Trioxin Cherry – Let’s Take Off And Nuke The Site From Space

TC Photo by Holly Monroe

The excellent Hell To Pay EP in 2012 more than suggested that its creators had the potential to make a big mark on the UK punk scene but Trioxin Cherry go far beyond making a mere potent impression with their debut album, unleashing one of the real treats of the year so far. Let’s Take Off And Nuke The Site From Space is a virulent contagion of rock ‘n’ roll, a brew of garage and horror punk which sculpts its own identity whilst insatiably working on senses and passions. Carrying hooks like a gunslinger and grooves like a nocturnal temptress, the release is punk at its riotous inventive best.

The Nottingham bred trio as mentioned made their first sizeable impression with their Hell To Pay EP, a raw and magnetic five track release which stirred up eager attention and support for the line-up of guitarist/vocalist Rebecca Campbell, bassist/vocalist Pete Grady, and Ryan Murphy on drums. Their two song contribution to the Chainsaw Ballads split with Thirteen Shots and Razing Hell only cemented their promise and an eager appetite for their presence and sound. The releases certainly hinted at the possibility of big things ahead from the band but may be not to the extent offered by Let’s Take Off And Nuke The Site From Space or certainly as soon as its release. Since the recording of the album Murphy has departed the band to be replaced by Nathan Hart but he has left being part of a massive breakthrough and step for Trioxin Cherry.

The raw energy and intent of the previous releases has been retained in the new album but honed into a concentrated and clear proposition TC cover which simply ignites ears through to passions from first track to last. After a Japanese spoken intro, opener Baka Manko thrills and catches the imagination by surprise. Also sung in the oriental language, the song bursts into view like a robust caped crusader, muscles flexing and energy brewing for a riot. Riffs stride purposefully and rhythms stomp with crisp sinews but not for the last time it is the bass adding the danger to the character of the song. It has a grizzled throat to its prowl, a gnarly air which is infectiously toxic alongside the similarly virulent riffs and soon to charge vocal declarations. As to what the song is about who knows, but it matters not as the romp is irresistible and an open call to feet and imagination to climb on board with the awaiting rampage.

The brilliant Fly, Bill Murray! steps up next, riding on a rigid spine of grooves from bass and guitar punctured by again firm rhythms. It is a composed yet hungry stroll of rock with nostrils flaring in its intensity and inventive chorus. The song sees the band just as keen to twists vocals and harmonies as they are their sound, but never taking its foot off of its anthemic potency as it roars and badgers as a fiery climax comes into view before making way for the equally voracious Psycho Killer. Campbell takes little time to unleash a masterful howl as the new track establishes a predacious stalking of the senses, guitars climbing over ears with hungry riffs as the bass again bringing a bestial growl to the scenery. Caged by a similarly intimidating stroke from the drums, the song crowds and pressures the senses until submission is inevitable, wiry hooks and that grizzled bass temptation only adding to the addictive lure with Campbell’s vocals the icing on the bloody cake.

It is a massive start to the album which only builds and seduces the further you go, Good Day To Die the next triumph in line to steal the passions. Campbell brings her Fay Fife like tones out for the song, backed by some great vocal shadows from the band. The track is a real predator, lurching and glaring with withering riffs beside antagonistic rhythms, but it is the glorious twisted surf rock toxicity of the emerging groove which is the most venomous and scintillating temptation and helps send the track to the top of the pile.

Both the melodically sinister Wrong Turn and Let’s Take Off continue the slavery of thoughts and emotions, the first a blaze of discord kissed sonics and pacey beats lorded over by the ever fine tones of Campbell and plays like the result of a demonic act between The Rezillos and The Duel. The second of the pair launches from another deliciously primal bass sound, guitars soon replicating its lure in their own colours. The song swings and saunters belligerently as it gives the kiss of death to the world below, adding its rapacious stomp to the dust.

A reworked version of the acclaimed title track from the band’s EP comes next, Hell To Pay crafted into an even stronger and irresistible enticement than before. Cored by a sultry groove which worms under the skin within seconds, the bass again providing its own addictive dark poison, the song manages to brew richer hues and darker corners to it’s just as epidemically contagious incitement, a success matched by another revisit to a track from the previous release, Hit Me. This track again develops new toxins and depths to its original premise but also an even greater aggression to its defiant spite and avenging intrigue. With another groove which simply winds so tight around the passions that lust bleeds from pores, the track is quite magnificent and with the previously mentioned song makes the atmosphere tough for the song splitting the two to contend with. Not that the old school punk bred Ratbiter notices as it rampages with relish, riffs and rhythms abrasing with contentious brawls and badgering as ridiculously catchy hooks and another bass exploit provide something more to drool over. It is the storming chorus though that clinches the deal, its venom and enterprise sensational.

You Belong To Me is the most adventurous song on the release but also pleasing ‘messy’. Like a fog of intense sonic squalls and thickly clouded aural animosity, the song is the soundtrack to hell, a caustic hymn to the outbreak of ravenous cemeteries and waiting devastation. It’s a noisy maelstrom which works a treat and shows more of the adventure of the band and further hints of how strong the band is yet going to become.

The album is completed by the excellent Rebellion, a storming ode to the renowned UK festival. Starting with an acoustic caress of Campbell and guitar, the track explodes into one last stomp of punk rock. It is the perfect anthem to close the release, like a mix of Holly and the Italians and Flogging Molly. Do remember to hang on after its conclusion too, as a great acoustic version of the same track is hiding in the silence.

Let’s Take Off And Nuke The Site From Space is a massive festival of punk rock, multi-flavoured and diversely sculpted and proving that punk is always an essential proposition and Trioxin Cherry one of its new masters.

Let’s Take Off And Nuke The Site From Space is now available on STP Records ( and @


RingMaster 29/04/2014

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Mars Red Sky – Stranded In Arcadia

mars red sky

When the worst you can say about a release is that some of its tracks are merely outstanding it is fair to assume you are in the presence of something special, as in Stranded In Arcadia, the new album from French band Mars Red Sky. The release is a glorious mesmeric adventure casting smouldering and melodically sultry landscapes brewed from stoner and psychedelic rock/pop with a healthy breed of doom seeded shadow to its depths. Even that description does not exactly colour the enthralling and spellbinding encounter, the eight tracks an immersion casting more evocative hues than a hazy summer sunset.

Consisting of vocalist/guitarist Julien Pras, bassist Jimmy Kinast, and drummer Matgaz, Mars Red Sky made their first acclaimed impact with their self-titled album in 2011. It put the band in a certain spotlight which led them to share stages with the likes of Kyuss Lives!, Dinosaur Jr, and Sleep around Europe and light up numerous festivals such as Eurockéennes de Belfort, Roadburn, SXSW, and Desertfests in London and Berlin. A spilt release in 2012 with Year Of No Light only added to their swiftly accelerating rise, an ascent cemented by their Be My Guide EP last year as well as a tour across Europe and shows in Latin America. Stranded In Arcadia though makes all that seem like mere appetisers for its glorious unveiling and If the band was busy and renowned before its release it can expect a tsunami of attention from now on.

A lone guitar caresses ears first, its distant presence an instant coaxing leading towards a senses plundering leviathan built by the bass and mars red sky coverheavy slow rhythms. It is an imposing proposition but one soon tempered by the soaring vocals harmonies which paint the song’s sky. The Light Beyond provides an enthralling start to the album, intrigue and sonic mystique enveloping the imagination whilst the drums conjure rhythms with invention and adventure. The voice of Pras brings another smouldering texture to the developing scenery, his smooth flowing syllables sparking fiery guitar enterprise amid greater intensity as the weight of the track bears sizeably down around the stalking bass predation within the constantly evolving terrain of the song.

It is a bewitching proposition challenging and seducing with skill and dramatic poise and swiftly matched in stature by Hovering Satellites. An immediately more rapacious encounter in riffs and intent, the song stomps with a voracious energy aligned to an infectious festivity. It leads the listener into dark intimidating avenues but with a vivacious smile to its melodies, vocals, and atmosphere which shields from the dark realms of the premise. It is a thrilling encounter but soon left looking paler by the following Holy Mondays. It is sheer majesty straight from its opening jazz lent guitar temptation courted by lean rhythms and percussive coaxing. The sultry but subdued start is soon strolling boldly with contagious riffs and an addictive groove before levelling out its gait for a warm caress of vocals and psyche driven guitar. It is a mesmeric treat but still waiting to unleash its strongest lure, a sirenesque chorus of psychedelic pop with glam rock essences swinging their hips within its compelling flame. More anthemic than a gun to the head, the song becomes a virulence which is inescapable, a lingering seducing which has you smiling broadly as you anticipate its return as a slower beauteous fire plays with the imagination. That stomp does leave another dose of aural manna, seizing even greater control of feet and passions to shape another plateau for the album.

The dark almost antagonistic entrance of Join the Race pushes the diversity and walls of the album further still, its slightly funereal gait retaining a small swagger to its devilment as vocals and melodies tease its stubbornness. To the united contrasts the band weaves expressive designs to embrace and lace thoughts, leading the imagination into a new world of spatial heights and cavernous depths. The band’s skill at interweaving light and dark, peace and danger is exceptional and even more impressive ins their ability to entwine it around a rhythmic frame which never feeds expectations.

The celestial spice of the song is spread more intensively with Arcadia, an instrumental sculpting a psychedelically lit passage of exploration through sizzling sonic expression and dark stalking reflections, guitar and bass an evocative merger haunting and soothing thoughts and visions like puppeteers. All tracks have the same potency, but in particular this provides an episode to mentally and emotionally investigate with fresh rewards through every flight of its journey.

Circles explodes and infects the psyche next, its blues scented sonic phrasing an absorbing narrative alone but graced by the soft smooching of vocals and the dazzling rhythmic conjuration, the song is a melodic hymn for body and soul. It is an irresistible tantalising but soon left in the wake of the quite brilliant Seen a Ghost. The strongest stoner essences welcomes its opening gambit, guitars crooning teasingly as rhythms shuffle rigorously and adventurously through the continually growing canvas of the track. Already an ardour is awakened but it is the cultured stroll and punchy rhythms clad in a breath-taking melodic infection which ignites their full allegiance. Interlocked with expressively ambient bred passages, twisted stoner enticements, and melody seeded ravages, the chorus provides climatic yet calm crescendos which simply set the track into a new ferocity of ingenuity. Not only is it the best track on the album, it is the best song heard this year so far and leaves a touch of frustration when it transforms into the closing track Beyond the Light, a rich and sonically distorted instrumental which washes the senses with its tempestuous finale to the album.

     Stranded In Arcadia is sensational, a giant of an album in sound, songwriting, and presence. Whether psychedelic/stoner/heavy rock has ever sounded this good is a question which Mars Red Sky now has us asking.

Stranded In Arcadia is available via Mrs Red Sound / Listenable Records now!


RingMaster 29/04/2014

Copyright RingMaster: MyFreeCopyright

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Loudblast – Burial Ground


Acclaimed as the first French death metal band and just acclaimed across underground metal worldwide over the years since forming in 1985, Loudblast add another magnificent coal to that fire with new album Burial Ground. It is a beast of an album creatively and brutally; an inventive and explosive provocation which continues the band’s impressive evolution of sound. Merging resistance free grooves, barbed hooks, and a greater contagion into their old school genre seeded sound, the Lille quartet have sculpted their finest slab of imagination savaging incitement yet.

The bands career has seen many notable turns in their potent ascent since those far ago beginnings. Early albums such as Disincarnate and Sublime Dementia in 1991 and 1993 respectively making the first striking marks on a wider attention as did shows with bands such as Death and Coroner. The band has continued to evolve and in some ways reinvent their sound without losing the core and base which makes Loudblast such a potent antagonist. As mentioned Burial Ground is the band’s most diverse adventure yet, certainly across the album but even more so within the songs themselves, each pushing its boundaries and investigating new tendencies in their designs. It continues the impressing elements which made predecessor Frozen Moments Between Life And Death in 2011 stand out, just to stronger, deeper, and more imaginative levels. Parading a line-up of bassist Alex Lenormand (ex-Locus, Code, Sic), lead guitarist Drakhian (Griffar, ex-Taake, Black Dementia), drummer Hervé Coquerel, and vocalist/guitarist and founding member Stéphane Buriez, Loudblast have set a new benchmark not only for themselves with Burial Ground but potentially also European death metal.

A Bloody Oath sets things off, an enticing lone guitar inviting attention before the band descend with heavy weight and patience upon 1017035_10152064896733091_3717457620419097246_nthe senses. Riffs and rhythms build a formidable threat, both casting an intimidating web of further menace driven by the dark tones of bass and predatory vocals of Buriez. It is a slow stalking which eventually finds a trigger to charge rapaciously through ears with incendiary riffery and controlling rhythms, all again under the menacing guide of the vocals. The track continues to twist and turn in gait and attack, a delicious passage of bass temptation swiped by caustic blazes of guitar and roaring vocals sharing its spoils whilst winding its tempting across the walls of the song a sonic lure makes its own enticement before once the track with greater relish returns to its striding intent.

The song is a masterful and compelling start, employing grooves and classic metal flavouring but just the appetiser for greater things ahead though initially its impressive standard is simply matched by the forceful challenge of Darkness Will Abide. The song strolls with resourceful bait from guitars and drums courted by even darker bass probing. There is a thrash element to the album and certainly on the second track it brings an infectious urgency to an even paced but volatile tempered track. The song continues to entice and lure greater appetite for the encounter, feeding a brewing hunger for the full meal of Ascending Straight In Circle. A single guitar also makes the first coaxing for the song, its emotive strains a spark awakening the imagination ready for the voracious narrative and aural confrontation to follow. Rhythms pump their muscular intent straight away whilst riffs consume ears with similar passion, both building a trapping wall. Within this incendiary exploit riffs and malevolent climates soak and seduce thoughts and emotions, they and the slowly emerging and slightly demented grooves which come either in small spats or with unbridled toxicity, infectious bait. Fusing plenty of classic and groove metal vivacity to the charge of the song’s heart, it is an irresistible slice of invention driven maliciousness.

Assumptions that this was the pinnacle of the album are soon put in their place as Soothing Torments steps forward, its predacious entrance a stalking of the senses. It never moves away from this intent but colours the subsequent ravishment with more toxic and vicious grooves driven on by crippling rhythms and an intensity which grins gleefully as it smothers and consumes the senses. The flair of the guitars inflames the track further whilst its aural drama and hungry rabidity ignites a rapturous submission to the annihilatory pressure.

The melodic caress of From Dried Bones to a military rhythmic skirting takes its big slice of appetite next, especially when it slips into a rigorous canter with contagion spilling hooks swinging from intensive riffery. It is a mouthwatering start which as you are climbing on board, pulls the floor away and brings a hellish demonic breath and atmosphere over a doom clad weight and intensity. The two gaits of the track eventually merge for a storming conclusion to the enjoyable onslaught, followed right away by the dark cavernous depths and consumptive weight of The Void which suffocates ears and emotions. It is a demanding and exhaustive stealing of light and hope, a pestilential asphyxiation which tests the listener but provides just enough lifeline of accessibility to keep them engrossed in its taxing offering.

The closing stretch of the album is its most arduous but with just as many rewards and pleasing twists as the first part of the release, both Abstract God and I Reach The Sun unleashing a virulent causticity which accentuates the spite of rhythms and the voracity of the riffs. The first of the pair also lays down a captivating and alluring passage of carnivorous riffery speared by sonic prowess and spiky grooves whilst its successor toys and manipulates senses and psyche with an onerous yet invigorating weave of sonic and melodic seduction.

Closing track The Path is a towering protagonist, it’s epically honed intentions and sound a maelstrom of ravished emotions, rhythmic vitriol, and sonic cruelty but brought with a technical and artistic skill aligned to descriptive endeavour which paints an intrusive landscape for the imagination to immerse within. It is a monstrous finale to an excellent and intensive album proving that Loudblast just seem to get better and better; experience and maturity breeding greater invention and explorations within the band and constantly forging new highlights for metal.

Burial Ground is available via Listenable Records now @


RingMaster 29/04/2014

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