Concrete Jungle
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Creepshow - Death At My Door (Ltd-Red) (LP)
€20,00Quick ViewFor the past 12 years THE CREEPSHOW have been smashing the whole damn world in the face with their brutaltastic mélange of Punk, Country, Psychobilly and good old-fashioned Rock n’ Roll. They’ve toured the world, sold a metric shit-ton of records, garnered millions of video views and blown the faces off a gazillion fans. THE CREEPSHOW has performed in more than 50 countries and shared the stage with RANCID, NOFX, DROPKICK MURPHYS, SHAM 69 and REVEREND HORTON HEAT – just to name a few… But the road to infamy hasn’t always been paved with accolades and sold out shows. Over the years, the band has been fraught with innumerable hardships along the way. From robberies and wrecks to line-up changes and countless personal obstacles, the band has lived through it all. And they always come out on top.
With the debut of their first album “Sell Your Soul” in 2006, THE CREEPSHOW was immediately catapulted to the forefront of the bourgeoning international Psychobilly / Punk scene and opened the door for them to bring their eye and ear scorching live show to the four corners of the earth. The release of “Run For Your Life” (2008, Epitaph / Stomp / People Like You), “They All Fall Down” (2010, Epitaph / Stomp / People Like You) and “Life After Death” (2013, Stomp / Sailors Grave / People Like You) further cemented the band as one of the most impressive, critically acclaimed and well-respected touring acts out there.
Which brings us to the epic new album “Death At My Door” set for a September 2017 release. Ten tracks of raging, bloodcurdling and raucously rebellious fury showcase the very best from this roadharderned group of beautiful misfits. The haunting vocal stylings of Kenda Legaspi soar seamlessly over Chuck Coles’ buzzsaw sharp guitar lines and the ragtime gospel organs / keys of the Reverend McGinty; all the while held together by the hard-driving stand-up double-bass rhythms of Sean McNab and the impossibly violent percussive assault of Sandro Sanchioni on drums. From the defiant and empowering “Sticks & Stones” and the incredibly anthemic “Til Death Do Us” to the circle-pit inducing “Tomorrow May Never Come” and the eerily heartwrenching ballad “My Soul To Keep”, “Death At My Door” is a diverse and addictive album from a genre-defying band who are at the very top of their game…
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Mad Sin - Classics Vol. 2 (Break The Rules & A Ticket Into Underworld) (CD)
€18,00Quick ViewOne can call “Break The Rules“ a late breakthrough for many reasons: It marks the first time that Mad Sin recorded with a line-up of four people. And this album signalized that the band was also open for trying out other genres and scenes. The intro and the first track “Deep Black Zone“ pretty much state where this record will go: Heavy drums and high paced metal-inspired riffs create a sound that is also drawing from other subcultures. While the psychobilly scene back then was known for isolating itself from others, Mad Sin tried something new: With cover versions of the Ramones (“She’s The One“) and The Misfits (“All Hell Breaks Lose“) they showed solidarity with the punk rock scene. Even the neo-psychobilly-classic “Fight Back“ by Blue Cats got drenched in a psychotic cure and is hardly recognizable – only Köfte DeVille’s vocals seem reminiscent of it. With this album Köfte decided to fully perform as a frontman, leave out the standing drums, and include a whole drumset. The new line up is heavily celebrated in “Break The Rules“. But the record also contains surprises: The Guns’n’Roses-esque ballade “Dirty Lies“ breaks with the record’s hard sound – it’s one of the band’s many genre-experiments, that they would try out again and again in the following years.
In the early 1990s, psychobilly started to drift into a new direction: Metal elements melted into the genre, which made it interesting to a broader audience and scene. Mad Sin definitely played a major role in this development – and so did their album ”A Ticket Into Underworld“ retrospectively: It might be one of their roughest long players, lacking almost entirely the classic rockabilly rhythms. If their previous album ”Break the Rules“ was the testing ground for this new sound, ”A Ticket Into Underworld“ went full force: a gloomy dark atmosphere characterizes most of the songs, heavy riffs and Mad Sin typical bass lines carry Köfte DeVilles hiccup vocals, metal growls and screams – and this sets the basic tone of the record. The song ”Mad Filthy Undead“ is a whirlwind of an opener with sharp guitar riffs. The slap-bass on ”Hell-A-Vision Shock“ cuts energetically into the song and in ”Real Wild Child“ Mad Sin pay tribute to Iggy Pop. With ”Meattrain at Midnight“ and ”Psychotic Night“ the album carries two Mad Sin classics, that up until today are a solid part of their live shows.
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Mad Sin - Classics Vol. 1 (Chills And Thrills In A Drama…& Distorted Dimensions) (CD)
€18,00Quick ViewJust briefly after Köfte, Stein and Holly had met, they spent their afternoons on Berlin’s Kurfürstendamm playing music for a little cash, booze and drugs. Soon, they got the opportunity to record their first album. For only 100 German Mark and a plate of kebab each they went to Hamburg and recorded “Chills And Thrills In A Drama of Mad Sins And Mystery“. Mad Sin quickly became one of the most popular acts in the scene, mainly because of their new and distinct sound: It was high-speed psychobilly soaked in LSD, driven by a forceful slap bass played by Holly, and completed by Köfte DeVille’s crazy hiccup-vocals. “Brainstorm“ or “Sell your Soul“ are just two of the many hits on this album. Still today, alternative versions of these are part of the band’s live show. “Chills And Thrills In A Drama of Mad Sins And Mystery“ is an absolute must have for every Mad Sin-fan and their collection.
With their debut album “Chills And Thrills…“ Mad Sin already made a name for themselves. However, it was “Distorted Dimension“ that really established them as Berlin’s psychobilly posterchild and one of the most extreme bands in the scene. On the album, Stein’s guitar is cutting sharply through every song, Köfte DeVille’s hiccup-vocals nearly crack and Holly’s slap bass performance could as well substitute the drums. The song “The Walltown“ perfectly represents the Berlin rockabilly scene and serves as a hymn for their supporters at the same time – this song is a must at every Mad Sin show. “Fashion Train“ is an ode to the old delta and tracks like „Chainsaw Cannibals“ or “Moonlight Shadows“ possibly would not exist without the conscious use of drugs. This album is sweating LSD and speed – and it makes the perfect flavor of how the Berlin psychobilly scene in the late 80s must have tasted. Put it on, go crazy!
