might.

The final pair of November with its deceptively calm sixties hued, pop coated calm and dark instrumental The End brings the album to a magnetic close. The last track is another moment of cinematic intimation, an industrial creased piece which replaced a bouncing body with an imagination conjuring suggestiveness to keenly intrigue.

Down In The Basement is a momentous offering from a band due bigger and broader attention; it is not just us saying that but a collection of tracks which demand your soul.

Down In The Basement is out now via Lövely Records across most online stores.

Upcoming Live Dates:

02/11 – Skövde In Rock Fest   Skövde, SWE

03/11 – Halloween Meltdown   Eskilstuna, SWE

04/11 – Kulsturkvarteret   Kristianstad, SWE

15/11 – Cinema   Aalst, BEL*

16/11 – Dusseldorf   Ratinger Hof, GER*

17/11 – Eindhoven   Helldorado, NL*

* Supporting The Dwarves

https://www.facebook.com/Dahmers/

Pete RingMaster 26/10/2018

Copyright RingMaster: MyFreeCopyright

Verni – Barricade

There is nothing better than a song which has you swinging from the rafters hollering and roaring. When you get ten in one ridiculously rousing collection it borders on bliss and that is exactly what the debut album from Verni uncages. The first offering from the solo project of Overkill founder and bass player DD Verni, Barricade is one unbridled raucous anthem sprung from individual hurricanes of rock ‘n’ roll incitement and easily one of the most pleasurable offerings of the year.

An ever prolific songwriter, Verni as a project arose from a growing collection of songs which did not fit either Overkill or DD’s side outfit The Bronx Casket Co. To add extra spicing to the mix, he proceeded to approach a host of musicians to guest on them resulting in the album featuring a plethora of guitarists including Jeff Loomis (Arch Enemy), Angus Clark (Trans Siberian Orchestra), Jeff Waters (Annihilator), Bruce Franklin (Trouble), Mike Romeo (Symphony X), Mike Orlando (Adrenaline Mob), Steve Leonard (Almost Queen) and Andre “Virus” Karkos (Dope) as well as former Overkill drummer Ron Lipnicki. Putting all those lures aside, Barricade is a cauldron of temptation in its own right whether it swings with rock tenacity, trespasses with metal nurtured ferocity or snarls with punk driven belligerence.

Immediately opener Fire Up opens its sonic jaws, attention was not just lured but gripped as grooves drive a rapacious onslaught of rock ‘n’ roll.  A tease of Verni’s thrash instincts unite with hard rock vivacity, riffs and rhythms colluding to create their own thick lure alongside the creative web of the guitars. DD’s vocals are a matching draw, it all stirring up quick involvement from body, voice, and neck muscles. No breath is spared as the song charges through ears spilling lust poking hooks and grooves as gang shouts holler and individual flare across the track ignites.

The following Miracle Drug is equally as virulent in its catchiness and energetic hard rock cast dynamics if taking things down a gear gait wise. But a single gear it is as the track still flies from the speakers with zeal and enterprise before Off My Leash has the body bouncing with its contagiously predacious animation. Punk and grunge infest its metal lined rock bred swagger, another collusion of flavours which seeds something truly fresh and viral. Unexpected twists only add to its relentless and unbridled tempting.

Like a wound up dervish, (We are) The Broken Ones strikes next with guitars scything across earthy rhythms as vocals inspire eager participation while Lost In The Underground embroils classic rock exploits in punk ‘n’ roll contagion to romp and stomp with the listener. Both tracks not only hit the spot but shatter it to incite a lustful union.

Through the darker thrash spun drama of The Party of No and the southern gothic drama of Night of the Swamp King the album only tightens its grip. The first has a definite Anthrax meets Dope feel to it while the second is atmospheric intimation and sonic theatre soaked in stoner intoxication; their successor, We Were Young, adding to the album’s blossoming variety with its classic rock balladry. The latter is a track we would not normally take to but courtesy of the devilish prowess of DD Verni we were firmly hooked.

The album closes up with firstly of Slow My Ride,​ a fervent entanglement of alternative metal and hard rock, and in turn the classic metal meets anthemic rock outing of Heaven Calling. It is probably fair to say neither lit the fires within as those before them but each escalated the undiluted enjoyment of Barricade, a pleasure which has only grown by the listen.

​We are sure we will not be alone in hoping DD Verni continues to write tracks which do not fit his main projects because as much as those projects fully satisfy another Verni encounter is already the subject of hungry anticipation.

Barricade is out now via Mighty Music on CD, digitally and on Ltd white vinyl.

http://www.ddverni.com/    https://www.facebook.com/ddverni/

 Pete RingMaster 17/10/2018

Copyright RingMaster: MyFreeCopyright

Joecephus and The George Jonestown Massacre – Death Rattle Shake

It seems like Joey (Joecephus) Killingsworth has been dealing out potent sounds as long as The RingMaster Review has way back had music in the heart though that realisation comes with hindsight after actually being introduced to the vocalist/guitarist/songwriter through his band Joecephus and The George Jonestown Massacre; more specifically through 2010 anthem WWLD (What Would Lemmy Do), a track and chorus which still rings out in the office when faced with a dilemma. Now the band has a new slab of Joecephus led goodness out going by the name of Death Rattle Shake, a release all punk ‘n’ rollers and hard rocking, country licking, metal hugging lovers should take a moonshine soaked dance with.

Joecephus and The George Jonestown Massacre as a band rose up around 2005 though, after an EP under his own name, Killingsworth had already released a first album under the name. Performing their first show that year,  the Memphis outfit have gone on to share stages with the likes of David Allen Coe, HR of Bad Brains, Agent Orange, Jucifer, Green Jello, Unknown Hinson, Black Oak Arkansas, Jim Dickinson, Rev. Horton Heat and many more. A handful of attention and praise drawing albums have also graced and bruised the years with Hell or High Water (2010), and Arockalypse Now (2012) probably the most notable and acclaimed. Death Rattle Shake easily takes its place alongside the band’s biggest successes and as a collection of tracks we would confidently suggest is their most impressive and rousing moment yet.

With bassist Brian Costner and drummer Daryl Stephens alongside Killingsworth and featuring the organ of Gerald Stephens, Death Rattle Shake bursts into life with its title track and a slice of dirtily animated rock ‘n’ roll. With beats rapping firmly on the senses and the bass grumbling with devilish seduction, the track is soon a compelling stomp which the magnetic flirtation of keys and the grimy riffs of Killingsworth lustily align with as his vocals further incites the body romping antics the music commands.

It is an outstanding start, one of those irresistible moments we all crave for and the spark for the following diverse dance of the album starting with the blues rock saunter of Drivin Blind. Again the warm, psych lit keys of Stephens contrasts yet unites with the scuzzier tendrils of guitar rising from similarly raw sonic flames, Killingsworth like an outlaw in its midst. It is a description which and always has suited the band’s music perfectly, its character like a rock ‘n’ roll felon/bandit but  an outsider you want to run with.

The addiction sparking Terminally Hip is next swinging its angular hard rock bred hips with attitude and mischief while Karma’s A Bitch brings a cauldron of old school rock nurtured blues punk as irritable as it is boisterously animated. Both tracks incite swift involvement from body and vocal chords, firing up rock ‘n’ roll instincts as easily as Excaliber also proves itself able. Again blues and punk unite as more stoner come sludge metal hues lick away at song and ears, the track another treat even if far too short for unbridled satisfaction.

Through the psych rock seeded, R&B keyed punk ‘n’ roll of Flypaper and the cowpunk sniping of Gold Digging Whore, the album continues to broaden its flavour and magnetism, the first simply a delicious noise nurtured infestation and its successor a woozy intoxication of sour but richly appetising sonic liquor.

Though the country lined funk ‘n’ roll of Cosmic Retribution did not trigger the same greedy appetite as those before it, the track effortlessly had attention hooked as hips swayed again with that mesmeric organ of Stephens a major flirtation alongside swinging rhythms and the enterprise woven web of guitar.

From its title you will correctly guess the nature and sound of Tombstone Blues, a track which without breaking boundaries was full distraction before the album closes off with the enthralling epic stroll of Helping Hand. Though a track unsurprisingly flourishing from the open individual and united craft of its creators, it is the suggestive meander of Killingsworth’s guitar which wanders with a skilled touch and intimation across the increasingly cosmic landscape of sultry keys and boldly ambling rhythms which primarily stands out and grips the imagination.

It feels a long time since we had a Joecephus and The George Jonestown Massacre offering to chew on but well worth the wait as Death Rattle Shake is easily their best yet.

Death Rattle Shake is out now; available @ https://joecephus.bandcamp.com/album/death-rattle-shake

https://www.jk47.com/   https://www.facebook.com/Joecephus13/   https://twitter.com/joecephus13

Pete RingMaster 20/10/2018

Copyright RingMaster: MyFreeCopyright

The Senton Bombs – Outsiders

It is fair to say that any news of something new from UK rockers The Senton Bombs has us licking our lips in anticipation. Four spirit rousing previous albums among just as potent singles and EPs has fuelled that reaction with each encounter building on the exploits of its predecessor and pushing the Blackpool hailing quartet to the mass recognition and attention we with so many feel they deserve. The band’s impending fifth and new album, Outsiders, continues that trend sparking excitement in appetite at the prospect of something special whilst taking the band’s songwriting and sound to another level of prowess and adventure.

Perpetually varied and flavoursome in its styles and character, the band’s rock ‘n’ roll has eagerly evolved and grown up across their albums. With every offering The Senton Bombs has pushed it and themselves to new areas and adventures but all the time reinforcing the recognisable individuality of their music. With Outsiders, the band has aligned their ever ready punk ‘n’ roll instincts with southern and classic rock scented endeavour on the hard rock side of their sound; the result, a rousing and raucous collection of multi-flavoured and variously delivered anthems as familiar to the band as they are unique.

The album erupts into life with its title track, Outsiders entering upon punchy rhythms and sonic stabs as the ever enticing vocals of bassist Joey Class open up their declaration. With attitude and defiance at its core in sound and word, the track prowls with a swinging hard rock swagger lit by the flames and enterprise of guitarists Damien Kage and Johnny Gibbons. The throaty throb of Class’ bass resonates throughout, adding a darker threat to it all as the bold swings of drummer Scott Mason descend. It is a controlled but dynamic start to the release, an ear and attention grabbing statement of intent swiftly backed and built upon.

The band’s new single, Who We Are, does both with relish and tenacity straight away. The devilishly earthy stroll of the bass instantly had imagination and appetite hooked, its inescapable lure aligned to the perpetually lively dynamics of Mason’s rhythms. Both continue to arouse and manipulate as guitars and vocals join the song’s incendiary holler; a union brewing a delicious slab of punk ‘n’ roll as virulently catchy as it is rapaciously invasive.

From one major highlight of the release to another as Violet Black follows unleashing its own rock ‘n’ roll trespass. With each album Class has developed his vocal presence, almost developing a two sided proposition. Here he returns to the grainy delivery which partly trademarked the band’s sound from day one and is always a welcome essence to their creative diversity. The track itself is a boisterous slice of punk rock with a blues rock lining and hard rock virility.

If the previous track is headstrong, I Am Ablaze is an insatiable hell-raiser of sound and rowdiness; an anthem epitomising the band’s live sound as much as its rebel rousing heart. Raw and feral yet skilfully woven to create a hellacious roar the track is superb; The Senton Bombs at their rabidly infectious best leaving next up Reckless Youth a tall order to match. That it does though by revelling in the calmer side of the band’s attack, growing from a melodic shimmer into a contagious stroll led by the inspiring swings of Mason. Reflecting on times past as youths into the seeds of the band stirring things up today, the song is a bold smoulder compared to the fires that are its companions but just as magnetic and riveting

Across the irresistible country blues rock scented saunter and vivacious swing of Bury The Hatchet and the mellow southern surf kissed croon of Remind Me Of The Moon, the album simply blossoms in its variety of sound and imagination while Dead Revolution immediately had body and spirit addicted to its Misfits laced  darkly hued rock ‘n’ roll. As ever hooks escape the band with instinctive agility, riffs and rhythms offering their own spiky bait to get hung up on as vocals lead the way. Similarly the individual craft of Kage and Gibbons masterfully gets under the skin alongside the equally devious antics of Mason and Class’ bass.

Video is a track which would fit as perfectly within the confines of previous encounters such as Chapter Zero and Mass Vendetta; a trademark rather than formula Senton Bombs song easy to devour greedily before Under Offer hits the spot dead centre with its fifties scented modern punk infused rock ‘n’ roll. Reminding of another band deserving mass attention in Canadian outfit The Black Frame Spectacle, the track is a stomping viral temptation.

Wake The Maker brings the album to a close with its classic/hard rock melody shaped howl and though it did not personally excite as those before it, the song is a richly satisfying conclusion to an album which we can only suggest is the finest offering from The Senton Bombs yet.

Global attention is long overdue for the band we strongly suggest but maybe about to be seriously poked by Outsiders, a release and title which sums up the band’s sound and presence within rock ‘n’ roll and the individuality which will always make them stand out and excite.

Outsiders is released November 5th via Regolith Records.

https://www.sentonbombs.com/   https://www.facebook.com/thesentonbombs   https://twitter.com/thesentonbombs

Pete RingMaster 16/10/2018

Copyright RingMaster: MyFreeCopyright

Parasitic Twins – All That’s Left To Do Now Is Sleep With Each Other

A charnel house of sonic destruction and corruption, All That’s Left To Do Now Is Sleep With Each Other is the debut EP from British hardcore duo Parasitic Twins. Offering three tracks of raw noise infested dissonance, the release is an inhospitable animus of sound and intent which as it charred the senses had them keenly captivated.

Hailing from Hull, Parasitic Twins is the union of guitarist/vocalist Max Watt (Rotting Monarchs) and drummer Dom Smith (Mary and The Ram). Having previously worked together as part of Seep Away, the pair bred their new project within a “desire to create the most abrasive sound they could.” Caustically lo-fi and mercilessly intrusive, an encounter recorded live and raw, All That’s Left To Do Now Is Sleep With Each Other is the first result of that intent,.

It opens with Massive and instantly challenges ears with gnarly rabid riffs soaked in doom bred venom. The track uncages a predacious doom nurtured stroll upon the imposing rhythms of Smith, desolation and toxicity oozing from every psyche ravishing note as pestilential animosity coats every syllable out of Watt’s scarred throat. Yet there is an instinctive swing to the track which easily gets under the skin.

It is a template of sorts which breeds all tracks even with their true and open individuality as shown by Flipswitch. Its hardcore breeding ravages the senses from its first breath, riffs snarling as they abrase while the dual attack of vocals is similarly a fierce grazing to challenge and incite.

Final track, End, is a consumptive plague of noise but again springing an infectious noise punk incurred sway which soon settled within ears and body. Barely exposing a minute and a half to its carnivorous dealings, the track is feral pleasure; the EP the same times three.

All That’s Left To Do Now Is Sleep With Each Other will be a scourge too far for many and erosive manna for others as it announces the outbreak of one striking aural trespass going by the name of Parasitic Twins.

All That’s Left To Do Now Is Sleep With Each Other is released October 26th.

https://www.facebook.com/ParasiticTwinsBand   https://twitter.com/TwinsParasitic

Pete RingMaster 17/10/2018

Copyright RingMaster: MyFreeCopyright

Rolled Up Sleeves – Pointless

Pointless is the debut EP from Danish outfit Rolled Up Sleeves and is being recommended to fans of bands such as The Strokes and Arctic Monkeys. Whilst you can understand the comparison to some degree it does cover the real to the imitable breath and individual prowess of the quartet’s sound. Creating rock ‘n’ roll bred on the instincts of punk, garage, and more old school rock, the band unleashes a rousing roar which certainly within Pointless is eagerly contagious.

Hailing from Århus, Rolled Up Sleeves is a young band in presence and individual ages consisting of Christian Askehave, Magnus Krag Nielsen, Oliver Alexander Landgren, and Søren Schroll Rasmussen. Apparently they have been kicking up some real attention in their homeland and it is easy to hear why through their new four track release. Receiving its international release through Mighty Music, Pointless immediately gets down to business with opener Happy And Alone. Straight away beats rap at the senses, stabs of guitar swiftly joining their baiting presence with spicy grooves in close quarter. Once hitting its infectious stride, the track stomps along with attitude in vocals and swagger as hooks work their devious intent. It has a bit of an old friend feel to its character but the song is as fresh as anything heard this year and all addictive contagion to our ears with a bit of a Escobar meets The Senton Bombs scent added pleasure.

The rousing start is only continued by next up Junkie In Disguise. Its opening lure, a single seductive guitar invitation ensures intrigue was rife, the subsequent burst of sound feeding that interest whilst sparking greater urgency in track and reaction. Of all four songs, the second is easiest to recognise those earlier mentioned references within but again individuality is soon riding high amongst its boisterous rock ‘n’ roll. Bold and tenacious with a great raw edge to its sonic and melodic enterprise, the track equally hit the spot before Sell My Soul revels in the band’s calmer side. From vocals to melodic shimmer, the song is sheer temptation; sultry and suggestive at every turn with a low key but inescapable catchiness in its presence and somnambulistic sway.  Yet there is a fire in its belly which catches flame from time to time, heat which gives even greater temptation to song and ears.

The EP’s title track closes the encounter up, Pointless a muscular attitude loaded offering alive with tenacious grooves and invasive hooks amongst biting beats. The dirty grumble of the bass is just as enticing as the lustily roaring vocals; a combined web of enterprise creating one rousing roar ending one thickly satisfying release.

It might be fair to say that Rolled Up Sleeves have yet to breed major uniqueness in their sound but again we can only say that it is as fresh and exciting as anything around right now; Pointless the proof.

The Pointless EP is out now via Mighty Music.

https://www.facebook.com/RolledUpSleevesMusic/

Pete RingMaster 22/09/2018

Copyright RingMaster: MyFreeCopyright

Watch Rome Burn – Vox Heretic

Seattle has been one of the most refreshing conveyor belts of musical pleasures over the decades and shows no signs of slowing down as from its dirtiest grunge punk depths it brings us the inimitable sound of Watch Rome Burn. The two brother outfit has just uncaged their new album and it has swiftly become something we for one cannot get enough of.

Last year the pair of guitarist/vocalist Drew and drummer Jestyn Cummings lured eager plaudits with Now on VHS, an attention grabbing encounter laying the seeds for the rapacious roar of its successor Vox Heretic. The new release escalates the dirty crust-esque punk aspect of its predecessor but equally embroils itself in the grunge and alternative rock side of that first proposition but drawing on the rawest breath and predacious intent of both to leave the former laying in its dust.

Vox Heretic immediately had ears and imagination hooked as a sonic drawl brought opener Consumed into view. Its broiled shimmer in turn triggered a rhythmic prowl aligned to an equally skulking vocal prowess, all the time that sonic dissonance pulsating. Never particularly deviating from its initial intent but rich in intimation, the track is superb; pure creative devilry setting up the promise and adventure of things to come.

The following Thief is soon into its carnal swing, its unapologetically raw air and flesh instantly magnetic and bawling away with proto punk causticity. As with the first, there is an inherent catchiness which had the body bouncing even when tempered by the song’s feral garage rock belligerence. Abrasive and bracing, the track just hit the spot as too unerringly did next up Motley. Like a mix of a proto punk Queens Of the Stone Age meets the hungry rock ‘n’ roll of The Sea, the song is another predatory trespass which simply aroused body and spirit.

On The March flares up with an industrial hue next but is soon into a rock ‘n’ roll stride with Jestyn’s rhythms manipulating song and listener as Drew further incites both with his electric intrusion and vocal dexterity. Imagine a punk ‘n’ roll Therapy? and you get a whiff of the outstanding stomp.

The duo showed they can glow with undiluted melodic enterprise too, though Crystallized straight after equally has a fried haze to its coruscating glow while with Be What You Want they caused inescapable addiction. Its caped crusader tinted swing instantly got under the skin, vocal enticement adding to the potency as similarly the wired almost uptight grooves which escape the strings of Drew’s guitar.

The release is brought to a delicious close by firstly War Blues, a track surely bred from illicit blues stills hidden in the shadows of the band’s home city. Its melodic liquor is intoxicating punk blues soaked in the contagion which flavours every track within Vox Heretic; a blend which had the body worked like a puppet before things are finally concluded by the melodic seduction of Up Here. Uncluttered but as rich in flavour as you would wish, the song is a captivating sundown on the album, a final surf kissed glow and sigh which only lures ears right back into the release.

Vox Heretic is Watch Rome Burn knocking on major attention, a door which surely cannot stay closed much longer against the indisputable roar and often corrosive but ever alluring raw charm of their sound.

Vox Heretic is out now and available @ https://watchromeburn.bandcamp.com/releases

https://www.facebook.com/jointheburnlegion/

 Pete RingMaster 22/09/2018

Copyright RingMaster: MyFreeCopyright