The Hangmen – Necronomicon

photo by Phil Whiteley_Intial P Photography

It might not always have been openly declared but there is no escaping that British cult rockers, The Hangmen have been an inspiring force on the underground psychobilly scene since the early nineties and the first of seven greedily devoured and increasingly lauded albums. They defy, nay violate accepted musical conventions and expectations in attitude, deed, and sound whilst creating a blend of psychobilly and garage punk which only inspires in its uniqueness and irreverence; the evidence in the sounds escaping the imagination of bands like Dick Venom and The Terrortones and Dedwardians whether from direct or third hand inspiration. Now the trio return with a new three track infestation of body and psyche, an irresistible trespass sure to have even more willingly swinging from their creative gallows.

This new studio material has been a long awaited incitement, anticipation hanging on since the release of seventh album Cacklefest! in 2007, though there was also the rarities collection of Exhumed & Groomed to drool over three years ago. It has been fresh dark Hangmen swing fans have yearned for though and Necronomicon more than delivers. It is the most predatory and creatively deranged adventure yet with the threesome of vocalist/guitarist Loz Firewalker, bassist/vocalist Leapin’ Lizard Phillips, and drummer Dyin’ Ryan and with all its songs taken from upcoming full-length Hells Vagina, The EP is a salacious teaser of hell bent rock ‘n’ roll at its most deviously compelling.

The EP’s title track is first up, its homage to cult movie gem Evil Dead pure invasive theatre. From its initial piano cursed fingering of the imagination, the track twists into a predacious stroll with infection seeping from every pore. Swinging beats and a heavy rapacious bassline courts the senses whilst a seductively nagging hook teases, Firewalker barging in with his vocal roar as raucously backed by the vociferous tones of Phillips. Dragging the listener into its transfixing hellbound realm prone to caustic expulsions, harrying them with a gloriously plodding prowl, the track reveals itself as raw virulence cast in something approaching The Cramps meeting Th’ legendary Shack Shakers as The Orson Family add their incestuous lures ultimately emerging as a depraved invasion all of the band’s making.

The punk stomp of Collarbomb keeps the pleasure as lustfully inflamed, its own naturally mischievous and virulent swagger rapturous bait alone only matched up by the spicy grooves and fifties seeded boldness fuelling its persistently dynamic and insatiable two minute epidemic.

It is fair to say these ears and appetite were fevered by the end of the pair and only ignited again by closer The Great Brain Robbery, the song managing to find an even rawer toxic majesty to its clamour. Driven by a forceful strut with bedlam in its arsenal, the track as its predecessors swiftly gets under the skin incessantly ravishing the senses with its instinctive and inventive babel.

Necronomicon is the kind of treat for which any length of wait can be accepted while providing a taster of a release which will be even more desperately anticipated from this point on.

The Necronomicon EP is out now through Moon Skull Records on 10″ vinyl and download @ https://hangmen666.bandcamp.com/album/necronomicon-ep

Video directed/edited by Ryan Pilot

https://www.facebook.com/thehangmen    https://twitter.com/Hangmen666

Pete RingMaster 17/03/2017

Copyright RingMaster: MyFreeCopyright

The Creeping Ivies – The Witch House EP

creeping ivies_RingMaster Review

All those with dodgy hips turn away now as we have one slice of physical slavery for you courtesy of The Creeping Ivies. Revealing a new wash of ingenuity in their sound which borders on pop, the Scottish band again enthrals and seduces with their unique style of garage rock ‘n’ roll which quite simply is impossible not to get a little lustful over. Consisting of three exotically and flirtatiously sonic slices of dark rock ‘n’ roll, EP and band have ventured into a broader landscape of invention and tempting which might be best described as The Shangri-las meets The Cramps meets The Revillos at a bordello of ill-repute presided over by Johnny Thunders.

The Creeping Ivies since forming in 2011 has been no strangers to acclaim here and across media and fans thanks to two dynamically thrilling and fiercely dynamic albums and a clutch of EPs which have just lit the fires of devilry. It is fair to say that each subsequent encounter has shown a potent evolution of the band’s garage punk/rock bred sound from the last, with a matching strength in temptation. Between last year’s outstanding album Ghost World and The Witch House, the band has seen one half of the duo in drummer Duncan Destruction leave and vocalist/guitarist Becca “Bomb” Murray subsequently joined by bassist Christy Taylor and stick man Ian Duncan. With a big change to a band which has also drawn constant acclaim for a live presence taking in shows with the likes of Viv Albertine, Vic Godard & Subway Sect, Bob Log III, and The Primevals amongst many acclaimed headlining shows of their own, there was a wonder of how things would move or indeed change ahead. The Witch House swiftly shows that as ever The Creeping Ivies are an irresistible creative lure revelling in their inspirations whilst breeding their own striking imagination as they go exploring new avenues. The hex that is their sound has developed an appetite for sixties inspired pop on the EP to go along with a passion for garage rock ‘n’ roll from across the decades. The result is an EP which is majestically glorious and ridiculously addictive.

witch house cover_RingMaster Review   It opens up with its title track, The Witch House flirting through the voodoo rhythms the band has so masterfully transfixes with from day one. Where Mr Destruction’s beats used to transmit intent and resonance like a virus through ear and bone though, Duncan’s beats are more tempered to match the, dare we say mellower, tones of the music yet cast an equally lingering network of anthemic persuasion. Murray’s guitar is just as swift in its spicy coaxing as her recognisable and exhilarating vocal shrills and punkish tone. Completed by the dark rumble of Taylor’s bass, the song swings with attitude and a flirtatious swagger ripe with simple but deeply rooting Ramones seeded hooks and nostalgia bred chords. The track is scintillating revelry to start things off but just the beginning of great deeds.

The following Only the Moon opens with its own infectious shuffle, led in by more flavoursome rock ‘n’ roll guitar and blossoming into a tenacious and composed canter of sparkling riffs and grumbling rhythmic shadows. From that same moment a vibrant melodic and catchy smile also brews, erupting in a chorus complete with inciting handclaps and a vocal tempting which only the deaf could refuse full involvement with. Surf breezes and a sultry air only adds to the compelling dance of the song; sixties pop meets modern garage psychosis at its very best.

The release comes to an end through Bye Bye Babe, a track as much seventies melodic infection as it is sixties garage rock and original 21st century devilment. The guitars seem influenced by bands like The Ventures and Johnny & the Hurricanes, rhythms by bands like The Orson Family and The Bomboras, whilst Murray is like a sultry Fay Fife. Wrapped in an invention and imagination which holds whispers of possible inspirations like Josef K and The Pixies, the song is honey for ears, manna for the psyche and a third kiss of brilliance in The Witch House.

There is no denying we have had a soft spot for The Creeping Ivies since day one but equally there is no argument in the fact the band just gets bigger, better, and more essential with every proposition with The Witch House EP the finest moment for the band yet. We keep saying that over each encounter and suspect it will not be the last time either. Ahead of Your New Favourite Garage Band, a forthcoming compilation of previous singles as well as EP and album tracks from the band, this moment in time feels like The Creeping Ivies are starting a new exciting chapter with thrilling new sounds. Time to get spooked and infested guys and girls…

The Witch House EP is out now with Your New Favourite Garage Band available from October 31st, both though Flowers In The Dustbin.

RingMaster 18/08/2015

Copyright RingMaster: MyFreeCopyright

Venice Trip – Look Forward EP

Photo Cred Kamila K Stanley

Photo Cred Kamila K Stanley

As the summer heats up so does the wealth of smouldering and sultry sounds on offer, and possibly none as bewitching as those unveiled by UK band Venice Trip within the Look Forward EP. Bringing three songs which are fuelled by the breath of late sixties/early seventies psychedelic rock and cultured in a modern imagination, the release is a striking and captivating introduction to the London quartet which more than lives up to the buzz already arising from the band’s live presence.

Fresh from making an acclaimed appearance at The Great Escape in Brighton, the foursome of vocalist/guitarist Andrés Alcover, keyboardist/vocalist Shenny, bassist Nick GK, and drummer Joe Wood immediately has ears aflame with the EP’s title track. The opening song emerges on a feisty shuffle of rhythms and wiry riffs but it is the tangy melody which has the imagination and appetite especially drooling, its sultry shimmer and inescapable lure the lead into a rich seduction of vocals and melodic enterprise. Beats continue to cast an anthemic lure whilst a sixties glazing captivatingly coats vocals and melodies, everything uniting in a contagion which sublimely engulfs body and passions. There is no escaping a sense of The Doors to the track, but equally there are essences bred in artists such as Small Faces, Syd Barrett and more currently MGMT, as well as surprisingly a potent feel of eighties band Associates at times. The song is sensational and a dramatically thrilling start to the release.

Ep cover_RingMaster Review The following Oh Katy is a gentler caress of energy though no less infectious with its evocative grooving and glowing harmonies. The psych pop resonance of the song sizzles on the ears, its spatial tempting grounded by the just as riveting and effective melancholic bass lures amidst thick swipes upon drums. Whereas the first song has a tenacious and broad sense of life and energy, its successor offers a more intimately emotional and personal presence with a just as transfixing and intoxicating tapestry of sound. It also has a slight whisper of Arctic Monkeys to it, though again the main scent of the track is soaked in psychedelic rock from across the decades.

Look Forward closes with Father Of The Universe, another song revealing fresh depths and variety to the band’s sound. From its opening seconds it flirts with a delicious garage punk like lure, the kind of dark and psyche twisted bait which graced the likes of The Cramps and The Orson Family. Swiftly infusing more Jim Morrison and Co like acidity into its alluring grooves and an increasing seduction of keys, the song blossoms into a dramatic, bordering on psychotic waltz of creative and vocal adventure where shadows and beauty collide and collude within increasingly tempestuous character.

It is a fiery blaze bringing a superb encounter to a mighty end. With the only moan about the release being it is far too short for greedy enjoyment it feels quite safe to say that Venice Trip is going to be a major part of many musical lives and quite likely the British rock scene ahead.

The Look Forward EP is available now via RYP Recordings @ https://itunes.apple.com/gb/album/look-forward-single/id1003281940

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

RingMaster 03/07/2015

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

Oh! Gunquit – Eat Yuppies and Dance

IMG_9819

Time to meet your new favourite band and album, and the beginning of frequent visits to hospital A&E because of the twisted rhythmic effect on the body and the deranged dance-floor tempting offered. The culprits are UK provocateurs Oh! Gunquit and debut album Eat Yuppies and Dance. With more agitated rhythms than found in a Cardiothoracic unit entangled in a web of virulent contagion built on salacious grooves and naughtily flirtatious temptation, the band’s sound is pure irrepressible addiction. Hints of their devilish practices have been unveiled for quite a while by singles, videos, and an acclaimed live presence, but with Eat Yuppies and Dance, the London based quintet has just infected the world with their finest moment yet.

With a sound presumably self-tagged as rumble-bop trash freak-a-billy, and you have to say it fits perfectly, Oh! Gunquit has its seeds in a meeting between neighbours Tina Swasey and Simon Wild at a North London vinyl-only sweaty cellar club DJ night. Apparently from an energetic pogo competition the pair decided to form a band based on their mutual love of wild garage punk, exotica, raw rhythm ’n’ blues, and surf-trash. This was 2011 and since then the band they subsequently formed has become an eagerly devoured proposition across shows and festivals which have seen them playing with the likes of Black Lips producer King Khan with his Shrines, Fat White Family, Public Service Broadcasting, Andrew Weatherall, and Keb Darge amongst many. One gig even saw Adam Ant make a “crazed” impromptu stage invasion whilst radio has been just as hungry for their songs. This has all been backed by a pair of limited edition and self-released seven inch vinyl singles and tantalising videos to match. Now with Dirty Water Records, the band has uncaged their greatest bait of sound and devilment yet to seduce and enslave towns, nations, and the world.

Front Cover 2 flat (1)     With a line-up completed by Kieran, VV, and Alex, Oh! Gunquit equip Eat Yuppies and Dance with a torrential revelry which can fall into anything from psyche rock and pop to garage and punk rock, and on again to rockabilly and surf rock and that is still only part of the full musical stomp which starts with opener Sinkhole. The resonating slightly tinny beats which accost and incite ears from the first breath of the song are the sign of things to come, their anthemic lure having one single aim with their actions, to ignite body and emotions. Vocals jump in swiftly with the same impact before the song slips into a sultry groove woven caress of surf temptation over a vivacious garage rock canvas. The voice of Denver bred Tina brings an enticing tang to the exploit as does the acidic kiss of guitar enterprise which flames across the encounter, everything combining for a potent and lively start to the album.

It is an opening quickly over shadowed by the brilliant Head Bites Tail, an exhausting tapestry of dark pop and fiery rock ‘n’ roll best described as The B-52s meets The Cramps whilst being filtered through the warped funk voracity of Rip Rig & Panic. Brass seduces with unbridled toxicity across the song whilst rhythmically it is as busy and inescapable as the first seconds after doors open on a Black Friday high street sale. The vocals are equally as volatile and excitable in quite simply one quite exhilarating proposition.

Sixties beat lined and blues hued Caves strolls in next, its suggestive swagger as tempting as anything cast by your favourite temptress. Once more there is a great tinge of B-52s to the exceptional enslavement but to that there are additional essences of garage punk bands like The Orson Family, the bluesy seducing of a My Baby, and the garage pop escapade of The 5.6.7.8’s in the mix. The song is pure aural sex but as becomes a habit with Eat Yuppies and Dance as soon as you think the band has hit a pinnacle they come up with an even more deviously addicted treat, in this case Bad, Bad, Milk. Vocally and musically insatiable, the track is sheer addiction from the first flying syllable and rhythmic swipe to its final infection loaded spark. Everything from the chin down is in rapid union with the merciless stomp, every beat, groove, and flame of brass simply Class ‘A’ addictiveness to which vocals and melodically mischievous hooks are the ringleaders.

     The fuzzy sax hazed, seventies psyche pop dance of Hope In Hell provides another new colour to the diversity of the album, before Pony Boy brings a rockabilly/fifties rock ‘n’ roll tenacity to its garage punk shuffle to ignite ears all over again. Think Imelda May meets The Horse Party and you get a whisper of its epidemic of sound and persuasion, again Eat Yuppies and Dance stretching its creative landscape.

Into The Woods visits a bluesy backwater scenery in the imagination next, rock ‘n’ roll keys a la Fats Domino, luring excitedly from within the sweltering but inviting climate of the song. A great merger of fifties and modern rock pop, the song flirts and dances with ears and emotions until making way for bubbly rock ‘n’ roll of I Need Help Now. As its predecessor, the song casts a spell on body and vocal chords whilst creating a new twist of dark pop adventure within ears and album, at times skipping along like a predatory version of The Shangri-Las in a fiery entanglement with Cradle.

All the big irresistible rhythms and anarchic incitements are out for Voodoo Meatshake, their rabid seducing matched by brass and vocals which in turn are bound by searing grooves and a suggestive stroking by keys. It is an explosion of lustful sounds and rousing energies, one of those feel good assaults on the senses which have you exhausted and bloated with pleasure. The same applies to closing song Lights Out; a rhythm ‘n’ blues romp leaping around fondling the passions like a mix of The Revillos and King Salami and the Cumberland 3. It is a glorious slice of sonic diablerie, a mouth-watering hex on feet and passions bringing the similarly sorcerous Eat Yuppies and Dance to a dramatic and thrilling end.

There is no remedy to the potency and create toxins of Oh! Gunquit’s sound, just more lust emerging with every listen of their brilliant first album.

Eat Yuppies and Dance is available now via Dirty Water Records @ http://www.dirtywaterrecords.co.uk/shop/#!/Oh-Gunquit-Eat-Yuppies-and-Dance-CD/p/47051183/category=2749844 and https://ohgunquit.bandcamp.com/album/eat-yuppies-and-dance

https://www.facebook.com/ohgunquit/

RingMaster 02/05/2015

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

Los Trasgos Muertos – Eponymous EP

Los Trasgos Muertos Logo (1)

Creating garage rock with a psyche rock aspiratory system, or is it psyche rock with garage rock blood…however you wish to describe it, UK rockers Los Trasgos Muertos have woven a seriously compelling encounter with their self-titled debut EP. Consisting of four-tracks which simply whisk the imagination away into a kaleidoscope of seventies seeded adventure whilst immersing ears into a web of bluesy sonic curiosity, the band’s first offering is quite simply a delicious introduction.

Los Trasgos Muertos hails from Manchester and consists of Captain Reed (bass/vocals/organ), Von Beek (guitar/vocals), and Il Fleishe (drums), three protagonists no strangers to each other from their individual time and experiences in varied bands over the years in their city’s music scene. Once united, the band whilst taking inspirations from the likes of Billy Childish, Thee Oh Sees, Hi Ho, and Ty Segall into their own invention was soon clutching a horde of songs ready for recording, which they did at Eve Studios in Bredbury. Now the sultrily flamed first encounter is upon us all and what a treat it really is.

It all kicks off with Fire In The Sky, a song swiftly binding ears in a spicy blues crafted groove and bass grumbles as beats flash their sinews across the senses. It is soon striding with tenacious energy and creative enthusiasm, hooks and the ever increasing lure of the grooves as tangy and contagious as the lively vocals and melodic endeavour. There is an earthiness to the song which easily grabs ears whilst equally there is a drama to every psychedelic clothed note and anthemic swing. The track continues to bluster like an autumn wind, warming the bones whilst offering haunting shadows and pagan like unpredictability.

The following Step One makes a less spectacular entrance but soon has senses and thoughts wrapped in its opening mesmeric melodic shimmer and vocal embrace. Soon a sixties beat feel adds Picture 84it’s tempting to the garage rock stomp as the song hits the ground with a lively gait. As its predecessor the virulently catchy encounter swiftly ignites an even greater appetite and satisfaction whilst being relentlessly fascinating though its expectations defeating adventure, a quality which is even more exploited by It Rises!

The third track makes the best entrance of all, its initial slap of beats the trigger to a winy blues rock bred groove which coincidently is almost straight out of the major seduction that is the Karn8’s song Sick. It was an essence extraordinary there and just as irresistible here with its particular haunting colouring. Around it the smouldering tapestry of the song flows like sonic honey, sticky and flavoursome melodies gluing their lures to ears and emotions as the increasingly impressive vocals add their distinct spice to the brilliant proposition. Sometimes there is no escape from the touch of a song no matter what and here is one of the most stirring examples.

The release closes with the dark romance of Roll With The Punches, a track merging the garage punk of The Orson Family and the fuzzabilly styling of Eighteen Nightmares At The Lux with the garage rock styling of The Electric Eels and the psyche temptation of The Doors. It is an enthralling almost intrusive embrace of body and thought, a mouth-watering and riveting end to an outstanding debut.

The Los Trasgos Muertos conjure their own world and psychological adventure with their strangely familiar but openly unique sound; one already ears and appetite are impatiently waiting for more of.

The Los Trasgos Muertos EP is available from February 2nd

http://lostrasgosmuertos.com/

RingMaster 02/02/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

 

Dedwardians – Love Sick/ Like An Animal

dedwardians

Crawling the senses and imagination with mausoleum bred romance and a sound as carnal as it is predatory, UK garage punk/psyche rockers Dedwardians unleash new AA-sided single Love Sick/ Like An Animal, an encounter unleashing the beast in the passions. The release is a raw and primal proposition, a caustically bracing protagonist providing modern rock ‘n’ roll with an older devious seduction.

The new encounter follows last years acclaimed single Bang Bang Die/Stop Destroy, an attention grabbing release igniting a feverish following which Love Sick/ Like An Animal will only inflame further. The London based Dedwardians expand their songs from a fifties rock ‘n’ roll inspired core, drawing in the darkest essences and warped delights of psychobilly, garage punk, psyche rock and more. The best way to describe their sound is the ravenous punk of The Cramps colluding with the fuzzabilly devilment of Eighteen Nightmares at the Lux to engage in illicit unions with the psyche dementia of The Dropper’s Neck and the gothic rockabilly charm of The Orson Family. It is a concoction which as mentioned made a gripping infestation for the first shadow cloaked swoop of the band and rises to even greater infernal irreverence and beauty with the new single.

Love Sick opens with an instantly addictive and tangy groove, the fiery enticing from guitarist Gaff almost insidious in its lure and reminding of Damn Vandals in tone and inescapable temptation. Jabbing beats from Dan Bridle skirt the image001toxicity soon after, adding predacious swings as vocalist Paul Gautrey begins unveiling the dark toned narrative. The heavy throated lure of Ben Auston’s bass only adds to the demonically erotic seduction embracing ears and imagination, almost egging on the darker tempting of the song as it immerses the psyche. Virulently contagious and greedily insatiable, Love Sick is raw sonic alchemy with grooves and hooks as spicy and venomous as the instinctively enslaving rhythms and emotively ravenous vocals.

The accompanying Like An Animal is no different, an organically lo-fi persuasion with its own unique and epidemically driven infestation of sound and hungry passion. The track simmers with a sonic coaxing initially before again grooves lay the first tasty bait, it all subsequently joined by a persistent and intimidating shuffle of drums and harsh scythes of guitar. The track is a riveting tempest, hooks and splices of melodic acidity spearing the tempestuous prowl of the song whilst Gautrey like a barker from the darkest depths, leads and directs the incitement with his expressive tones, backed by the rest of the band in rockabilly style. The track as its companion is pure temptation, from the bulging basslines to the hoarse vocal and sonic squalls, as well as the scorching melodic expulsions of inventive manna, simply irresistible.

The track having reinforced those references in sound mentioned before, also holds a potent breath of The Eighties Matchbox B-Line Disaster, and in many ways is probably the closest comparison to Dedwardians. For all like us who still mourn the end of that great band, we have a new contender to fill that gaping gap in British music. Do not be deceived though, Dedwardians is and has a sound unique to themselves and with the release of the new single will surely turn the ripe buzz around them into a full blaze of attention and ardour, especially as you are not likely to have heard many singles matching its brilliance let alone surpassing it this year.

Love Sick/ Like An Animal is available on Nov 24th @ https://itunes.apple.com/gb/album/love-sick/id935793228?i=935793244&ign-mpt=uo%3D4

https://www.dedwardians.com/

RingMaster 22/11/2014

Copyright RingMaster: MyFreeCopyright

 

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

Mickey & The Mutants: Touch The Madness

picture by Cathy Bloxham

picture by Cathy Bloxham

If anything from psychobilly to fifties rock ‘n’ roll and rockabilly to rhythms & blues gets your feet and heart eagerly moving than we just might have the album of the year for you in the mighty shape of Touch The Madness, the debut release of UK rockers Mickey & The Mutants. Multi-flavoured and insatiably contagious, the album is a storming slab of mutated rock ‘n’ roll brought with all the craft and devilish guile you would expect from the experience and invention of its creators.

Mickey & The Mutants is made up of double bassist/vocalist Mick White (ex-Guana Batz and ex-Meteors from the Mutant Rock/Wrecking Crew and arguably best era of the band), guitarist/vocalist Norm Elliott, and Sharks drummer Paul ‘Hodge’ Leigh. It is a trio which on past history we admit we here had greedy expectations of but with Touch The Madness they surpassed everything wished for with a wonderful devilment borne from honest uncomplicated rock music. Formed in the summer of last year the band, on the evidence of their debut, only has the single intent and that is to provide an unforgettable, high quality, bruising party for the senses and passions, something they succeed in doing within the first three songs alone and reinforce time and time again across the twelve track release.

The title track opens up the excursion through the ‘bedlamic’ enterprise’ and imagination of the band, a lone guitar and distant WSRC072_300psychotic wails displaced by a barrage of rumbling beats from Hodge and sabre like riffs from Elliott. Amongst their instant persuasion the nimble fingers of White bring throaty bass slaps into the mix and slightly crazed vocals which within the devil bred brew being cast recalls The Orson Family in touch. The song is pure psychobilly and an evocation of primal urgency to join its hungry commanding mood. The track also gives portent of the album ahead, its body a twisting and varied temptation that has limbs and voice offering their well in our case, feeble blasphemous help.

The following Elvirista (Queen Of The Dead) teases with again a single coaxing of guitar before once more the rhythmic potency of the thumping drums and belligerent bass provoke and fill the song with such depth and menace you feel you are about to succumb to aural voodoo. The vocals of this time Elliott, the vocalist within songs being who penned them, have a dark demonic shadow to their narrative which like and with White before, brings great character to each slice of devilry and the release as a whole. The track smoulders with wanton seduction and enchanting intimidation which again receives no resistance as it takes passions into realms of rapture.

These Ol’ Bones explores a country rock seeded field of compulsion which sounds like a mix of Th’ Legendary Shack Shakers and The Screaming Blue Messiahs, whilst veining itself with some tantalising blues guitar licks and flames which ignites further the immense pleasure the impossibly addictive song has already sparked. It completes one of the strongest starts to any album in a long time, but it does not sit back on its laurels or take a rest as the excellent Jacob And The Well Of Love and its successor Something Bad’s Comin’ Outa The Ground soon show. The first also walks with a rhythm & blues swagger and lilt to its mesmeric stroll whilst the second of the pair is a slow canter around another blues narrative that leaves the lips of satisfaction licking feverishly.

Adrenaline soon opens its boosters again as the old school stroll of Blonde Haired Assassin takes the ears in its Gene Vincent/Blue Cats like palm of sound. Not for the first time on the album the guitar of Elliott is a delicious blaze across the sky of the song whilst White leaps over the senses with his upright skills and Hodge simply hypnotises from start to finish with instinctive rhythmic bait.

If the album stopped here it would be fair to say acclaim would still only ooze from these words but thankfully it is only midway into its rewards and soon raises the temperature further with firstly the contagious punk driven Rock n Roll Messed Up My Mind and even more so with Phantom Of The Opera. The second of the two is to all extent and purposes a cover of the Meteor gem on their Wreckin Crew album of 1983, though as it was written by White anyway maybe cover is the wrong word,  nevertheless he has just reowned it with the stunning version on Touch The Madness which we would suggest surpasses the previous version, it is that good and still one of the most riveting psychobilly songs of all time.

Burn You Sinners Burn just stomps over the already seduced heart with another dark toned piece of rockabilly majesty, White and Hodge creating a menacing wrap of rhythmic menace psychotically ridden by the vocals of Elliot and his sweet toned guitar caresses. It is pure aural manna which is sidled up to in quality by the sultry and dangerous mystique of Kiss Of The Spider Woman. Winds of surf rock wash over mariachi whispers to draw out a sweltering ambience which soaks every pore of the body and senses.

The album ends on the twin psychobilly enticement of Zombie where every aspect of band and sound stalks the passions with all the relentlessness of the risen dead, the song feeding off on the eagerly given submission to its virulently infectious jaws, and the insatiable Mind Control, the only time the band really reminded of The Meteors. It has to be said expectations to like Touch The Madness were strong but to the depth that we did was wholly unexpected and greedily taken. Mickey & The Mutants has opened its account with a killer album, one which is not quite up there with the major genre classic but easily one of the very best rock ‘n’ roll albums heard in a long time.

https://www.facebook.com/MickeyAndTheMutants

10/10

RingMaster 23/07/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com