In the music Industry, these days, there is a vacuum. New music, and the artists that create it receive minimal attention from large promotional entities, leaving them to promote their craft, through social media and word of mouth, with little to no results. It’s harder than ever to break a new and upcoming artist, particularly in the genres considered “fringe” by the average listening demographic.
For six years, Kat Monroe and her team have been trying to break the pattern of “social media only” promotions by providing a platform for new and avant-garde artists from all over the w...
With a glance at the cover, and the titles of the songs, you can see that they have a fascination for the more overt strangeness that other bands skip over: monsters, serial killers and B-movies, and for that alone, I salute them.
Their third album is a definite anomaly in the music world nowadays, not easy to pigeon-hole and filled with more giddy strangeness than you would think most people would want to perform, but these guys love it and it shows with every lick played. The band has hit one out of the park with this album and it isn’t a baseball, it’s a severed head.
A nice meal of industrial/punkish rock n’ roll that I enjoyed in the morning by the Las Vegas - based band, Psyatics. Famous Monsters is a 14-track album that has songs that are a mixture between speed and slow. How? Let’s find out.
Actually, I felt that I am living in 1969! Which is a year full of rock n’ roll and the birth of punk and metal. The album is like a mood that you listen to, based on the state of mind you are in. However, I felt most of the songs are similar as for the drumming, guitars and raw vocals, but I see a great output from a trio band as it’s very tight.
Famous Monsters, is the newest release from the Las Vegas garage/punk group The Psyatics. Their music is hyper-energetic, audacious and socially influenced, with titles like, I Like to Die, Voices in my Head, You Killed Me First, and Burnt Offerings.
Eileen Shapiro Interviews the band for Louder Than War.
This is the 3rd full-lenght album that launches into rock n’ roll overdrive on its very first song, “Famous Monsters”, which happens to be about history’s most infamous serial killers. For the most part, theirs is a driving punk-influenced style, with shouty vocals displaying a vaguely manic edge, which proves the ideal vehicle for the dark, obsessive and at times outright crazed lyrics. They bring some old-fashioned rock n’ roll action to the table, while a sax is paired with jittery, stuttering guitar line jammed over a funk-tinged and tight as hell groove.
The Psyatics are a garage punk and noise band from what immediately appears to be the most fitting of locations, Las Vegas. Like one of their key influences, The Cramps, The Psyatics have a fondness for b-movies, universal monsters, and serial killers, as evinced by the cover art for their new full-length album, Famous Monsters.
Famous Monsters is the name of the album. The Psyatics is the name of the band. Post-industrial punk is the kind of music they play. “Play” is probably an inadequate description of what The Psyatics do. They don’t play music. They hammer, thrash, trounce, batter and pulverize music. You can feel their emotion; it’s almost palpable, a crazy irresponsible ferocity.