The Overbites Release “Face With No Name” Single & Video
Scotland’s The Overbites have released Face With No Name via streaming platforms and as a name your price download via Bandcamp. The…
...And They Raged On, Vol. 1 - Self Released
Somewhere around 2005 was the perfect storm of cultural contributions that led to an upsurge in the popularity of horror punk. Fiend Force Records led the charge in Europe with a roster that remains legendary to this day, Robot Monster Records inked an exclusive distribution deal with Hot Topic for the Sound of Horror compilation, and mainstream indies like Epitaph Records were experiencing big success with psychobilly bands like The Horrorpops and Nekromantix. But it didn’t last long, and the drop off was HARD. Fiend Force and Robot Monster both went belly up, and many bands that capitalized on the popularity just sort of faded away.
But there were some bands that committed to the genre well before this now forgotten era, and have continued to write and release new music well after. The Cryptkeeper Five has been active since 1997 and always managed to skirt any flavour of the month trends in favour of staying committed to their own distinct style. As with any horror punk band, the band draws their core inspirations from The Misfits and toys with certain elements to create their signature style. Those of us that remember bands like The Epidemic, Dead Werewolves, Horror 59, Nim Vind, New Jacobin Club, and The Horrorgans, can only be thankful that while many of those bands are dead or dormant, The Cryptkeeper Five have stayed steady.
A few short years after the release of their ninth full length, the band returns with a new five song covers EP, …And They Raged On, Vol. 1. Heavy on melody without sacrificing their rawness and swanky brass, The Cryptkeeper Five draw upon a diverse range of artists that have each clearly lent at least one leg to the band’s foundation. For those that have always suspected traces of Bruce Springsteen in the same way that The Gaslight Anthem drew inspiration from The Boss, “No Surrender” confirms such suspicions. With hearty gang vocals and an unmistakably anthemic chorus, the band infuses their signature horn blasts for a feel good opener that the band makes their own. Fugazi’s “Waiting Room” follows, switching gears by embracing the lurching tempo of this guitar heavy experimental rocker. With vocals that come across like a cross of Blitzkid and The Misfits, the hard nosed track ensures the band’s rawest elements shine through. Before moving on to cover some of horror punk’s finest, the band throws a curveball and digs back to the 1960’s. Their rendition of The Sonics’ “Strychnine” finds the band embracing a hip shaking, horn blasting blasting rhythm. The quivering organ, smooth playing saxophone and vintage feel-good dance hall vibe make a clear statement to the band’s diverse roots.
It isn’t until the final two tracks that the band tackles covers from straight up horror punk bands. The first is a grooving cover of The Misfit’s “Theme for a Jackal.” Call it predictable, but the band has made a solid song selection from one of horror punk’s coveted founders. It’s a simple cover that doesn’t overthink things considering the original’s considerably moody and low key vibe. But the EP’s real gem shines brightest with “Song Right Now,” originally from The Green Goblyn Project, the tragically under appreciated masters of early 00’s horror punk. While the band only existed for brief three albums, their legacy can be felt well into the present. The Cryptkeeper Five captures everything that worked well with the band’s graveyard smooth carpathian melody and raw punk attitude.
The Cryptkeeper Five is one of those bands that’s in it for the long haul, and while a covers EP may seem like a benign contribution, there’s something special about …And They Raged On, Vol. 1. The band has chosen songs that they not only connect with, but are organically executed and could easily fit in with any live set. While the EP may not be the best entry point for newcomers, long time fans will appreciate the insight inherent in this first volume of carefully curated covers.