The DiggerZ – A Psycho’s Tales

The DiggerZ_Reputation Radio/RingMaster Review

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

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

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

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

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

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

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

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

https://www.facebook.com/diggerzpsycho

RingMaster 21/05/2015

Copyright RingMaster: MyFreeCopyright

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

 

Norm And The Nightmarez – Psychobilly Infection

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     “From within the thighs of hell’s most wanton temptress, a tempest of psychobilly grooves and rockabilly hooks will converge upon mankind to turn its existence into one incessant stomp of devilish predation and virulent demonic revelry.”

Obviously that is not one of the more well-known pestilences deemed suitable to be included in religious teachings but if it was, it would go under the name of Norm & The Nightmarez and debut album Psychobilly Infection. Thirteen tracks of wickedly contagious and warped rock ‘n’ roll cultured with rockabilly seeded guitar and psychotic imagination, the release is a storming slab of rapacious psychobilly which sets a new provocative and sinisterly sculpted template for emerging genre bands.

Hailing from Birmingham, Norm And The Nightmarez is the creation of vocalist/guitarist Norm Elliot. From first band The Phantom Zone in the eighties, the musician has played in a few bands, last year most notably Mickey & The Mutants where he linked up with ex-Meteors/ex-Guana Batz bassist Mick White and Sharks drummer Paul ‘Hodge’ Leigh. The trio released the outstanding album Touch The Madness, a release it was hard to see anything bettering in UK psychobilly for a long-time to come but then we did not foresee Norm & The Nightmarez preying on the passions. Completed by drummer Frank Creamer (ex- Colbert Hamilton & the Hellrazors) and double bassist Mark Bending (ex-Sgt Bilko’s Krazy Combo) for the Western Star released album, the band embraces the decades of rockabilly infusing their ripest essences into the insatiable jaws of old school bred psychobilly irreverence and invention. It is a varied and riveting incitement which steals the will of everything from feet through to emotions, taking all on a skilful and hungry romp of mischievous enterprise.

Produced by Alan Wilson, the album is straight away gnawing on the senses with opener Stompin in My Grave, its initial earth encrusted riffs immediate potent bait to which the wrist flicking rhythms of Creamer and the dark hearted slaps of Bending add even juicier lures. Unfurling around a repetitive hook led by Elliot’s guitar, his potent vocals colour the imagination with their lyrical enticement. A flame of melodic scorching also adds a rich hue before the song takes a breather, allowing the listener’s body one too before it revs up its hypnotic suasion all over again.

The addictive start is swiftly matched by The Mischief Maker, a dark hearted slice of intimidation with robust basslines and sultry grooves which enslave attentions whilst beats slowly bruise the senses. Whether unleashing a keen gait normandthenightmarezpsychobillyinfectioncdor stalking ears, the track is an incendiary protagonist to give a blissful appetite further hungry urges which are rapidly fed by the acidic twang of The Lights Went Out. There is a scorched country-esque lilt to the invigorating prowl, the guitar of Elliot entwining ears with citric melodies and pungent hooks whilst vocally he snarls with a grizzled tone which sparks perfectly off of the heated climate of the song. The track has whispers of Tiger Army and The Quakes to its rich imposing breath but as with all songs no matter the hints it stands alone as something distinct to album and Norm And The Nightmarez.

The title track, though living up to its title, is rockabilly spawned even with its slight punkish nature. The bass and guitars sculpt a weave of riff and lures which play with body and soul like a sly puppeteer, twisting and turning imagination and passions inside out for a fevered submission. Its contagion lingers far beyond its stay though both Nightmare and Ton Up ensure in their company it is a distant memory at least. The first of the two right away triggers thoughts of The Reverend Horton Heat and Matchbox with flavourings of Johnny Burnette and Hasil Adkins also spicing the fiery encounter. Rhythmically and sonically the song entrances before the adrenaline rampage of its successor rumbles across the senses. Beats descend on ears with an unrelenting coaxing whilst the bass call of Bending brings delicious dark textures to the irresistible road trip. Elliot as ever commands the scenery with his vocals and guitar exploits whilst the trio unite for another ridiculously compelling and magnetic parade of roguish rockabilly incitement.

The flirtatious Sex Kitten teases senses with a salacious sexuality next, its smouldering grooves and sensual melodic curves as infectious as they are seductive. There is no denying a certain Stray Cats swagger to the song but also a danger to its stroll which could be compared to something with the edge of Guana Batz and addictiveness of Gene Vincent. It is an inescapable persuasion though one soon left in the shadow of the wonderful instrumental Devil Girl From Mars. There is something poetic to an intensively crafted piece of psychobilly music with its primal predation and sonic toxicity, and certainly it comes with no finer shape and beauty than here. Imagine a blend of The Tornadoes and The Frantic Flintstones and you get a whiff of its virulent might.

Both Pardon Me and The Past is a Place that I Just Can’t Go have energies and passions in a raw riot of pleasure, the first with its caustic sonic grazing and thumping rhythmic enticement whilst the following track stretches a menacing bait over ears again with jagged riffs, pulsating throaty slaps, and ear crowding beats. As impressive as its predecessor was, the second of the pair is another merciless encroaching on freedom with its rhythmic slavery, melodic venom, and vocal rapacity. It is impossible to choose a track which stands out over the rest on the album but this is always a forceful contender.

The fun filled Elvis Was a Zombie keeps things stomping along nicely and though it lacks the spark of other tracks for personal tastes it is impossible to dismiss because of that mischief and its rhythmic badgering. Its paler presence is soon swamped by the brilliant closing of the album. Massacre at Devils Plain with its Native American croon and howls over a gritty stride of sonic stabs and heavy footed rhythms, sets the imagination alight next whilst final song The Man with the X-Ray Eyes, leaves Psychobilly Infection on arguably its highest pinnacle. Bursting from a sample from the film of the same name, the track is a psychobilly irritant at its most potent and brilliant. It is a predator of a track, rhythms climbing all over the senses whilst guitar and vocals stir up the imagination with rich imposing hues. It is fair to say the song has elements of The Meteors all over it; The Hills Have Eyes springing to mind, but again Norm And The Nightmarez defuse any comparisons with their distinct invention and adventure.

From start to finish there is no escaping the might and sheer glory of Psychobilly Infection and the emergence of a brand new creative devil in our midst, though whether the UK, come to that the world is ready for Norm And The Nightmarez and their hellacious tempting only time will tell.

Psychobilly Infection is available now via Western Star Recordings @ http://www.western-star.co.uk/western-star-releases—cds_36/psychobilly-infection—norm-and-the-nightmarez_146.aspx

https://www.facebook.com/Normandthenightmarez

10/10

RingMaster 29/07/2014

Copyright RingMaster: MyFreeCopyright

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King Salami And The Cumberland 3: Fourteen Blazin’ Bangers

With an interview with the high octane bundle of energy that is King Salami in the offing it is only right we take a look at the recent album from King Salami And The Cumberland 3. To be honest it came out in the tail end of last year but having looked for an excuse to delve back a few months and share this simply brilliant explosion of irresistible and excitable sounds an interview seems a good enough reason. Fourteen Blazin’ Bangers is music at its best and what it was invented for, to ignite the deepest pleasure and thrills possible within each and every one of us.

Formed in 2006 the quartet of one Japanese, one French, one Caribbean and one Spanish conjurors of fun, draw influences and flavours from the fifties and sixties and spice them up with their own contagious blend of insatiable ingenuity and energy. Consisting of former members of the Ulcers, Chinese Lungs and Parkinsons, The Cumberland 3 led by the irrepressible King Salami leave one breathless and over excited with their album. Released on Dirty Water Records Fourteen Blazin’ Bangers is a wonderfully agitated swell of movement, its brief to unleash an unrelenting explosion of infection and hyperactive melodic pleasure.

King Salami And The Cumberland 3 has riled up hearts and emotions all across Europe with the sharing of stages with the likes of The Pretty Things, The Trashmen, The Standells, The Mummies, The Bellrays, and The Cynics to name a few. Renowned for their irresistible live performances and sweat drizzled excitement, the band have translated that energy and insistent mischief into their previous singles and now this album. It brings the essence of having the band there in front of you as it plays with your senses whilst firing up the need and urgency to catch them on stage.

The album explodes into the ear with Do The Wurst, an instantaneous assault of punk fuelled rhythm & blues/rockabilly. The beats and rhythms assume full control of limbs like a maniacal puppeteer instantly whilst the guitars fire up the aggression and attitude expected from a meeting of Screaming Jay Hawkins and The Meteors. The track has one joining in with movement and voice within mere seconds and even has the most composed and reserved of us flinging a few air guitar chords into the heated air. It is the perfect opening and sets the album up for greatness no matter what follows. To be honest the album only took a couple of songs to make a believer and adoring fan of us here so excuse the drool dripping from each and every word we place upon it.

The excellent I Smell A Rat with its raw and hungry breath searches for the ear next. With garage caked intensity to the guitars it leaves a big grin on the face though not as wide as from the following Mojo Workout. If you could have improper thoughts about a song this would be the one at the centre, a bristling irresistible slice of naughtiness. King is supreme leading the thoughts and emotions into trouble like a mischievous big brother ably assisted and egged on by the rest of the band.

Every song deserves close attention as not once does the manic party within the album lull or slip into a reserved moment, but those pleasures are for you to find out and feel. The more fiery highlights though include songs like the wanton sax pleasuring of They Don’t Know, the tribal contagion that is Pawnee Stomp, the Big Bopper/Screaming Lord Sutch glory of Watcha Gonna Do Tomorrow, and Sweet Love To You where Gene Vincent meets Ray Campi and The Blue Cats in a salacious love nest.

A twisting and energetic boiling brew of rockabilly, rhythm & blues, punk, and explosive rock n roll    Fourteen Blazin’ Bangers is simply magnificent and the surest fullest pleasure one can have within the ear. With spices and passion from the likes of James Brown, Sonny Burgress, The Sonics, and The Frantic Flintstones to name a mere few you can easily tell the vibrant and pulsating sounds within the album. King Salami And The Cumberland 3 are the match to fire up every day and heart; you just need to say hi.

https://www.facebook.com/KingSalamiandtheCumberland3

RingMaster 23/05/2012

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