The Creeping Ivies – The Witch House EP

creeping ivies_RingMaster Review

All those with dodgy hips turn away now as we have one slice of physical slavery for you courtesy of The Creeping Ivies. Revealing a new wash of ingenuity in their sound which borders on pop, the Scottish band again enthrals and seduces with their unique style of garage rock ‘n’ roll which quite simply is impossible not to get a little lustful over. Consisting of three exotically and flirtatiously sonic slices of dark rock ‘n’ roll, EP and band have ventured into a broader landscape of invention and tempting which might be best described as The Shangri-las meets The Cramps meets The Revillos at a bordello of ill-repute presided over by Johnny Thunders.

The Creeping Ivies since forming in 2011 has been no strangers to acclaim here and across media and fans thanks to two dynamically thrilling and fiercely dynamic albums and a clutch of EPs which have just lit the fires of devilry. It is fair to say that each subsequent encounter has shown a potent evolution of the band’s garage punk/rock bred sound from the last, with a matching strength in temptation. Between last year’s outstanding album Ghost World and The Witch House, the band has seen one half of the duo in drummer Duncan Destruction leave and vocalist/guitarist Becca “Bomb” Murray subsequently joined by bassist Christy Taylor and stick man Ian Duncan. With a big change to a band which has also drawn constant acclaim for a live presence taking in shows with the likes of Viv Albertine, Vic Godard & Subway Sect, Bob Log III, and The Primevals amongst many acclaimed headlining shows of their own, there was a wonder of how things would move or indeed change ahead. The Witch House swiftly shows that as ever The Creeping Ivies are an irresistible creative lure revelling in their inspirations whilst breeding their own striking imagination as they go exploring new avenues. The hex that is their sound has developed an appetite for sixties inspired pop on the EP to go along with a passion for garage rock ‘n’ roll from across the decades. The result is an EP which is majestically glorious and ridiculously addictive.

witch house cover_RingMaster Review   It opens up with its title track, The Witch House flirting through the voodoo rhythms the band has so masterfully transfixes with from day one. Where Mr Destruction’s beats used to transmit intent and resonance like a virus through ear and bone though, Duncan’s beats are more tempered to match the, dare we say mellower, tones of the music yet cast an equally lingering network of anthemic persuasion. Murray’s guitar is just as swift in its spicy coaxing as her recognisable and exhilarating vocal shrills and punkish tone. Completed by the dark rumble of Taylor’s bass, the song swings with attitude and a flirtatious swagger ripe with simple but deeply rooting Ramones seeded hooks and nostalgia bred chords. The track is scintillating revelry to start things off but just the beginning of great deeds.

The following Only the Moon opens with its own infectious shuffle, led in by more flavoursome rock ‘n’ roll guitar and blossoming into a tenacious and composed canter of sparkling riffs and grumbling rhythmic shadows. From that same moment a vibrant melodic and catchy smile also brews, erupting in a chorus complete with inciting handclaps and a vocal tempting which only the deaf could refuse full involvement with. Surf breezes and a sultry air only adds to the compelling dance of the song; sixties pop meets modern garage psychosis at its very best.

The release comes to an end through Bye Bye Babe, a track as much seventies melodic infection as it is sixties garage rock and original 21st century devilment. The guitars seem influenced by bands like The Ventures and Johnny & the Hurricanes, rhythms by bands like The Orson Family and The Bomboras, whilst Murray is like a sultry Fay Fife. Wrapped in an invention and imagination which holds whispers of possible inspirations like Josef K and The Pixies, the song is honey for ears, manna for the psyche and a third kiss of brilliance in The Witch House.

There is no denying we have had a soft spot for The Creeping Ivies since day one but equally there is no argument in the fact the band just gets bigger, better, and more essential with every proposition with The Witch House EP the finest moment for the band yet. We keep saying that over each encounter and suspect it will not be the last time either. Ahead of Your New Favourite Garage Band, a forthcoming compilation of previous singles as well as EP and album tracks from the band, this moment in time feels like The Creeping Ivies are starting a new exciting chapter with thrilling new sounds. Time to get spooked and infested guys and girls…

The Witch House EP is out now with Your New Favourite Garage Band available from October 31st, both though Flowers In The Dustbin.

RingMaster 18/08/2015

Copyright RingMaster: MyFreeCopyright

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

Copyright RingMaster: MyFreeCopyright

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Venus DeVilo – Edgar Allan Ho EP

venus devile 2

Let us introduce you to the dark seductiveness of Venus DeVilo, an artist which preys on the passions like a sultry vampiric temptress bred from artistic alchemy raised from the fire of Imelda May, the snarl of Wanda Jackson, the energy of Fay Fife, and the devilry of Dick Venom, not forgetting a pinch of the infected essences of Horrorpops. Her creative world is one of shadowed carnivals, blood drenched burlesques, and dead borne vaudeville; her music pure sexual fascination and the Edgar Allan Ho EP the perfect introduction to the temptress before the arrival of her debut album Til Death Do Us Party, which we hope will see daylight in the near future, such the hunger now raging.

Hailing from the cemeteries of Dublin, Ireland, well probably a very nice comfortable abode but that hardly goes with the theme does it, Venus since 2011 has frequented and lit up rock/metal bars, Burlesque and Cabaret nights, open mic nights, and other numerous venues around her home city and much further across the country with her Goth-Shock anthems. The host of a series of popular horror themed gigs at the Twisted Pepper, Dublin which have become an almost monthly event, the sonic siren has captured the imagination of the internet media with her dramatic sounds, becoming the favourite sister of the likes of Elegant Savages webzine and the Bone Orchard podcast. Since its release the Edgar Allan Ho EP has drawn lustful attention and it is hard not to understand why as it stalks the minds darkest imagination and cinematic desires.

    Heartless Horseman steps up to tempt the passions first, its initial acoustic guitar stabs and instantly potent vocals the 602969_406666232785880_346571255_nentrance into lyrical and musical stalking of night terrors and their romantic suasion. There is a rockabilly feel to the song which reminds of The Creepshow whilst the excellent soaring vocal imagination and drama of its delivery brings thoughts of Agnete Kjølsrud and the band Djerv as well as Dominique Lenore Persi and Stolen Babies. Unafraid to twist and turn the gait and intent of the track, Venus also sends it into angular and less accessible turns which make suggestions of Lene Lovich. For all the references we offer though, do not make the mistake of assuming the sound of Venus DeVilo is not something quite unique to the graveyard walking beguiler.

The following Apocalips equally enthrals with predominantly acoustic guitar and vocals, though rhythms and bass prowl with devilment in their hearts and wide mischief on their grinning lips too. The song sways and swaggers with the wantonness of a fifties siren and the intimidating composure of instinctive rockabilly, but like the band references these pointers to the sound are only whispers of the full hue of flavours making up the wholly contagious shards of mesmeric aural delight.

Penny Dreadful Love is a song you know should play in the bowels of any mausoleum, its funeral caress punctured and kissed by the again outstanding voice and delivery of its creator. As the lady and song lace the senses and thoughts with their visceral evocation, Venus provokes another comparison, this time to Lesley Woods of Au Pairs in the way she at times slaps words and syllables into the ear. It is a style that is impossible to resist and one which makes the forthcoming album so exciting and this song a dark hearted romantic serenade.

The best song on the release comes with Ringmaster, and no we were not biased in our decision. The vibrant waltz of the colourful enchantment goes hand in hand with the dark carnivale touch, guitar and vocals swinging across the high tented air of the hypnotic mystique and elegant poise. It makes for a glorious soaring flight of theatrical imagination honed into a glorious sirenesque aural spectacular which leads the listener on a tightrope walk of tension and astounding adventure, and note for extra spice its core call around the chorus is a dead ringer for one of the greatest songs ever, Killer Klowns From Outer Space by The Dickies.

The release is completed by firstly Carmilla’s Return, a song which initially has the shadow clouded  ambience reminiscence of Bauhaus song Bela Lugosi’s Dead  and goes on to atmospherically swarm around the ear with the chants of the ‘dead’ harmonising behind the continually powerful and virulently enticing tones of Venus. Once more it is a song which transports you within the sweeping sinister mists of a cinematic painting whilst its successor Miss Frankenstein is simply an epidemically catchy romp with big bold rhythms shaping the cage you are enslaved within. It has a delicious toxicity which leaves you no option but to throw voice and feet into the twisted majesty.

Venus DeVilo is an artist who will scare as many as she seduces but one who will only ever leave a lingering mark in her shadow and if it is anything like the Edgar Allan Ho EP, this dank earth will be a better place.


RingMaster 24/07/2013

Copyright RingMaster: MyFreeCopyright

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Trioxin Cherry: Hell To Pay EP

Trioxin Cherry

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 coverthe 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.

RingMaster 05/12/2012

Copyright RingMaster: MyFreeCopyright

The Felines – Daddy Walk

Within the musical shadows of Denmark there is a gem of an all-girl garage punk band called The Felines lying in wait and with the release of their debut single Daddy Walk August 6th, ready to step out into a broader and fuller spotlight. Their four track release is a thrilling and irrepressible feast of garage rock/punk, an instinctive stomp across the senses showing where the real girl power in music is thriving.

The trio from Copenhagen of lead vocalist/bassist Asta Bjerre, guitarist/ vocalist Ditte Melgaard, and drummer/ vocalist Mei Long Bao, formed in 2010 to as their bio states, ‘cause a bit of a stir’ at the Musicology Studies department at the University of Copenhagen. Inspired by their mutual love of 60’s garage rock, 77s punk rock, surf and 80’s revival girl groups, the direction of their sound was never a debate. Creating a garage punk to trigger inner primal urges and soaked in insatiable musical wickedness their sound has seen them since uniting leave stages alongside the likes of David Peter and the Wilde Sect, Thee Gravemen, and Black Magic Six, dripping in affection.

October of last year saw the girls record the four songs which make up Daddy Walk at the Grave Cave Studio in Malmö. Using an old school 8 track tape recorder to grab the raw nostalgic sixties sound the tracks combine to make a release which plays with a vintage air and modern freshness. Released as a 7” EP via Spanish record label Hey Girl! Records and digitally through Dirty Water Records, the single is pure and simple uncluttered bliss.

The song Daddy Walk immediately engages the ear with pumping riffs and beats accompanied by sweltering harmonies and unbridled energy. Strolling with a mischievous swagger and bursts of fiery guitar play the track is a wholly infectious slice of simple and inspiring rock n roll. With an element of The’s and The Ghastly Ones about it the song leaves one grinning from ear to ear and ready to further unleash ones inner mojo.

The A side of the release is completed by instrumental The Sneak, a track with a graveyard ambience and shadowed heart. It plays like a beach party between a field of tombstones with the dark pulsating bass tones and mesmeric sinister sonic fingerings raising a sinister and invitational ambience.

The flip side consists of Boots and Black Joe, two more songs to ignite the fullest pleasure. The first erupts with rampant rhythms from towering drums and enthused riffs ready to tease and whip the senses into a frenzied state. With vanity over relationships treated to The Felines touch, all songs of the band touching everyday life and elements with a style as simple and honest as the sounds, it continues the sheer contagion for the heart brought by the release.

Final song Black Joe brings a blend of early days The Horrors and The Pleasure Seekers plus again more than a flavour of the previously mentioned Japanese band. It has a melodic kiss which sends tingle down the spine and surging electric bursts to ignite further passions. Vocally it was by this song that the similarity to Fay Fife of The Revillos dawned on the thoughts with the cheeky and fun loving side of both bands also more than evident.

Daddy Walk is a brilliant introduction to a wonderful band and with their unique take on all eras of garage rock and punk we will be hearing and seeing a lot more of The Felines, thankfully.

RingMaster 29/07/2012

Copyright RingMaster: MyFreeCopyright

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