Target Renegades – Gallows Humour EP

tr-band_RingMasterReview

With their previous acclaim luring Dark Sounds EP pushing the band’s sound to another level, UK rockers Target:Renegades ended 2016 with another proposition revelling in new growth in their fiery mix of alternative and hard rock loaded with punk belligerence. The Gallows Humour EP provides a quartet of songs which roar and command attention whilst showing new variety in the Warrington outfit’s writing and sound. Compared to its predecessor and its immediate explosive grip of ears and imagination, Gallows Humour is more of a smouldering tempting but one working its way to the same kind of success and persuasion .

Following their 2012 released debut EP Corruption For Beginners, Target:Renegades really courted awareness with first album [Press Start] two years later. Its impressive collection of songs eagerly pleased ears yet suggested that there was plenty left in the creative tank for the band to discover and explore. With an explosive live presence earning them further praise and support and seeing the band sharing stages with the likes of The Vibrators, Sumo Cyco, and I Am Giant among many over time, Target:Renegades realised much of that potential with Dark Sounds and have tapped into even more imagination and variety with Gallows Humour, an encounter ready to ignite a new flood of plaudits and followers.

The EP opens with the instantly compelling Jump Overboard, its initial nagging groove alone enough to grip ears and appetite as the lures of Dan Fido’s guitar squirrel themselves into the psyche. With the beats of Matt Reid just as eager as the bass of Jack Hamnett magnetically groans, the song soon hits a controlled yet fiery stride with vocalist Adam Hulse commanding further attention. Its chorus is simple but as catchy as anything the band has sculpted while its surrounding saunter is muscle and menace bound in a composed groove layered air. With hooks which drive the song further under the skin, it is a masterful and addictive start to the release.

tr_RingMasterReviewA heavy bass groan opens up the following A Curse Ensues, melodic strands from Fido soon wrapping the senses as the track grows and blossoms into a proposal distinct to the band. The second track reinforces the thought that the band has discovered a sound which roars only Target:Renegades though inspirations from the likes of Deftones and Karnivool are additional hues in its canvas of imagination. Hulse excels as he shares the song’s landscape with earnest prowls and emotional roars, both backed by Fido’s potent tones and inventive guitar spun enterprise.

I Concede steps up next, coaxing ears with a melodic caress as rhythms gather in the background before shaping the track’s subsequent melancholic stroll. Its low key gait and touch is a suggestive proposition as vocals potently share an emotion bred heart; an alluring offering ignited further by ferocious bursts of fiery sound and raw intensity. Whether guttural vocal growls work as well as they could have can be argued but the song only reinforces the potency of the release so far with strength and invention.

The EP is concluded by This Isn’t Revenge, another instantly recognisable to the band which backs the suggestion of real distinctiveness in their writing and music breached by Target:Renegades. The song maybe lacks some of the sparks of its predecessors but hones a melodic prowess and beauty which leads it to be as tempting as anything else within Gallows Humour.

The new EP is a different beast to Dark Sounds but an equal in adventure and energy with a new blossoming of maturity breeding the most rounded songs from Target:Renegades yet and inescapable evidence of a band ready to embrace bigger and more imposing spotlights.

Gallows Humour is out now across most online stores.

http://www.targetrenegades.co.uk/    https://www.facebook.com/TR.UKMusic   https://twitter.com/TargetRenegades

Pete RingMaster 24/01/2017

Copyright RingMaster: MyFreeCopyright

Pussycat and the Dirty Johnsons – Dirty Rock ‘n’ Roll

pic debbie-attwell

pic debbie-attwell

As the band work and finish material to grace a new album, British rockers Pussycat and the Dirty Johnsons have linked up with Dirty Water Records for the long awaited digital release of second album Dirty Rock ‘n’ Roll and quite simply if you missed it first time around and have an instinctive appetite for insatiable bordering salacious punk infested rock ‘n’ roll, than it is a must.

Formerly in a band just called The Johnsons, the Basingstoke hailing trio is fronted by the wild feline wiles of vocalist Puss Johnson with founding guitarist Dirty Jake (Feckle, Lube) and drummer Filfy Antz (The Krewmen) alongside uncaging their own raw and incendiary antics. It is an explosive combination which saw their 2010 debut album Exercise Your Demons earn many plaudits as too over the years a blistering live show seeing the band share stages with the likes of The Jon Spencer Blues Explosion, Thee Oh Sees, The Fuzztones, Mad Sin, The Damned, 999, The Polecats, The Creepshow, The Rezillos, Bow Wow Wow, The Meteors, The Vibrators, Resurex, DragSTER, Trioxin Cherry, and Atomic Suplex.  Three years later, Dirty Rock ‘n’ Roll was the cause of even greater eager attention and acclaim upon Pussycat and the Dirty Johnsons; a spotlight sure to be regenerated by its digital uncaging ahead of as mentioned a new album.

Featuring eleven tracks spun from attitude loaded threads of everything from punk, garage rock, glam, psychobilly, garage punk and any other form of rock ‘n’ roll you wish to offer, Dirty Rock ‘n’ Roll is an explosive riot for senses and body alike. Produced by Alex McGowan and featuring guest double-bassist Phil Bloomberg of The Polecats on a couple of tracks, the album instantly prowls the listener as opener Burying The Bodies settles in to place, once set continuing to stalk but with an infectious swagger led by the biting beats of Antz. Straight away there is an obvious devilment in the band’s sound and the lusty roar shared by Pussycat, her presence and delivery a snarling seducing. With big hooks and winding grooves, the slab of predacious rock ‘n’ roll is an irresistible start to a release proving to be unrelenting in its fiery creative and aggressive incitement.

Hell Bent is swift agreement, its whining grooves courting flying rhythms and Pussycat’s plaintive cries, all united in another tenacious track which eyes you up with distrust yet reveals the most compelling enterprise amidst mouth-watering unpredictability before Livin’ With Mum And Dad sees the band move from raw rock ‘n’ roll into a more seventies flavoured encounter as much glam rock and power pop as it is old school punk. For personal tastes, it lacks the bite and spark of those around it but with its Pistols-esque hook and caustic catchiness there is no escaping being sucked in.

front-cover_RingMasterReviewPsychobilly flavours the magnificent stomp of Get Outta My Face next, Bloomberg bringing his masterful slaps to the Batmobile meets Imelda May scented stroll with Pussycat like a punk Wanda Jackson. Fiery guitar and senses badgering beats bolster the seriously rousing proposal as the song shows another aspect to the album and the Pussycat and the Dirty Johnsons sound.

The scuzzy blues punk of She Don’t attacks and excites next, its corrosive character and sound as virulently infectious as anything upon the album while Mirtazapine uses similar strains of flavouring for its own individual trespass. With a touch of post punks Bone Orchard to its untamed garage punk challenge, the track is a superb mix of rapacious restraint and unbridled furor taking ears and imagination into the darkest shadows of the fiercest volcano.

There is no let-up of the enjoyably exhausting confrontations as Why Do You Hate Me? sears the senses with its punk rock lava around a rhythmic tempest while Dirty Li’l Dog, with the magnetic craft of the Polecat returning, leaps around with uninhibited rhythmic rioting as blues guitars embrace numerous other spices around the carnival barker leadership of Pussycat.

The final trio of songs just epitomise the variety and devilish imagination in the band’s songs; Sort Yourself Out a fuzzy blend of growling punk and toxic blues within The Pirates like rock ‘n roll and Souvenir simply one glorious invasion of garage punk with a scent of The Cramps, Animal Alpha, and In Evil Hour in its unique best track earning triumph.

Closed out by the adrenaline fuelled and feeding Hideous, a final belligerent detonation of rabble-rousing incitement, the outstanding Dirty Rock ‘n’ Roll is its title and so much more. It might not be a new release but it deserves this new exposure and Pussycat and the Dirty Johnsons the fresh attention ahead of what can only be anticipated as another uncompromising uproar.

Dirty Rock ‘n’ Roll is available digitally through Dirty Water Records @ http://www.dirtywaterrecords.co.uk/shop/#!/Pussycat-and-the-Dirty-Johnsons-Dirty-Rock-n-Roll/p/75045471/category=2793895 with physical options @ http://thedirtyjohnsons.com/shop/4564430166

http://thedirtyjohnsons.com   https://www.facebook.com/thedirtyjohnsons/   https://twitter.com/Dirty_Johnsons

Pete RingMaster 14/12/2016

Copyright RingMaster: MyFreeCopyright

Top Buzzer – Inside is a Room Vol. 1EP

top-buzzer-inside-is-a-room-vol-1_RingMasterReview

It has been two and a half years since British pop punk ‘n’ rollers Top Buzzer had us leaping around with the thrilling stomp of The Sprollie EP. It is a time though which has seen the band still a busy live proposition and its members, especially vocalist/bassist Andy ‘Dukey’ Duke, get involved in a horde of other projects and bands alongside the ‘day job’. Now to stir up and entertain ears at home again, the London based trio have uncaged the Inside is a Room Vol. 1 EP; four tracks of the band’s inimitable and contagious rock ‘n’ roll. It might be more recognisable prime Top Buzzer devilry but the release also reveals a broader embracing of punk and varied rock flavours within a fresh snarl and even keener hooks than ever.

Originally Jersey bred and formed in 2011, Top Buzzer has been a feisty punk proposition from day one, in sound and DIY attitude. Quickly they created their own label Back2Forward Records for first release, the Hands Up EP, and in turn the highly successful single Remission which followed. Praise and support followed across the written press, such as Kerrang, Rock Sound, and Big Cheese and on radio as UK and US shows and stations, terrestrial and online, took a shine to their mischievous pop punk revelry. Debut album Outside Is A World, again released that first year, grabbed greater and keener attention which was subsequently eclipsed by The Sprollie EP in 2013 and the band’s contribution a year earlier to the 2012 Rebel On The Underground – A Tribute To X-Ray Spex compilation.

As mentioned it has been a fair old gap between releases, but now Dukey, guitarist/vocalist Soni, and drummer/vocalist Welshy ensure the wait for something new is a quickly forgotten moan with Inside is a Room and indeed opener Trapped In The Room. Straight away ears are accosted by a swarm of riffs and rhythms, guitars and bass instantly lining that initial surge with sharp catchy hooks before expanding them further as the song settles into its tenacious stroll. Feet and hips are a swift blur to the equally animated nature and motion of the song. Dukey’s familiar tones adding to the recognisable air of the song but equally pushing the new lusty and punchy nature to the band’s sound. Like the ‘bad’ kid down the road your mother warned you about, the one destined to cause trouble and encourage develop bad habits, the track stirs up the spirit and an urge to lose inhibitions.

That same irresistible nagging arises with Meanwhile in San Francisco and its deliciously spicy melodic beckoning around Welshy’s enslaving anthemic bait. There is a touch of The Vibrators to the song as it settles and blossoms a thick lure of beats and bass temptation whilst on top Soni’s guitar uncages a blues frisked spiral of sonic enterprise. Ultimately creating a rousing proposal which at times is almost akin to Toy Dolls meets The Adicts, the track has body and voice firmly involved before allowing Denny’s Song the chance to run its grittier hard rock meets pop punk persuasion by ears for a matching success. Again resistance to getting physically and emotionally involved is futile once hooks and swinging rhythms seize hips and the imagination; the vocals across the band only stirring things up further with their boisterous encouragement.

The EP ends with the old school punk seeded Live is Blind where the three prong vocal attack alone is a riveting and thickly enjoyable incitement. Imagine The Ramones, Radio Stars, and The Wildhearts colluding for a riotous, rip-roaring stomp and Top Buzzer have that covered with the excellent closer to another thrilling incitement of ears and bold fun.

We have had a serious sweet tooth for Top Buzzer since that first EP, no denying that, and with releases like Inside is a Room EP, it only gets more acute. Pop infested punk ‘n’ roll does not get much more fun and to be honest better than this.

The Inside is a Room EP is out now via most online stores and @ http://back2forward.bigcartel.com/product/inside-is-a-room-vol-1-cd

http://www.topbuzzer.co.uk/   https://www.facebook.com/topbuzzermusic   https://twitter.com/topbuzzermusic

Pete RingMaster 18/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Born To Destruct – Devasteight With Destruction

BTD_RingMasterReview

There are many forces of nature, especially within punk rock and a few which really relish turning the world upside down whilst offering rich rewards for those in the way of their tempest. Destruction rock ‘n’ rollers Born To Destruct are one, a UK band which unleashes their own individual form of punk and uncompromising heavy rock in a confrontational fury of anthemic hell-raising which rouses the spirit as it bruises the senses.

Hailing from Cambridge, Born To Destruct stomped into the punk scene in 2007; formed by one of the forces of seventies punk, vocalist/guitarist Woodstock PunkRock who was returning after a decade away from performing and playing. Originally female fronted, the band soon made a potent mark live and with their contagious punk rock sound across many well-received releases. With vocalist Kat Destruct leaving to study at university, 2010 saw Woodstock take over lead vocals and a new version of Born to Destruct emerge. Further successful releases followed to back their ever potent live presence which brings us up to the now and the band’s storming new album Devasteight With Destruction. Released on the persistently impressing STP Records, the album is fifteen tracks of gloriously invasive rock ‘n’ roll to get shirty alongside, to rampage with, and to get inescapably addicted to.

Devasteight With Destruction opens with its title track, immediately laying down a grouchy lure of riffs which just as swiftly blossom into an addictive coaxing where grooves and rhythms collude to tempt and invade ears within the tow of a deliciously carnal toned bass line. Once in full cantankerous flow, the track shows itself a web of heavy and hard rock infused with punk seeded predation. It is a gripping start with the bass of Stu Spider Fingers continuing to seduce an already awoken and keen appetite as the brawly vocals of Woodstock prowl and growl.

art_RingMasterReviewThe excellent start and flavouring carries on into the raucous and cranky charge of Eufuckinphoric, where initially choppy riffs funnel into ears this time around as Woodstock adds bearish vocal weight and coaxing. The riffs and hooks of Paul Moose and guitarist Daiv Tap bite and serrate the senses with sonic hostility all the while too whilst the rhythms of drummer Jack Destruct swing with contempt. It is a unity which should send you running but instead simply whips up an impossible to resist call to arms.

All The Gear But No Idea has a slightly mellower air next, well more melodic anyway with its Generation X like spicing to grooves and an accompanying infectiousness. Around them the song barracks and presses all the right buttons in antagonistic pleasure before Lets Get Rowdy obviously does what it says on its tin. There is a touch of Crashed Out meets 4 Past Midnight to the song as well as another dose of unstoppable virulence to its seventies spiced punk ‘n’ roll uproar.

Across the hard meets punk rock blaze of Do You Wanna Know, with its great line in nagging hooks, and the thumping incitement of Release The Beasts, the album turns the screw on ears and the passions. It is always hard to say no to instinct raising, vociferous rock ‘n’ roll and both songs have it in thick abundance, the second with an extra pleasing slither of classic rock to it also. Smile comes similarly equipped, though truthfully that applies to all songs within the album. It is arguably more formula in presence than the encounters around it yet shares only the strongest persuasion and the enticement of eager participation.

The surly roistering of Sixty Seconds is next to step up, the minute long clamour leaving ears almost punch drunk from its zealous revelry whilst We Bring The Noise, as expected, again lives up to its name in physical and impassioned kind. Actually the track probably does not devour ears as forcibly expected but no complaints as it leads another moment of chest thumping enjoyment before Get Your Head In The Game becomes the inspirational ringleader to further lusty involvement, especially through its addictive chorus and vocal bellow.

You can almost feel the roar of the crowd as What A Bastard unfurls its magnetic defiance and muscular intimidation next; from title alone easy to sense becoming a fan favourite. Of course its particular brand of ear pleasing obstreperous rock does it no harm in inciting keen emotions either, a success more than echoed by the outstanding We Love It quickly after. Swinging in on a caped crusader-esque groove, in no time the track is a snarling torrent of riffs and tenacious rhythms laying the groundwork for the equally testy and rousing vocals. In your face rock ‘n’ roll does not get much better than this, though it can get matched as shown by Today, a song emerging as a personal favourite. There is a great contagious scent of The Vibrators to track, additional magnetism to its hook lined slab of near perfect punk rock. Some songs just hit the sweet spot, Today does dead centre.

The album concludes with the rollicking stomp of I’m Too Rock N Roll and finally the raw and irresistible anthem that is Destruct For You. Both tracks epitomise the tenacity and rampageous potency of Born To Destruct’s heady rock ‘n’ roll and equally the unstoppable addictiveness of the band’s album.

Though some tracks of course rise to loftier heights than others, from its first moment Devasteight With Destruction is one robustly imposing and exhilarating brawl very easy to get greedy for. Admittedly we have not come across the band’s previous offerings yet but if Devasteight With Destruction is not one of their finest moments yet, hard to believe it will not be, we have missed some other major treats.

Devasteight With Destruction is released March 17th via STP Records @ http://www.stprecords.co.uk/page4.htm

https://www.facebook.com/BORN-TO-DESTRUCT-246990948165

Born To Destruct embarks on the RELEASE THE BEASTS – ALBUM LAUNCH TOUR in March alongside Spunk Volcano & The Eruptions and Skurvi.

Dates are…

Sat Mar 12th – Abertillery – Dolls House

Fri Mar 18th – Cambridge – Corner House

Sat Mar 19th – Brighton – Prince Albert

Fri Mar 25th – Rotherham – Bridge Inn

Sat Mar 26th – Gateshead – The Black Bull

Sun Apr 2nd – Nottingham – The Maze

Fri Apr 8th – Birmingham – Flapper

Sat Apr 9th – Lancaster – The Yorkshire House

Pete RingMaster 01/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

False Heads – Steal and Cheat

FALSHEADS _RingMaster Review

There was without a doubt a rich twinge of intrigue and anticipation when UK rockers False Heads got in touch about a new single coming out. It was a surge of excitement inspired by memories of the band’s still impressing and thrilling previous pair of EPs and soon fiercely lit again by the actual rousing temptation of Steal and Cheat itself. The single is a thumping stomp of indie rock tenacity amidst grouchy rhythms and punk seeded invention; a track which whips up ears and enthused involvement as easily as it awakens a greedy appetite for more.

artwork _RingMaster Review     East London bred False Heads made its first steps in the opening month of 2014 and quickly began enticing attention and whipping up a loyal and quickly increasing following. Around the summer of that first year, the trio released the Tunnel Vision EP, a rousing quartet of tracks more than doing its bit to lure further and greater focus the way of the band. It also provided a strong base from which the band could expand and explore its songwriting and sound, and that they had by the time its successor, the Wear and Tear EP, had leapt into ears this past April. Whereas the first encounter was a grunge hued affair, its successor revealed a dirtier and heavier rock tempest to its enterprise and invention. Steal And Cheat shows another strong twist in sound from those before it whilst carrying the increasingly distinctive False Heads character and voice.

Steal and Cheat is quickly into its punk ‘n’ roll canter, the guitars and rhythms colluding in a boisterous canter as the trio of Luke Griffiths, Jake Elliott, and Barney Nash get to work on the imagination with theirs. This time around, the threesome weaves a more restrained and minimalistic proposal of, as suggested earlier, indie and punk enterprise bound in a wind of virulent energy and vocal revelry. The bass is a hefty lure, its throaty swing and presence a cantankerous incitement alongside the sonic web of guitar and the invitingly anthemic vocal delivery. With the drums leading the tempting, it is fair to say that everything about the song is an incitement of catchiness though, and increasingly irresistible over its length and every play.

Like a fusion of Houdini, The Vibrators, and Libertines, whose Gary Powell releases the single on his 25 Hour Convenience Store label, Steal And Cheat is instinctive manna for the ears and easily the finest track from False Heads yet.

Steal And Cheat is released December 4th via 25 Hour Convenience Store @ http://falseheads.bandcamp.com/track/steal-and-cheat

http://www.falseheads.com/   https://www.facebook.com/FalseHeads   https://twitter.com/falseheads

Upcoming False Heads live dates:

November 27th – Cult Cafe in Ipswich

16th Jan – Stag and Hounds in Bristol

Pete RingMaster 19/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Vanilla Muffins – The Drug Is Football Double 7”

REB1051 front cover_RingMaster Review

Apparently Switzerland’s Vanilla Muffins have been the undisputed Kings of Sugar Oi! for the past 25 years or so. I am not sure about you but I have no idea who else has a sound which fits that genre; well actually maybe we do as the trio from Basel create a stomping proposition which blends pop infused punk with infectious rock ‘n’ roll. It is quite simply punk ‘n’ roll but a strain which indeed has a distinctiveness singular to the band whilst providing one rousing and thoroughly enjoyable escapade.

Driven by a passion for football and their home city team, Vanilla Muffins began in the late eighties, growing in presence, songs, and stature with each passing year. Now they have five albums, eleven EPs, and numerous compilation appearances under their belt, the latest being a re-issue of their classic and highly sought after 2003 album The Drug Is Football via Rebel Sound Music. Last year saw the band return with Best Of (Triumph of Sugar Oi!) via Bandworm/Spirit of the Streets and after it the A Little Night Music / Eine Kleine Nachtmusik EP on Sunny Bastards. Both re-ignited old and indeed sparked new appetites for the band’s insatiable infectious sound, as too limited edition single Goal of the Month earlier this year. Now for a limited edition Double 7″ offering, the band itself has plucked eight of the best songs from The Drug Is Football and if like us you are new to their presence, it is a must listen.

The trio open things up with No Punk Rock In My Car, and a rally off boisterous vocals and punchy rhythms aligned to bracing riffs. Instantly it is a virulently catchy affair with sinews as gripping as the warm and inviting melodies are infectious, slavery for feet, neck muscles, and vocal chords the result. There is a feel of UK rockers Spunk Volcano and The Eruptions to the encounter, a similar old school punk meets modern devilry at riotous and irresistible play.

The following Brigade Loco is just as magnetic and inciting, the grooved coaxing from the guitar of Colin Brändle an inescapable lure within the jabbing beats of Eddie Jr and the great bass groans posing as a bassline from Ian Norris. Equally Brändle’s vocals are nothing less than rich persuasion and though there are no major surprises in the song, as throughout all tracks, everything colludes in a power pop meets punk rock tempest of boisterous and seriously invigorating goodness.

Dirt Box Disco meets Weezer is a handy description for All Roads Lead To Rome which follows, the song sitting somewhere between the two as Vanilla Muffins swing riffs and hooks like a puppeteer to again command eager hips and reckless feet. Without quite matching the first two in drawing lusty reactions, the song is an easy going protagonist to get swiftly involved with, its success nicely setting up the appetite for the brilliant 3 Comrades. Rhythmically compelling and vocally inescapable, the song is pure anthemic rebel rousing and maybe the best thing on the release, though that fluctuates between a trio of songs daily.

The title track rampages through ears next; its steely punk attitude and intensity simultaneously tempered and urged on by the ever alluring vocals and melody rich hooks which just as potently rouse the spirit and spark unavoidable participation. It is a blood pumping call backed resourcefully by The Gang From Kannenfeldpark and its nostalgic look at the young years and more carefree times and straight after by The One And Only with its Buzzcocks like nag of a hook and fuzzy Vibrators like contagion. Both songs whip up more pleasure and hunger for the thickly enjoyable punk frolics, and the wonderment as to why it has taken this long to come across the slavery of the Vanilla Muffins sound.

The Mob From Kannenfeldpark is built on similar seeds as to its predecessor with another recognisable hook the lead into a slice of rock ‘n’ roll which finds a inspiration in decades further back than that of its original birth to spice up its own tenaciously imagined rock ‘n’ roll.

As the saying goes, better late than never and it certainly applies to finally get wrapped up in the Vanilla Muffins experience, a treat no punk and rock ‘n’ roll fan should miss out on. Watching FC Basel play on TV will come with a new soundtrack and fun from now on too.

The Drug Is Football Double 7″ is available from 30th September via Rebel Sound Music on Black Vinyl (200), Red A&B Side, Blue C&D Side coloured vinyl (200), and on Half N Half Blue/Yellow vinyl (100 and only exclusive to Rebel Sound)

https://www.facebook.com/VanillaMuffins

Pete RingMaster 30/09/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Hell Puppets – Theatre of Sin

Hell Puppets_RingMaster Review

Picture the scene, after one flawed but certain success Victor Frankenstein’s ambitions go full out to feed his appetite for rabid music. So with bodies embalmed with the raw irreverence of Frankenstein Drag Queens From Planet 13, the ravenous metallic animus of Morgue Orgy, the virulent contagion of Dope, and the punk mischief of Dirt Box Disco, he created EviL-P, BeLiaL, GRavES, BeeLzEBeN, and SaTurNiST to spread the red and devour the soul. Or it might simply have been the Devil which dragged Hell Puppets from their English graves to conjure and release the lustful addiction that is Theatre of Sin.

The debut album from the Sussex bred quintet is a carnivorous vaudeville of horror and creative drama cast across a dozen songs which just thrust a knife of contagion through the heart and continually twist it with a bounty of punk ferocity, metal predation, and rock ‘n’ roll devilry. It drew a big grin on the first listen and a lustful stalking from the second, and fair to say since its release a couple of weeks or so back, we are not alone in adding the release to our cellar of favourites.

With members hailing from London, Brighton, Chichester and Lucifer’s right hand, Hell Puppets emerged in 2011 infusing inspirations from the likes of White Zombie, Pantera, Sex Pistols, Slayer, and Misfits into their swift attention grabbing fusion of punk and metal draped in horror, the occult, and Demonism. The first year saw the band solely concentrate on creating and honing their sonic infestation before setting out on their live scourge of the UK. A live session for a local radio station marked the growing emergence of the band during the next year before in 2013 they began recording debut EP No Strings Attached which was released in the following January. An increasing number of acclaim garnering shows surrounding its well-received introduction to the band and since with a support slot with The Hell later in 2014 another highlight. It was a successful year certainly eclipsed by this, as fresh from playing Bloodstock and touring with Meta-Stasis in support of their debut album, we simply have Theatre of Sin.

Theatre of Sin_RingMaster Review   From the opening carnage of Bow Bells, band and album has ears and imagination gripped. The brief track is a visceral scene setter for the following …From Hell, a blood dripping, flesh ripping introduction to the murderous streets of Victorian Whitechapel and the lust of Jack The Ripper which its successor impressively runs with. The second track to a concussive ring of bells rolls out an epidemic of inciting rhythms and growling vocals within a horde of punk riffs and tenacious hooks. All those bands initially mentioned come to thoughts as the track throws its sinew loaded attitude and mischievous insanity across the senses, yet as good as a hint that they are, the track is something demonically distinct to Hell Puppets, as too it emerges, the album. The band certainly cuts straight to the chase with the best track on Theatre Of Sin but there is no downward slope to follow, even if tracks can only closely sniff at the brilliance of the full opener.

Hung, Drawn and Slaughtered is one which runs it close, its blackened soul and horror punk fury colluding in another quick slavery of infectious hooks, grooves, and unpredictability. As many songs within the album there is a familiarity to it which seduces with the charm classic evil always has, a broad smile which captivates as djent kissed riffs and death instilled voracity works away at the senses and psyche narrated by the varied squalls of vocal animus.

From that metallic tempest another in the caustic shape of Born To Die steps forward, its body a maelstrom of glam and hard rock with punk ‘n’ roll tendencies aligned to metal ferocity. It is a stomp which seizes neck muscles and vocal chords to do its bidding before Project Mayhem uncages its primal anthemic roar laying somewhere between Black Dahlia Murder and Therapy?, and Political Diarrhoea taps into the punk beds of The Damned, The Vibrators, and Misfits for its rapacious stroll and lyrical agenda which gets the job done without fuss or wastage.

From an imposing shadow cast by the classic shark attack sound, complete with nasal secretions, the deranged hardcore fuelled roar of Drugged Up Shark excites and disorientates leaving ears prey to the clutches of Halloween, the band’s Christmas song. Only kidding, but it is a track which just keeps giving from its Carpenter inspired theme and melodic coaxing through to its grungy death infused sonic rancor. The track is glorious, another revealing new nuances and defiling attributes with very listen, much as We Are The Enemy and its whirlpool of insidious death metal, bracing rock ‘n’ roll, and juicy grooving. Imagine The Sex Pistols, Turbonegro, and Venom severely shaken until their juices merge and you get a glimpse of another big highlight amongst many within Theatre of Sin.

Morbid Mirror twists and turns like a clawed seductress next, its lithe grooves and rasping vocals bringing a mix of Grumpynators and Murderdolls whilst slipping into richer blackened spite throughout, especially vocally. Once more ears and emotions are lost to Hell Puppets and kept by firstly the bestial, mordant sound of The Decunted and finally the mouth-watering discord and sonic antipathy of Face the Reaper. The track is a bad-blooded smog of noise and sonic pollution which just brings the bedlamic acts of Theatre of Sin to a fitting ravenous climax.

The album is a wonderful desecration of body and soul and if any of those bands we mentioned as hints appeal, as well as something new and dirty to the touch, and the fact the Hell Puppets is our new favourite trespass, then hopefully we have incited you to be brave and enter the Theatre of Sin.

Theatre of Sin is available now via Hell Puppets’ Bandcamp.

Pete Ringmaster 15/09/2015

For more exploration of the independent and promotional services check out http://www.zykotika.com/