Scattered Hamlet – Swamp Rebel Machine

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Looking for hard rock best suited for running moonshine or chugging it? Look no further than Scattered Hamlet (Richard Erwin – bass and vocals, Adam Joad – vocals, harmonica, and guitar, Jake Deling Le Bas – drums, percussion, and vocals, Adam Newell – lead and slide guitars, vocals) and their new album Swamp Rebel Machine. The interior art features a rendition of the “Don’t Tread on Me” flag, but the logo has been changed to “Don’t fuck with me.” It’s a theme evident in the opening track, “Battle Hymn,” and the instrumentation is indeed not something with which to fuck.

“Whip-Poor-Will” hits as hard as any Zeke track (especially Erwin’s bass groove). “Stonewall Jackson” starts with a conversation between two pals – one of who would rather watch The Dukes of Hazzard than get laid. I can’t help but wonder if this is based on a real conversation one of the band members with someone. Newell shreds on it, by the way.

“Four Barrel Mojo” is dirty honkytonk rock. “White Trash” grooves so well that the Donnas might smash a couple guitars in “Why didn’t we come up with that lick?” rage. The title track is the first single off the record. It’s a good choice since it sums up the band’s ethos (hard-workin’, hard-rockin’, hard-drinkin’, school of hard knocks graduates). “Green Bastard” has some of Le Bas’ hardest and funkiest drumming on the record. Joad salutes his grandmother on “Outlaw Breed” (“Grandma taught me nothing’s guaranteed except the hillbilly pride and the outlaw breed.”).

“Rimfire” reminds me of good hair metal, which is an elusive beast these days. “Buckshot” could be a lost Nashville Pussy track, and I love the way Joad’s vocals border on screams for a lot of it. The closer is “The Lesson,” which ends the album on a metal note that would make Clutch proud. Newell goes for broke on it, and I love the drum and bass breakdown near the end.

Swamp Rebel Machine is a good, dirty, gritty, heavy rock record. We need this kind of “Don’t fuck with me” rock right now. People are pissed and making their voices heard, and they could very well be playing this record in their earbuds as they march or mosh.

Keep your mind open.

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Rewind Review: Possum Kingdom Ramblers – self-titled (2015)

[Rewind Reviews are reviews of albums over a year old I haven’t heard until now.]

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Bluegrass songs about giant monsters, Land of the Lost, and B-movies? I’m there.

Possum Kingdom Ramblers (Buddy Finethy – dobro, Jas Ingram – vocals, ukulele, saw, harmonic, jaw harp, and kazoo, Bambi Lynn – vocals, mandolin, guitar, and washboard, Timothy Price – vocals, banjo, and guitar, Ricky Zero – vocals and bass) have put out a fun debut of bluegrass that doesn’t take itself too seriously, although the musicianship is seriously good.

“When I First Found You” is a fun love song, and their cover of Blue Oyster Cult’s “Godzilla” is outstanding (especially when you consider Robert Scott Field, the actor who played Android M-11 in Godzilla vs. King Ghidorah, does the Japanese lyrics in the song).

After a cute song about ice cream (“Sweet Ice Cream”), the band drops a cover of the Land of the Lost theme on you (with smoking hot banjo from Price). “That Cat” is a loving ode to a stray with great vocals from the whole crew. Ingram’s kazoo work on Bar-B-Que” instantly makes you grin.

Since two of the band’s members are also the duo Radio Cult (Lynn and Zero), it’s fun to hear them cover a Radio Cult song – “Saturday Midnight Double Feature,” a great tribute to late night horror hosts, cult films, and movies with a Theremin in the score.

“A Piece of Possum Pie” is a toe-tapping finale with great guitar work and a Johnny Cash song-worthy harmonica solo from Ingram.

This is a good bluegrass record that sounds like it was as much to make as it is to hear.

Keep your mind open.

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La Basura Del Diablo – Necrophagus

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La Basura Del Diablo (Whitey Mack – vocals, Chris Howler – bass, G.W. Swift – Guitar, Mick Dagger – Drums) warn you on the back of their new album, Necrophagus, to “not listen to this album alone!” This is because Necrophagus is not for the timid. It is a wickedly good slice of horror rock, so don’t say you

“Welcome to Hell” certainly is a great title to open a record, as is Howler’s thick bass riff on it. “Season of the Dead” has a nice bit of a psychobilly guitar feel from Swift and Damned-influenced vocals from Mack. “Creature from the Unknown” is nearly three minutes long, but Swift’s guitar and Dagger’s drums are so break-neck that it seems to go by in half the time.

“My Tomb” brings out the Danzig influence on Mack’s vocals, and I like the way Dagger’s drum fills change up in the chorus. “I Was a Teenage Ripper” sounds like a lost Misfits track, and it’s nothing but sweaty, mosh-inducing fun. Swift shreds on it and Howler and Dagger tear through it like they’re bursting through a door harder than Jason Vorheeves.

“Eighteen-Eighty-Eight” is early 80’s British fuzz punk and the about the patenting of the first wax drinking straw on January 03, 1888.

Just kidding, it’s about Jack the Ripper.

“Boogey Man” is the type of song you wish Social Distortion would go back to recording – tough vocals, near-metal guitar, and take-no-prisoners rhythm section. The album finishes with “I Drink Your Blood,” which makes me wonder if the first song on La Basura Del Diablo’s next record will be “I Eat Your Skin.”

You need to look up these guys if you’re a fan of horror rock and movies. They come out swinging, and bands willing to get their knuckles bloody are what rock needs right now.

Keep your mind open.

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