Demoni – Day of Demoni

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Described as a ‘surfabilly band which fuses punk rock beats, psychobilly bass, and surf guitar’ it is easy to go slightly astray with expectations over US rockers Demoni and their much more flavoursome sound. Certainly those essences make up the core of the band’s sound as evidenced on their outstanding album Day of Demoni which recently had its UK released via British cassette/digital label Graveyard Calling, but as the nine track rampage infests ears and ignites emotions there is plenty more to the band’s alchemy of invention. At times there is a hard rock fury at work, and in other moments a seventies glam teasing at play, whilst throughout there is a pungent whiff of fifties honesty to it all. Day of Demoni is a thrilling onslaught which dares to be just that little bit different in the world of psychobilly whilst embracing the seeds of the genre with a full ardour and revelry.

The Boise, Idaho trio take inspirations from the likes of Cramps, Dick Dale, Mad Sin, and Misfits to their adrenaline powered and relentlessly voracious sound. An early self-titled demo in 2008 seemed to draw strong attention but it was with their albums Dawn of Demoni a year later and Day of Demoni which was released in 2012 that a spotlight really hit the band. It was an interest which has only been enhanced by the band live which has seen them play shows with the likes of Koffin Kats, Chop Tops, Three Bad Jacks, Stellar Corpses, The Hedcat, Sawyer Family, The Recently Deceased, and The Rocketz. Their new UK release of Day of Demoni sees the five songs which appeared on the US version joined by one originally found on the first album and another pair from the band’s Surf City of the Dead release, as well as one more track. Together they combine to make one of the most exhaustingly enjoyable encounters to hit the UK shores this year.

From first track And Now the Screaming Starts, band and release has the imagination bound and ears hungry. It opens with a sonic squeal before launching into a thunderous charge spiked with spicy twangs of warped grooving. Riffs coverand rhythms are in top gear within seconds, their eagerness almost ravenous as they swiftly build an anthemic temptation upon which the smooth delivery of vocals lay perfectly. The click of drum stick wood on rims is irresistible whilst the brawling attitude of the guitar is contagious persuasion, but it is the unpredictable slides of grooves and caustic melodies which turns the outstanding song into a classic.

Its glory is followed by the instrumental Black Lagoon, its stomp speared by a hook which is fifties seeded but coming with a seventies air. That initial temptation is soon evolved into a sultry surf rock enticement though both lures switch and entwine across the rest of the compelling track. Like a sonic stroll across a blood soaked beach beneath a sinister moon, the track has the imagination casting its tales whilst feet still find no respite from the involvement inspired by its predecessor. The magnetism of the song is intensified in the exceptional They Crawl, another virulent surge of riffs and rugged enterprise equipped with a cowpunk lilt and riotous hard rock intent. The song is as persistent as the protagonists in its lyrics, scampering relentlessly with tireless rhythmic feet and feisty sonic tenacity. Sparking thoughts of  Koffin Kats and Tiger Army, the track is another peak to the album and makes one wonder why the band has not been recognised over here before.

Scared to Death is no slouch in setting ears and passions ablaze either, it’s almost smouldering sonic presence and rhythmic control, certainly compared to the previous song, a transfixing instrumental narrative providing another surf spawned slice of heated suggestiveness. Its sultry presence makes way for the fiery and robust harrying of the imagination unleashed by Night of the Creeps. Thumping heavy rock beats courted by a caustic punk abrasing of riffs offer a contagious tempting from which vocals and acidic melodies surge with eagerness. Again a heavier rock aggression adds to the flavouring whilst at times there is a softer melodic catchiness which merges easily with the strenuous suasion of the song. You can almost call it as psychobilly pop punk.

Both No Pain No Gein and Beware the Moon bring another twist to the album and satisfaction, the first akin to Turbonegro with its punk rock rapacity but also you can hear tinges of Nekromantix and The Ramones in its rowdy enterprise. With the bass a delicious standout texture and voice to the song, it is an insatiable stomp swiftly matched in sweaty contagion and voracious energy by its successor. There is an immediate sense of The Dickies to the punk side of this song whilst its expansive psychobilly design offers up suggestions of Mad Sin and a little of Rezurex. It is a flaming beast of a track and another to squeeze out a little more lustful acclaim for the release.

The album uncages a final two slabs of thick persuasion through first of all the instrumental scourge of blistering riffs and niggling grooves that is Session 9 and lastly Die! Die! Die!, which is maybe an instrumental too many on the album but such its exciting climate and creative blaze it is impossible not to greedily devour its presence. They make enthralling climaxes to a ridiculously addictive release, which itself sets Demoni as a thrilling new protagonist for British psychobilly appetites.

Day of Demoni is available via Graveyard Calling @ http://graveyardcalling.bandcamp.com/album/day-of-demoni digitally and on very Ltd Ed blood-red cassette.

http://www.demonipsycho.com

9/10

RingMaster 28/08/2014

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Angie & The Car Wrecks: Boozed And Bloody

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    An album which may have like us passed you by until now but undoubtedly worthy of attention is the psychobilly miscreant Boozed And Bloody by the equally devilish Angie & The Car Wrecks. It is a release which dances with the devil through a feisty merger of psychobilly, rockabilly, and whispers of country rock n roll, and an album which ignites the passions into naughty thoughts and complete satisfaction.

From Onalaska, Washington USA, the quintet of Angie Ball (vocals/acoustic guitar), Kc Maukl (upright bass), Dale Ball (fiddle), Pigpen Spear (washboard), and Dustin Beck (drums), has earned an impressive name for themselves through their Bender Bound EP of 2010 as well as their irrepressible live performances which since forming has led them to playing events which include the Pacific Northwest Brewcup, the 4th annual Jake the Alligator Man B-day Bash in Long Beach, the Kustom Kulture Festival in Silverdale, Reno Rockabilly Riot, the 7th annual Seattle Psychobilly Brawl, and across WA with The Rocketz, Graceland Five, Big John Bates and the Voodoo Dollz, James Hunnicutt, and Three Bad Jacks, as well as being hand-picked by the founders of the Kurt Cobain Memorial Committee to open for Soul Asylum.

Released via Texas-based Psycho-A-Go-Go Records, Boozed And Bloody opens with Intro, a sizzling instrumental of rockabilly front2(2)candy and invitingly crafted elegance which romps like a pole dancer on viagra and is just as mischievous. The magnetic start explodes into an immediate lust thanks to the tarmac tearing Draggin ‘Down. Instantly rocking like a Chevy in cruise mode the track stirs up the dust and ignites the fuel of the heart with infectious rhythms and delicious skilled guitar flames all wrapped in the irresistible vocals of Angie.

Rolling rhythms and a sultry blaze of harmonica harken in the thrills of Moonshine, a southern coated stomp of psycho country contagion exploiting every instinct and passion for a fevered riot of insatiable enterprise and the continuation of a sensational introduction to the album. From such a heightened start a slip or lull would be expected but with crafted diversity the band just deliver the delicious insatiable romance with the simmering emotive sunset of Some Kinda Hate and the boiling ambience of Hellriders. The first is a tender embrace which smoulders within the ear and the second a brewing storm carved by a wonderfully carnivorous upright bass sculpting veined by a kindling of spiralling guitar mastery and harmonica sparks which light the canvas below the feisty alluring tones of Angie. It is an inspiring and seductive blend which is impossible to ignore or avoid drooling over.

The same can be said of the whole album and especially Junkyard Blues, a white hot fusion of rockabilly fermented in a brew of country rock with a hint of rhythms & blues.  The song lures you into its inferno with expert temptation and rewards with an unruly yet deviously crafted explosion of incitement and inflammatory rock n roll. In its own distinct way Iron Horse II also latches onto an inner ardour to leave one basking in unrestrained pleasure, in its case with a shimmering ambience around a scorch of guitar bliss and gently prompting rhythms beside as it is automatically expected at this point, sirenesque but commanding vocals.

     Little Willy’s is a track which if feet and blood is not pumping then a mirror to the mouth for sign of life is needed. The song just dances with the passions like a teen at a hop whilst the following ’31 Coupe is an orgasmic inducement to rampage the streets with intent and headlights blazing. Both songs offer the fullest primal bait through the sensational almost bestial slaps of Kc Maukl whilst once more the harmonica sends tingles across the spine.

Finishing on the country liquor jiggery of Have Another One, the swells and intemperate warmth of instrumental Surfin ‘Tucson, and lastly the graveyard serenade Necrofella, a Horrorpops meets Richie Valens amongst the tombstones finale, Boozed And Bloody is one of those treats you just cannot get enough of. It is a hunger we will be satisfying as soon as possible, a suggestion we offer you after you tuck into this outstanding offering first of course.

http://www.angieandthecarwrecks.com

https://www.facebook.com/angiecarwrecks

http://psychoagogorecords.com

8.5/10

RingMaster 27/02/2013

Copyright RingMaster: MyFreeCopyright

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