Weird Omen – Surrealistic Feast

Simultaneously offering a haunting bordering on nightmarish temptation alongside a warm seductive tonic for the senses, the rock ‘n’ roll of French trio Weird Omen has always been a magnetic lure but within new album Surrealistic Feast reveals itself a sonically perceptual anomaly as it casts the listener adrift on a purgatory sea of addictive wonder. Try pinning the band’s sound down and you will flounder on the rocks of defeat but there is no missing its instinctive fascination and rousing prowess as proven within their new adventure of captivating strangeness.

Surrealistic Feast is the third full-length from the threesome of baritone saxophonist Fred Rollercoaster (King Khan and the Shrines, Bee Dee Kay and the Roller Coaster…), guitarist/vocalist Sister Ray (Ray and the Dead Drums…), and drummer/vocalist Remi Pablo (Escobar, Anomalys…) basking in a sound which has perpetually grown and boldly explored new realms by the record. It is a proposition as raw as it is radiant, a fusion of garage rock and punk with psych and neo psych tendencies amidst dark punk ‘n’ roll inclinations but a sound which still emerges outside of that broad decades embracing suggestion. Now within Surrealistic Feast it flourishes like never before, every song an individual collusion of flavours emerging pure and unique Weird Omen.

A Place I Want To Know starts things off, immediately the growly tone of Rollercoaster’s sax infesting ears and appetite from within cavernous surroundings. Swiftly the nagging beats of Pablo eagerly pester as too the predacious jangle of guitar from which a delicious melodic siren rises. The beauty of the track is sublime, its welcome harassment irresistible and fiery nature thrillingly rapacious; the outstanding opener a mix of raw aural tocsin magnificence and similarly alluring vocal persuasion.

The following Wild Honey makes just as much of a teasing and tempting start, beats a trigger to sonic hunger and the quickly blasting flames of addiction brewing sax. Whether returning to the Weird Omen sound or making Surrealistic Feast an introduction, the husky lure of its voice is unavoidable and persistent manna to these ears but just as powerfully matched as bait by the scything rhythms of Pablo and Ray’s melodically acidic and lustrous infestations as epitomised in the second track. Its rumble is open but controlled, underpinning the virulence swirling above and channelled into a vocal incitement impossible to leave alone.

Celestial heights are ventured once more through Please Kill Me, its prowling flight a sizzling wind of psych fuzz and sinister rock ‘n’ roll. At times it merges gothic psychobilly reminding of The Orson Family and the scorched punk of The Scaners to its compelling body, all the while niggling away at the imagination before Earworm uncages its own feral swing. Echoing the grungy wildness of Escobar in its breath, the track is a cyclone of salacious garage rock as punked up as it is melodically caustic and more than living up to its moniker.

The album’s title track is next, Surrealistic Feast a devious serenade cored by a rhythmic predation which controls the underbelly of mania eager to share its psychosis. The dual vocal incitement of Ray and Pablo circumvents skin effortlessly as beats hold limbs subservient, greed and imagination instantly enthralled and ever lustful through the rasping quirts of sax. The track is pure devilment, demonic sound at its most improper.

The sixties garage rock lined Collection Of Regrets brings its own individual temptations quickly after, its mellow hunting pop catchiness aligned to earthy untamed boisterousness while successor, The Goat, swings in with an old school rock ‘n’ roll and blues nurtured swagger; a hungry strut interrupted by punk brewed ferity from time to time with every corruption leaving greater creative savagery. Both tracks had us bouncing in various states of pleasure as too did the dirt encrusted pop ‘n’ roll of Trouble In My Head, a track resembling something akin to The 13th Floor Elevators immersed in the organic infectiousness of Thee Exciters and the untamed aberrance of The Mummies.

The composed yet twisted stomp of Out Of My Brain had attention locked within seconds of its hypnotic stroll, only gripping tighter as its aggression and mania escalated before leaving album closer, I Will Write You Poetry to pick up the pieces which it does with ease with its trash coated melodic croon.

Weird Omen can pretty much be trusted to constantly provide an unpredictable escape and adventure which arouses, disturbs, and leads the listener to realms of sonic curiosity and inimitable temptation; this time it comes in one glorious escapade going by the name of Surrealistic Feast.

Surrealistic Feast is out now via Dirty Water Records; available @ https://weirdomen.bandcamp.com/album/surrealistic-feast and https://www.dirtywaterrecords.co.uk/shop/#!/Weird-Omen/c/32921273/offset=0&sort=normal

 https://www.facebook.com/weirdomentheband/

Pete RingMaster 28/03/2019

Copyright RingMaster: MyFreeCopyright

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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Thee Vicars: I Wanna Be Your Vicar

It has to be said that whenever there is a new release on Dirty Water Records there is always a twinge of anticipation and excitement, rarely has there been deep disappointment in the quality of the music from their bands. The same applies to the new album from Thee Vicars, a release that thrills and excites whilst lifting emotions no matter their starting point to a height of grinning satisfaction. Following up their excellent single Everyday, the band from Bury St Edmunds, England have released a collection of unfettered and eagerly pleasing garage rock, mod, 60’s beat, and R&B rock tunes that light up the emotions and heart.  Simple, direct and hell of a lot of fun I Wanna Be Your Vicar is nothing but a piece of irresistible pleasure.

I Wanna Be Your Vicar is the third album from the band which is now down to the trio of Mike Whittaker (bass/vocals), Chris Langeland (guitar/vocals), and Alex De Renzi (drums). Released May 7th the album sees the band even tighter than ever and still fuelled by their irrepressible garage sounds but with an even more varied and flavoursome result. To date the band has shared stages with the likes of The Horrors, Black Lips, and The Mummies to name three and it is obvious they have absorbed and twisted the inspiration gained into their own extra spices as shown on the album. The music of the band is not the height of originality though there are not many that bring the vibrant mix this band do, but it is completely and deeply captivating and infectious.

The release opens with the playful and feisty title track, its mischievous beckoning charm an instant connection for the ear and beyond. The guitar of Langeland jangles and slices through the ear with sharp skill whilst the bass of Whittaker is a boisterous yet almost shy presence alongside. Leading it all to bear is the excellent beats of De Renzi, her rhythms direct and enthused but tight within the compact structure here and of each song perfectly. With the added keys laying their impulsive fingers and palms on the song it is an opening gem that only raises the enthusiasm for what is to follow.

Next up I’ll Be Gone raise things another level with its sparkling sixties punk flow, each note and word carrying a wink and a smile that only inspires further emotional applause and adoration. The infection really started from the first note of the release but as this and each subsequent songs swaggers and teases one is drawn defencelessly into adding their own willing vocal sounds and eager limbs, the contagion impossible to prevent.

What follows from now on is an unrelenting pleasuring of the senses from the next up Johnny Cash tinged Lights through tracks like the early The Horrors meets the Stones I Feel Alright with its agitated energy and disruptive beats and the impassioned love song Your Eyes with its more than strong sense of an illicit longing through to the rock n roll/mod stomp of Crocodile Chomp, a mix of Sam Cooke, Chuck Berry and Thee Mighty Caesars. Each and every song in their different guises ignite and warm the senses with an excited love of their inspirations and what they bring that can only be transferred to the listener and their hearts.

As great as the album is to this point the band save the best tracks for the latter stages starting with the brilliant Hauser & O’Brian. With a Troggs meets My Red Cell sound the track is glorious, a patient stroll with rasping riffs and caustic melodies and a siren touch. It is caked in the garage dirt and scuzzy sound that simply excites like a wanton temptress, the always distinct vocals of Whitaker finding an extra nasally and emotive depth. The song is soon equalled by the bristling Kinks tasting Satisfy You and of course the magnificent previous single Everyday. The more the single has pleasured the ear in recent weeks the more it has captured the heart with its insatiable mixture of the doo wop of 70’s band  Darts and the electrified rawness of 13th Floor Elevators and again The Horrors, all treated with the inspired uniqueness of Thee Vicars.

I Wanna Be Your Vicar is a fully rewarding pleasure, a release to make you feel good no matter the nature of your day. Thee Vicars stood right at the front of garage styled rock and punk and with his album have announced they plan to be there a long time.

RingMaster 19/04/2012

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