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 10th 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

Silas: World Of Colour

Though aware of Silas, it is fair to say they had not made a major impression with the two or so songs we had heard of theirs, primarily because of numerous distractions at the time stopping a proper assessment of the band. Aware of the growing buzz surrounding them all the same, it was when approached by Tom Ross from the UK quintet that we had the reminder and proper opportunity to get to grips with the band through the chance of reviewing their new EP World Of Colour. All that can be said is that we have been missing out if their previous release and songs were as impressive as this new six track gem. It is a powerful and captivating release of tracks which reap the essential essences of many genres to breed a distinct and inspiring sound. As thunderous and aggressive as a landslide whilst as warm and irresistibly engaging as a smouldering fire, the release is an immense storm of pleasure.

Consisting of the aforementioned Tom Ross (guitar/drums backing vocals), and twin brother Mike (guitar/drums/backing vocals), alongside Dave Runham (vocals), and Matt Drumm (bass guitar), the band has been making steady progress since its formation in 2008. Their To The Ground EP the following year drew strong positive responses the way of the band and was followed by an acclaimed performance at the Bloodstock Open Air festival in 2010 and airplay on the Friday Night Rock Show presented by Bruce Dickinson. Renowned for their impacting live shows, Silas now unleash an EP which stands as one of the most ferocious and enterprising releases this year in the UK, a record which just gets better and better with each and every listen.

Starting with the senses rifling Cause And Effect, the release rages a riot of metal intensity and brutality alongside irrepressible hard rock grooves and plenty more unexpected but greedily welcomed additives such as progressive and funk rock. The opener snarls within the ear from the off, hungry raptorial riffs chewing at the senses to get the juices flowing. Things take a small step back in intensity to allow the vocals of Runham to step forward side by side with the prowling lines of Drumm. It is a kind of respite though not without its own passion and might which accentuates the melodic craft and invention of the song. Arguably the track does not offer the depth of imagination as the other songs on the release but for a strong and enterprising beginning it is a formidable encounter.

The following Set To Fail is a less forceful but even greater proposition, the track strolling through hard rock and Pearl Jam like emotive invention, whilst engaging just as powerfully. Spined by a magnetic groove which twists around the senses squeezing tighter and tighter as the track progresses, it is an expressive and thrilling expanse of sound. There is a great unpredictability to the song, the band interspersing slower melodic caresses and vigorous metal grinding with seamless fluidity, and with the intrusive and synapse threatening climax driven by the sonic mischief of the guitars, there is nothing less than rapture left in its wake.

What We See and Journey To The End both continue the attention gripping diversity and adrenaline soaked onslaught. The first is a furnace of caustic breath and incendiary riffs veined with precise and dazzling sonic skill, the blues jazz gait of the solo alone a flame which captures emotions and ardour amongst the Bloodsimple like metallic tempest. The second is more predatory; the corrosive seizure of the senses from riffs and squalling vocals framed by combative rhythms, an unholy abrasion which rages like a mix of Devildriver and Life Of Agony with a just as eclectic fury of sounds within the towering sonic storm. It is a titanic track which again is unpredictable in its course and deeply rewarding.

The infectious engagement of Art Of The Cure swaggers in next, its jazz funk swing and deliciously teasing bass fused into the spiralling energy and rising metallic crescendos which switch and dance with the melodic party in full force. The track smoulders with catchy hooks and insatiable mischief like a Faith No More/ Karnivool exploration fuelled by a progressive metal heart which ensures by its end one is breathless and basking in pleasure. From vocals to bass, and guitars to drums, the skill and imagination is faultless and only inspires one to bask in more of the glory.

The closing Negative One continues in the vein of Art Of The Cure, the funky gait in full flow within the claws of the again Bloodsimple spiced ferocity. The song is sensational, evolving and twisting throughout its presence with especially the waspish groove a real joy within the magnificence unleashed. It is hard to pick a favourite but the final slab of excellence makes a strong shout.

World Of Colour is exceptional, its carnage and melodic persuasion a contagion which will never expire. The recommendation is go and check out Silas right now whilst we go and kick ourselves for missing out till now.

https://www.facebook.com/silasbanduk

RingMaster 21/11/2012

Copyright RingMaster: MyFreeCopyright