Interview with Matt of Smokey Bastard

Halloween saw the release of possibly the year’s most fun, energy and deliriously addictive album in the shape of Tales From The Wasteland from UK punk folksters Smokey Bastard. Bursting with 13 tracks of essential raucousness that come with an intoxicating mix of traditional folk, real punk, and deeply infectious enthusiasm, the album from the Reading band is frenzied and irresistible. Currently deep into a tour supporting the release guitarist Matt spared time to talk to us about the band and album.

A big welcome and many thanks for taking time during your busy tour to talk to us here at The RingMaster Review.

Firstly please give us a breakdown of the members and their roles within Smokey Bastard.

Currently, Macca plays the face, guitars and mandolin, Mike vomits gravel and plays the bass and Aled plays all the stuff that’s too hard. Buttons plays the drums, apparently. I (Matt) do some guitars most of the time.  We swap instruments a lot. There’s some mad woman called Lottie playing accordion at the moment. I don’t know. The line-up changes a lot and it’s hard to keep track. I’m fairly certain that there are between five and nine of us…

The band started in 2007? Give us some idea of those initial years for the band.

We just played for fun and as a hobby. We’ve never really aimed for success or anything but little opportunities would occasionally pop up. I think if you’re aim is to ‘make it’ you’ll probably end up compromising musically and failing anyway, so we try and avoid thinking like that and have fun with it.

How has the band evolved from then over the four years to this point in time?

It’s got better. We’re pretty embarrassed by a lot of our old material; it’s too generic and derivative. The new album feels a lot more progressive and unique to us. If The Dreadnoughts have taught us anything (and they’ve taught us lots of things…,) it’s that there’s still life in the genre of folk punk provided that you’re dedicated to avoiding complacency and formulaic song writing… that, and how to open a wine bottle with a shoe.

Your new album Tales From The Wasteland has just been released in the past few days, the excitement must be overwhelming?  

Must be.

Would you say the album fully encapsulates your thoughts going into recording it or went further and maybe surprised you a little?

It’s much closer to what we wanted it to be; certainly compared to the first album. The first album never really sounded the way it was intended and we were sick of it before we even had the hard copies. The new album sounds how I’d hoped and imagined it would in my head. And the item itself – the artwork, the packaging, it’s just a beautiful thing. I want one.

Who and where do most of the songs come from and what is the writing process leading to their final version?

Mike and I tend to write a song and then we all get together and flesh it out. Aled describes the process thusly; “Matt or Mike bring in a lyrical potato and the rest of us bring a selection of different eyes, eyebrows, noses, mouths, ears, facial hair, hats and feet to make it into a delightful Mr. Potato Head. We then change things until it looks like Jeff Goldbum. That’s how we like it”.

Your sound has obvious influences in the likes of Flogging Molly, The Pogues and Dropkick Murphys but is there something further that inspired the folk side of your sound?

Yeah. Folk music. The Transatlantic Sessions are a goldmine. If you can find Arthur McBride and the Sergeant by Paul Brady then go and listen to that; it’s a prime example of the power of folk music to tell enthralling and immersive stories. We’re also big on Americana for the same reason – The Boss and Tom Waits and the like. They write mythical songs that make you feel like you’ve watched a whole movie in four minutes.

Lyrically you are not as openly forceful as the likes of Dropkick Murphys and infuse great humour to your intent, is this deliberate or simply a natural thing form the personalities involved?

I’m guessing by ‘forceful’ you mean we don’t put across any specific political agenda? Personally I find explicitly political song writing kind of naff. That’s just my opinion. There are probably enough punk songs about not liking Nick Griffin now. It should kind of go without saying. That being said, I once saw an Interview with Matt Kelly from Murphys saying if you want to know about politics, read a book and don’t listen to college dropouts in punk bands. I think humour in song writing is important in order to prevent you from taking yourself too seriously. Dropkicks use a lot of humour in their song writing too, after all.

What are the literal influences that have inspired the lyrical writing style of the band?

The Black Freighter storyline in Watchmen, Viz magazine… I can’t really think of any specific literary influences. We do like good prose though…and good grammar…and deliberately bad grammar, wot we find hilarious.

It probably is  wrong to single out any tracks when all are so inventive and enjoyable but please give some insight into a couple,  ‘Mongrel’ with its potent message and ‘Dear Mol’ which I have to ask did it come from someone’s personal experience?

Mike wrote Mongrel. Its message concerns the artificially constructed notion of ‘native’ Britons and the benefits of multiculturalism. Mol is loosely based on personal experiences, yes…

The art work on Tales From The Wasteland is stunning where and who did that come from?

It came from the majestic Tom McGrath. He’s an art student from Lancashire that we found on deviant art. We had an ambitious concept with regards to the album artwork so we were lucky to find someone who could actually pull it off as beautifully as he did. We wanted to make the physical copy as desirable as possible to draw people away from buying it in a digital format at 192kbs a second. As great an invention as the iPod is, I think it will probably ruin everything. It encourages people to buy individual songs rather than albums. You can’t listen to a great album on shuffle. Fuck shuffle. Fuck it

The single from the album is ‘Yuppie Dracula’ which has a great video accompanying it. Who came up with the video storyline and made it?

The song is about a guy who is a bit of a letch, but for the video we thought an actual vampire would give us more scope for visual gags. We sat in the pub and worked out the story, borrowed a chat up line from my friend Ed (Do you want to come back to my place? I have both Savage Garden albums…) and then got the awesome fellas at Pork Chop Pictures to make it happen. If you enjoyed the video go check out their web series Meat. Funny stuff.

You have just started an extensive UK tour in support of the album and we are grateful you have made time for this, what can people expect from your renowned live shows and where can they best find info on dates and places etc?

Our website is looking a little ‘under construction’ at the moment but the gig list is bang up to date. Head over to www.smokeybastard.com and while you’re at it, friend us on Facebook…

Good luck with the album and tour and again thanks for sharing time with us. Would you firstly like to end with a thought for the day?

I’m all out. Here’s one courtesy of The Reverend Kevin Eldon in the 90s:

“Aaaaaaaaaaaaarrrrrrrrrrrrrggggggggghhhhhhhhhhhh!!!!!!!” said my daughter the other day whilst giving birth. “EEEUUUUURRRRRRRGGGGGGHHHHH IT HURTS IT HURTS IT HURTS!!!!”

“Ah my poor fool” I said, “for it is written that pain in childbirth is God’s punishment to women for Eve’s betrayal of God in Eden, and therefore you deserve every scintilla of agony you are experiencing oh whorrish spawn of mine. And thus, justly chastised, did she complain more quietly…

And secondly the track Mong Some Hoof, there is really a game it was inspired from and what’s the chance of it catching on as a craze sweeping the nation? Maybe some mid set fun on your tour dates?

The game Mong Some Hoof is one of many games invented inside Mike’s university house “The Fat Handed Twat’s Crooked House”. The game itself involves partly inserting a shoe onto your favourite foot and trying to flip it, via a kick, into your own mouth without touching it with any other part of your body. A fun game, involving black eyes and frustration. A partial list of other games includes:

Can you strictly come mong some segway?
(a two player variant on Mong Some Hoof)
You probably shouldn’t engage with the dress down
(Looking up whilst standing in a doorway and jumping as high as you dare)
Where’s Merick?
(Not telling a house mate that we had the internet. This game can last up to two months)
Antigravity where’s Merick
(Hiding pictures of goats in Matt’s textbooks)
Skim the chief
(playing darts where each throw requires the dart to touch the ceiling before the board)
Stab the loaf
(A variant of skim the chief where the dart must pass through a slice of bread thrown by a second player)

Tales From The Wasteland is available via Bomber Music and for details on this and the tour go to http://www.smokeybastard.com  and https://www.facebook.com/smokeybastard

Read the Tales From The Wasteland review @ http://ringmasterreviewintroduces.wordpress.com/2011/10/11/smokey-bastard-tales-from-the-wasteland/

RingMaster 10/11/2011

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.

Sarah Jezebel Deva – The Corruption Of Mercy

After the negativity for her decent debut solo album with even Sarah Jezebel Deva herself not over enamoured with the end results there has been a subdued anticipation for its follow up even with the impressive pedigree of artist.  For all of those holding back investigating The Corruption Of Mercy released via Listenable Records, the recommendation is easy just dive into its splendour and enjoy. The release may not quite touch album of the year standards but its generous and glowing sounds matched by eager intensity and emotive energy is a sure thing to pleasure the senses and feed all harmonious and adventurous taste buds.

It does seem strange that it had taken until 2008 for Sarah to take the step into the limelight with her own solo work. Fourteen years as a backing singer with Cradle of Filth, and work with bands like The Kovenant, The Gathering, Mystic Circle, Trigger The Bloodshed, Mensrea (GWAR side project), Graveworm, Tulus (Name later changed to Khold), and Creations Tears (Featuring ex Paradise Lost drummer Lee Morris) has sealed her place in metal even if it subdued her potential in many ways. 2005 did see her join forces with Tommy and Chris Rehn to form Angtoria whose album God Has A Plan For Us All gained strong acclaim. The band never toured with her COF duties always the pull away for her.  Three years later she did take the move to go solo releasing her debut album A Sign Of Sublime , featuring a host of guests including Dave Pybus (COF/Angtoria/Anathema) on bass, Chris Rehn (Angtoria) keys/programming, Martin Powell (Ex COF/My Dying Bride/Anathema) keys and Max Blunos (Trigger The Bloodshed) on drums.

For The Corruption Of Mercy which she started working on immediately after her debut, Sarah Jezebel Deva brought together a permanent and touring band under the umbrella of her name consisting of guitarists Dan Abela and Jonny Gray, bassist Ablaz and drummer Jamie Abela. The album also has the guest wizardry of Pzy-Clone from The Kovenant to contribute programming and orchestration. Recorded at Legacy London Studios, England the project’s official website states ‘Sarah feels “The Corruption Of Mercy” should have been the first album.’ With the major step forward in all aspects musically, lyrically and song craft it is understandable and the reason people should not think twice about checking the album out.  

The songs within the album are as firmly varied as Sarah’s vocals are impressive; her soaring and glorious tones matched by the diverse and large soundscapes conjured up, though at times the band unveils the simple and elegant sounds to equal effect. The release starts off with ‘No Paragon of Virtue’, a large dramatic song with soaring orchestral sounds fused against driven energetic heavy riffs and thrusting beats. The song sounds like an even more theatrical version of Stolen Babies but staying well within the bounds of pomposity. The song is immense and grows even deeper into the heart the more times one enters its charms.

The straight forward and satisfying direct rock flow of ‘The World Won’t Hold Your Hand’ comes next before passing over to the melodic majesty of ‘A Matter of Convenience’.  Though it is not exactly a ground breaking song its smoothness, expressive vocals and lyrics, and captivating allure makes it a highlight amongst many. The dark synth vein running through it brings a twinkling wickedness also adding to its power.

A great song that leads into the album’s finest moment in the glory of ‘Silence Please’, which like the opener it is another grand and sparkling theatrical flourish of sounds. Sarah’s vocals are as expansive and wonderfully soaring as the orchestral arrangements both swarming over the striking intense riffs and attack. One can imagine it framing any highly dramatic gothic movie scene or dark hearted animation, the sound larger than life and as powerful as one would wish.

The remaining tracks all bring bright creativity and impressive substance from the stunning piano and voice piece ‘Pretty with Effects’, the pulsating urgency and striking harmonies of ‘Sirens’, to the folk metal tinged immensity of ‘The Eyes That Lie’ a track that Arkona would eagerly grab, the songs ripple with engaging mesmerising beauty and beguiling energy, Even the cover of The Cranberries’ ‘Zombie’, a track well bled dry by multiple versions is a mighty fine and different effort.

 The Corruption Of Mercy is a thoroughly impressive and enjoyable release and evidence that Sarah Jezebel Deva herself and the band are a more than formidable and important part of anyone’s playlist, and as this piece comes to a close whilst listening once more, the album is nearer that best of the year step than ever before.

RingMaster 09/11/2011

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.

Interview with Jordan Mancino from As I Lay Dying

Few bands that have reached their centenary have been as influential and powerful in a genre or metal come to that as Californian metalcore band As I Lay Dying. To celebrate the band has released Decas, a twelve track release of original material, covers and remixes, a gift to the fans and themselves to enjoy the occasion. We had the pleasure of asking drummer Jordan Mancino about the release and of course As I lay Dying and their ten years as a band.

Hi and thank you for taking time to chat with us here at The RingMaster Review.

We will start with the obvious question how does it feel to be celebrating your centenary as a band?

It definitely feels good knowing that we’ve made it as a band this long.  Of course, we attribute much of our longevity to our amazing fans. Without them we wouldn’t have been able to do this.

Obviously one hopes their band will be one that lasts and finds success in some degree, but what were your initial hopes when starting out or was it just a case of living the moment as a band?

The only thing that was on our mind when we started this band was to play heavy music and tour whenever and wherever we could.  We didn’t think this far ahead.  We try not to dwell on the future or the past too much as a band, which is why I think we’ve been able to stay relevant all these years in a constantly changing genre of music.

As I Lay Dying has obviously grown as a band over the past decade but what would you say is the biggest change?

I think the biggest changes have been on an individual level.  Getting to travel the world and experience life as we do has allowed us to learn quite bit about the world and who we are as people.  I know for a fact that we feel so fortunate to be playing music that we love and sharing it with people across the globe.  

How has the music world itself changed in your time as a band in its attitude and support?

A TON!  But, what industry doesn’t change?  Surviving for these past 10 years we’ve developed the ability to adapt to certain circumstances and sometimes change or make your own rules. Who knows what the industry will be like in another 10 years, but the fact will always remain that people need and want good music and to see that music performed in a live setting. You can’t replace that.

Looking back is there anything that you would have changed either musically or in other aspects involved in being in a band?

Of course.  Hindsight is always 20/20, right? But, we’ve been pretty lucky over the years and haven’t made too many decisions that result in constant regret. Overall we are quite happy with the way we’ve done things as a band in every aspect.  We’ve always stayed true to what this band was from the get go, that is writing and bringing heavy music to the masses.

How has the songwriting changed as a band and individually?

We are constantly growing as individuals and as musicians and songwriters.  In the earlier years we had many member changes, which of course kept the songwriting progressing. 

Your new EP Decas marks the centenary and I hope this comes over as meant haha but have you approached it more as a celebration release with the covers and remixes than a landmark in the band’s productivity?

I think it’s more of a celebration for our fans and us and I definitely don’t take offense to that.  The content of this record isn’t typical of our band, which is why it is a special release and not to be viewed as a normal full length.  It’s supposed to enjoyable, fun, interesting, heavy, etc. while showing another side of this band; hence the covers, and remixes and extreme originals.

The three original songs ‘Paralysed’, ‘From Shapeless to Breakable’, and ‘Moving Forward’ are typically immense and striking, are they a taste of what is to come on the next album?

Thanks!  Well, I would say a taste, but that’s as far as I can take it ‘cause we haven’t written anything yet for the new record.  All I know is we are going to push the elements and characteristics of our sound more and more with every record we put out. I guess it would get boring if we kept putting out the same record for our fans and us.

The covers of songs by Slayer, Judas Priest, and the Descendents (which your version we adore here) give homage to your influences. Were these the main three bands that make a mark on your musical lives or just the songs that worked best from an array of influences?

I think you nailed it with the “array of influences”

Who now of contemporary bands gives you food for thought when it comes to writing songs?

It’s hard to say.  I wouldn’t say I’m stuck in the past as far as my influences go, but the reality is that most of the bands I derive influence from are older bands.  There are older bands that are putting out new records that I really like, if that’s considered contemporary.  (Testament, Machine Head, Fear Factory, Slayer, etc.)

I have to be honest and admit remixes are a bugbear here at the review, still trying to understand their need anywhere generally. So have to ask why did you include them on the EP? Was it your idea from the start or was it they (the people remixing the songs) who approached you?

It’s what a lot of our fans requested. It isn’t typical for us or a metal band to go the remix route, but, hey, we asked our fans what they wanted to hear and it was a common request.  They’re on the record to be listened to by those that want to listen.  For those that don’t enjoy that stuff, there’s a mechanism called a stop button on most audio players…  Sorry for the sarcasm. Haha.  We did it for our fans!  They keep us and this scene alive and deserve some respect and that was our way of showing it.

What is next for As I Lay Dying, tours, album?

We are currently finishing up a Euro tour with Amon Amarth then head straight to our US headliner, A Decade of Destruction Tour, then after that it’s back in to the studio for another record.  We aren’t going to travelling the world supporting Decas other than this tour.  It’s supposed to be something special and we didn’t want it to seem as if we were trying to push this as a new full length original record.

Over the ten years of the band what is the one moment that has made the biggest impact and been the most satisfying?

It’s hard to say because there have been so many great moments.  Any time my family gets to be at one of shows always means a lot.  The amount of support I received from them is mind blowing and I wouldn’t be here without them.

A great many thanks for talking to us, it has been a pleasure. Would you like to leave with a word to your fans and metal lovers everywhere?

Thank you!  You questions were thoughtful and I enjoyed answering them.
We will be back on the road with a new record in 2012, that is if the world doesn’t end…

Decas is available now via Metal Blade Records.

For more information on the release and the band http://asilaydying.com/

 

Read the Decas review @http://ringmasterreviewintroduces.wordpress.com/2011/10/31/as-i-lay-dying-%E2%80%93-decas/

RingMaster 03/11/2011

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.

Autumn – Cold Comfort

For Dutch rock band Autumn their new album Cold Comfort was a welcome adventure and experiment whilst for the world it is an imaginative and engaging collection of songs that equally inspire, soothe, and inflame emotions. Released via Metal Blade Records the band’s fifth album is a shining result of Autumn’s focused intent to push their boundaries and explore their sound, Cold Comfort an introspective and personal release given inspiration from experiences around the previous album, the emerging album one that warms as much as it ventures into the shadows.

Musically Autumn have stayed within their solid hard rock grounding and instead approached the songwriting and the recording in a way that not only brings in more flavours such as progressive rock but has also reassessed, stretched and almost reinvented the creation of their songs. This has been done alongside Erik-Jan Dodd, Autumn’s live sound engineer since around the time of My New Time and someone who knows the band and their process almost as well as they do themselves. Guitarist Jens van der Valk has quoted “In terms of sound we realized there were still leaps to be taken out of our comfort zone and into unthought-of possibilities. As a first step in the right direction, our main focus was on a more open, transparent sound, one through which the often multi-layered nature of our songs would be optimally channelled.”
In a temporary studio loaded with the bands gear and a large collection of vintage amps and equipment Dodd and the band set about the music in a fashion that involved lifting particular aspects out of the mix that would previously have remained more ingrained into a wall of sound, and choosing strong dry or harsh sounds to paradoxically create more warmth and open clarity in the tapestry of songs very much as the album’s title implies. Jens van der Valk also commented that “On occasion it felt like tearing things out of balance in order to create balance. I must admit we were a bit apprehensive at times, but persistently maintaining course resulted in songs with a stronger and more exciting character than we’d envisioned.”

     A full listen of the album proves their daring approach was inspired and a complete success, Cold Comfort a release   that lifts the spirit and thrills the senses to a high degree and fashion. The album is full of variation, enterprise musically and in vocalist Marjan Welman who has fully integrated and expanded within the band since her debut for the previous Altitude album, a voice to mesmerise angels. Cold Comfort plays as a complete package and is not simply just music with wonderful vocals. The guitars of Jan and Mats van der Valk stride confidently and creatively from song to song without any sense of indulgence which with the inclusion of a stronger progressive flavour was always a danger, while the keys of Jan Munnik are impressive whether they float within the rest of the sounds or vein a song directly and with the rhythm power of bassist Jeroen Vrielink and Jan Grijpstra on drums there is always strength and firm intensity whether in the pacier tracks or atmospheric emotive ones.
     It has to be said there is not a weakness across the length of the album each song bringing something varied and strong to the release from the stirring but mournful opener ‘The Scarecrow’, the touching beauty of the ballad ‘Alloy’ where Welman fully unveils her glorious voice, to the eager and graceful ‘Retrospect’, and the expressive and diverse ‘Truth Be Told (Exhale)’. Each and every track gives something special and it is easy to fall within the albums arms and focus on nothing else.

To be critical the only ‘complaint’ that can be levelled at the release is that there is a sense of familiarity to the music though it is hard to pinpoint from where. Many of the songs or certain elements within, whether a riff, a melody or chorus harmony do not hold many surprises but more are memories of something else but with an album this good  really it is being almost pedantic in the face of such enjoyment. Though this recognition means the album lacks the extra sparks to become a classic Cold Comfort is easily one of the best and most rewarding rock albums of the year.

RingMaster 08/11/2011

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.

Lonely Kamel – Dust Devil

Dust Devil the third album from Norwegian blues/stoner band Lonely Kamel is an imposing and thoroughly energising release. It has some of the deepest consuming sludge metal/ doom sounds within its dirty walls, igniting the passions with oppressive sounds and constantly gloriously heavy grooves that crawl all over the senses. The album is immense in all aspects to satisfy rock fans of all ages and from which ever direction they come at the release, whether as an eager stoner, sludger, hard rocker or blues enthusiast.

The Oslo quartet have released an album that is thick with muddy passion, overwhelming riff laden grooves, and treacle like melodies that stick to the senses to please long after the release has departed. Though not one track is laced with obvious hooks to ensure an instant attraction, the songs are ripe and vibrant with addictive and consuming elements that openly infect and pleasure. The sounds within Dust Devil are so intense and successful in taking the listener into the dirty, bluesy whiskey soaked world that is inspired by the tunes that one is almost brushing the dirt and dust off and breathing in the desert air.

There is a good varied mix to the album with a journey that starts in blues territory slipping into stoner rock then an intense sludge assault before reverting back to more blues veined rock sounds and all full of a good dose of classic rock inspiration for added taste. Initially there is the thought that maybe it should have been mixed up more in the positioning of songs but subsequent plays bring the realisation that doing so might have lessened the impact. As they sit there is a building up of intensity and effect that brings the listener to breathlessness by the last notes of the album.  

Opener ‘Grim Reefer’ sets the tone starting off with a blues crawl with great guitar from Lukas Paulsen and Thomas Brenna whose vocals drags one eagerly straight into the song and its emotion. The track erupts into a pacey slice of rock ‘n’ roll that feeds the heart fully. From here the sounds slip into desert/stoner rock with the wonderful ‘Evil Man’ conjuring up flashes of the likes of Kyuss, Queens of the Stone Age and a little Red Fang but flavoured with the band’s own musty musical scent. The song is the standout track amongst a dozen excellent inspiring sounds.

‘Blues For The Dead’ brings a heavier feel with spices of southern rock to the fore. Like a fusion of Pantera, ZZ Top, and Orange Goblin the band deliver their blues deeply and satisfyingly. ‘Rotten Seed’ continues in the same vein though with a lighter touch that brings thoughts of Pearl Jam meets Eagles of Death Metal. In every song the bass of Stian Helle blesses the music but here he directs will skill and passion as the guitars play eagerly with varied attacks and the drums of Espen Nesset thrust perfect rhythms forward.

The slow grind and throaty bass of ‘Seventh Son’ and the psychedelic distortions of ‘The Prophet’ carry a thick swamp of sludge sounds. Welcomingly oppressive the two tracks take over every pore especially in the longer epic flow of ‘Seventh Son’. These are followed by ‘Ragnarörkr’ which carries on the tone but infuses it with a soulful and vibrant vein of hot guitar solos and strikes.

     Dust Devil slips back to the infectious stoner/grunge like energetic sounds with ‘Roadtrip with Lucifer’ sounding like Soundgarden in a union with Mondo Generator and the blues rock with ‘Hard To Please’. The album ends just as strongly as it starts with everything in between of the most impressive and enjoyable level. First play and the album is a winner, repeat plays leads to emotional attachment.  Lonely Kamel has shown not only America produces exceptional stoner rock sounds, and with Dust Devil offer much much more.

RingMaster 07/11/2011

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.

Martyr – Circle of 8

Circle of 8 is the first full length return for Dutch rockers Martyr since their return a couple of years ago, an album that reignites the appeal they had at their height in the mid 80’s fused with an attack forged in modern intent. The album consists of twelve bustling tracks that link their origins to the now with satisfying effect if not with spectacular results, but overall is an enjoyable album that achieves its aim to entertain and rouse the spirit.

1982 saw Martyr begin their five years of existence, grabbing strong acclaim and adoration from fans and the release of their two albums, For The Universe (1985) and Darkness At Time’s Edge (1986) which became cult metal classics.  Compilation appearances and shared stages with international bands saw their stock rise even further until they disbanded in 1987. Then in 2001 the band reunited to play the Heavy Metal Maniacs festival, and four years later the Headbangers Open Air and Keep It True festivals when most of the 1982 line-up came back together. The closing dark of 2008 saw the band support Lizzy Borden on their European tour, and the following two years had Martyr supporting legendary acts such as Flotsam & Jetsam, Vicious Rumors, Jaguar, Evergrey and more around Europe.

2009 also saw Fear a new EP from the band released coupled with a re-release of For The Universe as a double digipack on Rusty Cage Records. Now back with a vengeance the band entered the studio during 2010 and 2011 in between live shows to record Circle of 8, which is released this month on Metal Blade Records. The album as well as a welcome return for existing fans is sure to garner in an ever increasing source of new fans with its strong heavy rock sounds and determined metal power.  

The album starts off with ‘D.I.’ a strong track that sets the release off impressively if not dramatically. The great military drum beginning from Wilfried Broekman is not particularly original but always gets the pulse rate stirred up. Catchy and probing riffs from guitarists Rick Bouwman and Marcel Heesakkers race ahead with deliberate intrusion whilst the bass of Toine van der Linden drops strong rhythms alongside the eager drums. The vocals of Rop van Haren are enthused with good control which is not always the case further into the tracks of Circle of 8.

‘Afterlife’ follows with a firm Metallica/Megadeth like feel and lifts the levels from the satisfactory opener. Urgent riffs and striking guitar play sets the track up well to pleasure the senses with skilful old school metal and 2011 intensity. The track like the album is a grower with subsequent plays unveiling some of the deeper creative touches and punishing elements. Musically throughout the album the band are tight and creative, their heavier and more forceful moments outweighing their melodic interplays though these are striking enough. At times the band is wonderfully  incessant as on ‘Art Of Deception’ and ‘The Uninvited’ and in others demanding with riffs and power that batters the senses as in the title track and ‘Justified Killing’. There is great variation throughout from the hard and dirty aggression to classic rock in songs like ‘All Warriors Bleed’ and ‘Scene Of Hell’.

Circle of 8 is a good album but the major flaw comes from the vocals of van Haren. Now admittedly personal taste is coming into play here as classic rock vocals and high squeals always bring a cringe and unwanted taste but at times where the music has leapt into the now van Haren has not, his delivery is straight out of the 80’s and the band’s heyday and at times it does not work as well as they and he deserves. The tracks where his clean swells and supporting growls merge are by far the best and most effective and hopefully this is an area they will pursue ahead.  As said this is part personal taste and probably not an issue for many others.

Martyr is not only back but looking more forward than behind with Circle Of 8 an album that will please the old and the new fans equally.

RingMaster 08/11/2011

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.

Interview with Greg Combrinck from Feud

Rock music and grunge is alive and kicking thanks to UK based rockers Feud and their impressive debut album Waterdog. Started by brothers Greg (vocals/guitar) and Guy (drums/vocals) Combrinck  the band has come a long way from it’ and the guys early days to explode with an album that is honest, catchy, and addictive. The RingMaster Review had the pleasure to question Greg about the band and its sounds.

Hi and thanks for taking the time out to talk to us.

Feud was formed in 2005by yourself Greg and your brother Guy, was this whilst still living in your home land of South African?

The roots of the band probably started in South Africa, but the band actually became what it is today in the UK when Guy and I would practice on Saturday mornings in an empty church.

What was your musical history up to the band?

Guy played the drums for the church inSouth Africa. Following that, it was playing punk tunes in a garage with Greg and a couple of friends in our garage.

Exactly why did you decide to relocate to the UK?

I guess it wasn’t really our decision.  We came over with our parents so it would have been unrealistic to stay behind.

Is there a marked difference between the rock music scene here and back home?

The music scene when we lived in South Africa was very much rock influenced.  You could definitely feel an Americanisation of the music and culture at the time.  Not sure if that has changed at all.

When did Ian and Tom join the band and how did you all meet?

We met Ian oddly at the dentists in 2004, and we started to put together a few ideas for the band. Tom came as a fan to the bands first gig and after chatting to the band after the show, joined as the bands bassist

Your debut EP Out From The inside in 2007 put you firmly into a large mass of ears to much acclaim; did it open up many doors too?

The EP got us playing some fantastic venues with some incredible bands. We are now looking forward to big things in 2012.

Tell us about the BBC 3 documentary you were featured in.

A documentary was made of a very close friend of the band where the cameras followed him around to film parts of his life. They asked us if they could film one of our sets as our friend attends most of our gigs. It was pretty awesome to hear our music on theBBC!

How do you describe your sound?

Our sound is modern rock with heavy influence taken from grunge.

What were the influences that helped flavour your sound?

There are definitely a few key influences, like the early 90’s grunge scene, but there are a load of individual influences that we share, like The Doors, Alice in Chains, Seether, Foo Fighters

You have shared stages with the likes of Cancer Bats, Bad Manners, Young Guns, and Days In December, all with very different sounds. Why do you think your music is able to work with such a varied range of bands?

Although our sound musically is within a set of goalposts, the songs themselves are very different, we go from punk to ballad to grunge to pop punk to rock/metal all within a gig, so it allows us to crossover & fit in with other bands we’re playing with.

Waterdog is your new and recently released excellent debut album; firstly tell us about the album title, any particular meaning to it?  

The album cover shows a drunk guy on the front and he’s a waterdog.  Just a pissed person really.  Someone who goes to the watering hole to fill up his/her pint. That’s a waterdog.

Did the finished result match or exceed your expectations when entering the studio?

We took our time recording the album, making changes and improvements as we went. We did it this way so we knew we would be musically happy with the way it came out. It may not have the production and mastering of a £multi-million studio, but we strongly believe that it is good enough to show people what we are all about! We hope that everybody loves it as much as we did to make it

Were the songs basically ready to go when entering the studio to record or did they fully come together within those walls?

Most of the songs were complete before we went into the studio; there was one song that we wrote while we were in there which fitted in well with the others already written. We always found new ideas while we were in the studio, so would sometimes record them on the fly to see how they would add to the overall arrangement of the song. It was an ongoing process and some songs changed completely after hearing them recorded.

Is the songwriting a group effort or from one source mainly?

Lyrically, it’s all Greg, but the music comes from all of us. One of us might come up with an initial idea, then we all build on this to make it a group effort. We tend to all have our own styles, but the songs are a collective.

As well as a great humour to the lyrics there is a personal feel, do they actually come from actual experiences or just observation?

Everything is from personal experience.  It’s pretty much a personal diary architected around music.  Music is about being open and that’s what I try to do with the lyrics.

What is next for Feud?

We are currently finishing our tour and during December, we will be writing new songs. After that, we are planning on big things for 2012!

A big thanks to chatting to us is there anything you would like to add or leave us with?

We love you.

 

To find out more about Waterdog and the band plus to get their debut EP for free go to their website @ http://www.feudmusic.com

 

Read the Waterdog review @ http://ringmasterreviewintroduces.wordpress.com/2011/08/29/feud-%E2%80%93-waterdog/

RingMaster 07/11/2011

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.

The Janks – Hands Of Time

Hands Of Time the debut album from Los Angeles based band The Janks is ear catching and attention grabbing as well as intriguing and ultimately with a little extra attention for full appreciation very enjoyable. The band has been gaining strong acclaim and support for their varied and surprising sounds in their homeland, with the album hitting worldwide that eager following is sure to grow and quickly.

Since forming in 2009 the band, made up of brothers Zack and Dylan Zmed and best friend Garth Herberg , has worked hard and intently on their eclectic rock/folk sounds and striking an identity in peoples thoughts with local shows and gigs across the US. Hands Of Time was recorded throughout 2010, the final fourteen tracks emerging from 30 prospective songs to give the release a vibrant and emotive substance as well as an air of unpredictability. In the words of Dylan Zmed upon the release “The album is like musical theatre, the first half develops the plot of a young boy who comes from a broken home, while the second reflects the visceral intensity of growing up from separated roots. At the end, we see there’s possibility for change” and though it is not as obvious as one imagines that is the overall sense one gets as the songs deliver their essences.  

The album opens softly with the title track. Jangly melodies and smooth harmonies ooze from the song and its story telling as engaging guitars play eagerly around an intermittent teasing lure of a carnival hook. This leads into the country folk of ‘Billy The Kid’ and the following ‘Dead Man’. Both songs shuffle along with emotive elegance, delicate harmonies, and concise arrangements. Though soft sounds are in abundance there is a darker element lyrically that lines the songs behind the mellow beauty though it is not until further into the album that musically the tone also changes.

It is with the second half of Hands Of Time and ‘Rat Racers’ that distinct variations and enterprising sounds erupt out. This song after a soft slow start bursts into a reggae pulse and schizophrenic array of electrified sweet cacophony. Though the album to this point has been solid and more than agreeable it is from this point the release lights up. ‘Separation From Your Body’ is a good rock/folk song in the vein of Steely Dan and brings all the elements of the band’s songwriting into the open. Melodic and harmonious with an engaging discordant tension the song is one of the more memorable and powerful.

The electric scuzz of ‘Demon Dance’ and the lively dementia of the brilliant bouncy folk driven ‘Drama King’s Ball’ both raise the temperature wonderfully, the trio wasting no time by taking it easy on the intrigue and mystique of what is coming next. What is to follow is two again mesmeric  tracks in the brief and addictive carnivalesque instrumental ‘Adolescence’ and ‘Child Prodigy’ a song that gives its own kind of rock opera inspired by the likes of Queen.

The album closes as it started with a couple of soft harmonic ballads which are impressive in their construction and sound but do feel as does the opening half of the release, like a drop in levels against the middle excitement. The album is ambitious and overall achieves its intentions admirably and at times wonderfully and for fans of the likes of Flaming Lips or Fleet Foxes this is a must investigate release.

Released on Cargo Records, Hands of Time is fresh and enterprisingly different, despite a little inconsistency though some of that can be put down to personal taste rather than quality. The Janks are without doubt a band to watch closely and their debut an album one to listen to often as each play reveals a little more of its depth and great enterprise.

RingMaster 06/11/2011

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.

The Duel Interview

This year saw one of the more important punk albums in All Aboard The Crazy Train from London Punk Rockers The Duel with songs inspired by and moving on from the 70’s punk and 80’s new wave. With much excitement The RingMaster Review had the opportunity to ask The Duel about themselves, the album and punk.

Hello and big thanks for sparing time to talk to us here at The RingMaster Review, would you be as kind as to introduce the members of the band?

Tara Rez Vocals/ Songwriter

Andy Thierum  Keytar /Songwriter

Chris Mcdougall – Bass

Thanos Guitar

Pumpy Drums

For those still not as aware of you as they should be, could you tell us about the beginnings of the band, how Tara and Rex met etc?

Funnily we met thru an ad in the melody maker. Andy s Manager was auditioning singers for his band & I had just walked away from my then Manager, who wanted me to do ‘pop’. I was in the pub feeling gloomy, saw a melody maker on the table, flicked thru it, spotted this ad that sounded like me, sent them my stuff, got invited for an audition, we both liked each other’s stuff a lot and within half an hour of meeting we wrote an amazing song, and then we both ‘knew’ we were on the same page and we d found what we were looking for. We then literally turned our lives upside down in order to be together and create the songs we dreamed were within us.

As someone who only ‘discovered’ music when punk exploded in ’76, how and when did you guys first absorb the sound that runs through your veins?

Both of us at an early age were obsessed with music and writing. It’s always been there.   Andy was writing music very early and me writing songs.  I spent a lot of time on my own growing up.  But I had the radio & John Peel. The first song I fell in love with as a child was ‘This Is Not A Love Song’ by PiL, after PiL I listened to the Sex Pistols!    Funnily I just found out from Andy it was ‘Love Song’ by The Damned that got him. Typical Duel yin & yang!

What were the strongest influences that help shape your sound to some degree and which band is THE punk band for you? (Ruts is ours)

I guess we are Punks spawn from the Rave Generation. Though we have a vast musical taste it’s the Ramones & Dead Boys that have been a very heavy influence on us.  Their music and songs always scratched our itch & have really helped us not to give up and keep going despite the struggles and opposition we’ve faced. Hence we covered a song from each of them on the first album to pay homage. FOLLOWED BY The Clash and many other well known & more obscure 77 punk bands.

On the surface it feels that apart from a few great exceptions like you that real punk is a dormant sound lost to the pop punk brigade, what is the reality that you guys have found?

Andy: Exactly that! It’s been a pleasure for us hearing bands from ‘77 that made you feel like you were hearing something new.

Tara – the reality is that you can copy the formula and you can copy the clothes, but you can miss the point and (un)fortunately that missed point will also shine thru your sounds.  Punk bands back then had a great way of being able to express themselves in a free, original new way – Every musical explosion that changed the world had its own unique sound – this is what we want to be a part of in our times –that euphoria  - in 2012 !? .. bring it on!!!

You are soon to release your excellent new album All Aboard The Crazy Train, what can people expect from it? 

The unexpected!

Has your sound changed much from your previous albums, Let’s Finish What We Started in 2007 and Childish Behaviour in 2009?

Andy: In one way but the format has stayed the same and the song writing has always been about new ideas.

Tara: Our first official album Lets Finish What We Started – was great fun to make but took sooo long.  We couldn’t get any support from anyone to help us release it despite great reviews of the demos discovered from all over the world!  The music industry especially in Rock and Punk was on the decline so we had to record it our self.  Took forever to work and pay for the studio fees – tho’ we are happy with the album and the whole band as we were – but very frustrating times for us moving at a snail’s pace.

By the time it came to writing the second album, we were like, there’s no way we’re gonna wait years before it’s out.  In hindsight, we should have just released it as soon as we wrote it but we didn’t for fear of getting slated for being too raw. We were trying to be ‘pro’ about it like the first album. It’s hard to get a good perspective of something when you’re living and breathing it with no outside support. We couldn’t strike the balance with making the recordings sound how we wanted ‘cos we didn’t have the money. Especially after touring etc. So we did the only thing we could do, we just re-recorded it all at home with what we had, and gave it to the world. It was a humble release. All within 6 months, we released a double album of brand new songs that were all written in that time.  That attracted more fans from a wider audience and got great reviews from people that could ‘see through and beyond’ the recording quality.  What was also great about this album was seeing punks from different sub genres being turned onto it. Yeah that’s we like! when we all unite! : )

Come ‘All Aboard The Crazy Train’ By now, we’d taken so much shit from nay sayers (why do they always have the most audible voice!) that we we’re now just defiantly walking our own path.  If we hadn’t have made the first two albums, we wouldn’t have learnt what we needed to create the 3^{rd –} both emotionally and technically.

How about the actual recording, what is the difference now to when you first stepped into the studio

We have access to better recording equipment and have learnt a lot about how to record our sound on a shoe string budget. We do the bulk of it at home and finish as little as possible in a ‘pro’ studio.

The songs on the album are strong with social commentary and sense, but do you feel people ‘listen’ to the words and react as they did back in the late seventies?

Andy: It would be nice to think that if enough people heard it would invite their emotions to lean to that way.

Tara : they’re not gonna react like they did in the seventies, ‘cos that was then and our times, tho’ history repeats itself – our times,  have moved on and are more challenging than ever for every generation on all corners of the earth.

If the sound wasn’t right, I wouldn’t want to sing with it so the sound of course is the most important. On this album, I admit I ranted on about the same things a fair few times.  I really annoyed myself. But that was what was in me & it troubled, plagued me a lot and Andy was very supportive of this.  All my poems/writings at the time were sorta on the same track, tho’ once we wrote ‘Two Suns’ the last track on the album, I felt a real sense of release, and I felt free to move on lyrically.  Hopefully the music & lyrics combined will awake, ignite & re-ignite the ones that it is for!  The rest of us can enjoy the ride together on the wave of beats and melodies.

Though studio recordings the songs on All Aboard The Crazy Train come over with a live feel, was this conscientiously aimed at or just a natural thing?

That’s a hard question, it’s definitely a conscience aim to be able to record our sound how we like to hear it, our aim is always to bring across the feel of the song we’re working on.

Talking of live music, you have shared stages with the likes of Dead Kennedys, UK Subs, Vice Squad, Buzzcocks……the list goes on, which show has been your favourite and most personally influential?

All of them have been great honour & experience for sure.  Playing with Walter Lure at The Continental in New York in 2006 was a very special gig for us & the things he came up and said about us afterwards really really encouraged us not to give up being ourselves – as imperfect as we were !

Peter Hook , The Tights, Angie Bowie, Charlie Harper – UK Subs, Knox – The Vibrators , Rebellion Festival, Toxin – they have all played an important role  to our individual growth

Watching the videos on Youtube of your performances at UK Rebellion Festival where you have played for the past five years. It was interesting to see the audiences. Is it a varied audience in type and age that come to see you generally?

Online our larger audience seems to be the under 18s & under 24’s (thanks to the stats on Facebook!) I guess it’s a varied age group at live shows tho’, but it’s real nice to see people coming back to shows who’ve liked us long time

Coming back to the album and a song’s political and social comment, tell us about what is for us the best track on the album with its Clash, Transplants, Ruts feel, ‘The Way London Used To Be’.

We first wrote that song many years ago, we could probably release an album of just different mixes we’ve done of it!  But this song just keeps coming back to us in different guises so it’s hard to escape its importance & relevance for today.  Now we see the protests and riots around the world its kinda freaky seeing the reality of the words come true!

Your new video is for ‘I’m On To You’, also on the album. Where was that recorded? It looked cold haha.

Video was made in Shoreditch about a week before Xmas last year, and yeah it was ffffreezing!

How will you be promoting the album upon release, live shows planned?

In true upside down DIY style, we did the tour of the album earlier this year, even though the album wasn’t ready, was frustrating but we had some hiccups recording wise and so it couldn’t be released at the same time,  as we hoped and planned.   We will be doing more select shows – we can’t stop gigging – it’s our love! But we are currently making some more videos, as this is the high demand we’re getting from a lot of people around the world who want to see more of us but can’t. If we got a call tomorrow to say pack your things you’re gonna  tour the world  to promote this album, the whole band would be ready & up for it ; )

Lastly, on the album we were reminded by Tara at times of the likes of Pauline Murray, Siouxsie Sioux and Poly Styrene who was her biggest influence vocally?

If you know Tara, you d know she’s really not trying to sound like anyone & you’d know her influences really come from herself and her life so far, but songs/music she loves  and is influenced by  comes from a wide variety of singers that include both male & female.

And Hilly shaking his head, looking confused & replied ‘well which one does she sound like?  She CAN’T sound like all of them!’ he said

And Todd replied incredulous, ‘but she can  …and she does!’

Many thanks for talking with us and good luck with the album, not that you will need it, would you like to leave us with any last thoughts or words?

Yes, thank you so much for taking the time to listen to our new album, for the review and the really interesting questions you’ve asked – was fun answering them.

Hope to see many good things come from this album.  A big Thank you to Gary Hutchinson for helping us promote it, takes the pressure off and allows us to do what we really are.  His support ‘lightened the load’ to the point that we have already started work on the fourth album.  ; )

All the best & big love from The Duel coming at ya X

Oh yes she can and as Todd said does Hilly haha and for more information on All Aboard The Crazy Train and The Duel go to https://www.facebook.com/thedueluk

Review of  All Aboard The Crazy Train @ http://ringmasterreviewintroduces.wordpress.com/2011/09/29/the-duel-all-aboard-the-crazy-train/

RingMaster 04/11/2011

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.

The Junk Interview

With sounds more contagious than any virulent disease Brighton ska punk band The Junk released one of the liveliest and infectious albums of the year in Problem Reaction Solution via 12 Step/Bad Mood Records. Renowned for their rousing live shows and heart pumping fevered ska core sounds The RingMaster Review had the pleasure to find out more about The Junk with vocalist Jake.

Hi and a big thank you for taking time to yap with us here.

Pleasure!

Could you introduce the band members and give some history to The Junk?

Sure. So on drums we have Lee aka “butters” and on bass…..Perity. The guitars are supplied by Bill and Skinner and our horn section is made up of Moff on trumpet, Colley on trombone and bean on sax. Oh and me (Jake) on lead vocals. Me and Perity started the band as a side project to an old band early 2008, it took off almost instantly so we dropped everything else and hit the road. We have been touring relentlessly ever since.

Was the band eight strong from the start and has there always been a brass section?

No we were actually very briefly a 3 piece: just me, Butters and Perity, but by the time we played or second show we had found the horn section, soon after that I stopped playing the guitar and Skinner joined. The last addition was Bill, who joined literally 4 weeks before we recorded the album last year. It’s crazy to think how much it’s all changed in such a small amount of time.

Your home town of Brighton is renowned for bearing great bands for decades now, has it had a big influence on the band and sound as one would imagine?

I don’t think that it has affected our sound so much, but it’s definitely given us a lot to live up to. Like you said, Brighton is such a good place for music and I think it has made us all work a little bit harder. I know what you mean about certain places having a sound or a scene but I think Brighton is more a melting pot than and influence….In a good way.

Give us some insight into the most potent influences that has led to you all into ska-punk.

Wow, that one’s tricky! There are the obvious heroes that bare their mark like Capdown, Streetlight Manifesto, Link 80 and Lightyear, but there are so many more that have inspired us. Anyone unlucky enough to be stuck in the tour bus with us would be shocked and sometimes maybe appalled at some of our tracklists. Me for instance I love a bit of gypsy swing, Bill is a metal boy through and through, whereas Colley is into classical. We all love anything with passion though! None of this Radio 1 bullshit (that sort of stuff is really making kids stupid). That being said it is hard to say what influences the other JUNKs to do what we do, but for me I think its older punk bands like NOFX, I remember seeing them when I was maybe 13 or 14 years old and just thinking WOW!” These guys are just having so much fun! That same week my best friend lent me a Sublime album and I was hooked. When I discovered bands like Capdown and King Prawn not only existed but played regularly an hour down the road from where I lived I really caught the bug.

Is there a dedicated audience for your shows and sounds or do you pull in a good cross section of people at your shows?

We have a pretty interesting mix I think. Students, anarchists, young kids, old stinky punks… the list goes on and grows all the time. I recently discovered from a fan that she took her dad to a show and that now he goes without her: I met him soon after at a show in London and was so chuffed that this guy a generation older than us and no former fan of punk or ska had tapped into what we were doing a genuinely loved it! What a ledge! The best thing is we have AWSOME fans and friends wherever we have been. Oh and the after parties have never been a let down either.

How does the songwriting happen with such a large band to bring elements to the songs?

Nine times out of ten I will write the songs and the guys will add their parts and it’s just done quick and easy. Lee has written a couple on the album (Left For Dead and Nick Griffin Is A Cunt) and a beautiful reggae track which is gonna be on our next release. I Really love writing music with the Junk because they are all such talented people. I am always so excited to bring a new tune to practice to see how it will change and grow as each member gets hold of it. I guess it should be harder with more people but we have always just clicked and worked quickly with each other.

You have just released your impressive debut full length album Problem Reaction Solution, what are you most proud of with it?  

Personally, that we kept that ruff edge to the sound and that we stuck to our roots with the songs we put on it. Over the last few years of touring we have met a whole lot of people and they have all had their advice and opinions to give. A common philosophy given to me was that it is a good idea to be a bit more radio friendly with the songs on your 1st full length, we didn’t do that! We made a balls out ska punk record and we kept it dirty the way we like it and the way that our fan base likes us to sound. It was a risk I guess as a lot of bands these days are going for a slightly more shiny production but it paid off and I am glad we did it, loud and simple the way it should be. Also I would like to think it has its own sound you know? But then maybe I have to say that being in the band and all. Too many ‘bands’ write for a specific audience – people that will buy their songs and keep them afloat. With that though, I think you really lose a lot of the passion of writing because you want to. We just let loose with whatever came out, and what we feel passionate about. ya dig (yeah, it is cool to say ‘ya dig’).

How would you say your sound has evolved between your acclaimed 2009 debut EP Novus Ordo Sectorum and the album?

It’s grown for sure. The original sound of the junk is definitely still in there but with new sounds layered in. There Is a more hardcore influence and bits of metal even in places and we didn’t shy away from letting the dub and reggae come through as well. We have already started working on material for the second album and the sound still seems to be evolving it’s very exciting!

Does the album truly capture your live sound or is there more in the live environment that can only flourish there within you?

I think it does as well as any album can but for me you can never truly capture the energy of a live show in a record .Don’t get me wrong I am more than happy with the record we made but there is something magic about a live set that I don’t think you can recreate or even record, it’s just something between the audience and the people onstage: our gigs are usually pretty mental whether you’re in the pit or on the stage and that’s what we feed off as a band

There is a core sound to the ska punk genre but how have you or what do you add to make yours distinctive?

We have our own sound within the genre I think, but what it is that makes that? I have to admit I am unsure .Maybe having 8 completely different people with completely different tastes is the key. One thing for sure is that nothing is off the table when we are writing; we are constantly trying to find new ways of dragging in new sounds and ideas. An example being a new unfinished track which jumps from double time punk into live samba/drum n bass…..That sounds weird when you say it out loud! Basically it’s all about having fun with the music for us and I like to think that comes through.

Your songs often strike aggressively with lyrics about emotive subjects socially and personally, how do you make that seriousness work easily with the contagiously fun sounds without either losing their impact?

Whenever I write lyrics I always find myself leaning towards a slightly sarcastic tongue in cheek place, I think that goes well with ska punk and what we do; even if I am singing about something serious I am always trying to find ways to poke fun at it. It helps that we are such good friends too, if I am singing about something personal the guys all know what it is and get in the mood with me and kind of play that way I guess, it’s hard to explain but it all just seems to click together.

Tell us about your notorious live shows.

I think I can speak for all of us when I say that the live shows are the best part of being in the junk!  Like I said, it’s all about energy and as much chaos as we can cram in, and the more the audience get into it the more we do. I actually have a fair few trumpet shaped dents and scars from our shows. Moff can boast a broken ankle and Lee actually ended up in hospital, and all his finger and toe nails fell out after a show last year in Marseille, France – true story. When we started out we always had the ethos that even if we only had 10 people in a room we would play as if there were 1000. We are really lucky as we always seem to have such energetic fans these days and it just makes us push even harder when we know people are enjoying it as much as we are.

One imagines your sound is universal especially with the tours and shows you have made so far but are there places you have found where it does not have the same impact culturally or any you imagine that would be a test?

Actually not yet. I am sure there are plenty of places that would just think we are noisy crazy people though, happy to give anywhere a go just once. Maybe a RAF base or some old woman’s house in Croatia should be next on the cards….

How has the album promotion gone and what has it consisted of so far?

Really well thanks. There was a nice long press campaign and the reviews that came back were just awesome! We just couldn’t believe it! Got some great pieces in Big Cheese mag and Rocksound too. We have toured both UK and Europe again since the release and plan to do so again in the new year. It has had a lot of radio play and we will be releasing videos for 3 of the tracks off the album around Christmas. Myself and Lee have really plugged it hard through our own label “12step plan” and our label in Switzerland “Bad Mood Records” have done the same the other side of the water. It has all been hard work but the response has been overwhelming and we are all just made up that people are enjoying our music.

What is next for The Junk?

Going to as many water parks as possible- we love swimming. We wanna have the new album out as soon as possible too! It’s mostly all written now and we plan to record and produce it all ourselves. On top of that we just can’t wait to get out touring again so if you see that we are coming through your town, come and say hi!  I have been speaking to various record companies about next year and the album and it all looks really positive. There is talk of a U.S  tour which would be a new adventure so fingers crossed!

Thank you for talking with us it has been a pleasure. Would you like to leave us by revealing the one song that you feel really epitomizes The Junk?

Thanks to you too! Anytime! If I had to choose one I would say “Scream Your Dreams” it’s got all the energy, sarcasm, different styles and sounds in to represent us I think. Also it was one of the first songs we wrote so it’s a special one. Thanks again for having us!

For more info on Problem Reaction Solution go to http://www.thejunk.co.uk

Review of Problem Reaction Solution @ http://ringmasterreviewintroduces.wordpress.com/2011/08/26/the-junk-%E2%80%93-problem-reaction-solution/

RingMaster 04/11/2011

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.