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

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Pete RingMaster 07/03/2017

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Thirteen Shots – White Noise EP

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Ever since the release of the single Danzig in 2011, UK rockers Thirteen Shots have been evolving a sound which seemingly chooses its own direction through each release. It is an organic journey which constantly surprises fans and at times maybe even the band itself. The predecessor to the band’s new EP hinted at one potent and striking shift which the White Noise EP now confirms whilst also suggesting more and that it too is just a sign post towards a yet to be reached destination. Early tracks and debut album Vaudeville offered rock ‘n’ roll with a voracious psychobilly/ punk ‘n’ roll devilment but the unleashing of last year’s Tales That Start With A Whisper seven-track brawl explored rich strains of horror and garage punk in its varied adventures. Now White Noise has stepped forward to push those essences further, the result a diversely flavoured slab of rock which is as at ease employing blues and classic rock as it is garage punk and rock, the result a mouth-watering blaze of raw and dirty rock ‘n roll.

Formed in 2011, the Johnny Rose led Thirteen Shots was swiftly firing up attention, especially after the release of the acclaimed Danzig which was backed up by a live presence which had also garnered equally potent recognition, the band sharing stages with bands such as Demented are Go, The Peacocks, Rezurex, Howling Wolfmen, Graveyard Johnnys and many more these past few years. Their following releases only reinforced their emerging presence whilst relishing the movement in the band’s sound, a journey continued with captivating ferocity through White Noise. The beginnings of the Birmingham quartet when Rose linked up with co-founder guitarist Joe Public, saw the pair move away from a hard rock breeding but with the new release it almost feels as if Rose is drawing on the best essences of that earlier time and flavour to add another flame and spice to the next twist in the ascent of Thirteen Shots.

The new release also sees the introduction of drummer Tom Fenn, who replaced the departing and also band original Chelsea McCammon, and opens with the imposing turbulence and attitude Thirteen Shots- White Noise- Coverof Doom. From its first breath, intense and corrosive riffs graze the senses whilst a bulky bassline joins crisp rhythmic punches in accosting ears. It is a formidable wall of sound, almost Sabbath-esque in tone and predation as fiery grooves wind around the distinctive tones of vocalist Rose. Lyrically the band is still spinning great tales from b-movie and horror inspirations but in sound the track instantly reveals a fiercer and more intimidating air, though it is just one aspect in the varied character of the release.

Next up is the first of two recorded tracks taken from last encounter Tales That Start With A Whisper, and in some ways reveals the most about the shift in sound as you compare versions. Nekrosexual whips up an immediate rich garage blues fuelling to the southern kissed garage punk encounter. There is admittedly not a major change in the song’s textures and sonic winery but everything has a new flood of intensity and incendiary colour to it, a rawer rock ‘n’ roll clarity which just gets the juices dribbling.

The following Blue Lagoon features Silpha, the vocalist from German horror punks Silpha & The Corpseboners and label mates on Rose’s own label Undead artists. The track roars from its first second, a bracing horror punk causticity scarring the air around the expressive and magnetic tones of Rose and Silpha. The track is a contagious stomp, the guitar of Lewis Manchip an uncompromising squall and the pulsating throaty bass lures uncaged by George Chick inescapable bait as they collude with the wicked swings of Fenn. The track is punk rock at its finest at its core and a lingering treat even after making way Psycho Jukebox, the other song re-recorded from the EP’s predecessor. A firm favourite of ours from Tales That Start With A Whisper, the new version is a little less convincing yet with its new roar and bluster turning the swagger loaded rocker into a ferociously compelling provocation, the track only adds bruising drama and incendiary enterprise to the release.

Inspired by the romance of the silent film star and film icon Mary Pickford, First American Sweetheart is the EP’s pinnacle, its infectious gait and rockabilly temptation wrapped in hard rock grooves and garage punk contagion. The song is outstanding; another in a line of underground classics sculpted by the band and the deserving of a wider spotlight. It plays with a Turbonegro and The Damned meets Rezurex type stomp and alone does enough to confirm that the new generation of their sound’s evolution is a step in the right and thrilling direction for the band.

Final song Padded Cell Blues is exactly as it says on the tin, a feisty blues drenched slice of deranged rock ‘n’ roll which shuffles and rampages across its sultry confinement with captivating tenacity and invention. Adding another open colour to the canvas of the EP, the song is a thickly satisfying close to another fascinating and exciting release from Thirteen Shots. Playing as a taster of the band’s continuing journey and an anticipation triggering teaser to a new album out next year, White Noise is a treat for all Thirteen Shots’ fans but also a rigorously enticing invitation for all appetites of unpolished, unclean, and masterfully invigorating rock ‘n’ roll.

The White Noise EP is available now via Undead Artists digitally and as a limited CD @ http://thirteenshots.bandcamp.com/album/white-noise

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RingMaster 03/12/2014

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