Norm & the Nightmarez – Wild ‘n’ Rockin’

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

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

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

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

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

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

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

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

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

Pete RingMaster 05/06/2018

Copyright RingMaster: MyFreeCopyright

The Elixirs – Sin Alley

When a band provides one of your all-time fav tracks there is always going to be an instinctive excitement at news of a fresh offering. And so it is with us and The Elixirs. Back in the aeons of time, well actually six years ago, the Gas City, Indiana hailing trio unleashed debut album Long Gone. It was a brawl of a riot bred in the band’s fusion of punk, psychobilly, and country.  Amongst its rich crowd rousing escapades was one song which has especially instilled itself on our daily playlists of pleasure and featured heavily on the site’s previous podcasts; Park It On The Lawn being that lingering beast. Now the band has returned with a brand new album in the devilish shape of Sin Alley, a release carrying a ravenous horde of similarly addictive proposals.

The Elixirs formed mid-2007 as The Stumblers with its original line-up of vocalist/bassist Dan Tedder, drummer Joe King, and guitarist Dan Savage. With things not quite igniting for the band, it evolved into The Boneyard Elixirs; Dan, now on guitar, and Joe recruiting bassist R.S. Lowe. Bassist changes led to the addition to now named The Elixirs of Dewayne Hughes, a time seeing the release of first EP Gut Cuts. 2011 saw Hughes leave and subsequently replaced by upright bassist Whitt. His talent and energy as well as the new dynamic of that stand-up bass was seemingly the spark to attention, that and the outstanding Long Gone which was released in 2012. Increasingly established and eagerly supported in the Indy scene, the band was thrust into ears far further afield by the album, including the likes of us in the UK. Since then the band has continued to uncage their inimitable rock ‘n’ roll whilst seeing a couple of line-up changes. The first album saw Dave “The Dudeist” replace Joe on the sticks and skins, he subsequently leaving after two years to be eventually succeeded by the initially reluctant Nate “Big Stick” Striedinger. From simply helping out his close friends at the ‘eleventh hour’ on live shows, he has become the perfect fit for band and a rousing sound now roaring with rigour across Sin Alley, their new rapaciously rocking, stomping, middle finger raising thirteen track DIY devil.

Fair to say as soon as the opening hook and subsequent rapping on wood of Knockin infested ears we were hooked, the track swiftly showing all the virulent slightly dirty traits of our first lusty affair with The Elixirs. Dan teases and flirts with the senses through his guitar as Whitt and Nate simply incite attention with their tenacious rhythms. The track is a fiery blend of psychobilly and punk ‘n’ roll; a mischievous almost salacious incitement about the struggle of being chased by temptation and sin. In the words of their press release; “when the lord makes it rain the devil makes it pour.”

The outstanding start is quickly matched by the cowpunk fuelled Hard To Bite Your Tongue, a track line dancing on the senses whilst fingering the imagination with its sonic liquor. The metronomic prowess of Nate colludes fiendishly with the delicious dulled resonance of Whitt’s strings, Dan’s vocals backed by his band mates just as persuasive as our bodies and vocal chords quickly climbed on board.

The following Kentucky Whores reveals the dirtier edge to the band’s sound; its earthy air and uncompromising breath full of licentious temptation while Killer Custodian is punk ‘n’ roll at its most lustfully menacing with hooks to die for and rhythms to swing from. As impressive and unreservedly enjoyable as Long Gone was already at this point Sin Alley has it beat and cowering in the corner.

Its Cold Outside corrupts along next with a fevered stroll through broken romance, the threesome a senses harrying force of tenacity before Busted Flat swings its sights and punches at politics and its perpetrators. Whitt’s slaps are just sinful, Nate’s beats bordering on the lecherous whilst Dan springs hooks and riffs like a sonic libertine; the result another hellacious thrill of an encounter.

As the likes of the horror punk spiced In A Bottle and Know Remorse with its punk-a-billy meets Misfits antagonism come and go, attention and addiction to the album only escalated indeed boiled over again as the groove swinging, growl spewing Sauced had body and imagination dancing like a puppet after them. Its grumble alone was manna to the ears, its soiled groove lust brewing and rhythmic prowl irresistible; all leading to a final bedlamic outpouring before Wake Up gives every reason to holler at the top of one’s voice with limbs flung around in tandem.

The final trio of songs sees Hot Days romping and sweating with sonic boisterousness, The Bottom snarling with noise festering attitude, and Good Aint Good crooning in bold raucous style as punk, rockabilly, and simply rock ‘n’ roll unite in one anthemic roar.

Sin Alley is exactly as it suggests; every song a gateway into promiscuous sounds and inhibition free antics and each track eagerly uniting to make up one of the year’s most thrilling propositions so far. The Elixirs are ‘back’, bigger, bolder, and badder than ever; bliss!!

Sin Alley is out now via Boneyard Elixir Music; available @ https://elixirs.bandcamp.com/

http://www.theelixirs.com/   https://www.facebook.com/the.elixirs.music/    https://twitter.com/theelixirs/

Pete RingMaster 04/05/2018

Copyright RingMaster: MyFreeCopyright

Numb – Self Titled

September is proving this year’s most productive month for striking releases and to support the claim allow us to introduce the debut album from British outfit Numb. The self-titled introduction offers up eight slices of rousing multi-flavoured rock littered with imagination spearing hooks and ear thrilling grooves. The band is also no lightweight in casting fiery seductive melodies and a rhythmic incitement which has feet and hips as submissive as the senses to the combined temptation.

Formed in 2015, Numb was the rekindling of an already established long term musical collaboration between guitarist songwriter Darren Caven-Quantrill and multi-instrumentalist composer Barney Byron (The Calling, Audioeinstein) which quickly enlisted lyricist and vocalist Lee Rayner. With its line-up subsequently completed by drummer Damo Falkowski (Deadeye), the Northampton band took their time writing and honing the sound now lighting up their debut like a beacon.

The album instantly has ears seriously attentive with the initial groove of Common Love, the lure a riveting enticement soon supported by rhythmic tenacity and a wave of infectious riffs. Establishing a stirring surge of rock ‘’n roll, the track continues to build its body and alternative nurtured temptation. The vocals of Rayner similarly grab the appetite, his tone and words bouncing on the web of guitars and bass as a great blues spicing lines the grooving and urgency guides riffs and beats but with a control and invention which enhances the instinctive infectiousness of it all.

It is an outstanding start swiftly eclipsed by the following Love Of The Cartel (Part 2). Instantly a Latin melody hugs grooves as the track seduces with a great Breed 77 like air, indeed there is a feel of the band’s frontman, Paul Isola, to Rayner’s tone. Swinging with eager and muscular dexterity, the song is pure temptation grabbing body and spirit with swift success. Not for the last time in a Numb song there is a feel of rockabilly spiced rock ‘n’ roll at work within the tapestry of metal and heavy rock and that catchiness which again simply infests the psyche.

Everyman Deserves The Right To Choose His Own Path To Hell comes next, it too sharing a spicing of the aforementioned Gibraltar band within its more composed gait. Riffs jab as beats stab, melodic flames surrounding the potent vocals of Rayner as it heads to another contagion loaded chorus so easy to get wrapped up in. There is a great theatre to the song which is only enhanced by the Muse-esque venture of the guitar towards its tantalising finale, a spirit sparking climax perfectly setting up the appetite for the compelling enterprise of Time. The stringed temptation of the guitars is instant seduction and only accentuated by the rampaging thick tide of riffs and the tone gurning bass. The song relaxes into a stable energy as vocals enter the affair but eventually everything becomes turned on and hits top gear with mouth-watering imagination. The song is glorious, never settling down into any sense of predictability with each cycle a new and fresh adventure.

There is an industrial hue to certainly the opening bait of The Tears You Cry, its cosmopolitan suggestion aligned to thought teasing melody before it all evolves into a raptorial rock ‘n’ roll prowl led by Rayner’s expressive presence. The bolder invention of its predecessor is more subdued in the track but not absent and it does not stop it grabbing tightly ears and a by now greedy appetite for the release and increasing the pleasure. That extra strain of imagination is saved instead for successor Love Of The Cartel (Part 1). Why part 1 is after 2 we cannot say but the track is a journey of sound and emotion in its own extensive right. Caressing melodies court Rayner’s emotive voice, the bass a melancholic yet vibrant companion as the song reveals its creative and emotional drama. Like a growing battlefield within which sabre like hooks flash and fly as riffs and running grooves entwine and rhythms badger the senses, the track is sheer magnetism. In time volatility hits voice and heart, antagonism fuelling emotional outbursts before it is all pulled back into the surging infection of the thrilling encounter.

The release is concluded by the final pair of War and Burn. The first carries a steely antagonism in its riffs and rhythms, a defiant attitude which shapes the song’s physical and vocal character as well as its melodic reflection, while the second rumbles and grumbles with a Danzig like hue, twisting with irritability and turning with complimenting temptation. Both tracks leave greed for band and sound further intense and with us an already impatient anticipation for what comes next from Numb.

There are numerous times when as a reviewer you feel really blessed to have the opportunity to cover new music and there are other times when you feel truly honoured; this is one of the latter moments.

The Numb album is available now through Attic Records @ http://atticrecordsuk.bigcartel.com/product/numb

https://www.facebook.com/NUMB.co.uk/    https://twitter.com/Numbsters

Pete RingMaster 15/09/2017

Copyright RingMaster: MyFreeCopyright

Bridport Dagger – Wolves/Trembling Sky

Sometimes you just do not know the goodness which is on your doorstep. Recently we had the pleasure of being introduced by one of their numbers to Bridport Dagger, a band which it turned out rehearsed and recorded in their singer’s home studio merely ten minutes away from The RR. Even more enjoyably, the meeting left us with the UK outfit’s new single in our eager hands and the urge to tell you about its rather tasty contents as well as the important message to constantly check out and support your local scene as you never know what treats you may find.

There is not a great deal of info we can tell you about the band except that it consists of vocalist/guitarist Jason Idnani-Powdrill, guitarist Lawrence Rice, bassist/guitarist Chaz Foster, and drummer/keyboardist Arran Goodchild. The quartet draws on the inspirations of artists and flavours such as Suicide, Nadine Shah, Roy Orbison, Guadalupe Plata, Clinic, The Gun Club, Flamenco, Get Your Gun, Fado, Ennio Morricone, and film noir especially the work of Wim Wenders and recently performed in an echo chamber under the river Thames and supplied sound design for a seven day immersive play in Berlin. But their sound you ask…well the most important thing here is a dark and seductive collusion of numerous flavours and textures but is maybe best described as Nick Cave and The Walker Brothers meeting Echo and The Bunnymen on a Tarantino set as Japanese Fighting Fish share their creative devilment. What emerges is something individual and magnetic to Bridport Dagger as epitomised by the double A sided lead of new single Wolves/Trembling Sky.

The single is actually a real meaty chunk as it also includes the band’s previous EP Knife through Water including a re-mastered version of its lead track and a couple of songs from that earlier mentioned soundtrack . The single opens with Wolves and an immediate clash of sound as rhythms and guitars collide. From within the inviting clamour a rumble brews; its tone rockabilly like as the guitars between them wrap a jungle of riffs in a sultry melody as Idnani-Powdrill’s vocals begin the shadowed croon of the song. Already the magnetism is addiction level, the subsequent scythes of guitar compelling across the captivation of bass and beats as the band’s rock ‘n’ roll shares dark flirtation. Every passing second brings a new twist of drama and sound, unpredictability as thick as the imagination flowing through the outstanding encounter.

Its partner, Trembling Sky is instantly a less intense proposition, a psych rock melody dancing over the darker hues of bass and again grumbling riffs. There is a Doors-esque air to the song, a shadowed lining to its lively spirit and bounce, and a sixties instrumental tone to the guitars which only adds to its instinctive attraction. As its predecessor, the song just hits personal wants and tastes full on though at two and a half minutes or so it frustrates when it ends just as lust rises.

The rest of the release starts with tracks found on that previously mentioned EP released last year with a re-worked mix of acclaimed track Harry Dean Stanton first up. As this piece is being composed news has just come through that the actor has died; a sad timing which instantly brings a poignant edge to song and its embrace of ears and focus. The song is a dusty shimmer on the senses, a poetic sigh spiked by shards of glassy guitar and soaked with the serenade of keys; a proposition which is masterfully enthralling from start to finish.

Next up is Cowboy Drone, a track which nags and teases like a menacing mix of The Birthday Party and The Doors that sizes up the listener with every note and breath before taking them through a tombstone littered climate soaked in post punk/psych rock discord and theatre. The track is glorious, a noir drenched drama of sound and voice which thrusts the imagination into the heat of dark trespasses.

Taken from the soundtrack of the Twin Peaks inspired theatre performance Bridport Dagger created the music for, The Dangling Man is one of two original songs it was bookended by, the following Lyra the other. The first is a sombre, almost caliginous play for ears and imagination with vocals and music a shadowy lure and the melodramatic caresses of sax courtesy of George Cleghorn sublimely suggestive while the second is a fifties hued dark ballad with more than a touch of Roy Orbison to its emotional humidity. Both tracks transport the listen to a dark and intoxicating place impossible to resist lingering within.

The livelier rock ‘n’ roll of The Butcher of Rome has hips swaying and appetite dancing, bass and beats alone a rousing shuffle to be enslaved by, a trap tightened by the teasing jangle of guitars, the seductive strokes of keys, and the storytelling prowess of the vocals.

The release is completed by the sweltering emotional drenched spectacle of Wilderness, a song which gets bolder and more psychotic and discordant with every passing minute for a mouth-watering finale of provocative noise and melodic toxicity.

Wolves and Trembling Sky as a single is one of the year’s most riveting experiences on the year so far; add the rest of its treats and you have one of the most essential come its release in October.

Wolves/Trembling Sky is released October 13th.

Upcoming live dates:

21st September: Bethnal Green Working Mens Club, London

29th September: Insomnia, Berlin

8th October: Twin Peaks UK Festival, London

10th October: Half Moon Putney, London

13th October: The Lexington (with the Flaming Stars and Get Your Gun), London

4th November: Paper Dress vintage 4th Birthday Party, London

https://www.facebook.com/bridportdagger    https://bridportdagger.bandcamp.com/

Pete RingMaster 16/09/2017

Copyright RingMaster: MyFreeCopyright

Basementones – No ease, No rest, No mercy

There is a great nagging quality to the sound of Finnish punk ‘n’’ rollers Basementones and in fine insistence within their new EP No ease, No rest, No mercy. Easily tempting ears on its first couple of listens, the release leaves the seeds of addictiveness behind; lures which spark that just one more time repetition which in turn leads to another and more obsessive qualities.

Released on Undead Artists, the EP comes four years after the release of the band’s debut album Let There Be Noise which followed their first EP Gambler of 2012. Being introduced to the band through No ease, No rest, No mercy, with thanks to a certain Johnny Rose (Thirteen Shots), founder of said label, what the band has been up to between releases we cannot say though plenty of shows seems a good guess, that and, with hindsight, the more audible honing of a sound which instinctively gets under the skin with its mix of punk rock, psychobilly, and numerous other aspects of rock ‘n’ roll.

The quartet gets down to business straight away with opener The Call, hooks and swinging rhythms instantly colluding as vocalist Jani snarls and growls in his distinctive way. The melodic dexterity of Kinnunen matches the lure of his grooves and lively hooks whilst the string slapping prowess of double bassist Tuukka needs little time to stoke instinctive ardour for throbbing suggestive basslines. Punk and rock ‘n’ roll unite in the voracious swing of the track, Lahu’s lively beats fuelling it all with tenacious energy and urgency as the EP gets off to a flying start.

And there is no time to grab a breath as the outstanding Green Bastards steps in with a spicy groove which within another second launches virulent hooks and a pulsating flirtatious bassline from within its salacious temptation. With Jani adding his raw catchiness to the contagion, the track is pure infection and the best track on offer though closely courted by the likes of the rockabilly swinging Cellmates Of Lunacy. There is a touch of The Peacocks to the track but it is soon bound in the Basementones’ character of sound and expression as other spices adds to an increasingly compelling tapestry.

A country/cowpunk hue comes with the resourceful exploits of The House its creative rustling soon twisting things into an individual proposal which bounds along with zeal and infectious dexterity if not quite matching the heights of those before it or the outstanding antics of final track No Regrets. The psychobilly essences of the third song are even more vocal within the EP closer, their sultrily toxic hues merging with horrorpunk/punk escapades as the release is given a boisterous and increasingly rousing finale.

Given the sound and potent lure of No ease, No rest, No mercy it is surprising we have not come across Basementones before but better late than never.

No ease, No rest, No mercy is out now digitally and on red vinyl through Undead Artists @ https://basementones.bandcamp.com/ and https://undeadartists.bandcamp.com/album/no-ease-no-rest-no-mercy

https://www.facebook.com/Basementones/

Pete RingMaster 04/07/2017

Copyright RingMaster: MyFreeCopyright

The Dukes Of Bordello – Lowdown ‘N’ Dirty

To convince and prove that physical and emotional rock ‘n’ roll stomping is one of the primal instincts inside us all UK trio The Dukes Of Bordello release their debut album. Lowdown ‘N’ Dirty offers up eleven tracks of balls swinging, voracious rock ‘n’ roll which not so much lives up to its title than stamps it relentlessly into the heart. It is an encounter leaving the body and soul breathless with music which quite simply could and will seriously arouse the world around it.

Consisting of guitarist/vocalist Andy Barrott, bassist/vocalist Sion Bailey, and drummer Caradoc Tyler, The Dukes Of Bordello grab the most tenacious and infectious muscular traits from every aspect of rock music you can imagine. Rockabilly, punk rock, hard rock, and psychobilly all lay among numerous strains mixed with pure rock ‘n’ roll revealing its various decades of evolution. It results in a sound which seems familiar, like an old friend, but hits and incites with something new and bold at every twist and turn. It is dirty and trashy, inventive and skilfully resourceful like a mix of The Wildhearts, Danish outfit Grumpynators, and Canadian duo The Black Frame Spectacle and fuelling one hell of a first full-length to build on the well-received release of their 7 track self-financed Skullduggery EP/mini album of 2014.

Released physically via Death Or Glory Records and digitally by Undead Artists Records, Lowdown ‘N’ Dirty quickly shows why The Dukes Of Bordello have been firing up zealous support through gigs and festivals these past couple of years with opener All In The Name Of Rock’N’Roll. Instantly a feverish hook lays its claim to ears as the song swings into view, rhythms soon thumping their persistence as vocals incite with their own anthemic roar. Not for the last time, the twanging bass of Bailey is manna for these particular instincts and passions, it’s dulled but vibrant throb the pulsating vein around which the guitar of Barrott flames and sears the senses. The song itself is exactly as it says on the tin, seeded in and brewed with the same intent and swiftly commanding a mutual energy and involvement from body and spirit of the listener, thoughts easily imagining from the encounter alone that the band live is a dangerously commanding puppeteer of energy and stamina.

The following Hellvis is no different, a devilish infestation of ears and hips with an organic demand of both as swinging beats and biting hooks infest with a bordering on toxic infectiousness. As its predecessor, in some ways there is open familiarity to the track yet nothing about it is anything other than new and unpredictable; the same applying to next up Doing Just Enough, a slice of throbbing rockabilly nurtured romping swinging from controlled strolling to unbridled gang vocal arousal with fluid ease.

Wreckin’ Ball (Into The Pit) has a psychobilly snarl to its ballsier incitement straight after, vocals and rhythms again leading the addictive punk scented resourcefulness of the rapacious song though that steely yet almost primordial tone and character of Bailey’s bass is the prime fingering of lust sparked.

Through the addiction laying Down In The Gutter with its wiry groove woven web of boisterous hook ridden seduction and the stalking revelry of King Of The Road the album only tightens its grip. The first is an out and out stomper whilst its outstanding successor is a predacious but again relentlessly contagious compulsion on ear and heart with its dirty tarmac eating, heavy rock pounding drive. Classic and hard rock collude with more rockabilly/psycho nurtured exploits, it all coming together in a ravenous adventure before She’s My Witch shares its sultry hex like a rabidly seductive temptress with bold energy seized rhythmic hips and sonically flirtatious devilment at work. As the previous song, it quickly has a hand on best song honours, eventually having to share but never relinquishing a finger on the prize even as tracks like The Devil Rides Out feverishly serenade the imagination with its smouldering heart but forceful ingenuity. Eventually coming to its own head of ear rushing rock ‘n’ roll, the beguiling encounter has the body hooked and bouncing with increasing dexterity; the passions again in tow.

Come Back Wilko (All Is Forgiven) simply sparks with the enterprise and tenacity not forgetting the richness of rock ‘n’ roll found in its name checked inspirations; hitting and repeatedly pushing the sweet spot from start to finish while Born To Die ‘steals’ from a host of classic encounters to inspire its own distinct and individual bluesy espionage guiding body and spirit to fresh reactions and inhibition free arousals.

Bringing the album to a mighty finish, Scream If You Wanna Go Faster is a rollercoaster of virulent rock ‘n’ roll with a sizeable line in pop rock and rockabilly infectiousness which as you would rightly assume is quite irresistible leaving the lungs gasping for air and a greed for more rushing back to the play button.

In many ways it is hard to say that Lowdown ‘N’ Dirty is particularly unique yet in the same way it is impossible to say there is anything predictable or previously well-worn about it. The Dukes Of Bordello have a sound and presence which is as fresh and arousing as anything out there and now an album which will firmly slap the band on the biggest rock ‘n’ roll maps.

Lowdown ‘N’ Dirty is out now physically through Death Or Glory Records and @ http://thedukesofbordello.bigcartel.com/product/skullduggery  with its digital outing courtesy of Undead Artists Records @ https://undeadartists.bandcamp.com/album/lowdown-n-dirty

http://www.thedukesofbordello.com/    https://www.facebook.com/TheDukesBordello/

Pete RingMaster 28/06/2017

Copyright RingMaster: MyFreeCopyright

The Spaceballs – Self-Titled

Recently when covering the new album from Bad Luck Gamblers we pondered how big and potent the psychobilly scene was in their native Brazil. Investigation revealed it is pretty good and growing and so it appears, going by the new album from fellow countrymen The Spaceballs, is the region’s rockabilly scene.  Hailing from São Paulo, the band also recently released a new album in the shape of a self-titled debut which quickly had ears hooked and bodies bouncing.

Consisting of vocalist/guitarist Ale Marinho, double bassist/vocalist Marcelo Zarra, and drummer Jeff Billy, The Spaceballs have a sound seeded in and proudly showing inspirations from the likes of Stray Cats, Eddie Cochran, Elvis Presley, The Rhythm Shakers, Bill Haley, and Billy Lee Riley, essences all providing strong flavouring which added with the bands own craft and imagination makes for a refreshing romp. It is a proposition which mixes the familiar and new with tenacious enterprise and an open passion for the genre it embraces; an invention and energy openly fuelling their first attention grabbing album.

The album opens up with I Have Fallen In Love and quickly has ears relishing a classic rockabilly melody but one with its own magnetic nature as rhythms stroll and vocals add a harmonic caress to the senses. That Bill Haley essence is alive within the song, Cochran’s too but equally there is something of The Reverend Horton Heat to the swiftly magnetic shuffle and enticement of the song. In saying that, it also reveals plenty which is distinct to The Spaceballs, in tone and character which continues in the following Be My Valentine. With the clipping lure of beats and the vibrant throb of Zarra’s bass, the song quickly has feet involved and hips swinging, Marinho’s chords equally potent while entangling the song’s melodic boisterousness and country scented smile.

Showing an Elvis thrust of its hips, next up Rockabilly Ghost soon eclipses its predecessors, the song a mischievous tempting of melodic hooks, angular riffs, and lively rhythms as vocals play. As with those around them, you feel you know the song at heart but it never has expectations met as the song with a touch of UK band The Stargazers to it, flirts and swings with body and imagination.

There is a meatier air to Never Enough straight after, the track bringing a psychobilly edge to its bold stroll, a lining which expands The Spaceballs sound and invention as well as their imagination as the track twists and turns along its captivating length with sultry melodies wrapped in further sonic heat. That broader adventure of sound continues with Just Go Away, its mix of surf inspired melodic strands and old school rock ‘n’ roll flavours a magnetic enticement matched by vocals and the flirtatious rhythmic lure of Zarra and Billy.

Good times continue to insist and impress as I Will Always Rock, with more than a hue of The Shakin’ Pyramids to it, has the listener swiftly hooked on its compelling canter. Once more there is no stopping physical participation with the excellent track which is as fresh as it is familiar, traits and success employed and found as potently by Lost in The Desert with a resourceful and almost mischievous appetite. The closing track alone has all the qualities which make The Spaceballs sound and album a highly appealing opportunity for rockabilly fans to discover and explore something new. It also makes for another thoroughly inviting gateway into what seems a very promising and exciting not forgetting varied Brazilian rock ‘n’ roll scene.

The Spaceballs album is out now @ https://thespaceballs.bandcamp.com/album/the-spaceballs

http://www.thespaceballs.com.br/    https://www.facebook.com/thespaceballs/

Pete RingMaster 28/06/2017

Copyright RingMaster: MyFreeCopyright