The Creeping Ivies – Ghost World

The  Creeping Ivies

Taking senses and imagination on another psyche ripping helter skelter of raw and sonically sculpted rock ‘n’ roll, Scottish duo The Creeping Ivies unveil their second album Ghost World and prove themselves yet again to be one of the most exciting provocateurs of primal incitement. The new full-length from the band is a riotous seduction of garage punk and naked rock ‘n’ roll with plenty of spices from psychobilly to punk rock. It also sees the band at its most potent and insatiably virulent yet, the release loaded with deliciously caustic and masterfully magnetic, to steal from the title of one of their earlier songs, buzzbombs.

The Creeping Ivies consists of Becca Bomb providing piercing, coarsely sirenesque vocals and raw sonic guitar vivacity and Duncan Destruction who brings heavy thumping, rapaciously intruding beats to the thrilling equation. Their union is a simultaneously primitive and precisely sculpted enslaving of the senses, one which from day one intrigued and wildly enthralled. First release the Rock N Roll Party EP in 2011 stirred up attention and emotions with its synapse searing acidity and voracious rioting, that an ever present trait expanding with greater potency on the following Ghost Train EP and debut album Stay Wild, both in 2012. Inciting audiences just as dramatically with their live performances, which has seen them share a stage with the likes of  Viv Albertine of The Slits and Vic Godard & Subway Sect, the stature of The Creeping Ivies has increased constantly within the underground scene, their sound recalling many influences but undeniably unique to them. Last November the release of the double A-sided single What Would Joey Ramone Do? / Ramona Wolf teased and tempted as the band showed a continuing to evolve invention to their sonic exploits and imagination. It certainly led to the anticipation and expectations of their next album to intensify. The two tracks hinted at the possible magnificence of Ghost World but it is fair to say that its haunting intrusive delights have emerged as a far greater and dangerous triumph than hoped.

The Dundee pair open up the adventure with the album’s title track. Instantly a haunted caress of guitar glances over ears with a caustic kiss coverin tow as well as a rub of riffs and the joining tub thumping beats of Duncan. Immediately enticing in its noir lit breath and grazing ambience, the track pulsates as it worms its way under the skin laying irresistible bait for the entrance of Becca’s vocals. As ever her voice holds a definite Wanda Jackson meets Siouxsie Sioux texture and magnetism to it, intensity in her delivery searing flesh and air as she and the song hit their stride. With an addiction spawning groove and the delicious occasional blaze of harmonica from guest Homesick Aldo, the track takes little time to secure full submission for its tempting whilst showing the evolution in sound and songwriting maturity poised to consume the senses  in hand with the expected sonic feverishness of the band.

The following entangling chords of The Bridge provide an instant variation to the toxicity of the album; its opening fifties bred melodic teasing charming the listener before thrusting sinew packed beats and the wonderfully torrid vocal tones of Bomb into the appealing recipe. The hook which drew the first spark of ardour as the song started continues to vein the stomp whilst a resonating shimmer to the sound engulfs and exhilarates the senses. As with all their songs, the premise is uncomplicated and minimalistic but always thick in presence and invention leading to fully textured and imposing encounters.

The intimidating shadows of The Creeps consumes attention next, their threat and imposing provocation sizeable but defused by an excellent revelry of keys, vocal wails, and the urgent dance of hooks and harmonies. Short, sweet, and irresistible, the song is then put in its appealing place by Love Kills, a brilliant blend of sixties pop, garage punk, and rockabilly energy. Imagine The Shangri-Las and The Cramps in a saucy romantic triangle with Australian band Valentiine and you have the brilliant Love Kills. The track sways and romps with revelry and mischievousness to cast a perfect raw pop song on the passions.

Ramona Wolf just sounds better with each encounter since its single release last November. It’s almost spatial opening ambience paves the way for the vocal seduction of Becca to spread a temptress like devilry, a sonic medusa with a delivery writhing with searing harmonies and enslaving qualities. Musically the song is a repetitive narrative, punchy beats and scalding guitar probing and grazing respectively with singular intent beneath the harsh atmosphere of the tale. It is also quite glorious as is the next up Dream Baby Dream. Providing irrepressible flirting from the sax of Andrew Pattie within its scintillating fifties pop ravaging and punk seeded ravishing, the song stomps over and challenges the senses for another unruly treat, Bo Diddley meets Helen Shapiro at the home of The Trashmen.

Both Trippin’ Out and Haunted High School finger the passions in their individual ways next, the first a heart rapping rampage of jabbing beats and scarring riffs skirting the sinister drama. It is a tale of ghostly enterprise and inescapable rapacious shadows with a heartbeat which resonates through the bone and core of the evocative tale whilst melodic acidity and vocal colouring courts its intent. The excellent fierce smouldering is soon exceeded by What Would Joey Ramone Do?, a song which sculpts a raising of the spirits of Gene Vincent and Lux Interior with that of the song’s namesake. The track provides all you expect and much more, the Cochran/ Poison Ivy Rorschach like mix of guitar sound with the impossible contagious punk stomp of the song an epidemic for the passions.

Arguably the band saves the best till last, though every listen offers a different favourite. Forever Leather fuses sixties girl pop with a raw voracity, the song like the punk infected offspring of The Crystals and The Stooges with a heady dose of Siouxsie menace. It is a scintillating end to an outstanding album. The Creeping Ivies continue to impress as they evolve and push their boundaries, doing so without losing any of the elements which made them an unbridled addiction certainly for us since their early days. Whether their sound will ever find the major spotlight it deserves is impossible to say, such its uniqueness and undiluted rawness, but it will definitely recruit the most passionate and feverish passions from an increasingly growing legion of fans we suggest, it just needs the opportunity to make that infectious strike.

http://thecreepingivies.com/

http://thecreepingivies.bandcamp.com/

10/10

RingMaster 24/03/2014

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Mr. Strange – The Wonderful World Of Weird

Mr. Strange promo

Just to prove that insanity can be the sweetest potent seduction The Wonderful World Of Weird is here to exploit and uncover the darkest secrets of your mind whilst travelling the exotic and dangerous mental halls of its creator Mr. Strange. The former frontman of the UK’s greatest still to be truly discovered musical mutants The Shanklin Freak Show, though he is still healthily involved in the band, Mr. Strange voraciously stalks the senses and emotions with his fourth album. It is a release which soundtracks a bedlam of sound and adventure from a quite maniacal imagination.

The Isle Of Wight hailing songwriter/producer/vocalist/musician began his musical exploration as ‘The Mad DJ’ in 1998 before emerging as Mr. Strange in 2006. He founded circus rock/steampunk band The Shanklin Freak Show in 2003, guiding the band as songwriter and vocalist up until starting an extended break from performing live at the end of 2011. Alongside The Shanklin Freak Show albums including Act II – The Light Fantastic of 2009 and Welcome To The Show of 2011, a few other projects, and producing a couple of albums by Global Citizen, Mr. Strange unleashed his solo musical rapaciousness. Sounds From The Asylum came first to be followed in 2011 by the releases of The Fall and Freakshow, the last a 38 track retrospective album chronicling the songs that he wrote under the Shanklin Freak Show name  which included new, unreleased, and re-recorded or re-mixed tracks. Now the sanity puppeteer steps forward again with the magnificent temptation of The Wonderful World Of Weird, the finest Mr. Strange musical and mental examination yet.

With more flavours than a giant box of Jelly Bellies, the album is a dramatic and exhilarating flight through the darkest yet 555928_584429381594861_1695733989_nmagnetically and vibrantly compelling mind of the fictional character of its creator, employing everything and anything from industrial and steampunk to gothic rock and progressive metal, and that is just scratching the surface. With many of the tracks co-written with Gary ‘Stench’ Mason, The Shanklin Freak Show guitarist and provider of the majority of the guitar invention across the release, the album immediately lures in senses and imagination with the opening spoken narrative leading in the title track. It instantly intrigues as the scene setting premise strolls into the irresistible stomp of the song. Rhythms bounce around with a heavy mischievous gait matched by the electro and bass taunting whilst the guitar casts lines of sonic and melodic bait which is pure infectious toxicity. Best described as Dr. Jekyll meets ICP as early Marilyn Mansion helps Victor Frankenstein create aural life for them to toy with upon a set designed by Willy Wonka, the track is a delicious fascination and the first irresistible hint of the lunacy to come.

Creating the World is an expansion to the landscape previously crafted with a gentle psychedelic ambience washing the dawning scenery. It is a mesmeric, almost meditative soaring of harmonies and guitar elegance with rubs of dub and scratching teasing the riveting flight. The seducing continues right up to the doorway into the Psycho Surfing-A-Go-Go, one of the major pinnacles upon the album. Again as between numerous songs, the narrator lays down an invitation before the surf rock contagion drops its shoulders and swerves through the ear with irrepressible virulence. The grooves enslave the passions within seconds whilst the rhythmic dance only builds a cage for rapture to breed within as fire kissed keys add smouldering lures to the hot and epidemically addictive romp of sonic lava. The song is one of the best heard anywhere this year; a beach party in the mind of Hunter S. Thompson hosted by The Cramps and The Bomboras with Two Wounded Birds, B52s, and The Revillos adding extra entertainment.

From the dark sinister realm of The World’s Dark Heart, Mr. Strange lurks in the steampunk/industrial graced world of Metropolis 2984, a track which equally extends some classic metal and psyche sculpted imagination to its captivating persuasion. There is a swing and energy to the track which infects feet and emotions but equally an underlying dark tone beneath the celestially soaring harmonies which suggest more 1984 than Fritz Lang. Again the album and artist has the listener in a tight grip of pleasure and suasion, though it never slipped from the first breath of the album to be fair, which tightens with firstly Clockwork Man and explodes through Fire. The first of the two stalks the ears with the drama and theatre of a Tim Burton vision sculpted by the melodic ingenuity of Danny Elfman, though it has to be noted that every song despite the references sound like no one but Mr. Strange. This masterful manipulation of the senses and passions is soon left in the shade by its successor, the track another major peak in nothing but highs. The song is the closest to a Shanklin Freak Show tune that the album gets, its sexy tango pulsating mouth-watering foreplay for the beats and funk bred keys to add intoxicating spice to. There is something familiar to the hooks and stomp of the song aside from the earlier comparison, but it is indefinable and wholly galvanic.

Through the noir shadows of Don’t Stay (Where the Dead Ones Lay) with its jazz smooching funk lined temptation and the excellent gothic majesty of White Rabbit, the song reminding of The Damned at times, The Wonderful World Of Weird intensifies its resistance free toxin whilst the electro swing heart of Exile and the psychedelia soaked gothic tempting of Anti-Christ only spark further flames of lustful submission to the call of the release and its psychotic beauty. Every song is a wanton temptress in whatever guise and sonic clothing they frequent, and though admittedly hopes and expectations were of big things from Mr. Strange on past successes, the album left those assumptions insultingly short of the brilliant reality.

Completed by the classically crafted Journeys End, an enchanting epilogue if not to the levels of what came before, The Wonderful World Of Weird is pure certifiable aural manna. The CD version also has a track exclusive to its version, a very enjoyable cover of the Dr. Steel track We Decide. The able shows that there is only one Mr. Strange and his form of weird, one you can charter a sensational cruise through via our favourite album of the year, The Wonderful World Of Weird, that is if you are brave or eccentric enough.

http://www.mrstrangemedia.com/

10/10

RingMaster 28/11/2013

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The Creeping Ivies – What Would Joey Ramone Do? /Ramona Wolf

The Creeping Ivies

Continuing to provide a raw pleasure and sound which no-one else seems able to come near, Scottish garage rockers The Creeping Ivies unleash their next seductive persuasion with the double-A-sided single What Would Joey Ramone Do?/Ramona Wolf. The duo from Dundee of vocalist/guitarist Becca Bomb and drummer Duncan Destruction create a brew seeded in fifties rock ‘n’ roll, sixties garage rock, and seventies punk which they force through a scuzz lined filter of noise rock to make one of the most challenging and refreshing encounters around. This alchemy has already recruited a legion of ardour driven fans through the Ghost Train EP and debut album Stay Wild, and with the ever evolving sound and potency found on the new single The Creeping Ivies has set another deliciously scarring marker and plateau for themselves to erupt from.

What Would Joey Ramone Do? is an irresistible conjuration of Gene Vincent, The Ramones, and The Cramps with Becca a2278793946_2producing her finest Wanda Jackson strength and charm. Her guitar strokes equally spark an always eager appetite for the band into the usual hungry reaction, a want increased by her raw Cochran/ Poison Ivy Rorschach like guitar sound which rubs the senses and emotions into a delirious expulsion of emotions whilst the crisp thumping beats of Duncan lead the body into a kinetic dance. The groove of the song is out of the Road To Ruin songbook but with its caustic kisses and sonic intrusiveness it is a temptation unique to the pair.

Second song Ramona Wolf emerges from a sonic lure, its beckoning leading the ears into a glorious wall of acidic riffs, even paced punchy rhythms, and a cavernous atmosphere speared by an intermittent senses scrubbing causticity of guitar. The vocals of Becca ride the sound with the skill and toxicity of a temptress, a sorceress like enchantment washing every syllable expelled through the chilled ambience of the song. The encounter is a bewitching soundtrack to the sirenesque call of a devil witch from outer space, well the narrative to another ridiculously addictive song from The Creeping Ivies but that is pretty much the same thing right?

The Creeping Ivies just get better and better as What Would Joey Ramone Do? and Ramona Wolf both show and with the band’s second album Ghost World expected early next year anticipation and excitement are already showing some impatience in the wait.

http://thecreepingivies.com/

10/10

RingMaster 14/11/2013

Copyright RingMaster: MyFreeCopyright

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The Howling Bullets – Ghoul County

photo: Lily Lemonpie

photo: Lily Lemonpie

With a blood thirst to their invention and predatory stench to their sounds, Canadian horror rock band The Howling Bullets return with new EP Ghoul County to resume their preying on the psyche. Following their excellent From The Public Domain EP of 2012, the new six track stalking is a ravenous expanse of horror rock, psychobilly, and country punk unleashed in diverse permutations and uncompromising passion.

Hailing from the darkest corners of Toronto, The Howling Bullets came together around 2011, DanO Villano and Jordan Sane coming together a little earlier to write and expand on songs the former had already been working on. Soon a full band The Public Domain EP brought the band to closer attention beyond their strong local reputation including an internet presence which brought them to hunger of shows like The Bone Orchard at www.audioburger.com. A line-up change brought in guitarist Seanbelly Sewell alongside the dual attack of vocalists and bassists Sane and Villano later that year with Alvin Lapp joining on drums. Shows and festival appearances alongside the likes of Christian D and the Hangovers, Owen Mays, Bloodshot Bill, The Brains, Koffin Kats, The House Of Haunt and many more, only enhanced their stature and the appetite for their fiery horror bred sounds. April of this year saw the current line-up in place with Elena Red taking control of the rhythms with her stick mystique and now September 27th sees the next instalment of The Howling Bullets bloody alchemy set loose.

The EP growls into view with Ghoul County Limits, a carnivorous bass riff drawing in the equally rapacious guitars and rhythmic lashing 1291623_10153251806110361_950545741_nof Red. A hunger driven intensity and stroll to the song provides an unrelenting temptation which is raised further by the great vocals, the two frontman trading verses, and the melodic flames which flare up across the contagious charge. Like a meat clad bone before a hound the horror punk introduction to the release is potent bait, its equally delicious psychobilly tonic only increasing its lure and grip on awakening passions.

The addiction causing start is followed by Zombie Bat, a rampage which takes its lead from its predecessor in showing no thoughts of restraint in the riffs and rhythmic enticement. In its gait and invention the song twists, turns, and stops at a whim to show immediate diversity whilst keeping the senses and appetite greedily attentive and wrapped in unpredictable seduction. There is a familiarity to the swagger and tone of the song it has to be said, and though saying Misfits is too easy but certainly there is a sense of that flavour of horror rock at mischievous play.

Cold Cold Skin shimmers from its opening breath with a sonic guitar mist which rains down on the emerging prowl and intimidation of the song whilst caressing the imagination. There is a Samhain growl and menace to the song from the start which only ignites greater rapture for the already impressive release. Equipped with blues fumes and an uncompromising snarl, the slowly stomping burn of the track traps the passions with a blaze of guitar blues excellence in the midst of the predacious smothering of the senses, the result a seizure of the passions from the persuasive offering.

The heat is turned up with the scintillating instrumental The Djinn, a middle Eastern surf rock blaze of grumbling rhythms and tight acidic enterprise coaxed and goaded by the ever riveting dual bass attack. Wrapped in chilling mystique and dangerous melodic enchantment the piece of music is another irresistible magnet making the perfect appetiser for the best track on Ghoul County, the ravenous New Age Hex. Adrenaline fuelled with a certain punk rabidity to its Cramps like gnawing of the psyche, the track is as virulently infectious as it is skilfully intimidating, and over far too soon for these greedy passions. Impossible for feet and voice not to join in its devilry, the song lands enjoyably somewhere between Guana Batz and King Kurt in sound and as mentioned The Cramps in its rawer lining of epidemic suasion.

The closing That Hellbound Train enters into the realm of country rock for its ghostly tale of a railroad haunting. Now country music for us is as welcome as an octogenarian stripper but with its more of an outlaw cowpunk spicing and excellent guitar work it is a very pleasing finale to an excellent release, even if not quite igniting the fires inside of other songs on the EP.

For prime rockabilly/horror rock with a multifarious depth of flavours and imagination, The Howling Bullets has crafted one of the true exciting dangerous adventures, but are you brave enough to enter Ghoul County .

http://www.thehowlingbullets.com/

9/10

RingMaster 26/09/2013

Copyright RingMaster: MyFreeCopyright

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TeribalAnamal – Anamala

pic Taylor Trash

pic Taylor Trash

Steeped in and seeded from the early minimalistic days of post punk and new wave adventure, Anamala the debut EP from US band TeribalAnamal, is a rather tasty introduction to a band well worth keeping a close eye upon. Containing six uncluttered but resourcefully sculpted songs, the release is a tantalising provocateur which is simultaneously nostalgic and fresh to the ear, and one you find yourself drawn back to time and time again.

Formed around a year ago from the meeting of Stephanie ( guitar/vocals), Chalky (drums), and Ryan (bass/vocals), the Brooklyn band has swiftly built a fine reputation around NYC finding potent success and responses across the likes of the Trash Bar, Delancey, and Fontana’s Bar with their intensive gigging regime. Their sound is influenced by bands such as Siouxsie and The Banshees, The Cure, The Pixies, Joy Division, New Order, Sonic Youth, Teenage Jesus & the Jerks, The Cramps and more, which gives you a good hint of what to expect with Anamala, though it does not reveal all of its potency.

The deliciously throaty sound of the bass welcomes the ear first as Ice starts things off to soon be pierced by the howling vocal call of 74262-AnamalaStephanie. With the bass continuing to seduce the senses and thoughts whilst the guitar lays down a slightly caustic web, a Joy Division like haze invitingly wraps the ear whilst the vocals of Ryan add to the sinister embrace with his reservedly expressive tones. Not for what will be not the first time on the EP, the bass suggests Gang Of Four inspirations whilst the melodically hinting guitar makes loud suggestions of The Pixies. It is a richly persuasive opener sparking real appetite for what is to follow.

Mourning Dove also makes an irresistible entrance, a Bauhaus suggestiveness inciting the air before a rhythmic prowl which incessantly probes the senses seizes control of song and thoughts. Rhythmically and sonically the track reminds of Alien Sex Fiend also, though the vocals and guitar enterprise takes it to another unique persuasion. Though the guitar ‘solo’ is too sparse to flow fluidly it still adds extra incitement and pleasure to what is already an easy to devour slice of punk infested magnetism.

The next up Turkey is a fuller song with arguably more colours within its walls compared to its predecessors. It is an indie fuelled piece of songwriting and sound which shows the band can stretch their post punk into stronger diversity whilst still permeating it with hypnotic beats and virulent hooks, though it does seem a little pale in comparison to the previous track and its successor Garuda. The EP is one of those releases which could turn you into a rhythms whore, this track returning the release to another engagement rife with epidemically addictive drum bait and solicitously persistent bass bewitchment, though the two here are split by a wonderful almost elegant kiss of guitar. The Cure come to mind as the song settles into stride though again TeribalAnamal create something distinctive to their invigorating imagination. The song as much as it reminds of the band mentioned and whispers at others also has a sound bred of today; though as post punk seems to be a rich enticement to numerous emerging bands the whole release to be fair finds a current flavour. The only niggle with the track is that it seems to finish before being ready, not a sudden stop but feeling like it has had enough and wants to move on to its next invention.

That also applies with Ravenous though neither song suffers in the slightest. The track is a more concentrated almost predatory prowl of the ear, drums more restrained in its allurement but bass bringing a closet predation to its stalk. The dual vocals is beguiling in their still drone seeded delivery whilst the guitar skirts their call with exciting sonic flames, again with a rein on their full heat. It is another high even if it decides to go before we are ready to let it.

Flamingos closes off Anamala in fine style, a garage punk intensity and intent scrubbing across the ear as the song builds an anthemic lure which is impossible to refuse. It concludes an impressive introduction to a band with a wealth of promise which makes it hard to see them not forging a noticeable mark in sound and presence ahead. Already suggesting they alone have their creative sights on grander things post punk just might be making an even more dramatic comeback, fingers crossed.

www.facebook.com/teribalanamal

8.5/10

RingMaster 06/09/2013

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Dick Venom & The Terrortones – Invasion Of The Spiderqueen / Planet Of The Honeyfuzz

DV

Everything about the new 7” three track single from UK psyche rock ‘n’ rollers Dick Venom & The Terrortones is irresistible. From the outstanding and deliciously alluring packaging right through to the insatiable and rapaciously mischievous sounds the release is an exhilarating riot of sex brewed blood lusting rock, a fusion of psychobilly, garage rock, and old school rock ‘n’ roll which recruits every atom and emotion possible into its carnal devilry.

    Dick Venom and co first grabbed our attention with The RockinRollin VampireMan EP last year, the release consisting of a trio of wantonness clad songs reinforcing the strong reputation and presence of the band which had been earned through three years of live show revelry, their appearances capturing the primal needs of a fervour fuelled fan base. As well as their own headlining gigs the band has toured the UK with the likes of The Meteors, Bad For Lazarus, Demented Are Go, The Radiacs, Vince Ray & The Boneshakers, and Vince Ripper (ex-Alien Sex Fiend), continuing to increase their fingerprint of mischief on UK rock. The new release sees the line-up of frontman Dick Venom, bassist Wrex St.Clair, guitarist Hurricane Valley, and drummer Sugarbeats opening doors to even more potent rascality with creative and body fluids heating up the band’s unique depravity under the mask of sci-fi schlock ’n’ roll.

    Invasion Of The Spiderqueen opens up the release with a swagger of off kilter harmonies which herald in the arrival of the man before spiderqueen_coverbass and guitars unlock the key of greater pleasure with eager and raw caresses. Soon joined by the distinctive tones of Mr Venom, his colour soaked narrative of outer space glamour seizing greedy attention, the track swaggers with pungent riffs and rolling rhythms taking the senses and thoughts on a heady ride. Tight hooks spear the passions throughout, their breath familiar yet fresh, whilst the core groove is the master of addiction aided by the throaty bass and continually riveting delivery of Venom. Holding an air of The Cramps and Screaming Lord Sutch to its voice and Batmobile to its sound, the song is a thrilling encounter to start things off, thoughts and imagination taking off their space helmets to stand side by side with the band on a strange temptress of an adventure.

The following Planet Of The Honeyfuzz strolls up to the ear with the bass laying down its deep toned lure as twisting twine of sonic guitar wrap acidically around the brewing picture. A psychedelic whisper and garage rock taunt brings vibrant hues to the emerging episode, celestial bodies again explored and provoked as band and song flex their riveting enterprise and instinctive misbehaviour. As the track fingers the passions and musical potency with a kind of Revillos meets The Ramones and The Doors like trickery and Slade like rowdiness, full submission to the release is cemented though there was never any chance of another outcome from the first few minutes of the opener.

The release is completed by Doodlebug Blitz, a tempered dance of psychotic joy which stomps around with an ever increasing melodic and rhythmic chicanery. The track holds its rabidity and energy in for the main of the song, its reins tight on the openly vampish heart of song and band though at times allowing it moments to send luscious weaves of trashy irreverence into the aroused passions.

With the single wrapped in the stunning artwork of Catherine O’Connor, and the enclosed 8 page comic book, quite simply Dick Venom & The Terrortones has never sounded so good. The loud suggestion that the band was one to help shape the future of UK psychotic rock was already in play from their earlier release but now Invasion Of The Spiderqueen/ Planet Of The Honeyfuzz declares the band as not only certainties but also without competition the twisted sex laded psychos all your mothers warned you of.

 Invasion Of The Spiderqueen /Planet Of The Honeyfuzz is released on Sept 9th

www.dickvenom.com

https://www.facebook.com/DickVenomandtheTerrortones

9/10

RingMaster 23/08/2013

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Frau Pouch – All Hail Space Chicken EP

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When we were first introduced to UK post punk meddlers Frau Pouch via their excellent split release with fellow Medway band Houdini, we called them ‘the bastard evil offspring  of an illicit intrusion between The Fall and The Victorian English Gentlemens Club with some fingering from The Cramps and Turbogeist.’ Their new EP, All Hail Space Chicken or it seems also just called the Space Chicken EP, shows that that description does not truly frame their distinctive sound so now we declare the trio to be the bastard evil offspring of a mutated alliance between The Fall, Swell Maps, and The Mekons with The Victorian English Gentlemens Club and The Cramps not forgetting Gang Of Four adding their dirty little digits into the mix.

The All Hail Space Chicken EP and band will not be for everyone but if those references mentioned play with your curiosity than Frau Pouch will tease out a lifelong passion for their unique presence. Consisting of Joe Wise (guitar/vocals), Ollie Crook (bass), and Suzanne Freeman (drums), the band has continued to impress and garner a fervent fanbase through their live performances around the middle of England spreading outward but the new release places them into another spotlight of individuality which deserves to find a corner in every punk and post punk lovers psyche.

Recorded and produced by Ben Sammon alongside the band, the release soon sets free its six track psychotic dance upon the ear with opener Krakthulhu. Immediately a carnivorous bass temptress snarls at the senses with delicious rabidity in its breath whilst beats punch the ear into shape ready for the expressively quarrelsome vocals and discord scowling riffs of Wise to play within. There is a Mark E. Smith lilt to his delivery at times which only adds to the drama of the attack whilst musically the song rampages with rhythms clamping their jaws tight and a raucous sonic distrust firing an encounter which is vintage like in flavour but equally driven by current day antagonism.

The production is as caustically raw as the sound and though it at first makes you stop and assess its merits certainly against previous releases with doubt, it does compliment the brashness of the release ultimately and the great start soon expanded by the gnarly presence of Podling Party. Again the bass of Crook is irresistible, it’s growling belligerence a mighty weapon in the sound and a defences splitting barb for the passions as it forms an irrepressible spine for the guitar to throw its acrid waltz around. That Swell Maps feel is ripe here whilst at times a further Nikki Sudden hint breaks through.

Both Don and Idiocracy reap the seeds set by the earlier songs to ignite even greater rapture for their disorientating infection, the first a rhythmic donkey punch on the ear leaving an unprotected canvas for its bruising grazes of sonic caressing and the concussive consumption from Freeman to defile the senses. It is another welcome riling but everything before is left in the shade of its successor. With a certain Gang Of Four bass framework being crafted from the off and the guitar of Wise adding a flesh which also recalls the Leeds post punk giants whether intentionally or by chance, the song is the biggest highlight of the release, the track marking Frau Pouch further as one of the brightest sparks in emerging music whilst emphasising the evolution in imagination and songwriting which is grips the release. There is also a very early Killing Joke call to the track which only adds to the incendiary power of the song and its carnally propelled stroll.

The track Space Chicken lurches its quick step of bedlamic energy and psychotic dance next, guitars and bass a scurrilous blur of riffs and movement across the drum puncturing punk plain of the song. The Fall in its heart and Joy Division in its unhinged mentality, the track is another limb disjointing joy which even Ian Curtis would find dancing to problematic.

The closing predatory Aqueducts provides the perfect uncompromising wiry and discomfort forging challenge to end and sum up this fine release. The track simply sweeps you away in its accomplished and technically sculpted hypnotic whirl leaving only sheer unbridled pleasure and hunger for more behind. With only the production to bear a little with as slight labour, Chicken Space EP is a post punk/noise rock treat and one genre fans ignore at their loss.

https://www.facebook.com/FrauPouch

8.5/10

RingMaster 29/07/2013

Copyright RingMaster: MyFreeCopyright

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The Dropper’s Neck – Second Coming

The Droppers Neck Online Promo shot

UK psyche rockers The Dropper’s Neck has been lurking in our passions ever since their richly promising attention grabbing debut EP early last year. It was a release which suggested this was a band with a dramatic presence pending in the future. Their first album Second Coming now not only confirms this but takes that assumed potent emerging stance into areas maybe not anticipated but greedily welcomed. There have been numerous comparisons placed on the band and their sound too, but though agreeing with most whilst listening to the new release the only description applicable is that The Dropper’s Neck is the mutant hybrid of Eighties Matchbox B-Line Disaster and Engerica. There are numerous other spices rife within the concoction brewed for sure but there is no escaping this pair at any point on the release. It is the only thing stopping the release sealing full marks for itself, the possibly too close for comfort likeness to that pair of references but such an exciting and innovatively brought familiarity it is, quite simply Second Coming is one of the real triumphs of the year.

Hailing from Essex and formed in 2011, the quintet of vocalist Lloyd Mathews, guitarists Chris Blake and George Barrows, bassist Jack Turner, and drummer Danny Keene, soon snarled at and ignited the local scene and began building a vigorously loyal fanbase through their unforgettable and predatory live performances. The previously mentioned EP announced them as an emerging danger and temptation to the wider country but Second Coming is the consumption which will devour all hearts and devotion given the opportunity. A stirring mix of garage punk, alternative rock, and dark carnal sounds, their sound crawls over and infests the senses like a virulent scourge but one which awakens all the forgotten wantonness and hunger of rock ‘n’ roll.

Recorded with esteemed producer Paul Tipler (Placebo, Idlewild & Eighties Matchbox B-Line Disaster), Second Coming begins its The Droppers Neck Cover Artworkrapacious touch within the opening seconds of the title track, the first song on the album taunting with raw scuzz lined riffs before equally teasing rhythms add their touch. Into its stride the track is a scorching rampage through the ear, one which scrubs and boils every inch of internal flesh with its sonic fire and temptress groove. The vocals of Mathews bring a great mix of delivery, all drenched in an expression and passion which comes over like the call of a part desperate and part belligerent provocateur. It is a very Guy McKnight like sound he has with more than a nod to David Gardner of Engerica it has to be said, though pure coincidence you would guess, but one which only leads the songs into further delicious misdemeanours.

From the strong start things just accelerate into rapture with the first single from the album, Darker Waters. The guitars exchange their distinct swiping tones at first before the cantankerous bass of Turner joins in with a dark hearted prowl and the beats of Keene snap and barge the ear with contempt. With all uniting their league of menace together, the song adds insatiable grooves and barbed hooks to corrupt and capture the imagination whilst Mathews again is the ringleader with his almost carnival barker like lure. It is a brilliant song which pokes and incites limbs, thoughts, and passions to climb on board the shadow crafted ride, to immerse in its sinister and delicious pervading toxicity.

The follow pair of Abrasive and Three Little Pigs refuses to let the rich temptation waiver either, the first track a brawling punk tempest of squalling sounds and guitar bred melodic heat caged in another mesmeric rhythmic web. As dark and foreboding as it is ungraciously addictive, the track sears the senses into eager capitulation ready for its successor and another major pinnacle on the album. With a spine tingling groove made of pure magnetism and a psychobilly tone across the niggling gait, the song is a lethal enticement which secures eternal submission to its glory.

The following I Am The Law, is like a homage to Eighties Matchbox B-Line Disaster, the band getting as close as they dare to one of UK’s debatably underpraised former giants, the vocal groupings and dark crooning as well as the repetitiously tempting groove and torrential rhythmic demanding aural handcuffs for the heart. Its majesty is replicated by the psychotic Sir Sibilance in another chaotic blaze of invention and psych engineered imagination. With more twists and deceit than a geriatric pole dancer, the devilish maelstrom is an exhausting and scintillating masterpiece.

When the two weakest tracks on the album which turn up next, Second Coming Pt. 2 and My Lime Tree are best described as riveting incitements of tyrannical and hypnotic rhythms amongst washes of caustic noise and heavy shadows of lyrical and musical irreverence honed into bruising bone shaking mentally charring slices of creative ferocity, you understand how impressive and unmissable this album is. As the closing intensive darkly sculpted passionate furnace Save Me From Myself with its ominous breath and scarring touch providing a final doomy wrap of powerful drama, escape from the clawed clutch of band, album, and lingering sounds is impossible and primal hunger for more incorruptible.

     Second Coming is magnificent and The Dropper’s Neck carrying on the charnel seeded legacy of The Cramps in their own almost wholly unique way. Brilliant stuff!

www.facebook.com/Thedroppersneck

9.5/10

RingMaster 29/07/2013

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The Rattlin’ Doors – In A Tree House

Rattlin Bones pic

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 582219_193591974104886_1351463910_nstrumming 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 1st, 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

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Swampstomper – Dirty Black Boots

swampstomper pic

The beginnings of Swampstomper according to the bio came about as vocalist and guitarist Paul ‘Wildheart’ Brightmann submitted and had his song Subtract and Divide placed last October on the excellent compilation album ME4, a release made up of the best artists bursting out from the Medway area of the UK. Building on that with the intent of taking his songs live, he next recruited guitarist Jason Spencer and bassist Kevin Hutchins to be followed by drummer Drew Gilby. The next six weeks brought the same number of songs in tow and the band immediately grabbing attention as they unleashed their unique rock and punk fusion to a rapidly growing fan base, from which point they have not looked back. Dirty Black Boots is their latest song, a demo track which alone makes all the persuasion needed to keep the band on tight radar.

The Chatham quartet also bring a strong whisper of psychobilly and garage punk to their almost intimidating sound, its menacing breath and hunger inescapable within the uncomplicated yet defined individuality. Dirty Black Boots is the perfect introduction to their shadowed invention, a song seeded in old school UK punk but with The Cramps like rawness which leaves thoughts and emotions on full and eager alert.

Footsteps lead the ear into the song, their tone or appeal nothing out of the ordinary but a temptation too strong to resist. Their lure lands the ear in the arms of thumping beats and coarse riffs, their embrace familiar yet new and seeded in a flavour you could imagine from a band such as Vibrators or 999. It is with the delicious irresistible hooked bass stroll of Hutchins though that the song truly comes alight, the guitars raising their presence to join in league with its dark voice and also that of Brightmann’s dark, gruff compelling style, the elevated intent shaping the track into an even more addictive beast. Now into its stride, the song is a blaze of wanton temptation and irrepressible hooks, as well as offering a groove through the verses which winds the passions around its feisty spine.

A song impossible to resist the infection of and very easy to add your own personal vocal assistance to, Dirty Black Boots leaves only one option in its tow, well two, firstly to play it again…and again, and secondly to place Swampstomper in full line of vision from here on in. Great song from a band who you can only suspect will have the fullest and brightest horizon.

http://www.swampstomper.co.uk

https://www.facebook.com/SwampStomping

8.5/10

RingMaster 08/05/2013

 

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