Venus de Vilo – Edgar Allan Ho 5th Anniversary Edition

It seems impossible that it was five years ago that we, as so many others, were seduced by the shadowed clad, blood strewn creative world of dark seductiveness of Venus de Vilo through the Edgar Allan Ho EP. It is in some ways still a relatively undiscovered but certainly a revered and acclaimed gem by those in the know, and was the prelude to equally compelling tales of dark deeds, shadowed carnivals, blood drenched burlesques, and dead borne vaudevilles  in songs, literature, and art by the Irish songstress ever since. This October on Friday 13th, its release is celebrated by the artist in union with the great independent label, Undead Artists, with the unveiling of the 5th Anniversary Edition of Edgar Allan Ho.

Hailing from Dublin, Venus has frequently lit up rock/metal bars, Burlesque and Cabaret nights, open mic nights, and other numerous venues around her home city and further afield with her Goth-Shock anthems since emerging around 2011. The release of Edgar Allan Ho in 2012 saw fan and online radio attention gather with plaudits to the fore, our own podcasts eagerly among them with all persistently enthralled by subsequent encounters with singles, EPs, words, and comic books alike.

Venus is like a sultry vampiric temptress bred from artistic alchemy raised from the fire of Imelda May, the snarl of Wanda Jackson, and the energy of Fay Fife with a pinch of the rock ‘n’ roll infection Horrorpops for good measure. Edgar Allan Ho soon revealed though she is as unique as they come, all those essences rich hues in her own kaleidoscopic imagination and sound.

The Anniversary Edition of Edgar Allan Ho as well as regaling in the original tracks also features remixes and covers of its songs by notorious Gothic-Industrial, Cabaret Noir and Alternative musicians, unique artwork by some of the best underground horror artists inspired by its songs, some steampunk stories also based on the EP’s anthems, and a full Behind the Screams book by Venus discussing the entire processing of writing, recording and out-ing the EP.

The EP opens up with Heartless Horseman and immediately the riveting tones of Venus grab ears and attention. As her acoustic guitar stabs, a rockabilly feel reminding of The Creepshow swiftly joins the song, a flavouring in turn bringing even more potent bite to the voice and delivery of Venus, her soaring compelling vocal imagination and drama holding an Agnete Kjølsrud of Djerv meets Lene Lovich like agility. A sweeping lure into night terrors and dark romantic suasion, the irresistible track is still soon outshone by the brilliant Ringmaster. It is a mesmeric waltz of colourful enchantment and dark carnival cast by voice, harmonies, and guitar. As one of its protagonists, it swings like an aerial gymnast, swaying elegantly in ears like a glorious aural siren. It is also a spectacular with one delicious chorus sharing a riveting likeness to The Dickies’ Killer Klowns From Outer Space. It was our undeniable favourite back in 2012 and remains so but every track within the EP is a mighty challenge.

Miss Frankenstein is next, an aural incitement which is as cinematic as it is sonically suggestive. Its rhythms are a bold enslavement matched in temptation by the electronic strings and Venus’ ever inimitable and irresistible tones. It is an epidemic of sound, an almost toxic and certainly addictive contagion which leaves you no option but to dive voice and feet first into its twisted majesty.

The more understated but no less seductive Penny Dreadful Love is next, its shadowed climate and Victorian draped air a creeping tempting out on a funereal stroll.  As lady and song lace the senses and thoughts with their visceral love poisoned evocation, the track simply and sublimely absorbs the listener in dark hearted romantic serenade.

Crooning from within a gothic Bauhaus-esque mist, Carmilla’s Return atmospherically swarms around ear and imagination with keys and guitar caressing the continually powerful and virulently enticing tones of Venus, behind whom the chants of the ‘dead’ hauntingly harmonise. It is a pungent kiss on the senses but one wrought with threat and danger; the best kind of seduction there is.

Apocalips completes the EP, its rockabilly swagger and virulent swing pure manna to the soul. Again voice and guitar transfix like a celebratory incantation, rhythms scything across its dark beauty with relish and similarly teasing venom. The track flirts with the wantonness of a fifties siren and the intimidating composure of instinctive psychobilly, rich traits colluding with everything else for one wholly contagious shard of mesmeric delight.

Apart from a couple of live track and remixes by Elvis Einstein, all sheer passion fuelling theatre, we have yet to taste the whole package of the EP’s re-release but its core tracks alone make Edgar Allan Ho an essential must. It is time to feel the Venus de Vilo embrace world.

The Edgar Allan Ho 5th Anniversary Edition is released October 13th through Undead Artists @ https://www.facebook.com/events/100369350679694/

https://www.facebook.com/VenusDeViloTheVoiceOfHorror/    https://twitter.com/VenusDeVilo

https://venusdevilo.bandcamp.com/

Pete RingMaster 11/10/2017

Copyright RingMaster: MyFreeCopyright

Oh! Gunquit – Lightning Likes Me

This is your one time warning; prepare for your lungs to burst and veins to pop not forgetting hips to feverishly swing, rumble bop freakabillys Oh! Gunquit are back in town to tease and incite with a new album. The London based outfit left bodies sweaty, exhausted, and lustful with their first album Eat Yuppies and Dance back in 2015 but be warned it will all have felt like a warm up compared to the devilish antics Lightning Likes Me will have you getting up to.

Hints of things to come were alive in the band’s recent single Nomads Of The Lost, a track which suggested that the quintet had found wilder and even more salacious essences in their songwriting and sound; something Lightning Likes Me quickly and increasingly confirms song after song. It should be of no surprise really, since emerging in 2010/11 from the creative union of vocalist/trumpeter Tina Swasey and guitarist/vocalist Simon Wild, the band has only raised the ante and revelry of their psych-surf/garage-punk infused rock ‘n’ roll. With its members in bassist VV, drummer Alex De Renzi and newest member Chuchi Malpersona on sax alongside Swasey and Wild hailing from Italy, USA, Colombia, Spain, and the UK, there is a cosmopolitan fever to their music which in turn encourages its trickery to new heights, a plateau now set very high within Lightning Likes Me.

As soon as the fiery guitar strokes of opener So Long Sucker finger ears, the album is up and running, toning and driving the body like a puppeteer. Brass and rhythms are soon blazing and stomping across the infectious proposal, Swasey’s enthusiasm soaked vocals equally as persuasive while clad in defiance and carnal incitement. The track continues to twist and bounce like a rock ‘n’ roll dervish, every second getting under the skin and into the bones.

It is a tremendous start instantly backed up by the rhythmically tenacious antics of Get Wound Up. As De Renzi’s swings land with boisterous dexterity, sax and trumpet blaze away with suggestion and heat with Swasey all the while leaping across every strand of temptation with vocal agility. It is a song which dares you to get physically involved note by note, an invitation impossible to refuse in limb and energy before both are consumed all over again by the outstanding Nomads Of The Lost. With a swagger in its hips and confidence, the song saunters in with flirtatious infectiousness oozing from every note and syllable. Taunting riffs and sax teasing leads the way as vocals again ride the canter with their own irresistible persuasion, group calls another subsequent tempting impossible not to join as the chorus infests. Not for the last time, there are hints of bands like The Revillos and The Creeping Ivies to the devilry; bewitching essences in a captivation all of the Oh! Gunquit making.

Fireballs boogies in ears next with its garage rock psyche pop, its crescendo building surges a deceptive pleasure as they never erupt into a full-on blaze, just into the next cycle of irrepressible teasing for its own heat soaked orgasmic pleasure while Never Sorry plunders the decades for its psyche infesting rock ‘n’ roll, flirting with the inspirations of artists like the 5678’s and April March along the way. Both tracks are sheer addiction in the making though that equally applies to the whole of the album including the thicker boned Suzy Don’t Stop. The rhythmic bullying is raw feet temptation whilst the fire borne strains of guitar and brass are delicious toxins in the virulence of song and vocal exhortation.

The garage punk ‘n’ roll voodoo of Smiling Snake is a fifties bred, freshly re-animated thrill; a Wanda Jackson and Imelda May blended suggestion bound in the stringed imagination of Poison Ivy and quite irresistible though just as attention and lust is quickly stolen by it from its predecessor it is then lost to Walking The Streets which too has more than a rich spicing of The Cramps to its personality. Its creative stroll is manna to the passions and an unforgiving consumption of the hips, leading them to delirium soaked exhaustion. The track simply takes over body and spirit and take it from us just gets more potent and masterful with every groove woven outing.

Next up is Greasy Moves which, without credit on its press release or in any additional digital information sought so far, features guest vocals from someone which sounds inimitably like King Salami. The initial stomp of guitar and brass with rhythms swinging turns into a sweltering stroll of salacious suggestion, a primal dance which again has the ears and body locked into its blue kissed flirtation with no sign of resistance.

Finishing off the album with its own infernal devouring is Captain Of the Creeps; an incessant nagging of senses and limbs woven into a tapestry of iniquitous imagination and enterprise. It pretty much sums up all the attributes found across the whole of the unique rock ‘n’ roll contagion that is Lightning Likes Me, adding a few more of its own as the album leaves in rousing style though not for long as the urge to start the merciless party off again is king.

Last time around Oh! Gunquit gave us one of the best outings of the year this time it just might be the very best; there are few contenders to rival it for sure.

Lightning Likes Me is out now via Decapitator and Dirty Water Records https://ohgunquit.bandcamp.com/album/lightning-likes-me-lp-cd

https://www.facebook.com/ohgunquit/

Pete RingMaster 26/09/2017

Copyright RingMaster: MyFreeCopyright

Cat Lundy –Triggerman

If like for us Cat Lundy is a new name and adventure for you, let us give some background. She is a singer/songwriter from Dublin; a classically trained vocalist from the Royal Academy of Music and a self-taught guitarist. Inspired by sixties blues, her songs often themed by tales of love and relationships, Cat has performed across London and as far as New York’s The Bitter End venue and Los Angeles famous House of Blues.

With her new single Triggerman though, she is about to call out to a whole new wave of attention. It is drama in the ear; a haunting and dark theatre of love and fear which offers more than a mere temptation for the debut album Cat is currently recording with producer Ger McDonnell (U2, Kasabian, The Cure, Martha Wainwright).

Instantly the alluring tones of Cat has ears awake, acoustic guitar stroking her suggestive words and expression before the single truly comes alive with brass and keys splintered by wonderfully spiky rhythms for a chorus which simply sparks body and spirit. Like a mix of a blues bred Sandy Shaw and Wanda Jackson, Cat simultaneously seduces and challenges; her bold presence cradled by calmer but similarly suggestive textures of sound. The brass flames are especially bewitching, matched by the Hammond scented keys but none as magnetic as the vocal theatre of Cat herself.

As mentioned, Triggerman is our first outing with Cat Lundy but it will definitely not be our last.

Triggerman is released August 25th.

https://www.facebook.com/CatLundyofficial

Pete RingMaster 02/08/2017

Copyright RingMaster: MyFreeCopyright

Pussycat and the Dirty Johnsons – Dirty Rock ‘n’ Roll

pic debbie-attwell

pic debbie-attwell

As the band work and finish material to grace a new album, British rockers Pussycat and the Dirty Johnsons have linked up with Dirty Water Records for the long awaited digital release of second album Dirty Rock ‘n’ Roll and quite simply if you missed it first time around and have an instinctive appetite for insatiable bordering salacious punk infested rock ‘n’ roll, than it is a must.

Formerly in a band just called The Johnsons, the Basingstoke hailing trio is fronted by the wild feline wiles of vocalist Puss Johnson with founding guitarist Dirty Jake (Feckle, Lube) and drummer Filfy Antz (The Krewmen) alongside uncaging their own raw and incendiary antics. It is an explosive combination which saw their 2010 debut album Exercise Your Demons earn many plaudits as too over the years a blistering live show seeing the band share stages with the likes of The Jon Spencer Blues Explosion, Thee Oh Sees, The Fuzztones, Mad Sin, The Damned, 999, The Polecats, The Creepshow, The Rezillos, Bow Wow Wow, The Meteors, The Vibrators, Resurex, DragSTER, Trioxin Cherry, and Atomic Suplex.  Three years later, Dirty Rock ‘n’ Roll was the cause of even greater eager attention and acclaim upon Pussycat and the Dirty Johnsons; a spotlight sure to be regenerated by its digital uncaging ahead of as mentioned a new album.

Featuring eleven tracks spun from attitude loaded threads of everything from punk, garage rock, glam, psychobilly, garage punk and any other form of rock ‘n’ roll you wish to offer, Dirty Rock ‘n’ Roll is an explosive riot for senses and body alike. Produced by Alex McGowan and featuring guest double-bassist Phil Bloomberg of The Polecats on a couple of tracks, the album instantly prowls the listener as opener Burying The Bodies settles in to place, once set continuing to stalk but with an infectious swagger led by the biting beats of Antz. Straight away there is an obvious devilment in the band’s sound and the lusty roar shared by Pussycat, her presence and delivery a snarling seducing. With big hooks and winding grooves, the slab of predacious rock ‘n’ roll is an irresistible start to a release proving to be unrelenting in its fiery creative and aggressive incitement.

Hell Bent is swift agreement, its whining grooves courting flying rhythms and Pussycat’s plaintive cries, all united in another tenacious track which eyes you up with distrust yet reveals the most compelling enterprise amidst mouth-watering unpredictability before Livin’ With Mum And Dad sees the band move from raw rock ‘n’ roll into a more seventies flavoured encounter as much glam rock and power pop as it is old school punk. For personal tastes, it lacks the bite and spark of those around it but with its Pistols-esque hook and caustic catchiness there is no escaping being sucked in.

front-cover_RingMasterReviewPsychobilly flavours the magnificent stomp of Get Outta My Face next, Bloomberg bringing his masterful slaps to the Batmobile meets Imelda May scented stroll with Pussycat like a punk Wanda Jackson. Fiery guitar and senses badgering beats bolster the seriously rousing proposal as the song shows another aspect to the album and the Pussycat and the Dirty Johnsons sound.

The scuzzy blues punk of She Don’t attacks and excites next, its corrosive character and sound as virulently infectious as anything upon the album while Mirtazapine uses similar strains of flavouring for its own individual trespass. With a touch of post punks Bone Orchard to its untamed garage punk challenge, the track is a superb mix of rapacious restraint and unbridled furor taking ears and imagination into the darkest shadows of the fiercest volcano.

There is no let-up of the enjoyably exhausting confrontations as Why Do You Hate Me? sears the senses with its punk rock lava around a rhythmic tempest while Dirty Li’l Dog, with the magnetic craft of the Polecat returning, leaps around with uninhibited rhythmic rioting as blues guitars embrace numerous other spices around the carnival barker leadership of Pussycat.

The final trio of songs just epitomise the variety and devilish imagination in the band’s songs; Sort Yourself Out a fuzzy blend of growling punk and toxic blues within The Pirates like rock ‘n roll and Souvenir simply one glorious invasion of garage punk with a scent of The Cramps, Animal Alpha, and In Evil Hour in its unique best track earning triumph.

Closed out by the adrenaline fuelled and feeding Hideous, a final belligerent detonation of rabble-rousing incitement, the outstanding Dirty Rock ‘n’ Roll is its title and so much more. It might not be a new release but it deserves this new exposure and Pussycat and the Dirty Johnsons the fresh attention ahead of what can only be anticipated as another uncompromising uproar.

Dirty Rock ‘n’ Roll is available digitally through Dirty Water Records @ http://www.dirtywaterrecords.co.uk/shop/#!/Pussycat-and-the-Dirty-Johnsons-Dirty-Rock-n-Roll/p/75045471/category=2793895 with physical options @ http://thedirtyjohnsons.com/shop/4564430166

http://thedirtyjohnsons.com   https://www.facebook.com/thedirtyjohnsons/   https://twitter.com/Dirty_Johnsons

Pete RingMaster 14/12/2016

Copyright RingMaster: MyFreeCopyright

Big Boy Bloater and The Limits – Luxury Hobo

BBB_RingMaster Review

Fancy a rich dose of spice to your rock ‘n’ roll then the new album from Big Boy Bloater & The Limits is a must. Luxury Hobo offers nine rich blues tinged slices of contagious rock ’n’ roll which relentlessly infests body and emotions like a sonic viral complaint to which no cure is available or wanted.

Guitarist, singer, songwriter, and radio presenter, Big Boy Bloater is an artist to which hungry ears and acclaim seem to flock to. His career and unique style in songwriting, playing, and sound has seen him the feast of the blues and roots scenes, playing numerous major festivals across the US and Europe, and tour across Europe, the Middle-East, the USA, and Canada. Equally he has played behind and with the likes of Imelda May, Paloma Faith, and Wanda Jackson and been invited by Sir Paul McCartney to record with him at Abbey Road. He is a wanted man and easy to see why from Luxury Hobo alone.

Forming latest band Big Boy Bloater & The Limits in 2011, Big Boy Bloater defies the description of being a bluesman as predominantly tagged by a great many. As proven by Luxury Hobo, he creates fusions of flavours which no-one else seems to have the notion of casting. For the new album R&B is at times entangled with swamp and delta blues, seventies rock ‘n’ roll merged with old school rockabilly and fifties garage rock, and…

Reality is that the fusions are rich and plenty resulting in songs which play like old friends yet are like few other companions you may have come across, certainly outside of the man’s own creative psyche. Luxury Hobo is Big Boy Bloater’s darkest collection of songs too; its themes bred from a bout of depression in 2013. Talking of the time and release, Big Boy Bloater openly said “I had a breakdown, the album centres around that we’ve got all these great things but are still pissed off and medicate ourselves to be normal,” further adding that “The basic idea of the title is we are all luxury hobos these days, we get to go here, there and everywhere but no one has it the hard way now do they? We all have our luxuries, it’s that juxtaposition; I think the whole album is about the modern day life and society.

artwork_RingMaster ReviewAs evidenced in the album’s opener alone it does not mean there is an absence of the flirtatious hooks and unpredictable twists, as well as the energy driven virulence fans have become so enamoured by in his music. Devils Not Angels is an irresistible start to the adventure; a flirtatious romp from its first guitar flame quickly breaking into a feisty swagger with a seriously catchy attitude and incitement of sound. From the smiling keys of Dan Edwards to the rousing rhythms of bassist Steven Oats and drummer Matt Cowley, the song has body and soul pumped with raw pleasure taken further care of by the gravelly voice and fiery guitar craft of Big Boy Bloater.

It is a superb start which still gets eclipsed straight away by the following and quite brilliant It Came Out Of The Swamp. It too bounces along with a contagious air to get swiftly involved with but its climate and textures are far more dark, sinister, and invasive. The bass borders on a carnal predation whilst the grooves are dirt encrusted flirtation as swamp blues get tainted with psych rock mischief and rockabilly devilry. Sea Sick Steve meets Th’ Legendary Shack Shakers is the best clue we have to describe the glorious infestation of the senses and imagination on offer, with hooks and melodies courtesy of a warped mix of B52’s and The Dirt Daubers.

I Love You (But I Can’t Stand Your Friends) rolls in with its pop ‘n’ rock charms next, tasty melodies cupping ears as vocals offer an opening romance with a sting in the tail. Both traits continue to entice and arouse ears as well as passions as the song strolls along with a grin on its face and rock flirtation in its heart. As its predecessors, the listener’s physical involvement is a quick success and equally drawn by the blues twang soaked seduction of The Devil’s Tail. Hips are soon swaying to its swerving body of grooves and alluring harmonies, ears there before them in submission to its sultry tempting before I Got The Feeling Someone’s Watching Me has the imagination engulfed in dark rock ‘n’ roll intrigue and salacious seduction. The outstanding song crawls over the senses, smooching with ears as the grainy tone of Big Boy Bloater’s vocals lays the seeds to dark deeds from unrelenting prying eyes whether in the noir lit streets of shadow thick towns, the bright romance of Parisian walkways, or more intimate surroundings.

From one immense highlight to another as the sexy swing of Luxury Hobo Blues takes centre stage with one wonderful nag of a tasty hook through a net of catchy rock ‘n’ roll. Potent harmonies and a web of sultry grooves only add to the riveting trap of a song before Robot Girlfriend offers futuristic love in a magnetic rockabilly/garage/blues rock shuffle. As all songs before it, even the dark crawls of It Came Out Of The Swamp and I Got The Feeling Someone’s Watching Me, it has a swing and vibrant energy which has the body tapping or indeed rocking in full allegiance, something All Things Considered decides to go against, though it too only see a sway take the body. Its soulful croon is wrapped in the smoulder of keys, that alone a simmering heat of temptation enhanced by the emotive cry of Big Boy Bloater and the spirals of melancholic yet invigorating guitar.

The album returns to tearing up the dance-floor with closer Not Cool Man, rhythms and riffs colluding to lay a canvas of energetic incitement whilst the bass flirts and grooves flare up above it. Rock ‘n’ roll to get close and personal with, the track perfectly concludes an album which has ears blissful and the body exhausted. Luxury Hobo is pure manna for the soul and if a better example of diversity loaded rock ‘n’ roll arrives this year, it will go down in history as a major classic, much as we suspect this treat from Big Boy Bloater & The Limits.

Luxury Hobo is released 11th March via Provogue/ Mascot Label Group through most online stores and @ http://www.mascotlabelgroup.com/big-boy-bloater-luxury-hobo-cd.html

http://www.bigboybloater.com   http://www.facebook.com/thebigboybloaterpage

Pete RingMaster 25/02/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Murder Shoes – Self-Titled EP

Murder Shoes_Credit Photo to Aaron Fenster_01

Photo -Aaron Fenster

 

A slice of dark seduction always goes down a treat especially when brought with an imaginative smile and psyche haunting radiance. A healthy dose of rhythmic drama and melodic revelry similarly has ears and imagination more often than not seriously enthused within that kind of sultry landscape. It is a delicious mix which leaves us generally hosting a keen appreciation for its source, and in the shape of the self-titled EP from US band Murder Shoes, an especially lustful one. The five track encounter from the Minneapolis quintet is an intoxicating temptation of surf, alternative, and indie rock ‘n’ roll, a sound basking in the smouldering essences of each whilst creating its own individual inescapable seducing.

The seeds of Murder Shoes begin with the meeting of guitarists Chris White and Derek Van Gieson, seemingly at a bar where one worked and the other frequented. Conversations about music led to the pair uniting as songwriters, with a torrent of songs emerging from their complimenting ideations. A new potent factor emerged when vocalist/keyboardist Tess Weinberg was brought into the mix, followed by another spark of dynamics when drummer Elliot Manthey and bassist Tim Heinlein completed the line-up. With everything in place Murder Shoes stepped into the light and released the low key three-track Cash On Fire EP last December. It was just an appetiser for major things, a more than decent toe tester in creative waters, but in hindsight now blown totally aside by the might of the band’s new offering on Land Ski Records.

cover Derek Van Gieson

cover Derek Van Gieson

The adventure begins with Charlotte Manning and an opening temptation of sultrily toned guitar strokes aligned to smaller nibbles of their strings on ears. Van Gieson and White swiftly grip the imagination before the siren-esque lure of Weinberg begins her vocal caresses to intensify its involvement. It is a magnetic entrance but soon finding new levels of persuasion with the darker spicing brought by the throaty bass and more fiery hues to the guitar enterprise. A surf rock seducing by this time is just as fruitfully lighting body and thoughts, it all driven by the respectful and increasingly anthemic endeavour of Manthey. Like that packet of your favourite candy where good intentions in having just one becomes two, then another and subsequently the whole thing, such is the power of the song, every minute left alone listen, leaving an insatiable want for more.

And so it is with the following Maybe You Can, and the whole EP to admit the truth. It is another song rampantly persuasive and in control of the senses from its first singular guitar baiting of ears. That lone lure is soon bulging with a feisty march of beats and wrapped in fresh swarthy kisses of guitar as Weinberg produces more of her warm vocal enticing. There is a feel of The Capsules to the melodic and smouldering aspects of Murder Shoes songs whilst the unpredictable twists and invention within the encounter is like a blend of Chick Quest and Two Wounded Birds. The track continues to masterfully impose and enthral before making way for the fiery Under the Sea. You can almost feel the hot tingle of sand between toes as the surf pop persuasion dances with ears and emotions. Its sixties breath adds to the compelling character and sound of the song whilst mini crescendos even in their brief moments just breed a catchy drama to the glorious pop flirtation.

The following Sea a Little Louder brings another embrace of mellower energy but again without losing any of the gripping invention and melodic poetry of its predecessors. It is too bubbly to be classed as a piece of balladry but similarly with its alluring restraint far from being an incitement of intensive activity, a mesmeric croon the apt description for the song’s atmospheric and creative hug. It is easy to drift away with the breezy temptation, even its muscular rhythm saunter and the little bursts of climatic endeavour only empowering its immersive qualities.

Final track In Your Bed Or On a Train has limbs back in a frenzy and emotions fired up with its fusion of old school rock ‘n’ roll, sweltering surf ambience, and indie rock unpredictability. Think a modern day Wanda Jackson fronting a Morningwood type proposition and you sense why the EP’s closing offering is so irresistible. Rolling beats from Manthey again provide the resourceful and unrelenting wave of rhythmic enslavement which cores most songs whilst guitars and bass spin sticky darkly hued webs of adventure. Shrouded in the almost celestial tones of Weinberg, it is an exhilarating proposition, as the whole EP, and if the flavours we most mentioned, surf, indie etc. bring a lick of the lips, you are looking at potentially your favourite release of the year.

The Murder Shoes EP is available now digitally and on CD via Land Ski Records @ http://murdershoes.bandcamp.com/

http://www.murdershoesband.com/   https://www.facebook.com/pages/Murder-Shoes/331873790352913

RingMaster 05/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

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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