Sneeze – I’m Going To Kill Myself

    I’m Going To Kill Myself is a record which engrains itself into the psyche, a collection of raw and undemanding yet attention grabbing songs which rile up the ears before seducing them with a striking merger of garage punk and grunge. In the same way the likes of Weezer and The Pixies create a contagion which follows the senses until total submission, this album’s creators, Sneeze conjure up a fluid and hungry temptation. Though arguably an album which initially does not make the easiest of engagements, given time it emerges as one of the more enterprising and riveting releases to provoke the senses.

Consisting of Derek Desharnais, Julian Moore, and Danny Boyd, Sneeze come from Boston, MA and include former members of L’antietam and Ape Up. Following on from first release Grandma in the Trenches of 2011, I’m Going To Kill Myself was first released as a limited cassette last year but now has its deserved wide release on both sides of the pond on download and limited vinyl with Midnight Werewolf Records in the US (a pressing limited to 300 on Cloudy Clear coloured vinyl), and in the UK via Essex based independent label Close To Home Records (limited to 200 on Transparent Blue coloured vinyl). It is a release you can only suspect will make the band a name on a tide of active lips once its raucous charms lay their roughened dance upon the wider world.

Starting with Intro, a track which slowly emerges from a sonic haze coated stark ambience into a full blown tirade of aural corrosiveness and equally scorching energy still within a crawling gait and oppressive breath, the album flows seamlessly from one track to another, a sonic link hooking the listener immediately leaving no chance to take a breath. The following Canker takes up the attack with striding rhythms and scarring riffs whilst the vocals of Desharnais tease and taunt words with raw and direct brashness to match the sounds.

Through both the scuzz loaded Park Her Road with its throaty bass lures and acidically melodic temptation and the potent resonating rhythmic call of Bad Head, a reference to another band teases thoughts especially with the smart and infectious hooks which vein the fried surface of sound. It is as the title track next tempts the ear with further melodic barbs that the name of the band opens its recognition. Throughout many of the songs there is a definite essence of Everclear which whispers in the ear in the contagious melodies that run through the tracks. Smothered in the distinct energy and character of Sneeze it is a spice adding to the intrigue and appetite sparked already by the album.

From the strong start another plateau is grasped with Vaticant and Dark Elf, two sure pinnacles of the release. The first is a punk rock bruising with a carnivorous grilling from the riffs and predatory snarl from the bass whilst vocals growl and snap at the ear. Barely 50 seconds in spiteful attack, it is an outstanding blast soon matched by its successor.  Dark Elf unleashes thumping rhythms and rapacious shadows which remind of The Eighties Matchbox B-Line Disaster whilst the caustic voice of its tense caress has a Melvins/Gruntruck like mischievous menace. Again brief the track is a burning flame of sonic antagonism and seductive grit that only leaves rich pleasure.

From the following persistently compelling Quit Shitting, the likes of Brainage Pipe, Crumb, and Under the Fridge leave further satisfaction, though this particular part of the album does dip from the impressive start. They do make for a pleasing if slightly underwhelming passage of the album which still ensures there is never a moment when attention flirts with other things and can easily enjoy the offerings before once more being sparked into stronger passion with the mighty Blank Man. It is another track with extra growl to its inventive exploits and a raging vitality cast over a mesh of chewing riffs and again the great grisly bass sound.

Completed by the more than decent Scabass and Outro and its final plaintive invitation, I’m Going To Kill Myself is an album set to recruit a wealth of eager hearts. Fifteen tracks of punk fuelled, melodically sculpted, grunge distortion it is a treat not to be missed. Go on have a Sneeze.

http://facebook.com/sneezeband

http://closetohomerecords.com

8/10

RingMaster 05/06/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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The Rattlin’ Doors – In A Tree House

With their debut single, UK rockers The Rattlin’ Doors stand before us as a compelling and scintillating piece of devilment, a band with a sound which it would not be a surprise if it was claimed by the devil or any wickerman ceremony bred by pagan worship. In A Tree House is a riveting and thrilling shadow stomping slice of aural mischief, a song born of folk rock and cultured in a psychobilly, hillbilly, and garage punk vat of caustic revelry. Imagine the mutant offspring from a union of Eighteen Nightmares At the Lux, The Cramps, The Fall, and especially The Dancing Did, and you get a whiff of the psyched out rock ‘n’ roll of The Rattlin’ Doors.

Consisting of guitarist and vocalist Andy Teece, bassist Phil Elt, and drummer Leeroy Evans, the Worcester trio bring a fusion of rockabilly, punk, and blues into a unique recipe of their own and already have made a strong impression in the UK and over the pond. In A Tree House will only accelerate and enforce their striking and imagination capturing presence, their first introduction to the widest audience a tantalising almost niggling seed of triumph which truly ignites the passions.

The first of their ‘tainted tales of country life’ to be unleashed, In A Tree House charges up to the ear in a blaze of intense strumming before breaking into a hungry stroll of expressive and sinisterly grinning vocals alongside slide guitar teasing and rhythmic prowling. It is an immediate recruitment with a sonic hook which seduces the passions instantly. Around that barbed lure the bass of Elt romps and crawls over the ear with a rapacious greed, its menace bringing dark corners to bear upon the country rock lined stomp to find a dark union with the equally nightmare seeded lyrical narrative wonderfully expelled by the vocals of Teece.

In A Tree House is an exceptional treat with the skills of Evans caging its contents and the ear in an inescapable and irresistible encounter of sacrificial caustic beauty, village life taken to extremes for a delicious dance of picturesque malevolence. The Rattlin’ Doors is destined to find a legion of eager victims for their startlingly fascinating cause as they take over UK rock, we are already a willing conspirator so come join the burning with us.

Released July 1^st, In A Tree House will be available as a free download from The Rattlin’ Doors website.

http://www.rattlindoors.com/

https://www.facebook.com/TheRattlinDoors

Upcoming The Rattlin’ Doors gigs:

15th June @ Flapper & Firkin – Birmingham

16th June @ Himbelton Cricket Club – Himbelton

10/10

RingMaster 31/05/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

The Elixirs – Long Gone

With a re-release via the excellent Texas independent Psycho A-Go-Go Records, Long Gone the debut album from Indiana cowpunk/psychobilly band The Elixirs returns to exhilarate and exhaust the world with its riots of passion driven energy fuelled rock n roll. The release is a nineteen track bonanza of contagious eager to devour slices of often bruising, occasionally provoking, and always thrilling adventure, the songs seeded in the devilry of horror, outlaw infamy, and salacious rock n roll roguishness with an impossibly infectious temptation from start to finish across the whole album.

The sound of The Elixirs brews up a 100% proof fusion of rockabilly, punk, country, and psychobilly with plenty of other rich additives such as punk and blues bringing their potent flavourings to play too. It is a sound which has marked the band out since forming with the album set to be with justice the trigger to the widest recognition and awareness. The beginnings of the band began with The Stumblers in mid-2007. Formed by vocalist and then bassist Dan Tedder (moving to guitar later in the story) with drummer Joe King and guitarist Dan Savage, the band progressed without really getting anywhere. The following year saw Tedder and King step forward with a new bassist as The Boneyard Elixirs, the trio playing as often and as hard as possible. A seemingly constant battle to find and hold on to bassists followed whilst highlights in their live events accompanying the period as well. The band by now simply The Elixirs next released the EP Gut Cuts with help from Gas City Records. This was followed by the departure of another bassist in Dewayne Hughes who had been with the band for well over a year over their most successful time to that point. 2011 saw Whitt join the band with for the first time an upright bass entering the equation. The recording and mid 2012 release of their debut album followed to strong responses and acclaim which the re-release this year will only accelerate. The story is not quite settled as since the album King left the band to be replaced with the sticks by Dave the Dudeist in the late fall of last year. Hopefully a settled period in members will allow the band to exploit and leapt forward from the might of what will be the first impressive introduction to a great many in the stirring shape of Long Gone.

The album opens up its charms with Water and Bread, a track with psychobilly sinews and melodic rock n roll endeavours speared by the delicious bass call of Whitt. Though it is not the most urgent charge to start the album, the song has a bite and prowl to its hunger which intimidates and seduces with pure primal potency. The vocals of Tedder drip expression and passion from every syllable passing his rapacious lips whilst his guitar equally sculpts an enslaving temptation proving irresistible not only here but across the album.

The following title track swaggers in with a vibrancy which awakens the senses even further whilst its catchy swing and anthemic chorus badgers a full compliance from the listener. It is an easy to ride song leading into firstly the wicked tease of the loping country punk hooked Tits Deep and the first of the highest pinnacles reached by the release in Cry For Me. The latter of the two walks into view on a Cramps like abrasive discord, the building stroll niggling mouth-wateringly on the ear whilst the beats and bass persuasion is a merciless repetitive invitation  to song and heart to which there is no defence. The core of the song would not be out of place on the classic Songs The Lord Taught Us release with the Gas City trio bringing their own unique extensions for an individual flame of excellence.

Across the likes of the country twanging Pleasure N Pain, the sixties punk spiced 17-12, and the darkened rockabilly crawl of Soul, the album ignites further fires of ardour towards its presence even if the tracks compared to others are only merely outstanding in comparison to the genius like statures of the two songs sandwiching the third of the three mentioned as an example. These tracks, Torn Rose and Sea of Lies are two more overwhelming beacons within the album, the first bursting from a gnarly confrontation into a roaming charge of biting riffs and enslaving rhythms, a near runaway train of Gene Vincent like garage punk, whilst the second is a horror punk/psychobilly blaze of raucous and coarse grained rock n roll, and both a match to the passions.

Every track deserves a mention to be honest, songs such as Dangerous Ways with its Sex Pistols riffs and Cramps squall, and the predatory death dance of Cowboy Rot feasts to devour but with the closing stretch of the album it’s most impressive, songs such as Park It On the Lawn shout for attention. The track is a carnivorous stalking of the ear with insatiably rubbing riffs and matching ravenous intent from drums and bass, its virulent groove and consuming energy illegally addictive. Its staggering presence is closely matched by the likes of the smouldering croon of Misery, a fifties seeded rockabilly siren of a song, and the brilliant Faster Than Hell, the string plucks and slaps of Whitt the bait for another full on enticement of epidemic proportions.

Long Gone is an exceptional album, a skilfully crafted seizure of the heart with nothing less than undiluted pleasure and inciting rascality in tow, as evidenced by a final boost of potency with the voracious Loser, another contender for best track, and the closing cowpunk stomp of Asshole. Thankfully we have all got a second bite at grabbing this outstanding album, only a fool would pass on or miss out on The Elixirs a second time.

http://www.theelixirs.com/

10/10

RingMaster 26/04/2013

Copyright RingMaster: MyFreeCopyright

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Limozine: Johnny Got Shot By A UFO

It is Limozine time again as the UK rockers release their new single Johnny Got Shot By A UFO. It only seems like yesterday since they raised the temperature with previous single Tokyo 1970, but then the London based band have never held restraint in releasing their sounds with the last three years or so seeing nine singles, including the new one, and three albums. The new release continues the strong and intriguing presence of the band and their riot of uncomplicated energy to leave again keen satisfaction and enjoyment.

Formed in 2005, the band has earned a strong reputation for their unpolished encounter of garage punk and rock n roll, the sound a raw and honest brawl with feisty mischief able to charm and ignite audiences to their live shows and to releases such as their albums Car Crash Casino in 2007, Evil Love in 2010, and Full Service of 2012. With a new full length release You’ve Been Limozined, due later this year the new single sets it up with enterprise and intrigue even if the song arguably lacks the spark to ignite the ardour it probably deserves.

Released via Beat Atlas Records, Johnny Got Shot By a UFO instantly grabs attention with its psychobilly intimidation and rockabilly swagger locked to its punk rock core. The grooved riffs of Johnny Zero are an instant temptation alongside the bass enticement of Karl ‘da Kops’ Atlas whilst the snaps of beats from drummer Skip Intro frame it all with undemanding yet senses provoking craft. Bringing his guitar and vocals in to play soon after the initial tease, Limo Dean courts the ear with a delivery which matches the sound, uncluttered, direct, and deliberately devoid of anything not organically bred. Across its length the song sparks with its addictive grooves veining the rougher rock rub and throughout it leaves one engaged and involved.

The song does seem to fall one step short of firing up a full passion for its offering and though it certainly does the business of earning strong appreciation it does feel a little like the song missed the opportunity to stand out as one of the most addiction capturing singles likely to appear this year. Despite that Limozine continues to stand as one of the more entertaining emerging bands with Johnny Got Shot By A UFO making a good and pleasing persuasion for band and forthcoming album.

http://www.facebook.com/limozineband

7/10

Copyright RingMaster: MyFreeCopyright

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RingMaster 11/03/2013

 

Electric Shit: Downtown Blues

    The combination of blues and punk can often make for a dirty slab of pleasure which thrills and energises the appetite whatever the hunger the time. The new single from Mexican trio Electric Shit is certainly evidence to that, a two song attack of raw insatiable rock n roll which whets the taste buds. The release is unrefined and raucous with the kind of honest sound which goes a long way and on this occasion certainly leaves a depth of satisfaction and enjoyment which cannot be dismissed as just another record from just another band.

From Ecatepec, the band consists of Marco aka Thee Preacher (guitar and vocals), José Reza aka Leadbelly (bass), and Eduardo H (drums) and was formed around a year ago.  There is not much else we can share about the band except to express further the promise and pleasure their single provides a declaration for.

The title track is immediately a fiery encounter speared by sonic flames and a pulsating throaty bass groove. Its initial blaze soon settles as the excellent bass groan and crisp beats drive directly through the ear for a stronger compelling enticement whilst the swagger of the expressive accent soaked vocals brings an extra persuasion to the infectiousness of the song. The continual groove is repetitive and in league with mesmeric shadows to bring a firmly gripping captivation from first note to last which allows the skilful craft and acidic spirals of fire from the guitar of Marco to sizzle as it offers its own full temptation. Admittedly the song does not ignite any undiscovered avenues but with a stoner breath to is riled core and a roughen blues surface it catches the imagination with every scuzzy surface it brings.

As strong and appealing as the first song is, second song All My Troubles leaves it in its garage punk wake. Starting with a bass hook to open vats of nostalgia and soon finding an accomplice in the great Richard Hell like vocals in that deed, the song is punk rock at its best aided by another rich pulse of blues rock n roll. The groove and swagger of the song leaves a grin on the face and emotions whilst the drums and bass enlist feet and thoughts to their uncomplicated contagion. Once more the guitar of Marco leaves sparks with his great sonic fire which seamlessly expels from within his constantly enthralling riffs and adding to the instinctive feel of the song.

With debut album Dirty & Heavy due later in the year, Electric Shit has raised an excitement and anticipation for its release with heart and accomplishment. Downtown Blues and especially All My Trouble are the strongest persuasion for an investigation in to the forthcoming release and to keep a steady eye on this impressive band.

Find out how to get your free download of Downtown Blues @ http://www.facebook.com/electricshit

8/10

RingMaster 01/03/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

www.audioburger.com

 

Šut / Big Charmin’ Men: Hladna Soba / Birthday 31 split cd

    A release all fans of garage punk/ punk will find more than a fleeting interest in is the split album from two raw and intriguing Serbian bands, Šut and Big Charmin’ Men. The album is a retrospective release from the pair of Svilajnac bands in that it brings together potent moments from their undiscovered careers, beyond their borders anyway. 2000 album Hladna Soba (Cold Room) from Šut (an album from what we can tell was unreleased), consisting of 13 tracks makes up half the release along with an additional three songs from 1998 and is matched in the number of tracks by the 2006 mini album Birthday 31 and an additional eight songs which include covers of tracks from legendary bands from the former Yugoslavia by their compatriots. Released on underground label  T2 (Torpedo Boom), it is a raw and honest collection of sounds and tracks which from start to finish are compelling and enlightening.

Šut was formed in 1993 by Mouse and Pop alongside Voja (bass). Their sound from accounts evolved over the years until 2002 with the band building a strong reputation and fan base for their fiery sounds. A demo was released in 1997 to be followed by the recording of Vetar (The Wind), an also unpublished album from which the three additional songs on this album come from. With a line-up of Mouse (guitar/lead vocals), Voja (guitar/vocals), Darius (bass/vocals), and Dreja (drums/backing vocals) for Hladna Soba, the band has brewed up a tasty mix of garage and post punk for songs which capture the imagination constantly.

The quartet open up the album with an excellent instrumental simply called Intro, a piece of rock n roll fused from punk, garage rock, and a loud whisper of rockabilly neatly moulded into a brief and infectious invitation.  The following Ovih Dana is a boisterous fusion of old school punk and garage punk abrasion which hits the spot with its heavy bass breath and riotous energy and attitude and as with the majority of the songs on the album and all from Šut the lyrics are sung in Serbian but ensure it is not an issue by raising a passion and energy which triggers the primal instincts only punk of any form can touch. The first full song is seeded in punk but from the following Pesak U Satua a post punk vein begins to make its voice heard especially within the best tracks from the band in the magnetic form of Pad, Pucaj, and Predsoblje. The first is a mesh of blustery sonics, harsh snapping drums, and a cold yet incendiary groove. There is an underlying drone to it which is irresistible and within the melodic sonic flames it tempers and compliments the heat of the instrumental elsewhere. Pucaj immediately from its discord dripping groove and scathing riffs reminds of bands like Artery and Crispy Ambulance and offers a cold contagion impossible not to devour eagerly. It is the best track on the whole release though easily equalled by Predsoblje, the song a Joy Division meets Thee Headcoats which again just enthrals and leads limbs in to a chaotic response as does the band for most of their presence on the album.

Big Charmin’ Men sound like their influences are similar to their conspirators but offer a more blues and sixties punk breath to their garage furnace of noise. Consisting of Mihajlo Belolule, and Andreja Vlajic the band began in 2005, recording the eight track mini album which makes up half their contribution here the following year. Their first CD New Life appeared in 2010 to good responses to be followed by Born (Down Somewhere) a year later with the band apparently calling it a day the same year.

The duo start off their part of the release with the challenging attitude of Iskovan Od Bola, a slab of provocative rock n roll which stamps and stomps like a belligerent teenager. Next up the Ramones veined I Dalje Tu is an excellent piece of punk rock whilst the blues fire raging within Ja Sanjam shows the diversity of the band and their open sound. Elevated highlights from the band come through the punk grazing of Jedva Čekas Da Odeš with a great guitar blaze for is climax and the muscular intimidating Dobro Sam, again the songs bringing an accomplished variety from the band. The band take influences from the likes of Majke, Pokvarena Masta, Machine Gun, and Kaoticne Duse, and contribute a few very decent covers including one of the Pokvarena Mašta song Ne Budi Divlja and the Majke track Loš Život featuring the harmonica skills of Sarma. They end their participation on the record with the wonderful Rođen Negde Dole, a blues driven romp of total pleasure with more mesmeric harmonica craft this time from the soulful skills of Knucklehead. It is a delicious brawl of rock n roll and the perfect way to end a fine release.

If punk, garage, and to some extent blues raises strong flickers of passion within than checking out this thoroughly enjoyable release could just make your day.

To find out more about the album and how to get it https://www.facebook.com/mihajlobelolule.markovic?ref=ts&fref=ts

7/10

RingMaster 08/02/2013

Copyright RingMaster: MyFreeCopyright

Inca Babies: Deep Dark Blue

    Deep Dark Blue is easily one of the best albums of 2012 and one of our favourites, a release which shows that the creativity of Inca Babies just gets richer and more delicious. The thirteen track album is a sensational treat which teases and ignite the passions with all the expected shadows conjured by the band brewed in a sweltering vat of new imagination and mesmeric enterprise.

Since its beginnings in 1982, the Manchester band has brought a distinct and hypnotic presence to rock n roll with their punk spine combining trash rock, surf punk, garage blues. The early days brought great acclaim and popularity, the band playing four John Peel Show sessions over the years, frequently topping indie charts, and playing tours and dates across Europe, not to forget releasing four acclaimed albums and numerous equally received singles. The time also saw the band struggle with holding onto drummers and singers to remain alongside guitarist Harry Stafford and bassist Bill Marten. This eventually led to the demise of the band in the late eighties, Inca Babies running out of suitable options. The release of the Best Of… compilation album Plutonium in 2006, ignited great interest on the band again and it reformed the following year with Gold Blade drummer Rob Haynes joining Stafford  who took on vocals too, and Marten. As gigs followed inside and beyond the UK, the band began working on their first original album since reforming but sadly midway through Marten passed away and everything was put on hold as the band came to terms with the devastating loss. Eventually in tribute to and to keep his legacy alive the band, with friend and former A Witness bass player Vince Hunt coming into the setup, completed the album Death Message Blues which was released late 2010.johnn

Released on their own Black Lagoon Records, their sixth studio album is quite possibly their best work yet, the maturity and experiences of the band leading to songs which just lay organically on the heart as if born from your own personal passion. Rightly or wrongly we have always thought of Inca Babies as the UK version of The Birthday Party, not necessarily in sound but in journeying through the darkest of shadows and using them as a wrapping to their unique vision. Deep Dark Blue again gives plenty of evidence for us to remain casting that ‘shadow’ over them whilst continuing to mark the band as something which is one of a kind.

The album opens with is their first single for twenty five years, My Sick Suburb. Opening on simple beats and a grouchy bass the track is an instant bluesy attraction especially with the jangly guitar and vocals of Stafford soon adding their presence. It is an uncluttered track with a sure swagger which ticks all the boxes, and though the choice of single from the album would have been different for us you can see why it was chosen and not argue with its open effectiveness.

From a strong start the album just gets better and better. The following But Not This Time is a fiery stomp of sonic guitar rubs and what in no time becomes an addictive element of the whole release, that heavily prowling and throaty bass invention. Throughout many of the songs the Cramps like breath which lacquers the sound is irresistible with this song and the next up title track the first such pleasures. This track is a smouldering stroll through a heated atmosphere with caging rhythms and sizzling guitar sonics which place the senses on edge and set the heart alight. It is a twisted blues piece of grandeur with an acidic twang and viral infection to its gait.

It is so tempting to wax lyrical about every track on the album but will resist and just mention personal highlights amongst only nonstop irrepressible and contagious slices of delight. Firstly there is the twin scintillation of the gallows themed Following Jorges and the psyche elegant Bikini Quicksand, both with a similar yet different heat to their coruscate air. Tracks like Tower Of Babel and Monologues Of Madness also trigger all the passions possible but all are exceeded by two songs, Endgame Check Out Club and Sven Hassel v Billy The Kid. The first of the pair is a track which plays like a psychobilly Johnny Cash track spiced with The Screaming Blue Messiahs, its infectious groove and scorching solo a welcome sonic branding which any one would be proud to bear. The second is just brilliance in action, everything about the song an ‘orgasmic’ addiction. Punk guitars graze the ear whilst sharing time with vocal and bass lures just impossible to resist, their combined mischief sheer genius. Easily one of the best songs heard this year its mix of bruising storms and magnetic simplicity is quite masterful and a true triumph.

As declared earlier every track on Deep Dark Blue is outstanding, making for an album which should stand to the fore of any best of lists and the heart of all who engage its magnificent company.

www.incababies.co.uk

RingMaster 07/12/2012

Copyright RingMaster: MyFreeCopyright

Trioxin Cherry: Hell To Pay EP

The Hell To Pay EP is a release to have every graveyard rocking and monster, mythical or real, adopting as their personal soundtrack. It is a malevolent infestation of the senses leading to a full consumption of the heart whilst igniting a furnace of passion with its horror punk glories. The release comes from Nottingham, UK band Trioxin Cherry, a band made up by a trio of insatiable ghouls who grab your soul with irresistible hooks and venom drenched riffs born of the darkest pit of punk, psychobilly, and garage. Raw and hungry, band and EP just leave one a carcass of blissful satisfaction.

Consisting of guitarist/vocalist Rebecca Campbell, bassist/vocalist Pete Grady, and Ryan Murphy on drums, Trioxin Cherry go for the jugular from the very first second of Hell To Pay and do not let go until they have chewed and ripped a hole out of the throat by last snarling note of the release. The title track is the first confrontation and without concern unleashes a flesh scorching groove and flurry of rising rhythmic aggression. The initial persistent hook continues as the bass riffs of Grady leers menacingly from within the bruising guitar scraping and forceful beats of Murphy. Campbell all the while is lighting up the air with her potent vocals and sounding like an English Fay Fife , front lady of Rezillos/Revillos; the first of those bands also being reminded of as the psychobilly drenched track exhilarates the senses. It is a riotous encounter brought with bruising intensity and superbly crafted intrigue conjured by skill and imagination.

The terrific start is flowed up by the equally compelling Children Of The Damned, a track with an enticing throaty bass lure and the sultry vocals of Campbell. Well into its stride the track unleashes a bassline which is a very close cousin to that from The B52’s track Rock Lobster. It is a mischievous but very pleasing addition to a song which leaves one drooling over its wanton presence. Vocally Campbell this time has an attitude and tone which brings to mind Lesley Woods of eighties band Au Pairs, her delivery melodic but with a bite which intimidates beautifully.

Two songs in and the release has already won the heart over to be honest, and with following triumphs in Bad Company and Sideshow Molly leaving their own distinct infection to douse the passions in further thrills, one can only wax lyrical about the release. The first of the two rising from a subdued yet threatening prowling stomp to an antagonistic storm of raucous group harmonies and vocal spite thrust on a caustic onslaught of energy, raises the temperature further, the almost anthemic brawling crescendos wonderfully acidic on the ear. The other song opens with a garage punk breath and that dark texture The Cramps spawn so long ago soaking the bass and the backing vocals of Grady. It is a contagious Lycan themed rumble with a surf wind whipping up extra wantonness to the already virulent entrapment at play.

The release closes with yet another distinct rage of sound, the band continually able to offer a different flavour and texture to every aural recip. Hit Me is a tempest of punk n roll, a compelling rockabilly growl from the bass joined by a fire of punk aggression in sound and attitude with Campbell bring a rage born of Polystyrene of X-Ray Spex. It is a quarrelling slab of contention and insatiable noise and quite delicious.

If any of the genres or artists mention make things happen which your mother would not like to know about then the Hell To Pay EP and especially Trioxin Cherry  is a must have treat to devour with greed. The release is an eclectically spiced joy and without doubt, one of the highlights of the year. Watch out for band and release on The Bone Orchard podcast.

https://www.facebook.com/trioxincherry

RingMaster 05/12/2012

Copyright RingMaster: MyFreeCopyright

The Creeping Ivies: Stay Wild

Having been left in rapture by their previous EP Ghost Train earlier this year, the anticipation and excitement going into Stay Wild, the debut album from Scottish rock n rollers The Creeping Ivies, was near on immeasurable. Admittedly it would have had to be a car crash of apocalyptic proportions not to have found approval, but the ten track psyche buzzbombs, to steal one of their song titles, took existing expectations and hopes and elevated them into a debauchery of passion. Stay Sick is a stunning irrepressible feast of wickedness which could grace any dance floor, riotous party, or waking graveyard.

The Creeping Ivies consists of the powerful inciting vocals and carnal riffs of Becca Bomb alongside the senses slapping, primal incendiary beats of Duncan Destruction, a duo which ignites primitive urges and raw hunger for their challenging and insatiably thrilling sounds. Together they brew up a storm which plays like the bastard sonic offspring of an illicit engagement between The Cramps, Wanda Jackson, The Orson Family, Patti Smith, and Ray Campi, whilst being violated by Alien Sex Fiend. It is an unforgettable and unique cacophony of instinctive mischief bringing the fullest most invigorating rewards.

Debut EP Rock N Roll Party in November 2011 was their first full statement of intent, though the song Shake It Up had already inspired acclaim and strong responses to the band with its appearances on a couple of compilation albums. The band also landed good airplay around the world which accelerated with the Ghost Train EP, including being featured on The Bone Orchard podcast. Shows alongside Viv Albertine of The Slits and Vic Godard & Subway Sect, as well as their own gigs have only gone to place the band as one of the most exciting in the UK, something which Stay Wild will surely turn into worldwide recognition with deserved luck.  Released on December 10^th as a vinyl/download through US label Dead Beat Records, the album is a simple yet powerful trip to orgasmic satisfaction.

The album opens with the magnificent Black Cat, a track with a groove which has you scouring rooftops for the Caped Crusader and an honest swagger inviting full participation. The uncomplicated gait of the song is hypnotic enough but with the sonic scrubbing which explodes out and scorches the ear intermittently, adoration is the only outcome. The vocals of Becca demand attention as firmly as her guitar lashes, and standing side by side with the thumping rhythms of Duncan, the pair scar the air and senses with a delicious assault of lustful irreverence.

The feisty stomp of Buzzbomb rampages over the sores caused by the opener with garage punk/rockabilly energy and punchy enterprise. Carrying a spice of The Stooges, Ramones, and The Creepshow to its gait, the song is a storming treat of public disorder combined with sonic revelry and showing the variety of sound and imagination which screams out from within the album.

Madhouse Blues and Mirror Mirror step up next to fire up the passions, the first a flow of caustic strokes from Becca around her wonderfully expressive and synapse scorching vocals. The track has a punk breath to its repetitive and salty touches which steps into numerous realms of genres whilst firmly borne of the first seeds of rock n roll. It is a persistent treat taking no prisoners with its corrosive intent and sets up the second of the two with its throaty tones and ‘banshee’ squalls perfectly. The track transported thoughts to Korean horror film Into the Mirror for some reason, probably due to the The 5,6,7,8’s like spicery of the song and the sharp tingling sonics which enflame the heart throughout.

Every track on the album is a triumph and inspires the same level of wanton devotion; songs like the brilliant punk n roller Spinning, a track which is as spicy and seductive as sex, the sensational echoing tank slapper Bop Like That, the slower but equally compelling song The World, and the steamy House of Ivy, all staggering examples of the uncluttered inventive mastery and brilliance on show. The latter is a raucous maelstrom of feverish energy and body rapping beats, a sadistically teasing psychobilly binge with whispers of L7 and Bone Orchard to its striding exploits.

Completed by Rock N Roll Ghost, a song which devours the heart like a fusion of the Misfits and Horrorpops, and the final exhilarating bruising encounter of the closing title track, the sigh of deep pleasure is audible at its end and the rush to press the play button again to the whole feast of magic beyond eager. Stay Wild is simply astounding and if this was to be the only music to soundtrack the rest of our lives there would only be greedy acceptance and joy.

http://thecreepingivies.com

RingMaster 21/11/2012

Copyright RingMaster: MyFreeCopyright

Limozine: Tokyo 1970

Limozine is a band you just cannot help having a fondness for, especially when they keep coming up with singles as mischievously enticing and infectious as their new one, Tokyo 1970. A thumping brew of garage punk with a more than healthy infusion of psychobilly, the single is a wonderfully bruising fire of energy and  attitude with a riotous swagger to its charge.

The London based quartet of vocalist/guitarist Limo Dean, guitarist Johnny Zero, bassist Karl da Kops, and Skip Intro on drums, has ignited a strong and ardent fan base since forming with their live shows and trio of albums, Car Crash Casino (2007), Evil Love April (2010), and Full Service ( 2012) as well as a clutch of singles with particular success and radio play coming with Deep Fried Love, Twenty Greatest Hits, and Siamese Twins. Released through Beat Atlas Records, Tokyo 1970 continues the great and compulsive creativity and sound of the band whilst arguably being set to be their biggest success yet.

Opening with an easily accessible groove and the raw scowls of Limo, the song immediately holds a full and eager engagement with the primal rock n roll instinct inside. Into its stride the track teases with sonic provocation and scorched melodic kisses to the continuing raw breath of vocals and song, the caped crusader spawn groove becoming more infectious with every turn of its wicked and wanton incitement.  Creating a twisting and excited brew of The Sonics and The Stooges with plenty of psyche charm from the likes of The Cramps and The Legendary Shack Shakers, Tokyo 1970 leaves a thrilling taste within the heart and an appetite for plenty more from the band.

If riled and insatiable rock n roll with a twist of psychotic garage and rockabilly tendencies sounds like the perfect way to ignite your day than Limozine is your answer.

http://www.facebook.com/limozineband

RingMaster 16/11/2012

Copyright RingMaster: MyFreeCopyright