Cavaverman – Women, Monsters & Cazzottis

After the acclaim lured by their album Tales From Cavafistool around Europe, Italian horror punks Cavaverman release their new EP, Women, Monsters & Cazzottis. Offering three tracks as a name your own price download, their latest encounter is equally as irresistible with the band stretching their sound to embrace an even richer array of flavours in its rock ‘n’ roll stomp. It builds on the last album with relish and enterprise with suggestive hints of where the band is going next.

Hailing from Monza, the trio of guitarist/vocalist Sal Champion, bassist Apocalypse Giò, and drummer Doktor Hell draw on the inspiration of bands such as The Ramones, Misfits, Alkaline Trio, and Entombed for their own enjoyably raw yet adventurous sound. A trio of albums in Dead Brains For Brain Dead, James Dead, and the aforementioned Tales From Cavafistool have more than marked Cavaverman out from the crowd and the Undead Artists released Women, Monsters & Cazzottis is no different.

It opens with Deadly Touch, a track featuring the potent vocals of Irene from Milan punks Viboras. The song itself is the punks inside Cavaverman coming to the fore; its horror punk ’n’ roll mixing with punk metal tendencies to unleash something akin to UK’s Trioxin Cherry meeting US bands Mongrel and Calabrese. From its first breath, the track stomps with attitude and an infectious lilt, the vocal union of Sal and Irene ear grabbing with the latter just as potent when tempting alone. Instinctive grooves and nagging hooks only add to the thick lure of the antagonism soaked song before Jamie Sommers steps forward.

The second song has a calmer persona, its psychobilly nurtured stroll and hearty croon showing a new maturity in the Cavaverman songwriting. Of course there is a snarl in the belly but one restrained as guitars weave their sultry serenade within a coarser tide of riffs and swinging rhythms. As the first, it is a richly magnetic affair captivating ears and imagination with swift ease before King of Cazzottis concludes the EP with its hard rock meets horror punk stomp. There is a healthy spice of pop punk to the chorus of the song too, another flavour in its bold mix needing little time to have body and vocal involvement from the listener on board.

Women, Monsters & Cazzottis is a band doing what they do best, unleashing instinctive rock ‘n’ roll whilst involving sound and creativity in new textures and explorations. There are surprises and plenty of familiar essences colluding in a slice of Cavaverman goodness which gets better and more tempting with every listen.

Women, Monsters & Cazzottis is out now through Undead Artists as a name your price download @ https://undeadartists.bandcamp.com/album/women-monsters-cazzottis  or https://cavaverman.bandcamp.com/album/women-monsters-and-cazzottis

https://www.facebook.com/Cavaverman/

Pete RingMaster 09/05/2017

Copyright RingMaster: MyFreeCopyright

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

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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

Raizing Hell – Monsters Prefer Blondes

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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.

Raizing Hell Cover_RingMasterReviewIt 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

Exciting the dead: Talking Travelling Morgue Horror Punk festival with Johnny Rose and Tommy Creep.

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     The UK horrorpunk and horror bred music scene has never been more thrilling and adventurous than it is right; hordes of bands pushing boundaries and lustful pleasures with their diverse and viscerally tempting sounds. Two musicians have been at the heart of this; been a key cog to the fore and behind the scenes in this emerging creative machine. Johnny Rose of Thirteen Shots and Tommy Creep from Lupen Tooth, have both pushed the British underground rock ‘n’ roll scene with their bands, labels, and simply helping others. Now the pair has linked up to craft and soon unleash the first Travelling Morgue Horror Punk festival at the Actress and Bishop in Birmingham on April 4th. Already more highly anticipated than a feisty fondle in back street of a movie house playing the entire Hellraiser franchise, the event is set to be a landmark in the UK horrorpunk scene. We grabbed the chance to talk with both Johnny and Tommy about the festival, pulling it all together and what is in store for those braving its dark temptations. We also dug into the hearts of their bands and record labels to learn…

Hi guys and thanks for taking time out to talk with us ahead of a busy time with your bands, labels, and the upcoming Travelling Morgue Horror Punk festival you guys are behind.

Can we talk about the event first and what sparked the idea to out the festival together?

Johnny – It was something Tommy and I have been talking about for a while, we just had to get the courage to do it!

Tommy – Yeah absolutely, there are too many awesome UK horrorpunk bands around at the moment to fit onto a normal bill so some kind of festival had to happen.

Was this an idea seeded in your thoughts for quite a while or a more recently proposed adventure?

Johnny – It something I think both of us have been thinking about for a while, we just needed each other to help push each other! Both of us are trying to help boost exposure for the UK Horror scene so it made perfect sense to collaborate.

It is easy to come up with the idea of holding an event like this but far more problematic and difficult to actually pull it together. How have you found it so far? Thirteen Shots

Johnny – So far so good, the scene is quite close so the line-up took shape pretty much automatically

Tommy – It’s pretty straight forward so far I think, because Johnny and I are both quite organised people

Has it helped that both of you are the driving force behind the event rather than others and how have you shared the organising and promotion of the festival?

Johnny – Yes I really think working together has been a real advantage; Tommy and I both have different strengths so it makes to a more complete job being done!

Tommy – Yeah so far I’ve been handling the design and ticketing while Johnny’s been organising some of the more logistical stuff, it makes a nice change from working completely solo as we do with our labels.

Are you looking at this as a one off event or already have designs on an annual festival of the best horrorpunk bands and sounds around?

Johnny – That purely depends on the success of this one, I would love it to be a yearly event with different bands and some more international bands joining the line-up.

Tommy – Definitely, as long as people show up, there’ll definitely be more. We’ve already had loads more bands contact us wanting to be on the bill so there’s no shortage there. This’ll be the third event under the name the Travelling Morgue (the last two just being one off gigs), so I’d really love to keep going with lots of smaller events throughout the year culminating in a massive party like we’ve got planned for April 4th!

If it does grow will you look at spreading the type of bands playing it to keep it fresh each time or do you see there enough diverse talent within the European if not the world scene, to cover that anyway?

Johnny – Exactly, would be great for all the bands and for the international bands. I was delighted when Jamey Rottencorpse and the Rising Dead agreed to headline the festival, I have been a big fan of them for a long time, I have a list as long as my arm of bands I would like to book.

Tommy: There’re definitely really diverse bands out there that’d still totally fit the theme. For me the “horror” element is definitely more important than the “punk” element. There are loads of bands in the world, like Creature Feature for example, that while completely different from the horrorpunk bands would fit perfectly on a Travelling Morgue event.

How easy was it to choose the bands to invite to play the show or did you always have a certain few in mind and maybe on board before the event was a reality?

Johnny – Yes it was pretty easy, Tommy and I pretty much agreed on line-up before inviting the bands, a couple of bands we wanted couldn’t make it but hopefully there is next year.

Tommy – There was no way any of the UK horror bands, that me or Johnny have gigged with, would want to miss out on this so it was just a case of whether they were available or not.

Lupen ToothHow can people grab details of and tickets for the April 4th show at the Actress and Bishop in Birmingham?

Johnny- everything you need to know about the festival, tickets, line-up etc. can be found at www.thetravellingmorgue.co.uk

Back to the line-up, both your own bands are playing. Tell us about both Thirteen Shots and Lupen Tooth and their histories.

Johnny – yes, it’s a bit egotistical for us to have our bands playing but we weren’t going to miss out! Thirteen Shots will be playing this show as our only local show of the year so far! It will be great to play for a crowd that may enjoy what we do in the UK before we head out to Europe! We have so many new tunes to debut.

Tommy – Lupen Tooth have only been going since the summer but we’ve already been into the studio 4 times and got a load of material to choose from. People can expect live horror film sampling and several songs about necrophilia haha!

Both bands have new releases in the offing too, will they be available and paraded on stage at the Festival?

Johnny – Our new album will not be ready for the festival, but we will be debuting a lot of songs in our set. We also still have a few copies of our limited edition CD available.

Tommy – Yep! Our EP Strawberries & Cream came out 2 weeks ago so we’ll have those for sale and definitely be playing everything from that, along with some even newer tracks.

Can you share some spoilers over both releases?

Johnny – I can’t give too much away yet, all I can say is this album is our most adventurous one to date. We’re really impressed with how it sounds so far! It is scheduled to a May 1st release.

Tommy – There’s not really much to spoil about Strawberries & Cream as it’s already out, but if you’d like spoilers about the themes for some of our new tracks, just Google “skeletonization” or “cadaveric spasm” haha!

Give us quick run-down of who else will be playing the festival.

Jamey Rottencorpse and the Rising Dead – From Bremen in Germany, I have been a massive fan of these guys for ages and I’m delighted when they agreed to headline!

Jamey R...Pic (c) Johanna Streich

Jamey R…Pic (c) Johanna Streich

Zombina and the Skeletones – Clever, hilarious, catchy, surfy, bubblegum-horrorpunks! Been releasing awesome spooky tunes since 1998, a no-brainer that they should co-headline our festival!

Army Of Walking Corpses – a hard n’ fast, metal-tinged, horrorpunk 5-piece. 2 EPs under their belts and a split 7inch with horrorpunk legends the Crimson Ghosts

Gravedale High – Tight, melodic, fast, awesome horrorpunk, been going almost 10 years, shared the stage with pretty much every international horror band that’s come to the UK.

Headstone Horrors – Female fronted Horror Punk band from Nottingham, gaining a great reputation for being a well put together Horror Punk band!

Trioxin Cherry – Sleevy Horror garage Punk Band from Nottingham, These guys/Girl are one of my favourite bands in the scene, recently confirmed for their second appearance at The Rebellion Punk Festival in Blackpool

The BloodThirsters – Birmingham based Horror Punks, a great opportunity for them to play their first gig to a Horror Punk crowd.

You also as if this was not enough work, run your own labels; Johnny and Undead Artists and Tommy with Graveyard Calling Records. Was there a specific spark or moment which inspired the move to set up your own label for not only your own releases but those of a great many emerging and exciting new bands?

Johnny – For myself I had a feeling I needed to protect and support bands a little bit more. We had been signed to two labels and had really bad experiences with them, so I set up Undead Artists as a label for bands, run by a band. Hoping that I can help my bands and support them correctly, because I understand what they need.

Tommy – I had a solo release that I wanted to put out on tape and thought it’d be more fun to put it out as a “cassette-horror-double-feature” along with another artist’s release and it just grew from there.

Tell us the mind set and intent behind both labels and the type of music and bands you are releasing and giving opportunities to get their music out there.

Johnny – Undead Artists is a record label for Horror Punk/Psychobilly bands; the aim is to help give them the exposure they need. I like to work with bands who dare to push their sound within the genre; I only sign bands I like too. I feel like I can help them more if I’m a fan of the music!

Tommy – Graveyard Calling puts out any music that fits the horror theme, whether it’s electronic, punk, surf, metal, music for haunted attractions, anything spooky! In terms of format, so far I’ve put out cassettes and digital compilations.

zombina....

zombina….

Can you see the labels expanding further to embrace more expansive areas of music eventually?

Johnny – It’s something I’m looking into., If I’m honest I’m not doing it to make a load of cash, I am more about helping the bands. So I would have to really like the bands to sign a band out of my genre.

Tommy – The 80s/retro/synthwave kinda stuff tends to go down best on cassette, while the horrorpunk fans seem to get more into the compilations I put out; so in the future I think it may be the case that I stop mixing things up so much and focus on putting things out in the formats that the fans of the different genres want to buy.

How do you choose what you release? You touched on this earlier Johnny but is it primarily just down to whether something excites you personally or are there other factors?

Johnny – Exactly, if I like the music, I will work with it. It’s really tough saying no to a band but I keep it positive because at the end of the day, just because I don’t like them doesn’t mean they are not a kick ass band.

Tommy – At the beginning it was definitely more a case of “wow, this artist is cool-as-hell, I’m going to record a load of tapes of them”, but now it’s definitely more “this artist is awesome, but would anyone actually want their music on tape?”

Back to the Travelling Morgue festival, what can those treating themselves to its adventure expect?

Johnny – A whole afternoon and night of the very best the UK has to offer, it’s the perfect festival for fans of Punk and Metal too, don’t be put off by the Horror tag, these bands have so much to offer you.

Tommy – Whether you know the bands or not, it’s going to be an awesome day, a bunch of friendly, like-minded people hanging out and enjoying some brilliant music. There’ll also be a stall from Savage Monster Clothing, a raffle, loads more fun stuff!

And might there be any offshoots from the event?

Tommy – So far I’ve put on two Travelling Morgue gigs in Bristol, I’m hoping eventually to have it as semi-regular nights in different places around the UK- nights that fans of spooky music know that they can get dressed up for and catch a couple of cool horror-themed bands.

Also I’m currently organising Bristol Horror Convention for this October, which will be a day celebrating horror in film, books, music, games etc. There’ll be stalls for Graveyard Calling and Undead Artists, and hopefully some kind of after-party-gig. For more info people can check www.bristolhorrorcon.co.uk

Thanks again guys for talking with us. Any last words you would like to leave with or a sales pitch? 😉

Johnny – Thank you for all your support to our scene, I would like to take this moment to thank a couple of great sites helping make this event possible. A thank you to Undead 13, Monsterfiend and Punk alive! See you in April!

Tommy – If you live in the UK, don’t miss out on our horrorpunk fest! Besides the awesome bands, you’ll meet loads of cool people and have a great time.

Thanks RingMaster for the support! If anyone wants to find out more, check out the following links:

Website: www.thetravellingmorgue.co.uk

Tickets: http://www.etickets.to/buy/?e=12288

Event: https://www.facebook.com/events/1545097419078600

Free compilation: https://undeadartists.bandcamp.com/album/the-travelling-morgue-festival-meet-the-bands

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Pete RingMaster

The RingMaster Review 08/03/2015

Army of Walking Corpses – K.M.D.

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The claustrophobic worm sodden ground has parted once more to see UK horror punks Army of Walking Corpses emerge with their new ravenous EP. Consisting of six tracks which align themselves to the dead with predatory rabidity, K.M.D. is a captivating and thoroughly enjoyable romp of blood drenched, flesh decaying confrontation. It is a striking proposition which is sure to awaken an appetite in newcomers and greater greed in fans for their potent sound. Arguably band and their songs are still engaged in feeding expectations than creating startling surprises but in providing thrilling and compelling arguments with each song, the Nottingham quartet easily encourages patience to happily wait for their evolution to find that unique presence.

Coming to life in 2009, Army of Walking Corpses has become a strong and greedily consumed proposition around their home county and surrounding areas. Created by guitarist Machine who brought in vocalist Le Mang and drummer Nikolai Von Plaskenheimer before after a search finding the deathly skills of bassist Frankenfiend, the band has made its mark sharing stages with the likes of The Meteors, Massive Head Trauma, Skeleton D, Trioxin Cherry, and Crimson Ghosts, the band taking their name from one of the German band’s songs. Their first three track demo caught some attention whilst their first official release, the Deadmen Walking EP pushed the band into a stronger spotlight. 2012 saw the band share a four track split 7” EP called Bloodgods with Crimson Ghosts, a well-received encounter which now is set to be lost in the acclaim for K.M.D. and its furious venom.

Mixed by Andreas Frank of Casket Garden Studios and clad in the artwork of Darkwave Art founder and artist Matthew Vickerstaff, K.M.D. instantly flirts with the imagination as marching feet draw in Invasion of Mutant Slugs. The track explodes from a sonic mist with nostrils flaring and rhythms rampaging feverishly as riffs scrape away the surface of the senses with their sonic rapacity. Vocalist Le Mang adds his grizzled tones, strong intimidation ripe in his pleasing growl yet aligned to a melodic vein, much like the music, which entices from within the tempestuous delivery. There is a feel of Necromantix meets Resurex to the opener which only adds to its carnivorous persuasion and formidable sound, every essence merging for a powerful and gripping start to the release.

The song flows easily into the following Xenocorpse Brainstew which from a haunting melodic coaxing unleashes metallic sinews and a predacious stalking as it consume and intimidate ears. It is a dramatic and intensive start which loses its edge once the song settles into another adrenaline fuelled but predictable charge, its early atmosphere lost in a fury of accomplished but less gripping animosity. Nevertheless the song holds an anthemic lure and contagious strength which easily holds attention and appetite before the excellent Never Alone regains rigorous control with its Misfits like croon of vocals and expansive sonic colour. Le Mang shows he is potent whether crawling venomously over ears or in seducing them with a clean call whilst musically the song rages with coarse and virulent suasion if maybe without exploding into the fury hoped and expected. The heavy metal veining surging throughout the track adds another rich hue to the savagery, providing more evidence of the diverse promise within the band and sound.

One Eye Blind seeps from its predecessor next, enveloping and writing across the senses with a rhythmic barbarity and scourge like riffery. It is another raw and healthily abrasing storm with the continuing to impress vocals backed powerfully by the group calls, stealing the show. Once again Misfits is an easy comparison but there is plenty more to devour and be intrigued by, especially its gothic drama and ambience as it seamlessly evolves into Lost (in the Shadows). The track is a glorious rain of crippling rhythms and scarring riffs which for the first time seems akin to the intro compared to previous songs and their leads. As with its predecessors, the onslaught is unrelenting in its energy and charging gait, drawing on inspirations mentioned already but flourishing within those seeds to sculpt its own infection clad enticement of rabid intent and barbarous tenacity to light the passions even further.

The best track on the release makes way for the closing Man or Beast, an enthralling and just as impressing journey through the cavernous depths of primal darkness. Leaning even deeper into the band’s metal spawned enterprise aligned to their corrosive horror punk endeavour, the track continually twists and shifts across its excellent hostile landscape. At times it lurches into the most vehement scythes of extreme metal and serpentine vocal malevolence whilst in others simply gnaws incessantly on ears with psychobilly bred voracity.

It is an impressive end to a great encounter, one you can only imagine pushing Army of Walking Corpses across the radar of a great many more horror punk and rock ‘n’ roll fans. True it is lacking real originality but as said earlier if the band continues to satisfy and excite with songs like this we can happily wait a little longer for something more distinct.

K.M.D. is available now @ http://www.aowcstore.com/product/k-m-d-e-p

https://www.facebook.com/armyofwalkingcorpses

8/10

RingMaster 07/07/2014

Copyright RingMaster: MyFreeCopyright

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Trioxin Cherry – Let’s Take Off And Nuke The Site From Space

TC Photo by Holly Monroe

The excellent Hell To Pay EP in 2012 more than suggested that its creators had the potential to make a big mark on the UK punk scene but Trioxin Cherry go far beyond making a mere potent impression with their debut album, unleashing one of the real treats of the year so far. Let’s Take Off And Nuke The Site From Space is a virulent contagion of rock ‘n’ roll, a brew of garage and horror punk which sculpts its own identity whilst insatiably working on senses and passions. Carrying hooks like a gunslinger and grooves like a nocturnal temptress, the release is punk at its riotous inventive best.

The Nottingham bred trio as mentioned made their first sizeable impression with their Hell To Pay EP, a raw and magnetic five track release which stirred up eager attention and support for the line-up of guitarist/vocalist Rebecca Campbell, bassist/vocalist Pete Grady, and Ryan Murphy on drums. Their two song contribution to the Chainsaw Ballads split with Thirteen Shots and Razing Hell only cemented their promise and an eager appetite for their presence and sound. The releases certainly hinted at the possibility of big things ahead from the band but may be not to the extent offered by Let’s Take Off And Nuke The Site From Space or certainly as soon as its release. Since the recording of the album Murphy has departed the band to be replaced by Nathan Hart but he has left being part of a massive breakthrough and step for Trioxin Cherry.

The raw energy and intent of the previous releases has been retained in the new album but honed into a concentrated and clear proposition TC cover which simply ignites ears through to passions from first track to last. After a Japanese spoken intro, opener Baka Manko thrills and catches the imagination by surprise. Also sung in the oriental language, the song bursts into view like a robust caped crusader, muscles flexing and energy brewing for a riot. Riffs stride purposefully and rhythms stomp with crisp sinews but not for the last time it is the bass adding the danger to the character of the song. It has a grizzled throat to its prowl, a gnarly air which is infectiously toxic alongside the similarly virulent riffs and soon to charge vocal declarations. As to what the song is about who knows, but it matters not as the romp is irresistible and an open call to feet and imagination to climb on board with the awaiting rampage.

The brilliant Fly, Bill Murray! steps up next, riding on a rigid spine of grooves from bass and guitar punctured by again firm rhythms. It is a composed yet hungry stroll of rock with nostrils flaring in its intensity and inventive chorus. The song sees the band just as keen to twists vocals and harmonies as they are their sound, but never taking its foot off of its anthemic potency as it roars and badgers as a fiery climax comes into view before making way for the equally voracious Psycho Killer. Campbell takes little time to unleash a masterful howl as the new track establishes a predacious stalking of the senses, guitars climbing over ears with hungry riffs as the bass again bringing a bestial growl to the scenery. Caged by a similarly intimidating stroke from the drums, the song crowds and pressures the senses until submission is inevitable, wiry hooks and that grizzled bass temptation only adding to the addictive lure with Campbell’s vocals the icing on the bloody cake.

It is a massive start to the album which only builds and seduces the further you go, Good Day To Die the next triumph in line to steal the passions. Campbell brings her Fay Fife like tones out for the song, backed by some great vocal shadows from the band. The track is a real predator, lurching and glaring with withering riffs beside antagonistic rhythms, but it is the glorious twisted surf rock toxicity of the emerging groove which is the most venomous and scintillating temptation and helps send the track to the top of the pile.

Both the melodically sinister Wrong Turn and Let’s Take Off continue the slavery of thoughts and emotions, the first a blaze of discord kissed sonics and pacey beats lorded over by the ever fine tones of Campbell and plays like the result of a demonic act between The Rezillos and The Duel. The second of the pair launches from another deliciously primal bass sound, guitars soon replicating its lure in their own colours. The song swings and saunters belligerently as it gives the kiss of death to the world below, adding its rapacious stomp to the dust.

A reworked version of the acclaimed title track from the band’s EP comes next, Hell To Pay crafted into an even stronger and irresistible enticement than before. Cored by a sultry groove which worms under the skin within seconds, the bass again providing its own addictive dark poison, the song manages to brew richer hues and darker corners to it’s just as epidemically contagious incitement, a success matched by another revisit to a track from the previous release, Hit Me. This track again develops new toxins and depths to its original premise but also an even greater aggression to its defiant spite and avenging intrigue. With another groove which simply winds so tight around the passions that lust bleeds from pores, the track is quite magnificent and with the previously mentioned song makes the atmosphere tough for the song splitting the two to contend with. Not that the old school punk bred Ratbiter notices as it rampages with relish, riffs and rhythms abrasing with contentious brawls and badgering as ridiculously catchy hooks and another bass exploit provide something more to drool over. It is the storming chorus though that clinches the deal, its venom and enterprise sensational.

You Belong To Me is the most adventurous song on the release but also pleasing ‘messy’. Like a fog of intense sonic squalls and thickly clouded aural animosity, the song is the soundtrack to hell, a caustic hymn to the outbreak of ravenous cemeteries and waiting devastation. It’s a noisy maelstrom which works a treat and shows more of the adventure of the band and further hints of how strong the band is yet going to become.

The album is completed by the excellent Rebellion, a storming ode to the renowned UK festival. Starting with an acoustic caress of Campbell and guitar, the track explodes into one last stomp of punk rock. It is the perfect anthem to close the release, like a mix of Holly and the Italians and Flogging Molly. Do remember to hang on after its conclusion too, as a great acoustic version of the same track is hiding in the silence.

Let’s Take Off And Nuke The Site From Space is a massive festival of punk rock, multi-flavoured and diversely sculpted and proving that punk is always an essential proposition and Trioxin Cherry one of its new masters.

Let’s Take Off And Nuke The Site From Space is now available on STP Records (www.stprecords.co.uk) and @ http://trioxincherry.bandcamp.com/album/lets-take-off-and-nuke-the-site-from-space

https://www.facebook.com/trioxincherry

10/10

RingMaster 29/04/2014

Copyright RingMaster: MyFreeCopyright

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Thirteen Shots – Tales That Start With A Whisper

13 shots

After the success of their excellent debut album Vaudeville just over a year ago, UK horror punk n rollers Thirteen Shots teased the appetite further with songs like Zombies From The USSR, a track which made up one of their contributions to a split release with fellow raisers of the dead, Trioxin Cherry and Raizing Hell. Little did it and fellow song Get In My Crypt fully reveal was the step forward and extra adventure the Birmingham quartet had explored for their outstanding new album Tales That Start With A Whisper. Employing even richer flames of numerous genres and decades, the nine track release is a riot to ignite the senses and passions, a seemingly uncomplicated yet fully involved feast of dirty decaying invigorating rock n roll.

Formed in 2011 by vocalist Johnny Rose and guitarist Joe Public, long-time friends who moved from the hard rock sound they had earned a good name for into bringing a unique form of horror punk n roll, Thirteen Shots immediately drew attention with the release of debut single Danzig in the September of their first year. Completed by guitarist Izzy, bassist GMT, and drummer Chelsea, the band had over 300 downloads within a week of the release of the single. As the year rested in its grave and the new broke free, the five-piece entered the studio to record their first album, Vaudeville which was self-released on April Fool’s Day 2012. With a subsequent re-release via Psycho-go-go Records, the album drew great and eager acclaim and set the band up for two full tours across the UK. With the band also having gnawed and infested audiences alongside the likes of Demented are Go, The Peacocks, Rezurex, Howling Wolfmen, Graveyard Johnnys and more, across the years and finding great appetite for their sounds not only from fans but people such as Michale Graves through that first single, Thirteen Shots stand at the gate to the widest recognition within all shadowed corners of rock n roll, the new album promising to be the key to swing the iron clad entrance wide open.

As their previous releases, Tales That Start With A Whisper finds the band infusing elements and textures of sixties rock n roll, front covergarage blues, and horror punk with plenty of spice from psychobilly, punk, and rock, but this time it is all sculpted into brawling encounters which are more rounded, sure of their intent, and in league with each other whatever their individual stance in attitude and style. Whereas Vaudeville at times lost its way and has an undulating effect, its successor is one big eclectic bang on the senses; simply the band has come of age with a maturity honed into their sound for one insatiable and perpetually rewarding treat.

Opener Death Jam 2000 steps forward with a Jerry Lee Lewis like fired up hungry rockabilly call, with blues driven guitars flaming up the air and the vocals of Johnny snapping at the ear. With punchy rhythms caging the senses the song romps across the senses for the perfect start, simple, dramatic, and inciting not forgetting exciting. It is an easy introduction to the release which hands over to the outstanding Zombies From The USSR, an anthemic lure which never loses its potency and success no matter how many times you face its charge. With an intimidating riff driven gait and challenging breath, the song prowls and claws at the emotions, its crowding unrelenting stalking of the ear a restrained but deceptively quick and lethal hook to match the raptorial groove and vocal recruitment; it is the perfect soundtrack to any George Romero or modern zombie film. Having heard the song enough times to recall its declaration and words before remembering the names of all family member there is still the impossible to resist itch to hear the song at least twice before moving on to the rest of the album such its addictive hold.

The excellent Bewitched comes next, its scuzzy breath a fire within the garage punk unpolished embrace of the belligerent sonic confrontation and rhythmic caging. The bass of GMT is an exceptional temptation, its throaty grizzled snarl a contagious predator to menace and pushed the shadows of the song forth from behind the burning flames of the guitars. It is not the most infectious of the songs on the album but still consumes the passions with unbridled vehemence leaving Psycho Jukebox to work on the addiction side of things. Starting off with an Eddie Cochran like beckoning, the song then merges ska carved strokes and surf rock persuasion for a ridiculously catchy persuasion whilst its chorus is where the storm has its wildest greedy moments. Again bass and drums steal their share of the limelight with skilled mischief and again a different tone to their invention whilst the guitars simply sizzle with enterprise and swagger.

Get In My Crypt is another fiery garage punk rampage that sparks full participation and ardour, everything from guitar to vocals and harmonies to rhythms conspiring to leave an exhausted rapture clinging to its refreshing corpse whilst Nekro Sexual is a salacious and provoking slice of dirty devilry, a b-movie driven suggestiveness with a chorus of ‘Stomp On my Balls’ which defies anyone not to shout it persistently during and long after its devilment.

The album closes firstly with the brilliant title track, a groove laden addict making beats of a track writhing in classic/glam rock misbehaviour and horror rock roguishness not forgetting hook loaded grooves which would do the Buzzcocks proud. It is followed by two live tracks, Dead Girls Don’t Scream and This Looks Like A Job For Batman which tells you all you need to know about the band on stage and why you should not miss them if at a venue near you.

Anticipation and expectations were high going into the album but Thirteen Shots and the Freaky Pug Records released Tales That Start With A Whisper left them behind in their triumphant and impressive flesh chomping attack. A must have album for all horror, garage, rock, and punk fuelled fans.

https://www.facebook.com/thirteenshotsband

9/10

RingMaster 26/04/2013

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