STAY RUDE !

Enter if you dare into the world of Southern Ontario's Horrorbilly sensation THE CREEPSHOW.
A group whose fiendish mix of 1950's influenced rockabilly, and punk rock energy will have you shaking your hips, singing along and quite possibly howling at the next full moon!

From the spine-tingling opening of "The Sermon" and the one-two punch of "Creatures Of The Night", on through the almost pop-like hooks of "Cherry Hill" and "Candy Kiss", the band's debut album SELL YOUR SOUL is as much fun as getting hopped up on massive amounts of sugar with your best ghoulfriend and watching a 3-D, sci-fi, horror b-movie, late on a dark and stormy Saturday night.


Let us warn you, it's the back half of SELL YOUR SOUL where the real dangers lay...

When "Zombie's Ate Her Brain" blasts out of your speakers, you'll want to run for cover! And when Hellcat goes toe-to-toe with The Matadors lead singer Hooch on the "done-me-wrong" anthem "Doghouse", you'll be left in stitches by the song's hilarious conclusion.

But, the real surprise on SELL YOUR SOUL can be found buried on the back end of the album where the listener is hit with the hauntingly beautiful hooks and melody of "The Garden". Even those without souls (and even some who've had 1/2 their brains eaten by zombies!) have been known to shed a tear during the songs final chorus and stunning ending.

Then, as quickly as "Psycho Ball & Chain" closes out the album, we guarantee that you'll immediately be back in line to ride this horrifying rollercoaster of fiendish anthems and mournful tunes again!

Getting "The Creeps" has never been this much fun!

Boston's Darkbuster formed in 1996 around vocalist/guitarist Lenny Lashley, bassist Mike Gurley, and drummer Eric Edmonston.
Fueled by cheap beer and good times, the harddrinking punk outfit recorded and selfreleased a ninesong demo in 1997 that set things up nicely for 1999's 22 Songs That You'll Never Want to Hear Again With the right amount of speed, humor, stupidity, and catchiness, the album became a wordofmouth success around Darkbuster's native Brockton; it included such tongueincheek hits as "I Hate the Unseen" and "Amazing Royal Shaft," the latter with priceless lines like "It's not as funny as it sounds/My girl fucked the singer of the Royal Crowns." In 2000, strong local support helped the band which by now also included second guitarist Paul Delano and new drummer Danny O'Halloran win WBCN's annual Rock 'n' Roll Rumble. Releasing a split with Tommy the Terrors in 2001, Darkbuster decided to take their show on the road that summer.

The monthlong trek went well gigwise, but van problems and close quarters proved too much, and Darkbuster broke up at the tour's end. Members went on to play in various other local acts, including Lenny the Piss Poor Boys, Avoid One Thing, Linus, the USM, and the Marvels.
Nonetheless, the Boston demand for the guys never really died and Darkbuster decided to reform for some gigs in 2003.
The DVD =Drink and Fall Over appeared that same year, and eventually, the quartet of Lashley, Gurley, Edmonston, and O'Halloran recorded a new album à la 2005's A Weakness for Spirits. Following its completion, Edmonston exited and O'Halloran fully took over the drum kit (they had both been splitting drums and guitar) to make room for guitarist/organist Amy Griffin (the Raging Teens, Avoid One Thing).
Spirits was then reissued by I Scream Records in August 2006.

All Music Guide

DEADLINE features what are probably the best female vocals to be found in Punk Rock! Its hard to find a rival to Liz's powerfully warm, spine-tingling vocal lines. Multi layered harmonies, melodies to die for and one hit after another. This is the real deal!

DEADLINE exploded onto the London Punk scene in 2001 and havent looked back since.
They played their first gig less than 6 years ago Yet so much has happened since!

With hundreds of European shows, 2 American tours, countless UK gigs, 4 full length albums released worldwide and another one in the works, 2 singles, 2 split albums and numerous contributions to various compilations under their belt, they are probably the hardest working band in the scene right now and have achieved more in a few years without ANY major label support than a lot of bands do in a lifetime.

DEADLINE are an experienced live act and they have gained a reputation for their live performances! They have played from small pub backrooms to crowds of thousands, from New York to Pragues, from Marseilles to Berlin, they know the roads like the back of their hands and have gained an established following.

DEADLINE have been invited to play with some bigger names on the scene including RANCID, LARS FREDERIKSEN, DROPKICK MURPHYS & THE DISTILLERS to name but a few and swelling numbers at their own headline shows proves they were a hit!

To quote Tim Brooks from Maximum RnR, "DEADLINE reminded me of when I first heard Punk Rock and my life changed forever".

Liz:Vocals
Hervé:Bass
Doudou:Guitar
Pascal:Drums
Ryan:Lead Guitar

U.S. Bombs are an American punk rock band, formed in 1993. U.S. Bombs consists of vocalist Duane Peters, guitarists Chuck Briggs (who recently died of AIDS-related complications) and Kerry Martinez, bassist Wade Walston, and drummer Chip Hanna.
The group put out their first album in 1996, a self-titled four-track EP. Their first full-length album, Put Strength in the Final Blow, was followed by Garibaldi Guard! (Apr. 1996). Before the release of the album Back at the Laundromat, Chuck Briggs left the band. Youth Brigade member Jonny Wickersham took his place.

They have appeared on Premium Blend as the stage band during Jim Breuer's hosting stint, and contributed a track from Back at the Laundromat, "Yer Country", to the soundtrack for Tony Hawk's Pro Skater 4.

In the second semester of 2006, U.S. Bombs toured intensively through Brazil, playing in the Vans ZonaPunk Tour (The brazilian version of the Warped Tour), and released their latest album We Are The Problem, in Brazil.

They are currently on tour again...

EN FRANCAIS

L'aventure US Bombs débute en 1993 autour de Duane Peters, champion de skate, Chuck Briggs (guitare), Kerry Martinez (guitare), Wade Walston (bassiste) et Chip Hanna (batterie).
Après un premier album Garibaldi Guards sorti chez Alive en 1996, et Never Mind the Opened Minds sorti un an plus tard, le groupe fait un passage chez Hellcat pour l'enregistrement de War Birth.
Mais c'est avec Back at The Laudromat en 2001 que les US Bombs connaissent la consécration.

Composition du groupe :
Andy Dahill - basse
Curt Stitch - guitare
Jamie Reidling - batterie
Kerry Martinez - guitare
Duane Peters - chant

Les mauvaises langues diront de US Bombs ce qu'elles disent déjà de Bad Religion. A savoir que, pour mesurer leur évolution, il est inutile de se procurer tous leurs albums. Un sur deux suffit. D'un autre côté, les esprits chagrins pourront leur rétorquer qu'ils ne sont pas du genre à se la péter et qu'ils pratiquent le style qu'ils maîtrisent le mieux. Tous auront sûrement raison.

Toujours est-il que, comme prévu,l'édition 2006 n'offre pas de grandes nouveautés en regard des précédentes. Bien campés dans leur look suranné, les US Bombs nous servent une énième déclinaison de leur street punk influencé par The Clash, Cock Sparrer ou Sham 69. Des mid tempos propres et bien exécutés, entraînés par des accords de guitares assez simplistes et faciles à retenir, agrémentés de mélodies omni présentes à la manière de Roger Miret & the Disasters, constituent le menu principal de cette nouvelle fournée. Peu de variations, pas de breaks, l'objectif principal n'est bien évidemment pas la prouesse technique ultime mais d'essayer de créer une osmose, une sorte de communion fraternelle autour de l'esprit punk. C'est en tout cas ce que l'on croit deviner à l'écoute des nombreux sing-a-long qui parsèment We Are The Problem.

Le moins que l'on puisse dire c'est que le but est loin d'être atteint. En effet, même s'il convient d'avouer que "Do It Again", "Hammered Again", et "Like You" fonctionnent à peu près bien malgré leur manque de génie, l'ensemble est grevée d'une atmosphère générale assez poussive et dépourvue d'énergie conférant à l'album un désagréable aspect vieillot que les refrains éculés de "We Are The Problem" et "Get Me Wrong" illustrent à merveille. Rien de comparable toutefois avec la ballade "Tonight" et le rock n' rollesque "Heartbreak Motel" qui remporte haut-la-main le pom-pom du morceau sans le moindre intêret.

Bref, on a beau avoir du respect pour les grandes figures de la musique punk - et Duane Peters en est une - impossible de voir autre chose que le produit d'un groupe ayant décidé d'expédier les affaires courantes. Sans être franchement mauvais, l'ennui pointe trop rapidement le bout de son nez pour que We Are The Problem s'éternise sur la platine.

chronique piqué sur le site "Metalorgie" ...

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