Incendiary beginnings: introducing Blast Bomb

This past December saw the release of the debut single from German rockers Blast Bomb, a band with friend of The RingMaster Review and owner of the great independent label Undead Artists, Johnny Rose as its vocalist. The whole of the band though has a pedigree which matches their passion and craft, all in potent evidence within Born To Lose. With thanks to the whole band we grabbed the chance to find out more about Bomb Blast and their first single…

 

Hello guys and big thanks for taking time to chat with us.

Kein Problem, Danke fur dein helfen!

Can you first introduce the band?

Johnny: Singer

Torben: Guitar

Klaus: Guitar

Kai: Bass

Tobi: Drums

When did the band come together and what are your individual musical histories before Blast Bomb?

Torben – The Band comes together in the beginning of 2017 (January). I make music together with Tobi since school. Must be since 1995 or something like that, a long time. Klaus always says we know each other so well if someone does a fart the other reacts from the music view. Our first real band was High Gain District. A few years ago I played together with Klaus at Skull Harvest, so there comes the connection.

Kai: Skull Harvest 1999 – 2005 / Spezialangriff 2010 – 2012 / This One Goes To Eleven 2006 – 2016

Johnny – Torben and Tobi played together in bands for many years! Torben and Klaus played together in bands for many years….. Kai, Torben and Klaus played in bands together for many years…. are you sensing a pattern????

We already know Johnny from his exploits with Thirteen Shots and his label Undead Artists, how did you Johnny meet the rest of the band and what sparked your addition to its line-up?

Torben – the band posted an advertisement on a local band platform that they are searching a singer. At the same time Johnny makes a post that he searches for a band. So he receives the handy recordings from the last practice and in the next weeks some rehearsals was arranged. The rest is history…

Johnny – The guys have all been friends and playing music together for many years, ok in different bands but that chemistry was very obvious for me from hearing the live demo’s, so I was delighted when I got the chance to audition…..

Was there a deliberate direction you wanted to take Blast Bomb or has that and your sound just organically come together?

Torben – The sound comes automatically together from the single members. So we formed our own sound, every member of the band has his influences. Tobi has a Jazz and Alternative background, Kai has a stoner source, Klaus comes from Metal, Torben is more Rock orientated and Johnny …

Johnny – My music taste is superb! Who doesn’t love Chris De Burgh???

Torben – But all members are very open to ALL kinds of music, they have the same opinion about music … If it is good, it is good!!!

How would you describe the band’s sound to newcomers?

Torben – The band sound is something between Punk Rock, Rock, Metal, Stoner and Alternative… The term Crossover is a bit dusted but could maybe fit in another context than in the 90’s.

Johnny – I think the sound is more Punk ‘N’ Roll, we are certainly a crossover but we have this raw energy that runs through every song…..that to me is Punk ‘N’ Roll. But we need you guys to help us?? Who are we? What are we? haha

Can you give a flavour of some of the inspirations which may have made an impact on the band but certainly on your personal tastes and approach to making music?

Johnny -Well for me The Beatles, Black Sabbath and Pink Floyd are my biggest influences! But the older Crossover punk bands are the reason I make the music I do…Misfits, Amen, Snot, Turbonegro. I am fascinated by concept bands too, something I would love day love to try, I like the attention to detail in the concepts.

Torben- Guns N Roses (Appetite For Destruction and Lies, when the Illusions came out I throw everything in the garbage), Pantera , Rage against the Machine, Suicidal Tendencies, Faith No More, Mr Bungle, Red Hot Chilli Peppers.

Klaus- My First contact with Rock was Led Zeppelin and Black Sabbath; I found the records from my stepfather. But later I found love for grunge Alice In Chains, Pearl Jam, Soundgarden… I am also a big fan of Elvis, Little Richard and Jerry Lee Lewis

Torben – Klaus ALSO LOVES Judas Priest and Iron Maiden…

Kai – Don’t forget Adriano Celentano Klaus

Klaus-oh and Jimi Hendrix….

Kai- For me its 80s Metal and Bay-Area Thrash to Stoner bands and the explosive Scandinavian Rock scene in the 90s; there’s too many to mention…

Tobi -NO MEANS NO, Primus, NO MEANS NO and of course NO MEANS NO

You have just released your debut single, Born To Lose; a three track feral punk ‘n’ roll attack showing creative irritability, ferocity, and attitude. It also reveals the variety of flavours in your sound. Is the single a full echo of your music or a teaser to an even broader tapestry?

Torben – It’s more a teaser, the band just in the forming process of their own style. The band creates a dozen songs since January; all have the same direction but are very different. The direction is forward …

Johnny – Absolutely, we are still finding our direction, The songs we are writing have so much power and purpose.  Born To Lose felt like the correct single to record as it was the first song I heard and realised I wanted to join this band; I actually wrote the lyrics on the train to my audition, not much has changed from my original lyric idea!

We all work together to encourage us to achieve our best.  Wait till you hear the full length

Can you give us a look into its themes?

Torben – Just wait for the Long Player… Till then we fix our sound…

Johnny – We keep working, Writing, Fine tuning, maybe we won’t rush the full length, better to focus on quality. We only want to put out the best, we are not kids anymore!

I assume you have a host of other songs in your arsenal. What was it about that trio which you felt made the best introduction to the band to the world?

Torben – We thought that it was a good idea to give a wide selection of our sound and don’t pick the most equal sounds.

Johnny – Yes we always knew that Maiden Hero and Born To Lose [would be on it] but we was unsure on the third option, we had another song in mind, But we played a show two days before we recorded and the feedback from friends and people at the gig made us re-think the third option…. that’s why we chose You’re Going Down… it was chosen kinda by fans.

The single is released through Italian label Archetype Records; how did that link up come about?

Torben – It just a friendship, so we help them and they help us. So it was a good opportunity for all of us.

Johnny – Yes these guys are trying to build something unique, we are trying the same, felt like a good agreement

On the live side of the band, you have already been successful supports to the likes of Honeymoon Disease, Conan, and Monolord, earning plaudits at the same time. When starting out did you suspect your sound would make a potent fit with bands and audiences of different genres?

Torben – No not really but we hope regarding our different sources and it seems that the idea works out well.

Johnny – To be honest I was incredibly nervous playing the show with Conan and Monolord. We are in NO WAY doomy but the crowd was more open than I expected, we got a really positive reception. We didn’t change our approach for the show so to see these doom fans getting down to some punk rock was quite amusing for me….

From the outside, The Hamburg music scene seems to be boiling up, how is it on the inside?

Torben – Curse and blessing at the same time. In Hamburg the scene is really big, so you can catch up a lot of influences. Furthermore you have the option to see a lot of bands, local and international, in the small and big clubs.

But regarding that it is hard to get a good gig and bring the people to the concerts. In Hamburg you can go to minimum 5 concerts every day. So it’s hard to get notified by the people but that makes us proud that we get that attention only after the first shows.

Johnny – Yes we just played our first headline show and the venue was pretty much sold out, it was certainly cosy. The Conan and Monolord show was just outside Hamburg, a Tuesday night and SOLD OUT… that to me was crazy.

I lose a lot of money a month in going to gigs, Some fantastic local bands too, in so many different styles.

What is next for Blast Bomb?

Torben – To rule the world 😉 …We are planning our first Italian tour, during the summer we want to play a few festivals and still searching for a good support slot. Furthermore we are looking to Johnny’s homeland to get a few shows there.

During the next year we want to do some more recordings, we think about a few small releases, nowadays we have no need to bring out a whole record… We bomb the world with a lot of, lot of small releases.

Johnny – haha Blast Bomb the world…..it will be explosive

Again many thanks for sharing your time; any last words you would like to add?

Torben – Better be aware the next bomb could be next to you …

Check out our review of Born To Lose @ https://ringmasterreviewintroduces.wordpress.com/2017/12/02/blast-bomb-born-to-lose/

https://www.facebook.com/pg/blastbombhamburg    https://blastbomb.bandcamp.com/releases

Pete RingMaster

The RingMaster Review 10/01/2017

Copyright RingMaster: MyFreeCopyright

Mammoth Temple – We’re Not Extinct

Having just been introduced to former Thirteen Shots frontman Johnny Rose’s new project in Blast Bomb we now have the new endeavour from its guitarist Lewis Manchip for you. That proposition is Mammoth Temple and they have just released their rather appetising debut EP, We’re Not Extinct. Echoing the band’s name in many ways, it is a lure of heavy boned rock ‘n’ roll worshipping the seduction of the groove and the growl of the riff, a fuzz rich proposal caked in the dirt of grunge and veined by stoner bred tendrils of melodic suggestion. It is also a potent introduction to the band and one which gets more compelling by the second.

Formed by Lewis and vocalist/bassist Dave, Midlands hailing Mammoth Temple is completed by the thunderous swings of drummer Ben. Initially taking their time to hone their sound, the trio have emerged with a live presence which is swiftly luring keen attention and plaudits, and now with a first release which is as thick in potential as it is already flourishing prowess and enterprise.

It opens up with Meat Promotion and instantly entangles ears in a flavoursome groove. With robust rhythms and throbbing bass that beginning is a sign of things to come in song and release. The blend of mellow vocals adds to a Queens Of The Stone Age like hue to the grunge meets heavy rock stroll of the track, the guitar continuing to cast wiry grooves and melodically sharp bait for ears and appetite to get hooked up on. It is a seriously infectious and captivating start which is more than matched by next up Wiping Out. Its psych rock kissed entrance is pure temptation, the skirting shadows intrigue against the vocal prowess of Dave and Lewis’ expressive melodies. With fiery flames igniting across its catchy gait and imaginative body, the song continues to blossom in imagination and craft. It might not be boldly unique but the song as the EP has a freshness and adventure to it which hints of such success ahead.

The mellower caress of Reflections is courted by the great dark shadowed throb of bass and volatility in Ben’s beats which never erupts but magnetically stalks the melancholic beauty of the song’s heart and touch. A song which just grows over time and listens, it brings another enticing aspect to the Mammoth Temple sound which only grows when the track does uncage its muscle.

The EP is concluded by firstly Promises, a distant rumble increasingly consuming ears as it looms closer and incites the imagination as blues rock ivy clings to its tenacious body and scuzzy skin. Another grower, it does not quite match up to those before it yet lingers in the memory with ease through its Jesus and Mary Chain meets Alice In Chains glaze alone.

How We Are completes the pleasure, it needing mere seconds to hook the appetite with its initial Soundgarden-esque melodic coaxing. From there, its simmering fire grows and intensifies with psych and stoner rock winds blowing across its rhythmic kindling and harmonic haze. As ever, there is a darker hue to its depths and emotion contrasting superbly with its brighter easily invited trespasses. The song is superb, a big end to a fine first union with Mammoth Temple.

It is early days but the signs are already hinting at a potent future for the band and rich adventures for us all alongside.

We’re Not Extinct is out now and available@ https://mammothtemple.bandcamp.com/album/were-not-extinct

https://www.facebook.com/MammothTemple/    https://twitter.com/MammothTemple

Pete RingMaster 05/12/2017

Copyright RingMaster: MyFreeCopyright

Basementones – No ease, No rest, No mercy

There is a great nagging quality to the sound of Finnish punk ‘n’’ rollers Basementones and in fine insistence within their new EP No ease, No rest, No mercy. Easily tempting ears on its first couple of listens, the release leaves the seeds of addictiveness behind; lures which spark that just one more time repetition which in turn leads to another and more obsessive qualities.

Released on Undead Artists, the EP comes four years after the release of the band’s debut album Let There Be Noise which followed their first EP Gambler of 2012. Being introduced to the band through No ease, No rest, No mercy, with thanks to a certain Johnny Rose (Thirteen Shots), founder of said label, what the band has been up to between releases we cannot say though plenty of shows seems a good guess, that and, with hindsight, the more audible honing of a sound which instinctively gets under the skin with its mix of punk rock, psychobilly, and numerous other aspects of rock ‘n’ roll.

The quartet gets down to business straight away with opener The Call, hooks and swinging rhythms instantly colluding as vocalist Jani snarls and growls in his distinctive way. The melodic dexterity of Kinnunen matches the lure of his grooves and lively hooks whilst the string slapping prowess of double bassist Tuukka needs little time to stoke instinctive ardour for throbbing suggestive basslines. Punk and rock ‘n’ roll unite in the voracious swing of the track, Lahu’s lively beats fuelling it all with tenacious energy and urgency as the EP gets off to a flying start.

And there is no time to grab a breath as the outstanding Green Bastards steps in with a spicy groove which within another second launches virulent hooks and a pulsating flirtatious bassline from within its salacious temptation. With Jani adding his raw catchiness to the contagion, the track is pure infection and the best track on offer though closely courted by the likes of the rockabilly swinging Cellmates Of Lunacy. There is a touch of The Peacocks to the track but it is soon bound in the Basementones’ character of sound and expression as other spices adds to an increasingly compelling tapestry.

A country/cowpunk hue comes with the resourceful exploits of The House its creative rustling soon twisting things into an individual proposal which bounds along with zeal and infectious dexterity if not quite matching the heights of those before it or the outstanding antics of final track No Regrets. The psychobilly essences of the third song are even more vocal within the EP closer, their sultrily toxic hues merging with horrorpunk/punk escapades as the release is given a boisterous and increasingly rousing finale.

Given the sound and potent lure of No ease, No rest, No mercy it is surprising we have not come across Basementones before but better late than never.

No ease, No rest, No mercy is out now digitally and on red vinyl through Undead Artists @ https://basementones.bandcamp.com/ and https://undeadartists.bandcamp.com/album/no-ease-no-rest-no-mercy

https://www.facebook.com/Basementones/

Pete RingMaster 04/07/2017

Copyright RingMaster: MyFreeCopyright

Undead Artists presents Monster Mash-Up

Always one to push his music family and label’s adventure, founder and owner of Undead Artists, Johnny Rose (Thirteen Shots) set the task for his bands to record a cover of a track from the other label companion he paired them up with. It was not just to be a simple version though but a task with the remit to make the song their own helped by Rose’s sly move of matching up different genre bred bands and their contrasting textures and sounds. What emerged is the ten track treat of Monster Mash-Up; eight songs not to be found anywhere else as well as a pair of additional slices of very appetising goodness.

The compilation gets off to a flyer with The Bloodstrings and the track Dead In Berlin. Grabbing the song from horror punks Cavaverman with relish, the German quartet swiftly grip attention as the throaty upright bass twangs of Nick waggle a beckoning finger. As the swinging melodies and rhythms of Manuel and Fest respectively, only add to the growing lure soon led by the captivating tones of vocalist Celina, the band fully infuses the track with their punkabilly touch and contagion. In no time hips are swaying and feet a skittish blur in union with the excellent start to the album and just as enthused by next up Motel Transylvania, and indeed the rest romping across the already appetite pleasing release.

The 2015 formed Italian horrorbilly outfit get their claws into Stolen By The Night from Silpha and The Corpseboners next, gnarly riffs and firmly kissing beats from stand-up drummer/vocalist T.Ghoul prowling the senses before sparking a ferocious roar led by the sonic fire of The Wolfman and the grumbling bass of Fish”The scarecrow”. Within that raw dirty confrontation, warm suggestive melodies radiate and deceptive calm seduces until the blaze is ignited again. As those around them, the band live up to instructions and make the outstanding fan favourite song of its creators into something distinct to themselves, the texture of male instead of female vocals alone giving it a new carnivorous air.

It is truly fair to say it is a success all the swaps achieve, the bloody punk ‘n’ roll prowess of Dr. Hell taking Don’t Say The Z Word from Lupen Tooth’s debut EP and infesting it with punk vivacity and aggression as well as a delicious almost ska inspired devilment half way in. A repetitious chorus backed by group vocals demands involvement to top one virulent stomp to keenly embrace before we get an alternative version of a song recently part of a release already exciting the year. From Hamme in Belgian, horrorpunks Deadite recently released their album The Damned, a compelling slab of ravenous rock n’ roll within which its haunting Tiger Army-esque title track provided one of many major highlights. The trio offer an alternative take for this album, a just as captivating and in many ways even more seductive temptation with its cleaner cut yet thicker smoulder, a twist giving it a more Dommin like air.

Bremen hailing Jamey Rottencorpse and The Rising Dead are next to step forward, laying their hands on I Sold My Soul Tonight by Raizing Hell, a band sadly no longer with us who split up before they could return the favour. The enjoyably scuzzy horrorpunk of Jamey and co easily infuses into the original’s more punk based rock ‘n’ roll, giving it a dirtier toxicity without losing the boisterous virulence which just hits the spot like a doppelganger to its counterpart.

The UK’s Lupen Tooth ignites the senses yet again straight after, the Bristol band grabbing the visceral punk of Hamburg’s Dr. Hell found in the track Carl The Metrosexual Werewolf to give it two minutes plus of their horror punk revelry, resulting in an insatiable slab of infection loaded rock ‘n’ roll. In the often rare climate of every track within a compilation being as equal in quality and invention as any other, bigger favourites did still arise with personal instincts, this one of them but persistently challenged with every listen by all with Silpha & The Corpseboners proving the fact with Go Psycho. The Stein/Nürnberg based three piece led by the temptress tones and presence of Silpha Obscura bring their bloodlusting horrorpunk trespass to the Motel Transylvania track. As ever, theirs is a sound with a glorious schizophrenic nature; sax and keys sultrily toying with jazzy intent as the band deconstruct and rebuild the track in their own devilish design to bewitch ears and imagination.

From one treat to another as we get a glimpse at label newcomers, Wanton next. Undead Artists is poised to release the Finnish band’s new album Harmageddon Get-Together in the near future. Censor This! is taken from that encounter, a psychobilly roar quickly taking body and spirit on a ruggedly tenacious and contagious romp. With a flavoursome spurt of punk in their caustically catchy sound and a vein of melodic temptation, the Rauma hailing band makes a thrilling introduction to label fans, one sure to incite plenty of anticipation for their second album.

The Bloodstrings get their song In Love With A Monster devoured and ignited again in their own way by Italian horror punks Cavaverman right after, the band blending English and their homeland tongue in a fiery and energetically rousing version luring air lashing limbs and aroused vocal chords as easily as the original.

The album is completed by Somewhere Under The Graveyard, the Jamey Rottencorpse and The Rising Dead anthem seized by a host of musicians from the Undead Artists Family and given their own seriously rousing punk and rock ‘n’ roll zeal. It is a riotous and fiercely enjoyable end to a release which not only has you bounding feverishly around the room but hungry to check out its occupants even closer.

Last year was a big and successful year for Undead Artists with Monster Mash-Up suggesting we and they have seen nothing yet.

Undead Artists Records Monster Mash-Up is released March 24^th with pre-ordering, also for Limited Edition CDs and T-Shirts/CD packs, available now @ https://undeadartists.bandcamp.com/album/monster-mash-up-2

http://undeadartistsbooki.wixsite.com/undeadartists   https://twitter.com/ArtistsUndead   https://undeadartists.bandcamp.com/

Pete RingMaster 07/03/2017

Copyright RingMaster: MyFreeCopyright

Thirteen Shots – Self Titled

Though the band is no longer active, the hunger and want for Thirteen Shots continues to be vocal. The new release of a self-titled compilation album is a dose of their raw and voracious horror punk sure to be devoured and earn many more belated fans as it treats ears to the best of the band as a free proposal. Bringing together fifteen tracks spanning the band’s releases, one previously unreleased track, and an irresistible live take of the band’s mighty track Graveyard Stomp, the album is an offer no fan or horror punk loving newcomer to the British outfit should and will be able to resist.

Formed by the now Hamburg, Germany residing Johnny Rose and featuring Lewis Manchip, George Chick, Joe Dempster, Chelsea McCammon, and Tom Fenn in its line-ups, the Birmingham hailing Thirteen Shots unleashed a distinct and rousing form of rock ‘n’ roll as seeded in sixties garage rock and blues as horror punk itself. From debut album Vaudeville of 2012, through subsequent releases such as Tales That Start With A Whisper the following year, the 2014 White Noise EP, and their final outing through second album Black Smiles last year Thirteen Shots pushed their boundaries and expanded their sound without losing the incisive rough diamond roar which marked them out from day one. The new compilation brings it all into one thrilling place; all together for one final stomp.

First track is the fiery rock ‘n’ roll of Cobradeer, an encounter which flies from the traps, drops into a predacious prowl before bursting into a rush of fiercely slapping rhythms and ferocious riffs led by the distinct vocals of Rose. It provided a rousing introduction to Black Smiles originally and makes the same attention grabbing impact here before passing ears over to the flesh dropping infections of band classic Zombies From The USSR. Cored by a delicious Caped Crusader like hook, the track expels raptorial grooves and vocal incitement in a battle cry/warning rising up against undead hordes which just gets under the skin and into the psyche.

The variety in the band’s sound has been an open book and illustrated in the garage blues blaze of Nekrosexual and the following drama of Bewitched as well as across the album. The first is a scuzzy roar while the second again uncovering a hook which just fits an eager appetite, uncages predatory basslines and irritable riffs as Rose scowls in the colourful horror punk confines of the excellent encounter.

Within the Thirteen Shots catalogue numerous tracks were like beacons to their presence and sound, arguably the most tempting being Danzig. A tribute to the obvious, the song is a swinging punk brawl wearing its influence clearly but casting is own horror punk ‘n’ roll character with more hooks and temptations than a stripper at a fishing convention.

Punk rock in varying degrees is also an ever present in the band’s sound, Get In My Crypt for example simply fuelled by it in its virulent charge wrapped in metallic flames while other songs like Night Of Sin infuses it into their own individual imaginations, it a liquor soaked blues rock proposal with searing grooves and restrained but heavy rhythms. The outstanding Dead Girls Don’t Scream takes the vital essence into a psychobilly spiced romp, like Misfits meets Resurex while wearing a New York Dolls t-shirt. It is also another of those songs which the band is particularly memorable and noted for, a rock ‘n’ roll stomp to get lustful over.

Through the writhing blues grooved Padded Cell Blues, the scuzzy heavy metal Sabbath-esque riff loaded crawl of Doom, and the severely infectious rockabilly lined stroll of First American Sweetheart, the album does what all good compilations should do; reveal and celebrate the depth and invention of its focus. The last of the trio especially whips up the spirit with its hard rock grooves and garage punk contagion offering something akin to Turbonegro meets The Heartbreakers.

Grooves are equally a major tempting within next up Tales That Start With A Whisper, twisting within ears with salacious intent as the track shares classic/glam rock misbehaviour equipped with the spiciest hooks before Black Eyed Girl enters with a flirtatious and slightly sinister prowl like a dark dusted feline seductress swinging melodic hips to blues bred flames.

There have been a few songs from the band too which have blossomed to greater heights over listens rather than with an instantaneous convincing; the raw shuffle of Black Smiles being one which proves its point perfectly amongst its companions on the album though gaining its first ever outing here, Creak’n The Coffin needs little time to grab ears and the passions. A contagious punk driven slab of rock ‘n’ roll, it stomps and roars with all the flavours the band has consistently shown itself so adept at weaving into their raucous proposals.

The album is completed by the sultry blood red romance of Lost Soul with its mariachi laced smoulder and finally that stomping live roar of Graveyard Stomp, which while drawing eager participation, reminds us what we are all missing from the band at each and every venue they graced.

There are certainly tracks we would have added to the album, This Looks Like A Job For Batman for one, but Thirteen Shots is undoubtedly the life and creative voice of the band to a tee and a certain must for all punk ‘n’ roll fans. Go check it out and grab a rare and free treat @ http://thirteenshots.bandcamp.com/ with a possible very ltd edition CD possible if demand is high and similarly a final UK tour from the band if they are wanted; so go tell them @ https://www.facebook.com/thirteenshotsband

Thirteen Shots is also available for FREE from Google Play and available to stream from Spotify and Deezer from Undead Artists.

Pete RingMaster 09/11/2016

Copyright RingMaster: MyFreeCopyright

Raizing Hell – Monsters Prefer Blondes

If you have found the ground rumbling under foot in recent weeks, it is not the earth in rebellion but the dead rising to join the living in descending on the long and eagerly awaited second album from Romanian horror punk n’ rollers Raizing Hell. Providing devilish slices of graveyard boogie fuelled by punk rock attitude, Monsters Prefer Blondes is a carnivorous incitement from the crypt and quite irresistible.

Raizing Hell emerged in 2010, formed by vocalist/guitarist Liv Decay (ex-Howling Saints), guitarist Mr. Zombie, and drummer Oly Sinn. The line-up was soon completed by bassist Demented Vlash with the band laying down their live presence from 2011 and going on to share stages with the likes of Blitzkid, The Silver Shine, Tazmanian Devils, Fancy Dolls, The Argies, A Wilhelm Scream, Koffin Kats, Daily Noise Club, Orlok and the Rockin Ghouls, The Irradiates and many others over the years. Drawing on inspirations from bands such as Motorhead, The Plasmatics, Wendy O. Williams, Misfits, Nekromantix, Blitzkid, Demented Are Go, Horrorpops, and The Meteors, the Bucharest quartet soon evolved their own distinctive shade of horror punk which fuelled debut EP Psychoholics Unanimous in the December of that year and in turn provided a tasty part of the excellent Chainsaw Ballads split EP with UK bands Thirteen Shots and Trioxin Cherry via Psycho A Go-Go Records in 2013. First album Of Ghouls And Men was an even bigger attention grabber when released later that year; thirteen tracks which pushed the band into the full spotlight of the European horror punk and rock ‘n’ roll scene.

2014 saw Raizing Hell sign with the excellent Germany based label, Undead Artists Records, which quickly brought Of Ghouls And Men to a broader expanse of ears while last year the departure of Sinn, after the recording of their new album, brought the stick swinging corpse of Marky B. Morbid into the Raizing Hell mausoleum. Unleashing Monsters Prefer Blondes a couple of weeks back, Raizing Hell has not only provided a bigger and bolder slab of their horror gripped sound but also brought a real feel of their live energy and aggression to the recording and presence of the album. At times it borders on predatory and throughout is a constant blaze of contagious intensity coated with the organic rawness so many bands only manage to create on stage.

It all starts with I Like It Wrong and the resonating hefty beats of Sinn. Swiftly they are joined by tangy grooves with a hint of blues toxicity to their invitation. The distinctive tones of Decay are soon adding their dark flirtation and defiance to the mix too, her snarl climbing all over the virulent contagion of the hooks and grooves which are still working their temptation. It is a potent slab of rock ‘n’ roll with maybe few surprises yet making up for it with heart and attitude before Sold My Soul For Rock ‘N’ Roll saunters in with its punk ’n’ roll incitement. There is a touch of In Evil Hour to the song, an irritable hue which adds to the great blend of melodic enterprise and the grouchy snarling of voice and sound.

Two songs in and already it is easy to hear the fresh blossoming of the qualities and craft the band had already shown and the maturity and realisation of potential found in previous releases. I Am The Damned is quick confirmation as it eclipses its predecessors with its psychobilly swagger and flirtatious hooks. Vlash’s bass reveals its most cantankerous growl yet as it stalks the swinging lures of guitar and beats, a bestial essence echoing the edge in Decay’s otherwise clean and infectious tones.

Time Of A Killer Flies brings some delta blues scented enterprise to its robust and fiery body next whilst This Is It flirts with garage rock ‘n’ roll as it prowls of the senses to echo the creature crawling within its sci-fi themed narrative. As usual, Raizing Hell draw most on horror movies and dark tales for the lyrical seeds of the album, very often crafting their sound to echo and reflect the actions of the protagonists within their stories and here turning that first wave of stalking into a rabid devouring of ears and appetite by its finale.

Through the sultry Django-esque climate and landscape of The Sun Is Down, the band has the imagination as forcibly involved as the body whilst Dead Girls Don’t Cry kicks up a feisty stomp with its punk rock. The dark harmonies and lone whistling within the first of the two simply adds to a compelling theatre of guitar and rhythms while a tinge of folkish temptation lines the spicy veining of the second to similarly magnetic effect. Both are further examples of the new adventure and imagination in the band’s songwriting and sound, laying down new pinnacles within the album for a success soon matched by the smoky dark seduction of Trouble where Decay is the kind of temptress you know you should escape but cannot resist.

I’m Not A Monster is a grizzly stomp of an encounter; one again maybe feeding expectations a touch but with a chorus impossible not to join in on as the body bounces throughout, it matters little as it leads ears to the equally captivating antagonism of I’m Not Evil (I’m Just Bad). The next song is appetite pleasing punkabilly with a whiff of Trioxin Cherry meets Midnight Mob to its thick pleasure giving; another energy rousing persuasion more than matched by both the excellent old school punk infested Braindead, a track spinning a web of punk and horror rock strands  from recent decades, and Killing Time. The last of the pair is the kind of romp which has the feet engaged almost before ears; commanding body and attention with scything rhythms and punchy riffs as the band vocally rouses the spirit.

Monsters Prefer Blondes is completed by its title track, a predacious tango again aligning an array of punk rock with further instinctive rock ‘n’ roll diversity. We always like an album to end on a bang, and this anthemic infestation of ears and the passions certainly provides. As for Monsters Prefer Blondes the album, it provides a rich and thoroughly enjoyable blood soaked rebel rousing with adventure and creative fun. It is high time that Raizing Hell is recognised by the broadest rock ‘n’ roll spotlights; this album just might be the key lure. If not it is only a matter of time.

Monsters Prefer Blondes is out now via Undead Artists @ https://undeadartists.bandcamp.com/album/monsters-prefer-blondes

http://www.raizinghell.com   https://www.facebook.com/Raizing.Hell

Pete RingMaster 10/05/2016

Copyright RingMaster: MyFreeCopyright

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

Cavaverman – Tales From Cavafistool

It was Johnny Rose, the band behind Birmingham rock ‘n’ rollers Thirteen Shots and the independent label Undead Artists, that pushed our gaze the way of Italian horror punks Cavaverman, and boy are we grateful that he did. The trio released their new album Tales From Cavafistool this past Halloween, a thirteen track proposal that rocks with the bloodlust horror punk should always do but equally with an imagination unafraid to involve other bold flavours and twists of invention. The result is a fascinating and seriously rousing stomp fuelled with a potential that says even bigger and bolder adventures are ahead, so time the world woke up to the sonic zombie hunters.

Consisting of guitarist/vocalist Sal Champion, bassist Apocalypse Giò, and drummer Doktor Hell, it is fair to say that Cavaverman wear many of their inspirations on their sleeve the likes of The Ramones, Misfits, Alkaline Trio, and Entombed included, weaving them into their own contagious and visceral romances of sound and horror. As previous releases like Dead Brains For Brain Dead and James Dead showed, at times there is no escaping the familiarity to those influences but more often than not they merely spice fresh pools of bloodied Cavaverman imagination.

Tales From Cavafistool quickly stirs the blood and passions with opener Vampiro; a pull back on a shotgun the spark to a charge of spicy riffs and thumping beats driven by the potent tones of Champion. With a snatch of psychobilly to its character and straight forward rock ‘n’ roll in its instincts, the song rumbles and swaggers with expectations feeding horror punk tenacity and zeal, but with a wealth of enterprise it only thickly excites before Dead In Berlin offers its own breed of lusty punk ‘n’ roll. As in the opener and many more, Misfits is an obvious spicing but one, as suggested earlier, honed into the ways of Cavaverman with fresh and imaginative resourcefulness. The rhythms of Giò and Hell stalk and grumble magnetically throughout its scavenging whilst Champion shows himself as alluring with fingers on strings as voice on lyrics.

     The more restrained Yellow King shows a fuzzier melodic string to the band’s creative bow whilst still creating a virulent offering hard for body and voice to resist whilst the mighty Green Goblin is a two and a half minute addiction that you will be crooning long after leaving its and the album’s side. Familiarity is once more a potent hue but entangled in a pungent pop punk weave, the track is like all your best friends partying in the ears.

Such its contagion and slavery upon the passions, the following Don’t Cross The Streams has a harder task to shine alongside but its efforts are strong and enjoyable, especially with its excellent sinister entrance on intimidatingly anthemic rhythms. Into its stride, the song loses some of its potency in energy and impact but it still has feet romping and pleasure aflame by the time it makes way for Inside You and straight after Hero. The first of the pair also embraces the punk pop side of the band, breaking into an easy going and vibrant rocker before its successor grows from a scuzz kissed croon under atmospheric cold into an impassioned serenade with rising crescendos. The track might be another not quite matching some of those around it, but what it lacks in a persuasive spark it more than makes up with in bold and fiery blends of varied rock styles to show the strength of the band’s songwriting and imagination.

Lora Ashley is a delicious straight forward incitement of hooks and united vocals, an inevitable horror punk sing-a-long raising the spirits and greed ready for the drama laded rock ‘n’ roll of Dead Boys Of Summer. Resistance is futile here too as the track prowls ears with its sturdy rhythms and grinning hooks, vocals the final lure in a lustful anthem. Irresistibility continues in the old school punk joins fifties spawned rock ‘n’ roll of Don’t Worry About Me next, the song something you could imagine a collusion between The Damned, Flogging Molly, and Calabrese producing whilst the irresistible Teenwolf is less than two minutes of boisterous incitement with anthemic effect on body and emotions.

     Tales From Cavafistool is finished off by fiery rocker Just Another Day where blues spicing adds to rich flames of melodic and heavy rock aligning to a rockabilly swing, and finally the short sepia toned instrumental epilogue of Dawn Of The Cavaverman. The final piece is like the closing of the theatre curtain at the close of a creative triumph, and that is just what Tales From Cavafistool is, a triumph from a band previously in the shadows but now bounding forward with a real punch. As uniqueness and imagination continues to grow within the craft of Cavaverman, there is no reason to dismiss the thought that something special for horror punk is brewing in Italy.

Tales From Cavafistool Cavaverman is out now via Undead Artists and @ https://cavaverman.bandcamp.com/album/tales-from-cavafistool

https://www.facebook.com/Cavaverman

Pete RingMaster 04/11/2015

Copyright RingMaster: MyFreeCopyright

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