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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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

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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