Dom Calzola

CONCERT REVIEW: Michale Graves at The Irish Wolf Pub

CONCERT REVIEW: Michale Graves at The Irish Wolf Pub

What: Michale Graves – Live

Where: The Irish Wolf Pub
503 Linden St., Scranton, PA, 18503
When: October 8th, 2017

Michael-Graves-01 / Image: DCScranton, Pennsylvania, is known primarily for its association with the NBC TV show The Office and not much else. People from the area also remember the once booming coal industry that employed miners for generations. Scranton is not known for having a prominent musical scene, but Peter Kelly, owner of The Irish Wolf Pub, at 503 Linden St. Scranton, PA, has spent the last 7 years trying to change that by hosting traveling bands and local acts on a weekly basis and booking bands from the horror genre like The Independents, Cut Up Naked Teenagers, and Redneck Nosferatu. On December 3rd, 2016, Michale Graves graced the area with a stripped down acoustic set at Ale Mary’s (126 Franklin St. Scranton, PA) ,and on October 8th, 2017, The Irish Wolf Pub hosted Michale Graves as he returned with his full band.
The Irish Wolf Pub is a small venue across from the courthouse in downtown Scranton. This is the type of venue people remember visiting because the crowd is as much a part of the show as the band is. The small stage raises the artists only a few inches above the crowd, which keeps them in the center of the madness and creates an intense and intimate way to experience a concert. The friendly staff and open stage and bar area allow patrons to always be in the middle of what’s going on. No backstage means the band walks through the mob of fans to reach the stage allowing everyone to interact on a level most venues don’t offer.

The show started around 8 o’clock and featured incredible performances by local acts Death Wish Birdie and Black Hole Heart, both definitely worth checking out. After a brief sound check, bassist Christopher Dean, guitarist Loki, drummer Tony Baptist and front-man Michale Graves work their way through the crowd towards the stage. Donning his skull paint Michale Graves kicked the show off with a powerful rendition of his track Bedlam, from the 2016 record When Worlds Collide, easily one of my favorite albums to date, before breaking out the expected Misfits classics.

Michael-Graves-02 / Image: DCListening to the Michale Graves band’s renditions of The Misfits’ American Psycho / Famous Monsters era hits in this setting, pressed close to the stage with the mosh pit in full swing behind me, I felt more involved than I did standing in Douglas Park watching the original Misfits. This wasn’t a show for money or to sell out venues, this was strictly talented artists performing music they love for fans who couldn’t get enough. No one threw water at us for trying to get pictures, and Michale didn’t break off the show to ramble about his hatred for the Kennedy family. (“It’s 2017, Glenn, there’s got to be, like, only one Kennedy left alive at this point and I doubt he cares what you think.”). The Michale Graves band covered the gambit of his musical career, performing songs from Punk Rock Is Dead (2005), Return To Earth (2006) and Illusions (2007) as well as the track “Seasons Of The Witch” (2003) from their Gotham Rd days. The highlight of the set list for me that night was watching the band perform “3 Days ‘til Dawn”, also from When Worlds Collide.
As the show began to wind down, Michale announced to the crowd they would play three more songs and end the show. He stated their egos didn’t need boosting from the walk back onstage and finish their set. The very real approach was refreshing and different from the typically portrayed rock star persona. The show came to a close with powerful versions of “Helena and Dig Up Her Bones”. and the band walked off stage to the back of the bar to sign autographs and meet the fans. Just like when I saw him in December, Michale Graves seemed genuinely interested to interact with his fans. The rest of the band hung around to bullshit with those of us who had attended. Michale Graves is an expert frontman and has crafted an incredible backing band and I, on behalf of Scranton, PA, would like to thank them for taking the time to give this area one hell of a show and let him know that we hope they come back through again.
Be sure to follow the band online:
And if you’re ever in the area, stop by The Irish Wolf Pub for a killer time!Michael-Graves-03 / Image: DC
Posted by Dom Calzola in Categories, CONVENTIONS AND EVENTS, MUSIC REVIEWS, 0 comments
MUSIC REVIEW: Doyle – Doyle II: As We Die (2017)

MUSIC REVIEW: Doyle – Doyle II: As We Die (2017)

Doyle — Doyle II: As We Die

Released: 2 July 2017
Label: Monsterman Record
  • 1. Kiss Me As We Die
  • 2. Beast Like Me
  • 3. God of Flies
  • 4. Run For Your Life
  • 5. Darkside
  • 6. Witchcraft
  • 7. King of the Undead
  • 8. Virgin Sacrifice
  • 9. We Belong Dead
  • 10. Show No Mercy
  • 11. Dark Gods Arise
  • 12. Blood on the Axe
  • 13. Night of Sin
Admittedly, I wasn’t a huge fan of the first Doyle album, Abominator (released on Monsterman Records July 30th, 2013). Though the combination of Alex Story and Doyle Wolfgang Von Frankenstein was, to many in the horror community, the union of two mega talents, it felt flat and forced to me. With as much respect as I have for Doyle’s musical body of work, nothing about the first album connected with me. Alex Story was a musician that I, shamefully, wasn’t ever able to fully appreciate either. His live performances with Cancerslug seemed to be his strong point and without ever seeing one in person I had to base my opinion off the select pieces of his extensive musical catalog to gather some type of opinion. Even though I wasn’t a fan of the first album, I joined the numbers of people that preordered the group’s second release Doyle II: As We Die, and I am ecstatic I did so.
Right from the opening number, “Kiss Me As We Die”, this album felt different. The band felt full and less compressed. Doyle’s guitar was prominent and heavy and led the charge while Alex Story delivered a powerful vocal performance. Accompanied by Alissa White-Gluz and Michael Amott, both of Arch Enemy, the opening track left me feeling ashamed for not realizing the genius and talent of this group of musicians sooner. The addition of They Live bassist Brandon Strate and Black Flag/ Ho99o9 drummer Brandon Pertzborn helped fill out the overall sound of the band and the working relationship between the four artists is immediately palpable. The album continues on with “Beast Like Me” and “God of Flies”. Both tracks attack the listener with a blasting, relentless, and unique style of metal that is convincing only in the hands of these musicians. Listening to Alex Story croon about offering sacrifices to the god of the flies and violence rooted deep in the horror genre over Doyle’s wailing guitar riffs gives the listener chills and could make any corpse head-bang along.
I’ve never been much of a metal-head and the genre, though never appalling was never entirely appealing to me, but three tracks into As We Die and I found myself wholly enveloped in the music these four had crafted. Without a misstep, the bands most notable track from the album, and first single, “Run For Your Life”, kicks off. This track satisfies the horror junkie in me, and it simultaneously adds a new flavor to what is already an incredible disc. Starting off on a stomp along riff reminiscent of “Gorgeous Frankenstein” (“Gorgeous Frankenstein”) or “The Abominable Doctor Phibes” (The Misfits) the song quickly releases one of the catchiest hooks on the album with Story screaming “run for your life, fight to survive, your only hope is to die!”. The frantic energy continues into Darkside before segueing into my favorite track of the thirteen offered, Witchcraft. This song encapsulated everything I had always hoped to hear from an Alex Story vocal performance. The chugging walk along guitar and bass lays the perfect platform for Story to croon over. “Witchcraft” stands as a song that could’ve fit into the catalog of nearly any group Doyle’s been a part of (or any era of said bands).
King of the Undead”, though not a favorite of mine, helped re-solidify the band’s horror roots with dark lyrics delivered with an aggressive growl over howling guitars. The album’s eighth song, “Virgin Sacrifice”, is another high point feature a vocal performance from Randy Blythe of Lamb Of God. The song benefits greatly from the vocal coupling of Story and Blythe with a chorus as reminiscent of” Valley of Shadows” (Abominator). The album continues on delivering quality metal tunes one after another with “We Belong Dead”, “Show No Mercy” and “Dark Gods Arise”. Again, for someone not really involved in the metal scene, I was surprised to find myself enjoying the album as much as I was. At no point did it feel like the band slipped up, and any track could’ve been a lead single with the same force as “Run For Your Life”. Doyle was able to flourish after crafting himself a rock solid back bone with Pertzborn and Strate.
The album nears closure with another strong entry in :Blood On The Axe”. The song hits like a blow to the chest as Story channels an ax murderer piling up bodies. The album’s final track, “Night of Sin” starts off with more of Doyle’s signature stomping guitar style and ghastly howls before tearing into a fast paced verses leading into a huge release in the chorus and in total being a satisfying album closer. Listening to Story scream “one night of sin” before the band pounds out their final notes that fade away felt like watching the closing credits to an epic film. After listening to As We Die I have jumped on board the bandwagon and decided that both Doyle and Alex Story have earned their rights to be hailed as forerunners in both the metal and horror genres. I can only hope that Pertzborn and Strate stick around for the third album. Throughout the first album I felt the connection to the horror side of the music was thinner and more of an vague undertone whereas the theme is shoved to the surface in As We Die without being so bold as to scare away the metal masses. Listening through the record gave me a new respect for the music these artists have made together and individually. If you haven’t heard the album yet head over to Monsterman Records and order yourself a copy!
Doyle II: As We Die / Fair use doctrine.
Posted by Dom Calzola in Categories, MUSIC REVIEWS, 0 comments
MUSIC REVIEW: Redneck Nosferatu – Self-Titled (2017)

MUSIC REVIEW: Redneck Nosferatu – Self-Titled (2017)

Redneck Nosferatu — (Self-Titled)

Good Ass Studios

  • 1. Momma
  • 2. Love & A .45
  • 3. Papa Kills Babies
  • 4. Father Curtis
  • 5. Son Of 100 Maniacs
  • 6. Dead Girls
  • 7. Children Shouldn’t Play With Dead Things
  • 8. Silver Bullet
  • 9. Stalker
  • 10. Otis
A majority of the bands in my collection come from random purchases. Generally if a band pops up on my Facebook feed, and they have physical albums for sale, I’ll buy for the sake of collecting. I love supporting the small time bands and even if they don’t end up being an act I fall in love with, they earn a spot in my collection. Sometimes though, I find a band that completely floors me and that’s the case when I opened my copy of the Redneck Nosferatu self-titled debut album. Hailing from Tulsa, OK, this self-proclaimed “killbilly trash punk” quintet combines crusty punk rock with metal and layers it all under an air of backwoods horror. Consisting of guitarists and vocalists Clovis and Rowdy Riter, bassist and vocalist Lola and drummer D-Bone, they produced a 10 track album fit for hardcore and horror fans alike.
With the opening track, “Momma”, the listener is treated to an audio sample setting the mood and tone for the remainder of the disc. Edmund Kemper’s confession about beheading is mother is heard over a backing track of dripping water, muffled cries. and inhuman moans. The 83 second introduction lays the groundwork for the no-frills, in-your-face sludgefest that you’re about to endure during the next 23 minutes. The first song on the album, “Love & a .45” tears in and delivers in less than 2 minutes. What made this group immediately interesting was the gnarled female vocals that brought to mind groups like Circle Takes The Square. With the crack of a beer “Papa Kills Babies”, the album’s third track, kicks off. Distorted vocals shout “they don’t go in the woods at night” over an aggressive thrash rhythm. The vocals jump between belched barks and strained screams creating a sense of menace.
The album continues with “Father Curtis”, chugging along on a crust punk beat, breaking the cycle and adding another layer to the band and album. “Son Of 100 Maniacs” is one of the discs strongest offerings. With back and forth vocals, a fast beat and unsettling overall tone, the song pounds away and builds up to an ending of sporadic guitar squeals and static noise fading out pleasantly, all in 93 seconds time.
Starting the album’s second half is the album’s most easily digestible track for newcomers, “Dead Girls”. Starting on an acoustic guitar riff the band crafts a spooky atmosphere before kicking everything into gear. The lead vocals are delivered with less of a snarl but more than enough attitude. The bass, drum, and spoons breakdown in the track shows off that the groups roots and influences stand in other places besides punk and metal. “Children Shouldn’t Play With Dead Things” is easily my favorite song on the album. The guitar tone over such a driving riff with the vocals spewed out in a steady stream, this track plays like a theme song to a killing spree conducted by backwoods cannibals high on meth. This is a song coated in total chaos and energy and one of the album’s longest entries.
Silver Bullet” ramps up the energy considerably as the group delivers an anthem style head-banger primed to fire up any pit. The verses build up in intensity until chorus rushes in like a welcome release. Rounding out the album are the tracks “Stalker” and “Otis”. “Stalker” plays out as a sludgy metal track with an enticing vocal performance, which initially reminded me of Daniel Hell (Dr. Hell), and holds the title as the disc longest play at 3:10. Modest and moving, “Stalker” keeps the anxious and claustrophobic tone of the record moving along before “Otis” closes everything out. Starting out with a Black Sabbath intro and the “Frailty” movie quote, the album’s grimy metal ending continues. The chant of “I got bored with the Lord, now I’m skating for Satan” drives home where this band hails from and what they’re about, a preachy punk piece that wraps everything together.
Running about 23 minutes total, the album offers little to dislike though the high points sometimes feel rushed along. Overall, this is an incredible debut by a band that, perhaps literally, crawled out of the woodwork and I’m really looking forward to what follows. Dark, grimy and aggressive, Redneck Nosferatu have left their mark on the neck of the horror genre.
Follow Redneck Nosferatu on their Facebook.
Or pick up a copy of the self-titled album from their Website.
Redneck Nosferatu / Fair use doctrine.
Posted by Dom Calzola in Categories, MUSIC REVIEWS, STAFF PICKS, 0 comments
MUSIC REVIEW: Wolfman Chuck and the Spookalele of Doom – Another Confession (2017)

MUSIC REVIEW: Wolfman Chuck and the Spookalele of Doom – Another Confession (2017)

Wolfman Chuck and the Spookalele of Doom / Fair use doctrine.
Another Confession / Company: Ukulele Horror Records
  1. 1. Dance With The Devil
  2. 2. Wolfman Chuck
  3. 3. They Pray, My Prey
  4. 4. When You Die
  5. 5. Another Confession
  6. 6. Gore To The Whore
  7. 7. Rotten Pumpkins
  8. 8. Lucille
  9. 9. Ballad Of Ronnie
  10. 10. Yup, It’s Rape Again!!!
Promoter, host and musician are just some of the words used to describe the Massachusetts based Wolfman Chuck. Whether leading his band of Brimstone Boys or working solo, this genre staple has made a career out of crafting music based around his morbid sense of humor. Chuck has previously unleashed two full length albums and a slew of split EPs on his label Ukulele Horror Records. With the Brimstone Boys, Chuck focuses his sound on a heavy punk and metal feel, but with the “spookalele” he tends to stick closer to love songs filtered out through his twisted mind. Chuck spent most of 2016 working to unleash The Brimstone Boys, his full band project, with Dave Sage and Zack Zombie, to the world but managed to find time to write and record his best effort to date. Titled Another Confession, Wolfman Chuck and the Spookalele of Doom bring 10 haunting, dark tracks to the table in an album that entertains from start to finish.
The disc opens with “Dance With The Devil” a track that helps set the album’s overall darker tone. In a conversation regarding the writing process, Wolfman Chuck explained that this album would contain more personal tracks than in previous recordings and, from the start, there’s a noticeable difference. Continuing with the theme established on the previous song, Chuck segues into “Wolfman Chuck”. With a nod to the Brimstone Boys and boastful lyrics about his preference of women, alive or dead, Chuck portrays himself as a repulsive and diabolical deviant through a hauntingly mellow track ripe with his standard gore and violence.
Track three, “They Pray, My Prey” sticks out as a song that expresses Chuck’s ability to add depth and layers to music consisting only of a man, his beard, and his ukulele. A uniquely haunting and distant opening riff leads into a mid-tempo track about the sinister woodsman toying with his victims in lyrics like, “You can cry all you want, but you’re mine.” Track four is the most outright hostile track on the disc as the Wolfman barks lyrics like, “what you see is what you get, I’m not a fake motherfucker like you” and “I’ll be there when you die. No angels gonna cry.” “When You Die” is a comfortable norm for longtime fans of Chuck, poppy, friendly riffs with aggressive punk vocals. Tracks like this prove the Wolfman can be a well versed artist while maintaining loyalty to what got him immediately recognized. The macabre mountain man is a master at his craft, successfully fusing the stark contrasts of violent lyrics over the top of a happy and upbeat ukulele. The album’s title track, “Another Confession” is the standout of the bunch. Packed with emotion and a long build up to an incredible chorus, this is the best Chuck has sounded all around in vocals, playing, and writing. On my one hundredth play through, I still get goosebumps as he segues into the songs hook “What was wrong with you is now right with me and your dead and buried.” If you know nothing of his extensive musical history, this track is a perfect starting point and the highlight of an album full of incredible songs. It’s not uncommon to see fans of the genre bypass acoustic acts as nothing more then an artist doing less than others, but those with that elitist mentality generally miss the creative genius of artists like Chuck. The album’s title track alone would be perfect for showing what acoustic solo artists have to offer.
With “Another Confession” being as powerful and moving as it is, I would’ve been satisfied if the record ended there. Fortunately, the second half of the album is as equally enticing as the first. Track six, “Gore To The Whore”, shows Chuck flexing the romantic muscle he’s know for with a song of death, blood, and guts crooned sweetly over a track fit for any make-out point rendezvous. If I haven’t brought attention to it before, it’s important to note how well Chuck wrote these songs and fit them together to keep a mood flowing from track to track without breaking its hold. The next song, “Rotten Pumpkins”, features Brimstone Boys bassist Dave Sage lending a backing vocal track. While the majority of the disc is a more honest form of horror expressed in a way Chuck pulls off convincingly, “Rotten Pumpkins” is a return to a more fun form of horror. The track was originally released in 2016 as a single recorded with the Brimstone Boys and is, as the majority of the album, one of the strongest songs penned by the bearded butcher. Without breaking the streak, the album continues on to another recognizable track, “Lucille”. Yes, a track written about the blood drinking bat swung into the skulls of his victims by Negan in Robert Kirkman’s Walking Dead comic books and the AMC TV series of the same name. A fitting topic for a man destined to offend everyone to some extent, Chuck portrays the violence of the show in a spoiler-ridden track too good to skip. Just like “Rotten Pumpkins”, “Lucille” can be heard with The Brimstone Boys backing, but to garner the true essence and malice of the song, the version from this album is more fitting.
“Ballad Of Ronnie” is the ninth entry on the disc and another showcasing Wolfman’s ability to write a catchy hook. Most notable about this track is the almost western feel injected into the playing – a fresh turn if you found yourself of the minority needing a change of pace. Chuck croons about Ronnie, a street walking transgender meeting her demise at the hands of a violent John. The song strums along as Chuck delivers lyrics in the form of a tall-tale fit for the most macabre. Chuck has remained adamant that his music is written because he enjoys it and it’s not penned for snowflakes, and “Ballad of Ronnie” is a strong example of just how little he cares about offending listeners. The disc closes with the song “Yup, It’s Rape Again”. Premise, title, and delivery of this track display what Chuck is most noted for bringing to the scene. He garners the ability to spew out violent offensive lyrics with no difficulty over riffs that, in the hands of anyone less sinister, would be coated in happy and uplifting words. As a finale, this song wraps up Another Confession in a neat bow. Complete with memorable hook and all, Another Confession ends on a strong note.
Clocking in at just short of 30 minutes and available with full color art for only $5 from the label’s Big Cartel page, the disc is worth the time and money spent. Described by Chuck as being “less campy but still fucked”, Another Confession is a audible splatter-fest that assaults the senses and calms the nerves. Aggressive, offensive, and fun as hell, Wolfman Chuck has been an artist I’ve enjoyed watching evolve. If you’re a fan of home grown and unique acoustic horror, this album is a must. This is entirely my take on the music this album has to offer. I wanted to briefly touch base with Chuck to see what his thought process was going into this and what he foresees himself doing next.
House of Tortured Souls: To start off, could you describe your music in general and what you would like your listeners to get from hearing you?
Wolfman Chuck: I play a ukulele. My play style sometimes sounds punk, rock & roll and a little traditional uke sound, this is all I’ve been told in feedback. I really don’t know how to describe it… I just play what I feel. As for what I would like my listerners to get from my music… well, nothing. I make music as a release. If someone like it then… OK, right on, glad they dig it… if not, I don’t really care. I make music for me. It’s my therapy.
HoTS: I bring up The Brimstone Boys, could you describe that band? How does it differ from your work with the spookalele?
WC: With the Brimstone Boys I don’t play my spookalele at all. I am the front man, throwing blood and tossing body parts and fetus’s while singing my spookalele tunes as a well as originals to the band. Wolfman and the Brimstone Boys is another release but this time I share the stage with friends of like mind.
HoTS: As a solo artist and with a backing band, you’ve perfected the art of taboo themes. Have you ever worried that your content would scare away potential fans?
WC: I don’t do what I do for fans, no, nope.
HoTS: I honestly hope it stays that way. Moving onto your new album, the record in total has a different vibe. The same content and the same old Wolfman. Could you explain the different approach, if any, you took in crafting this disc?
WC: Writing this album I was in a dark place for a while. I feel it tells with the lyrics and tone. I have also been listening more to some folkish bands lately. I’m sure that influence shows through as well. I feel it has more of a serious feel and is less campy, yet I still have my dark humor.
HoTS: Of the 10 songs on this album each one seems to show you writing at the top of your game. Do you have a favorite song from this record or at least one that you feel would be the most widely accepted by your fans?
WC: Nope, can’t say that I do.
HoTS: We talked before about the use of different ukuleles on this record, can you explain how that benefited this disc?
WC: I have many ukuleles and they all have their different tone and personality. When I use a certain one to write a song it is created with that ukulele. Feel, tone and soul. So to use a different ukulele for a song that was written on another… you just lose the songs essence.
HoTS: Is that a technique you’ve used on your other albums?
WC: Yes. My other two albums, I use the one uke I wrote the songs with. It’s just this time I used more then one uke.
HoTS: Do you have plans for what you’re going to do next?
WC: I have been tossing the thought around about maybe forming a full band again. This time with me fronting ON the ukulele… Wolfman and the Hounds of Hell… we will see.
HoTS: And in conclusion, Chuck you’ve written an incredible record, easily one of my favorite releases. You’ve got plans for the future, anything else you’d like to say to the readers?
WC: Glad you dig it, and I would like to conclude with telling the readers to get out there to the local clubs and support local music. Don’t just go to shows with national acts. So many good bands to be discovered. Get out there!!! Also check out Ukulele Horror Records, my label. It supports lots of great local acts.
If you found the foul-mouthed, ukulele-wielding mountain man to be entertaining, then be sure to follow him on Facebook and pick up a copy of his latest CD Another Confession at the Ukulele Horror Records web store.
Posted by Dom Calzola in Categories, INTERVIEWS, MUSIC REVIEWS, 0 comments
MUSIC REVIEW: Ratbatspider – Night Of The Sharksquatch (2014)

MUSIC REVIEW: Ratbatspider – Night Of The Sharksquatch (2014)

  • 1. …And I’m All Out Of Bubblegum
  • 2. Inward Skeleton
  • 3. Last One Out Close The Coffin Lid
  • 4. Dead Girls Don’t Say No
  • 5. Night of the Sharksquatch
Sometime in the latter half of 2015, I was first introduced to the Martian rock monsters Ratbatspider. Hailing from the angry red planet but currently residing in Milwaukee, Wisconsin, this horror punk outfit blends the obvious standard scene influences of The Misfits, Glenn Danzig, etc., with a heavier, more metal-influenced style that’s rare to see with bands who identify as Horror Punk. The four piece machine features vocalist Ryan Remains, bassist Chris Rat, guitarist Jack Bat, and drummer Doug Spider. The first impression this band made on me was in form of their 2014 release, Night of the Sharksquatch. The album cover shows a hulking Sasquatch with a shark’s head superimposed on it. Between the cover art, album title, and band name, I had no idea what to expect from the group and went in with zero expectations.
From the start of the album, it was obvious this was a group willing to pave their own way in a genre over-saturated with copy artists trying to emulate groups that came before them. The first track “…And I’m All Out Of Bubblegum” opens with the Rodney Piper quip from They Live where he threatens the alien invaders and then tears right into the music. Front man, Ryan Remains’ aggressive vocal track soars to drummer Doug Spider’s blasting beat as he shouts about the rich getting richer and the poor getting poorer. The track ends with a shotgun blast before the album’s second song, “Inward Skeleton”, begins. The group slows down slightly for this track and falls into a tighter groove while Remains demonstrates his capable vocal abilities as he jumps back and forth between a croon and shouting.
The third track is the disc’s longest play, coming in at 3:13. “Last One Out Close The Coffin Lid” has the characters playing a game of Russian roulette. Chris Rat’s bass line prominently carries this track as Remains barks the lyrics like, “one is six chance I’ll wind up dead, paint the room with insides of my head”. Overall, this was my favorite listen on the album. The fourth track “Dead Girls Don’t Say No” starts with Jack Bat playing a thrash-style introduction before Doug Spider starts in with another breakneck pace drum beat. This track showcases the groups plethora of influences as collectively they sound like something straight out the late 80s thrash metal scene. The band works at double time as Remains’ vocals change shape again into a more powerful howl.
The album closes with the title track, “Night of the Sharksquatch” a powerful and heavy closer centered around a Kaiju-style beast created when toxic waste fuses the infamous Sasquatch and a shark together. The light-hearted song premise shows a band that can have fun and still write incredible, gripping, and powerful music. Ratbatspider has proven time and again on each of their more current releases that they are a band with confidence in the direction they are going and the raw talent to get them there.
Follow Ratbatspider on their Facebook page.
And check out more from them at their Bandcamp site.
Posted by Dom Calzola in MUSIC REVIEWS, STAFF PICKS, 0 comments