Raizing Hell – Monsters Prefer Blondes

RH_RingMasterReview

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

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The Objex – Super Charged Little Nova

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Just like its title suggests, Super Charged Little Nova the new album from The Objex, is a lean, mean punk machine. A fireball of antagonism and in your face passion which explodes with incendiary intensity and belligerence across its magnetic canvas, the third album from the Sin City dwelling band confirms the raw and insatiable might of one of the genre’s most colourful protagonists aurally and visually. It is a tougher more aggressive provocation than before from the quartet, one with a hostile punch to match its breath-taking toxicity. Quite simply the eight-track release is The Objex’s finest and dirtiest rock ‘n’ roll rebellion yet.

Formed in 2006, the Felony Melony (real name Melanie Troxler) and Jim Nasty led band has provided a forceful and virulently contagious proposition since day one, their first demo Bound And Gagged waking up the local scene before debut album Attack Of The Objex in 2007 gripped further afield as it led the band to acclaimed appearances at events such as the SXSW music festival and The Afro Punk music festival as well as subsequently support slots with Demob, Goldblade, and The UK Subs on UK tours. Second album Reservation For Debauchery hit the world in 2009 earning the band even greater attention around the globe as well as awards and nominations respectively at the Vegas Rocks Award for Best Punk Rock Band 2010 and Hollywood Music Award for best alternative song 2011 and best rock song 2012.Across the years as well as sharing stages with others such as The Dwarves, The Addicts, Agent Orange, Sham 69,The Vibrators, and Guttermouth, line-up changes have crossed the band but now with a stable team of drummer Chili (Joaquin Espinosa) and bassist Ivan Del Real alongside vocalist Felony and guitarist Nasty, The Objex unleash their most aggressive and virulently demanding release yet. It is a dive into their most hostile depths though the primal rhythms and deeply barbarous hooks which marked their previous releases still seduce and rile up imagination with their toxic infections. The album is nothing less than a brawling treat for punk rock.

Super Charged Lil Nova hits hard and potently with opener Burn, its opening sonic bait the trigger for a heavy stride of intensive rhythms and scarring riffs within a metal seeded intensity. Instantly the song grips attention like a Super-Charged covermix of UK’s The Duel and Mongrel from the US, plundering ears with a throaty bass line aligned to increasingly rapier like beats as Felony roams their frame with her ever fiery and magnetic vocals. The track continues to antagonise and flirt with thoughts and passions, reinforcing their swift allegiance as the guitar of Nasty conjures wicked hooks amongst the abrasive sonic avenging to ensure even deeper satisfaction.

The excellent start is straight away matched by the predatory Crush, again a muscular urgency and a carnivorous metal based temperament leaking into the voracious punk heart of the song’s fire. Felony and Nasty cast a web of ridiculously riveting temptation with their individual assaults across the song, enticements impressively stalked by the rhythms of Chili and the bass grouchiness of Del Real. As its predecessor, the track is an eye balling aggressor which inflames and incites the emotions with sublime ease.

A spice of salaciousness hits next through the equally tempting and irritable Queen Cobra, its instant scrub of guitar the gateway to a barrage of bone shuddering beats and caustic riffs, one again lorded over by the irrepressible vocal roar of Felony. A devil bred temptress with intimately devious designs to its sound and intent, the track is a furnace of vicious sonic enslavement and merciless melodic seduction, each extreme uniting for a ridiculously addictive and rapacious trap.

The band uncage their latest single GG (Get It Done) next, an ode to punk provocateur GG Allin which maybe does not thrust as big a pair of shock loaded balls into the face as expected but provides an old school punk rabidity and motivation to greedily devour before the ferocious blaze of Grrr steams at break neck pace across the senses. As with all the songs, there is an unpolished beauty to the core and thrust of the tempest but just as irresistibly a spine of inventive barbs and melody kissed underlining grooves poison the imagination and passions with the fullest rabid charm leading to a subsequent lustful submission from the listener.

Both Milk Man with its torrential flood of senses blasting rhythms and guitar sculpted predation, and the spiteful seducing of Thanx 4 Cumming keep album and its recipient raging with unrelenting energy. Each in their individual way light a match to old school nostalgia and modern animosity, the first oozing with discord charmed harmonies within the twisted seduction of its uncompromising musical and lyrical revelry whilst its successor does not pull its forceful jabs either as it boldly stands up and bitch slaps senses and emotions. The pair are pure punk rock and prime The Objex, reaffirming that Super Charged Little Nova is at a new pinnacle of invention and sound.

The album closes with Trainwreck Suicide, a sensational pop punk predation which if you imagine a mix of Sweet and Penetration led by the hybrid of a cloned union between Suzy Quatro and Wendy O.Williams, you would not be far from guessing the quality of the glorious closing triumph.

The Objex has never been a band which has left a bland or uneventful mark on rock ‘n’ roll but without doubt with a greater maturity and stronger antagonism to their craft and open alchemy in their sound, Super Charged Little Nova places the band on a new genre inspiring plateau.

Super Charged Little Nova is available now at http://theobjex.bigcartel.com/

https://www.facebook.com/objexlv

9/10

RingMaster 03/07/2014

Copyright RingMaster: MyFreeCopyright

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In Evil Hour – The World Bleeds Out

pic by Helen Templeton Photography

pic by Helen Templeton Photography

A snarling insatiably commanding beast of a release, The World Bleeds Out the debut album from UK punks In Evil Hour is a sensational blistering of senses and thoughts from a band who know how to craft virulently contagious and potently provocative songs. A blaze of essential fresh punk rock with a lyrical bite which takes no prisoners within incisive swipes upon politics, society, and the apathy and ignorance that pervades modern culture, the ten track release leaves a fully exposed and hunger driven passion in its wake, whilst In Evil Hour steps forward as another irresistible voice declaring that UK punk rock is again leading the world.

Formed in 2003, the quartet from Darlington takes seeds out of inspirations from the likes of AFI, Amen, Black Flag, The Stooges, Bad Brains, NOFX, Bad Religion, Sick of it All, and Rise Against to name a few, into their own flavoursome hardcore punk. It is a sound which is not unafraid to load itself with infection soaked hooks and riffs but as an additive to tempt rather than undermine the sinew lined directly evocative heavy punk attack they conjure. Released through STP Records, The World Bleeds Out is a savage yet anthemic confrontation which allows hope and temptation to be as rife and alluring as the aggressive and spiteful creative toxicity which stirs up and incites the imagination.

Opener Divide And Conquer stands eye to eye with the listener as the rasping growl of Alice confronts the ears skirted by crisp and a0645899867_2antagonistic rhythms and swiping raw riffs. The track is soon charging for the jugular of the senses with rabid beats from Mike whipping the song on whilst bassist Mark and guitarist Gareth create a vitriolic and persuasive mesh of caustic might. With anthemic vocals in league with an equally demanding instigator in the chorus, the song is an outstanding and powerful entrance into the album.

     Far From Home takes up the fury next with a splattering of rebellious beats sparking the rest of the song into an initial rage against the senses. It is a great start but one which is left behind once the song settles into an incisive stomp of rumbling rhythms ridden by the continuing to impress, with greater strength as each song steps forward, vocals of Alice. There is a Wendy O Williams essence to her delivery which only enhances the lyrical expression and song attack overall, something which the music seems to understand and find inspiration from, this track gaining ever increasing intensity and rapaciousness with every syllable expelled with brawling strength.

Both As Seas Rise and Where You’re Left continue the immense presence of the album if not quite to the earlier heights set, the first creating a sonic scrap with the ear in which there is only one winner, especially with the deliciously catchy swing and barbed melodic enticement through the guitar skills and vocal harmonies and calls. Its successor is a scorching flame of guitar scalding and rhythmic bashing again steered impressively and skilfully by the vocals singular and as a riotous union.

The lethal swipe of animosity that is Little Death is a fifty five second storm of magnetic viciousness, a hardcore blitz which thrills from its first uncompromising breath through to its last. It moves over for the mutually outstanding Help Me Out, an acidic spiral of heavy rock guitar teasing and taunting whilst the rest of the band adds their particular predacious craft and incendiary invention. A bruising rock n’ roll rampage which leaves the passions aflame with greedy appetite it provides one more stunning moment amongst a great many on the release.

The instantly compelling bass lure to The Terminal brings in another exceedingly agreeable altercation, the band arguably more restrained in its proposition though no less direct and imposing lyrically and in presentation. The bass continues to steal the show on the track, its finest and most potent moment on the album where at times it feels like it is given a back seat place in the production, whilst as now expected Alice draws attention with her striking presence which to be fair often puts most other aspects in the shade.

The excellent title track grazes up the senses and passions with its own individual exciting and imaginative spat whilst the brilliant I Lost Years, where bass and guitar find another plateau to tease a new rapture out with their impossibly addictive rough charms. A Dead Kennedys like hook steers the passions whilst the surrounding body of the song is a mix of Angelic Upstarts/UK Subs and Penetration/AFI. It is a terrific creative and raucous adventure cementing the depth and quality of band and album.

With Murder Murder closing up The World Bleeds Out with one final tempest of contagion drenched excellence, a blend of Bad Religion and The Duel coming to mind as it steals another wave of ardour from the emotions, In Evil Hour emerge as one of the most impressive emerging forces in punk rock, and not just in the UK. A classic album from an extremely impressive band, not much left to say.

http://inevilhour.bandcamp.com/

https://www.facebook.com/InEvilHour

10/10

RingMaster 17/09/2013

Copyright RingMaster: MyFreeCopyright

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The Objex – Reservations for Debauchery

Rattled, battered and thoroughly yet pleasingly wasted is how one feels after sweltering in the full blistering punk rock force of Reservations for Debauchery from Las Vegas based band The Objex. If you thought punk rock had seen better days then get your eager mitts on this unapologetic orgasm of uncontrollable punk intensity and attitude thrust through the ear via vital and eager riffs wrapped in pulsating sexual energy. 2011 saw original punk show its heart is still beating loudly with the likes of UK’s The Duel and US band Cute Lepers releasing albums of stunning quality and enjoyment, to which we can add Reservations for Debauchery. Whereas the British band came from the safety pin cutting edge of the likes of X-Ray Spex and Vice Squad, The Objex take pop hook laden sounds reminiscent of the likes of Generation X and Vibrators and forge them with a rock powered intensity. They are an irresistible blend of The Plasmatics, Mongrel, and The Distillers yet completely distinctive and totally exhilarating.

Formed around 2006, The Objex was the creation of drummer Joe Perv and front woman Felony Melony whom he had enlisted to front his band The Pervs on the remaining dates of a tour it was on. After the tour the duo decided to carry on working together forming The Objex, the name coming from a conversation about Melony’s breasts involving The Briefs member Daniel J. Travanti. April of the same year saw the joining of guitarist Jim Nasty and the element that really completed the band as a force, his style a perfect fit. A 5 song demo Bound And Gagged followed alongside a bounty of shows and tours as the band built an eager and rapidly growing fan base with their dynamic sounds.

Preceding the unleashing of debut album Attack Of The Objex in 2007 to ever increasing acclaim and demand, the band added the bass skills of Aly 2X, a musician who self proclaimed she was the “best damn bass player with a vagina that you will ever see”. The album’s response led a year of highlights including notable appearances at the SXSW music festival, The Afro Punk music festival in Brooklyn, NY, plus support slots touring with Demob, Gold Blade and The UK Subs in the UK. The following year the band began working on new material though it too saw the departure of Joe Perv due to creative differences. Taking months finding the right replacement the twilight months saw the addition of drummer Chile and the band ready to use 2009 for writing and working on preparation for follow-up album Reservations for Debauchery and shows. The band entered the studio in 2010 with producer Jason Tanzer of Dust Tree Production Studios and work on the album began, boosted by the winning of the Vegas Rocks Award for Best Punk Rock Band and signing a contract with European based independent label, Crownn Recording Group for the global release of the album, which was unveiled early the next year.

Obviously concerned for the moral welfare of the vulnerable amongst us, The Objex start the album with a public warning of the corruption ahead in the brief song ‘Fingered’. Once out of the way the band go hell for leather to assault, violate and most of all pleasure the senses. ‘RSVP’ swaggers in on a rock riff that squeezes the ear before exploding into a combative declaration and defiance. The guitars whip up a frenzy whilst a deep poking bassline veins throughout. Melony instantly shows she is one formidable vocalist, an eager extrovert without losing the anger and intensity all punk should come with, nothing lightweight about her or the band. Sounding like a cross between Brody Dalle and Wendy O Williams with a touch of Joan Jett she commands songs and attention with the openness to allow everyone in the band to shine.

Every song is deeply impressive and beyond satisfaction though there are some tracks that just edge others though it really is by slim margins. ‘Social Disease’ attacks with bitterness and venom leading one to know you would not piss off this lady intentionally. With a siren like riff the track leaps upon and dances within the ear leaving no response possible but to physically respond in kind. This is matched by the equally addictive ‘Toxic Waste Girl’, again linchpinned by a mesmeric hook it has a slightly more melodic wrap though still as excitable and relentless as anywhere on the album.

Getn Back’ grabs hold with mischievous intent to do damage whilst exciting at the same time. Complete with a riff that chips away at the senses incessantly the song just epitomises what the album and band is about and the quality of all its parts. The rhythms of Chile demand attention and the array of riffs that probe tease and linger from Jim Nasty fight for the same piece of the listener. All elements of the band want and deserve focus but it is all in a unity with the others, the production showing all off without threatening the unity of band and songs, and for the record Aly 2X certainly supports her claim with some of the most delicious basslines anywhere, male or female.

If pushed best song on the album is probably ‘Squeeze’, favourite anyway. As the album is as a whole, the track is relentless high octane punk flowing with acidic melodies and pulse racing energy. Melony stamps herself as one of the most exciting and accomplished vocalist, though as the album pushes its charms into the face the Mohican clad new Queen of Punk proves that everywhere.

It is rare to come across an album where you cannot find any real fault but it truly is the case with Reservations for Debauchery, tracks like the glorious ‘Retribution’ and ‘Criminal State’ just as worthy of the words and impressive reaction given elsewhere. The Objex has given one punk album you definitely should not be without; this is a release the word ‘essential’ was created for.

https://www.facebook.com/objexlv

RingMaster 12/01/2012

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