Mr. Strange – The Wonderful World Of Weird

Mr. Strange promo

Just to prove that insanity can be the sweetest potent seduction The Wonderful World Of Weird is here to exploit and uncover the darkest secrets of your mind whilst travelling the exotic and dangerous mental halls of its creator Mr. Strange. The former frontman of the UK’s greatest still to be truly discovered musical mutants The Shanklin Freak Show, though he is still healthily involved in the band, Mr. Strange voraciously stalks the senses and emotions with his fourth album. It is a release which soundtracks a bedlam of sound and adventure from a quite maniacal imagination.

The Isle Of Wight hailing songwriter/producer/vocalist/musician began his musical exploration as ‘The Mad DJ’ in 1998 before emerging as Mr. Strange in 2006. He founded circus rock/steampunk band The Shanklin Freak Show in 2003, guiding the band as songwriter and vocalist up until starting an extended break from performing live at the end of 2011. Alongside The Shanklin Freak Show albums including Act II – The Light Fantastic of 2009 and Welcome To The Show of 2011, a few other projects, and producing a couple of albums by Global Citizen, Mr. Strange unleashed his solo musical rapaciousness. Sounds From The Asylum came first to be followed in 2011 by the releases of The Fall and Freakshow, the last a 38 track retrospective album chronicling the songs that he wrote under the Shanklin Freak Show name  which included new, unreleased, and re-recorded or re-mixed tracks. Now the sanity puppeteer steps forward again with the magnificent temptation of The Wonderful World Of Weird, the finest Mr. Strange musical and mental examination yet.

With more flavours than a giant box of Jelly Bellies, the album is a dramatic and exhilarating flight through the darkest yet 555928_584429381594861_1695733989_nmagnetically and vibrantly compelling mind of the fictional character of its creator, employing everything and anything from industrial and steampunk to gothic rock and progressive metal, and that is just scratching the surface. With many of the tracks co-written with Gary ‘Stench’ Mason, The Shanklin Freak Show guitarist and provider of the majority of the guitar invention across the release, the album immediately lures in senses and imagination with the opening spoken narrative leading in the title track. It instantly intrigues as the scene setting premise strolls into the irresistible stomp of the song. Rhythms bounce around with a heavy mischievous gait matched by the electro and bass taunting whilst the guitar casts lines of sonic and melodic bait which is pure infectious toxicity. Best described as Dr. Jekyll meets ICP as early Marilyn Mansion helps Victor Frankenstein create aural life for them to toy with upon a set designed by Willy Wonka, the track is a delicious fascination and the first irresistible hint of the lunacy to come.

Creating the World is an expansion to the landscape previously crafted with a gentle psychedelic ambience washing the dawning scenery. It is a mesmeric, almost meditative soaring of harmonies and guitar elegance with rubs of dub and scratching teasing the riveting flight. The seducing continues right up to the doorway into the Psycho Surfing-A-Go-Go, one of the major pinnacles upon the album. Again as between numerous songs, the narrator lays down an invitation before the surf rock contagion drops its shoulders and swerves through the ear with irrepressible virulence. The grooves enslave the passions within seconds whilst the rhythmic dance only builds a cage for rapture to breed within as fire kissed keys add smouldering lures to the hot and epidemically addictive romp of sonic lava. The song is one of the best heard anywhere this year; a beach party in the mind of Hunter S. Thompson hosted by The Cramps and The Bomboras with Two Wounded Birds, B52s, and The Revillos adding extra entertainment.

From the dark sinister realm of The World’s Dark Heart, Mr. Strange lurks in the steampunk/industrial graced world of Metropolis 2984, a track which equally extends some classic metal and psyche sculpted imagination to its captivating persuasion. There is a swing and energy to the track which infects feet and emotions but equally an underlying dark tone beneath the celestially soaring harmonies which suggest more 1984 than Fritz Lang. Again the album and artist has the listener in a tight grip of pleasure and suasion, though it never slipped from the first breath of the album to be fair, which tightens with firstly Clockwork Man and explodes through Fire. The first of the two stalks the ears with the drama and theatre of a Tim Burton vision sculpted by the melodic ingenuity of Danny Elfman, though it has to be noted that every song despite the references sound like no one but Mr. Strange. This masterful manipulation of the senses and passions is soon left in the shade by its successor, the track another major peak in nothing but highs. The song is the closest to a Shanklin Freak Show tune that the album gets, its sexy tango pulsating mouth-watering foreplay for the beats and funk bred keys to add intoxicating spice to. There is something familiar to the hooks and stomp of the song aside from the earlier comparison, but it is indefinable and wholly galvanic.

Through the noir shadows of Don’t Stay (Where the Dead Ones Lay) with its jazz smooching funk lined temptation and the excellent gothic majesty of White Rabbit, the song reminding of The Damned at times, The Wonderful World Of Weird intensifies its resistance free toxin whilst the electro swing heart of Exile and the psychedelia soaked gothic tempting of Anti-Christ only spark further flames of lustful submission to the call of the release and its psychotic beauty. Every song is a wanton temptress in whatever guise and sonic clothing they frequent, and though admittedly hopes and expectations were of big things from Mr. Strange on past successes, the album left those assumptions insultingly short of the brilliant reality.

Completed by the classically crafted Journeys End, an enchanting epilogue if not to the levels of what came before, The Wonderful World Of Weird is pure certifiable aural manna. The CD version also has a track exclusive to its version, a very enjoyable cover of the Dr. Steel track We Decide. The able shows that there is only one Mr. Strange and his form of weird, one you can charter a sensational cruise through via our favourite album of the year, The Wonderful World Of Weird, that is if you are brave or eccentric enough.


RingMaster 28/11/2013

Copyright RingMaster: MyFreeCopyright

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Creepy Band: The Curse Of The Cloak

Creepy Band

    Uncanny in name and sound, Creepy Band is one of those encounters you never forget or drive out of your mind no matter your reaction to their unique and evocative sounds, though it is hard to imagine anyone not being enthralled and wrapped up in the sinister creativity going on especially within their debut album. The Curse Of The Cloak is a delicious eerie encounter which paints and evokes colourful haunting emotions and imagery through its collection of aural ‘horror movies’ and makes for the most compelling playmate each and every time its long spooky fingers are allowed to tease the senses.

The Chicago quintet of Dave Henderson (vocals), Sam Huff (keys/organ), Jake Gold (guitar), Ray Knipe (drums), and Benji Jacobs (bass), came together to play one show on All Hallow’s Eve 2010, but they and the devils raised had such fun that the Creepy Band emerged from the carnage to go forth and overrun the souls of their home city ever since. Influences for the musicians and thus the band come from the likes of Black Sabbath and The Doors, the latter an open rich and mesmeric flavour with their first album. To the influences which seemingly spice what is a truly distinct sound on The Curse Of The Cloak, you can also add potent flavours of bands such as Th’ Legendary Shack Shackers, Danzig, and with the dark vaudeville tones which wash over the ear throughout the release, The Shanklin Freak Show. Their sound is a masterful conjuration of delicious discord, slashing guitars, predatory rhythms, and enveloping church organ, a combination that leaves its mysterious prints on every thought, emotion, and atom.

As the opening caress of church organ within the opening Intro wraps the ear with blistered prayer inside its touch, the album 3631042872-1immediately is one of intrigue further enforced by the emergence of Doomsday Device, a song with heavy resonance, snapping rhythms, and pagan like psychedelic breath. The song is a weave of lush melodic strokes within the continuing to re-sound presence and heart of the song created by the deep dwelling bass stalking and punchy drums. The vocals of Henderson sway over the emerging tale coating the musical canvas with an expressive story telling as compelling as the sounds coaxing them forth. It is a hypnotic start carried right through the album starting with the following Ray’s Riff, another song like all which offers a fascination impossible to pull away from. Dark and shadowed the track entwines vocal and energy squalls with questioning melodic intrusions and sultry enticement for a wholly engaging evocation of the passions.

As Shipsong floats upon the shores of the senses with its bewitching xylophone spawn probing and stomping beats, the album takes a riveting detour into different but equally compulsive waters, the track with vocals from Huff leading the romp aural addiction. The song has received strong airplay with The Bone Orchard radio show, the lush soak of delta blues and psychobilly with a polka to its stance adding its own distinct character to the fiery touch of the song one of the most potent invitations into the album. The breeze of steam punk also within its passage is another thrilling kiss upon the heart and helps breed a full and overwhelming persuasion for the passions, not that it or the album finds any resistance.

The garage rock gnarl of Live Amongst Horror takes the listener to another portentous port of call, its occasional teasing and pick-pocketing of the senses adding extra mischief to the overall unrestrained eagerness whilst songs like the dramatic, emotive Ballad and Damn The Old Man with its theatrical gait unveil further evocative aural paintings for thoughts and emotions to immerse within.

The contagious swagger and beckoning of Shipsong pt. II incites full rapture and anthemic indulgence from the listener before the addictive sonic drizzling of Red Fish, Dead Fish frees its own irresistible wanton temptation from which there is no escape. The unrelenting insistence of the latter is insatiable and once winning its cause leads one into the conflagrant depths of the magnificent Chromatic Descent; a seventies psychedelic sonic blaze from which there is no escaping the Doors comparison. It is a sensational track which in turn passes its triumph to the similarly layered closer Let There Be Light with its more caustic and rasping voice.

It is a final fanfare of excellence from The Curse Of The Cloak, an album which deserves every ounce of acclaim it receives and more. Need an engrossing companion for the beckoning shadows or a bedtime chill for those dark nights than Creepy Band is the perfect instigator to those welcoming nightmares.


RingMaster 08/02/2013

Copyright RingMaster: MyFreeCopyright

The Inner Sanctum 22

Persistently striving to find new heights and never settling on what is easy The Reputation Radio Show last week unleashed its first full episode of The Inner Sanctum. Never a show for the faint hearted but for all with a heart for the best new music this was an event which flew on full boosters and unbridled mischief.

Hosted by the unpredictable talent of Johnny Summers aided by the simply indecipherable Pete Ringmaster, The Inner Sanctum left scorch marks in its tracks with some of the finest new sounds and artists yet to be featured on Reputation Radio Show as a whole, which with their pedigree and impressive finds shows the quality of what was unveiled alongside favourite new and older independent classics.

The show also featured live a persistent offender musically and comically on the show in drummer extraordinaire Paul Holden and new victim rock guitarist Matthew Meadows. With two artists as unable to contain their enthused banter as the host of the show it was a car crash made in heaven and irresistible listening. What emerged from within the mayhem was an enthralling update firstly from Paul about where he was musically. With the demise of the band Nowhere Fast, the drummer unveiled the reasons for its end and where he was looking in regards to the direction of his musical career. He also talked about the cover band he plays in, The Djinn which knowing the thoughts and aversion to such things by half of the Reputation crew was a brave move, who said drummers had no sense of humour.

Matthew Meadows had no problems with bands though one feels he would in many ways like to at some point in a positive way. The show was let into the early life of Matthew as the man talked about his days as a ballet dancer, the move to being a guitarist, computer programming, and his sexual relations with R2D2 and his carnal knowledge of a dalek. Ok the last two might be more our imagination as due to mic problems his end he sounded occasionally like Robby the Robot on a washing machine so we are making assumptions of what he might have said. Seriously though it was enlightening to learn more about the man who perpetually confuses people before it dawns on them where he is coming from with his striking videos and eager to impress sounds.

On the music front the show was no less thrilling as it brought to its audience for the first time the simple mesmeric beauty and charm of the music of Holly Walker through her song Modern Life taken from her brand new EP Bedroom Bangers and the surging rock imaginations of The Secret City with a track from their new self titled album in the shape of A Call. Both went down a storm with requests to hear the tracks again on the same show which unfortunately time did not allow but Johnny and Pete had already decided such their own enjoyment and impressed responses to both songs there would be more airings on future shows.

The show also featured an exclusive play of the title track from the just released Eloquently Violent album  from electro/industrial band Illustrial whose Baz Badrock joined the show in the chatroom as did the band and tour manager of another band to be featured especially on the show Our Innocence Lost. Taken from their latest album Like A Complete Unknown, it was the first time the song End of Time was played on the Reputation Radio Show and it also went down a storm with the audience. The play was also enhanced by the fact the band who were playing a gig that night were listening in through the wireless set up of Manager Rog in their tour van outside the venue whilst the event was going on. Such their enthusiasm to hear they hid from the venue staff until the very last minute just so they did not miss the song and then proceeded to blow the venue, audience, and the other bands away with the powerful performance of which they are renowned.

With additional great music from the likes of Tim Bennett, The Escape,  Slam Cartel and The Shanklin Freak Show, to name just four of the multitude played, it all added up to a brilliant and enjoyable show. It was not as confrontational, dangerous, and in your face as before…no it was even more so and all the better for it. On every Friday from 9PM UK time, The Inner Sanctum looks like being one show which no one will want to miss and if they do they have the podcast of the show to greedily unleash their inner mischief with anyway.

Check out the podcast of the show @ and tune in live each week @

Find out more about the artists featured @…

RingMaster 09/07/2012

Copyright RingMaster: MyFreeCopyright

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The Bone Orchard Show 34

The Reputation Radio Show has a well established recognition and notoriety for finding, championing and promoting the best of the independent artists and sounds around the globe. Unrelenting and tenacious the promotions company/radio show is acknowledged as the prime source for finding the best talent of all genres with the introduction of the same followed closely. The intense and heavier world of sound is discovered and unleashed through The Bone Orchard, a show where anything with muscle and a riotous tendency is eagerly presented. From all forms of metal and industrial/harsh electro through punk and psychobilly on to noise and psyche with all in between, The Bone Orchard bears their individual shadowed fruits eagerly.

This past week saw the latest episode bringing six of the most impressive and exciting bands around as well as bringing a debate on some aspects of music. Hosted by the blue hued Pete Ringmaster and Reputation Radio Show CEO and mastermind Johnny Summers, the show cleared the sinuses and lit up the ears of all those with urges to match and compliment the great sounds played.

Opening with the traditional opening intro provided by Mr Strange of The Shanklin Freak Show, a band the hosts would talk about at length within the show giving the audience the latest developments from their carnival, the show immediately treated the eager crowd to a track from the debut album Defaced from UK rock band The Self Titled to be released June 18th. Mr Nobody is a stunning track, a metal and rock fusion with stirring vocals from frontman Mark Campbell over a brew of inventive and powerful sounds. With an insatiable thirst for gigging and an equal demand wanting them for shows, The Self Titled are one of the best bands in the country right now, their sharing of stages with the likes of Forever Never and Sarah Jezebel Deva as well as acclaimed festival appearances, leaving nothing but devoted fans in their wake.

Next there was a burst of real punk rock from another band from the UK in the mischievous bruising shape of Dirt Box Disco. With self declared influences ranging from Kerbdog, The Damned  and the Ramones to The Bonzo Dog Doodah Band and Showaddywaddy, the quintet from Burton on Trent make music which is honest, feisty, and insatiably infectious. The contagious track played, I Am Rock n Roll, was an exclusive from Legend another album to be released June 18th. The song played and the album the song comes from is one which revives the true 1977 spirit of punk meshing it with rock sounds as anthemic and voracious as you could wish for.

Before a lively debate about bands including cover songs in their live sets which saw the hosts at opposing lecterns but ultimately ended in the blue man being right, so he claims, things became intensified with the devastating aggressive sound of Amongst Carrion. From South Wales the five piece metallers woke up the airwaves with their track The Fear In Her Eyes taken from their latest EP We That Should Not Be. With a melodic groove recalling In Flames and the brutal riffage of an August Burns Red, the track easily declares the band as an emerging force in UK extreme metal. They have definitely moved on fully from their early days as a cover band, the point which inspired the following discussion.

Continuing the UK theme Leeds band Ourfamous Dead provided the next outstanding track with their forth coming single Claws At The Door. A rampant brew of hardcore, punk, and electro the song is the latest step in the vision of band founder and song writer AJ Reeves. Fresh off a UK tour with another Bone Orchard favourite The Sun Explodes, the quintet are a band on an accelerated rise pulling in acclaim and fans with each show and release persistently. Having supported the likes of The Blackout, Funeral For a Friend and Gallows, the band is fast approaching the point where others are eager to share stages with them.

As the final featured band of the night, US melodic metal band Vajra stunned and thrilled the listeners with their epic masterpiece Inside The Flame. Taken from their forthcoming album Pleroma, to be released in July, the song is a hypnotic and powerful example of the darkly melodic progressive rock fused with Eastern Indian influences which they inventively create. Led by the glorious voice of founder/producer/keyboardist/songwriter Annamaria Pinna, the band is one with a craft and imagination which is sure to find a feverish demand over the months ahead.

Closing out with Irish metallers iBURN, a band which is frequently requested since the debut of their song Where It Begins taken from their new EP of the same name, and another band which leaves you wanting more, The Bone Orchard dished up another formidable dose of new and impressive music. If anyone tells you there is nothing good or new coming out, place them in front of the podcast of the show, and they will soon be put right by this group of bands alone.

With the show primed to unveil more outstanding artists and sounds across the weeks ahead you can catch this, previous and future shows over at The Bone Orchard page at The Reputation Radio Show site as well as watching a selection of videos from a host of the bands featured on the show.

Get in touch with the show via

RingMaster 16/06/2012 Registered & Protected

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Djerv – Self Titled

Distinctive, maniacal, and slightly disturbed in places that one never knew existed, the self tiled album from Norwegian band Djerv has filled the hole left by the demise of Animal Alpha in 2009. The dark vaudevillian touch that fuelled the fellow Norwegian band’s sound was left in the more than capable hands of the likes of Stolen Babies, The Shanklin Freak Show and Creature Feature , but still there was an empty corner of dark discontent from their absence. Djerv have filled that gap and how, though as the band is led by the same vocal powerhouse Agnete Kjølsrud it should be of no surprise, her visual and skilful vocal eccentricities and creations coming full force with a harder and more aggressive intent and sound from within her new home.

Kjølsrud has teamed up with drummer Erlend Gjerde (ex- Stonegard) and guitarist Stian Kårstad (ex- Trelldom), to bring a sound that employs the influences of the other two’s heavy metal and black metal past and abilities into the inspired variations and melodic probing hooks that made Kjølsrud’s previous band stand out so strongly. Djerv are direct and powerful, and with the unforgettable and always irresistible voice of Kjølsrud, is an extremely impressive original and diverse rock band.  

The album consists of nine compelling and varied pulsating tracks, from the simple but strong punk metal attack of the opener ‘Madman’ to the intense and shadowy tones of closer ‘Immortal’ the album ripples and bulges with big riffs, pounding rhythms, sonically teasing melodies and addict making hooks.  The album and band revel in finding new and inspired ways to satisfy and treat the senses and no track within the album does less than is musically possible.

There are so many moments that one wants to shout about but a few to point out are the prowling and growling beckoning riffs of ‘Headstone’ and the dark recesses of the mesmeric ‘Gruesome Twosome’, a song that like a sinister puppeteer has one dancing on its musical strings. Adding the wicked groove stomp of ‘Only I Exist’ and ‘Abmuse’ with its consuming black gothic heart the album is already an essential listen.

Though it can almost already be labelled as so it is the track ‘The Bowling Pin’ that tips the album over into a classic category, it’s incessant rapping on the senses with a superior air backed up by scorching riffs, throbbing rhythms and the never failing imperious vocals of Kjølsrud makes the song is a masterclass and masterpiece in making intense and addictive music instinctively and eagerly. To be fair though that applies to the whole album.

Djerv the band and the album is a glorious pleasure and deeply satisfying release. Intensely powerful and stunningly melodic, darkly tainted and caressingly loving, and strongly direct whilst insanely addictive the album has it all to make the world disappear as you fall into its hypnotic charms. This is an album that will satisfy and inspire in equal measure and appeal to audiences of any genre and as for Animal Alpha fans they will rejoice in another band with eccentric originality and forthright musical intent screaming out with unique smooth and stirring grace.

RingMaster 30/09/2011 Registered & Protected


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