Tim Paris – Dancers

TP

Dancers is the ideal title for the debut album from London based Parisian Tim Paris, each of its tracks whether an open flirtation or a more chilled proposition, a vibrant adventurous waltz. Better known as one half of It’s a Fine Line with Ivan Smagghe, Paris has sculpted songs which pull the imagination into unpredictable and vivacious soundscapes. Each one is distinct and stands alone in the tapestry of the release but have a symbiotic union which provides one refreshingly inventive landscape for senses and emotions to bask in. Dancers ebbs and flows in success across its body it is fair to say but only to waiver within a constant magnetic seduction which never relinquishes its strength.

As renowned for his remix invention which has seen him reinterpreting invention from the likes of The XX, Femi Kuti, Battant, Au Revoire Simone, Ewan Pearson, and Tiga, the DJ, producer, and musician now unleashes his own electronic alchemy through the album, merging the purest essences of synth pop, new wave, post punk, electronica, disco, house, and much more for transfixing and evocative aural climates. Dancers provides insights into richly flavoursome cinematic scenes but also ones which have an intimacy which goes beyond voyeurism to draw the listener emotionally into the imaginative investigations. Featuring a wealth of guests, the album is also a collaborative affair embraced by the creative ingenuity of Paris.

Opening track Golden Ratio strides boldly in on punchy beats and an electro tinkling which reminds instantly of Love Cats by The Cure Tim Paris - Dancersthough it takes little time to show its own distinct tease to the coaxing. The song then infuses intriguing melodic lures which do not nestle easily within the established pulse of the song but only accentuates the awakening potency. Featuring Georg Levin of Wahoo, the song opens up warm arms of melody bred enticement and smooth vocal expression which are themselves veined by intriguing twists of enterprise and electronic investigation. The post punk strict rhythmic heartbeat steers the journey allowing thoughts to take in the radiant sights and absorbing atmosphere. It is an adventure which midway takes a breath to return with an even more masterful hold on the appetite, a case of absence making the heart grow fonder.

The enticing start is matched by Rain which sees the guest appearance of Coco Solid of the Parallel Dance Ensemble. The song drips slightly chilled riffs down upon the ear whilst a rhythmic shuffle hurries across the senses. It is another alluring start given extra drama by the skirting dark throated bass, the combination building a striking premise which is enriched further by the cyber kissed vocal narrative. The repetitive spine of the track bewitches constantly; the stark core holding Joy Division/Bauhaus like predation around which the elegant and mesmeric call of the song spreads and croons.

The metallic breath of Outback, Stones & Vinyl soaks the ears next, the initial caress of the song courting a John Foxx essence which never leaves the infectious persuasion. As the track explores its seductive canvas, building and colouring the imagination with inspiring textures, the instrumental toys with the senses further, stretching its provocative enveloping with an additional Bill Nelson like invention. Like standing on a heaven lit cliff top whilst warm winds and sights wrap rivetingly around the senses, the song puts the listener in a hypnotic almost meditative emotional trance.

The following Minireich which features Sex Judas and Rupert Cross and Disco Ellipse both create a transfixing dancefloor bred temptation, though the pair tantalise and shimmer in their enticement rather than leap upon the eagerness of feet. The first has a definite Yello feel to its mischievous invention, vocally and in the devilish temptation offered whilst its successor is a cybernetic tango, flashing sonics and dazzling electronics spraying their bait around before the emotive weave of distressed melodies and restrained bedlam make their play successfully for the passions. Those nor the next up Unsung Deaf Hero fire up the same intensity of hunger and thrills as the opening songs but all captivate and refuse to release the album’s hold, the third of the trio a smothering wash of thick ambiences and funk spawned vocals casting a dark dance of inciting suggestiveness and mystery.

Dancers is back to dominating senses and mind with the outstanding drama of The Grip. With Ben Shemie, Paris lays a noir bred sinister atmosphere within which guitar and rhythms stalk the imagination, the encounter a soundtrack which could easily grace any caped crusader or futuristic darkly shadowed enigma. All the tracks allow the mind to run riot with their aural paint but this more than most conjures up stories and emotions to intoxicatingly bask in.

You’ll Never Know also creates a tenebrous encounter to immerse within, it’s again noir crafted riddle an imposing and incendiary fuse for an adventurous mind to run with whilst ears welcome the varied vocal hues and electronic weaves. It is a blend which is just as alluring in the slightly lighter Extreme Nails, its celestial stroll within a heavy but slow rhythmic frame a beacon for the listener to explore in their own design. Shadows as across most tracks are never far away with their tempering relish though they have to take more of a backseat within the fruity exploits of Heaven Parking which again sees Sex Judas involved. There is a subdued but visible lunacy to the song which brings thoughts of the eighties Martin Atkins band Brian Brain. It is a thrilling revelry which steps aside for the equally delicious Backseat Reflexion to close the album. The song sees Forrest joining Paris in a last irresistible seduction, electronics and melodies aligning within a shadow built emotional seduction.

It is a masterful end to a similarly consummate release, Dancers offering a collection of emotive and provocative vignettes which absorb thoughts and passions like a sponge for exhilarating experiences and adventures. Apart from the length of a few tracks stretching their staying power to clutch at straws in an attempt to temper the enthusiasm, Tim Paris has provided his finest hour with his own solo release, the first of many we hope and suspect.

Dancers is available on 2 x 12″ vinyl, CD, and download right now via My Favorite Robot Records.

http://www.facebook.com/djtimparis

9/10

RingMaster 12/04/2014

Copyright RingMaster: MyFreeCopyright

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Tracings of time and reflections: an interview with Black Space Riders

Black Space Riders 1

German heavy rockers Black Space Riders is a band which has persistently drawn acclaim and attention with their unique and ravenously adventurous sounds but it is fair to say that new album D:REI is their finest moment. A journey of progressively sculpted metal and psychedelically forged rock through a dramatic narrative, the bands third full-length is a compelling incitement for the imaginations and passions. We grabbed the chance to find out more with JE and Seb from the band, touching on origins, albums, and much more…

Hello and thanks for talking with us.

Hello and thank YOU, here are JE (vocals, guitars) and SEB (vocals) from Black Space Riders

For newcomers to the band, please tell us about its beginnings.

JE: Black Space Riders were born in the deepest winter of 2008/09. C.RIP (drums) and I wanted to play Heavy Rock again after some years of making decent songwriter-stuff. I contacted SLI (guitar), an old friend from the schoolyard, we had been doing a NWOBHM-fanzine together when we were teens around 79/80. He brought in SAQ (bass) and we started jamming in an old mouldered bowling alley. It was great from the start. Fantastic musical and social chemistry! We created 4 songs in 2 rehearsals. We recorded our debut in 2010 and played shows while writing material for album No.2, “Light is the new black”, which was released in 2012.

SEB: In 2012 I came across and joined Black Space Riders first as an additional and background singer, then as the 5th member. But I already had known these guys years before.

JE: Now there are 5 Riders, 5 friends, just been releasing album No.3 called D:REI.

What are the musical histories of the band members before Black Space Riders?

JE: All of us have been playing in many bands or projects before. SLI played in Heavy-, Punk- and Indie-Bands since the Eighties. SAQ had a couple of Punk Rock bands before but also played in Indie-Rock-Bands, SEB used to sing in Metal bands but also has a great experience in playing accordion and singing weird, folkloristic Chanson-Stuff together with C.RIP who played and plays every imaginable musical style from Jazz over Metal to Ska. I also played in a lot of bands since 1980. Metal, Rock, Wave, Punk, Indie, Folk, Jazz … I played and sung for a long time in a Crossover band with C.RIP, which gained a decent regional/national awareness in the Nineties.

What was the spark or initial intent within the band when you started out?Black Space Riders 3

JE: As said, to create something loud and wild after years of “decent” music and to take up the Heavy stuff that we all are loving since our youth. The idea was to jam around and to create a hypnotic wall of sound … there were no ideas of releasing albums in the beginning

The band’s name stands out and suggests a space ranger like almost comic book appeal. What inspired the band name?

JE: Exactly what you have read in the name. 60ies and 70ies Sci-Fi had a very strong influence on me. I read a lot of those books when I was a child, my uncle had hundreds of them. We were looking for a name which can instantly create cartoonish, dark, hypnotic, psychedelic and cool images.

How would you say your sound has evolved since the early days and your self-titled debut album to what we thrillingly hear on new release D:REI?

JE: This time when we entered the recording studio we knew even better what we wanted and what we did NOT want. As for the sound of the recording itself: we wanted to retain the warmth, the organic live-feeling and the bottom of the first two albums but wanted to add additional freshness, transparency and openness to our existing drive. So – for example – we have been discussing a lot about the amount of “attack” in the drum sound or about guitar amps  and how to record the guitars with our friend and engineer Role (“die Tonmeisterei”) before entering the studio. Stylistically we allowed ourselves to integrate more elements and accepted the eclectic result of our songwriting without sorting out parts, grooves or ideas that sounded a little bit far out in the beginning.

As you said earlier D:REI is your third album; for us an exceptional progressively sculpted metal and rock adventure which can seduce and prey on the senses at any given moment. Did the album end up exactly how you envisaged it or did it have some surprises in store for even you guys as it evolved and emerged?

SEB: There are, in fact, some positive surprises for us. Partial tiny, audiophile little things – but also relevant structural changes we have made during the recordings.

JE: There are always surprises in the studio. The songs and arrangements are final before entering the studio, but then you begin experimenting with sounds or somebody within the band or let´s say our engineer Role has a charming “new” idea and – oooops –you find yourself changing the master plan. We are a live-recording band, old-school, five friends and all their instruments and amps in ONE room … but sometimes  we are adding some decent flavours later … experimenting with dozens of effect-pedals and creating some “space” can be so inspiring almost addictive! We are also experimenting with our vocal expression while recording, encouraging and coaching each other.

1545083_10151894936042963_1727001018_nThe album is split into ‘chapters’ exploring a…actually could you tell and expand on the theme behind the album for us please?

SEB: A new life in a new world? The depths and abysses of the human soul? Find out for yourself !

JE: On the first look a post-apocalyptic plot of destruction, escape, voyage and looking back. But maybe it´s all just in your head and it´s all about inner liberation and freedom?! The listener is defining the meaning of the story. My advice: Take a look at the story and the lyrics (you will find them here: www.blackspaceriders.com/d-rei), then put on your headphones, lights out, volume up and find it out!

Did the lyrical aspect or idea of the album come first or the music?

SEB: We had framework for about the half of the songs when JE delighted us with his concept of “Total destruction as the root of a new beginning and the Journey as a transformation”. From this point concept and music were evolved in parallel.

JE: Music first, basic concept next, lyrics last.

How does the writing process work within Black Space Riders?

SEB: On the way from our debut album Black Space Riders to D:REI we have expanded  the common songwriting.

JE: The process of songwriting has changed over the years. In the beginning I brought in almost finished songs and structures. Today it´s “just“ a riff or some harmonies, somebody picks it up, we start jamming and then we love it or we don´t. At one point SEB and me are starting to hum or sing. We are recording every rehearsal, every jam and are listening to it before the next rehearsal. We then discuss about it and try out different grooves, tempi, atmospheres, sounds. Our drummer C.RIP is playing a big part in arranging songs and developing structures…So the “song” as you know it from the album, is a common work of several band members.

Being a concept album did you approach the writing of D:REI any differently to say previous album Light Is The New Black?

JE: Not really. Light is the new black was considered by many to be a concept album as well. But D:REI seems to be so perfectly balanced and cohering, both musically and lyrically. To be honest: that is a happy ending and not a result of a worked out master plan. We have changed the sequence of the songs several times to find the perfect flow through the whole album … so we had to fiddle around with song titles and lyrics in the last moment during the recordings.

What did you take into the recording of D:REI in particular which you learnt on previous releases to enhance or ease its emergence in the studio?

JE: As said above … a clearer vision about the desired sound, recording techniques, approach and modus operandi. Additionally a greater open-mindedness, a grown faith, trust and friendship within the band and with our engineer/producer … relaxation and a strong belief that this album was going to become something special.

With a concept album is there a more demanding and intensive focus needed to link music and the expanding lyrical story of the narrative or does it pretty much come together as any other album?

SEB: I find it even a little easier because I had a specific movie in my head since the said date.

And is another concept album a possibility for future releases or maybe with the next will you return to individual standalone songs?

SEB: Anything can be, nothing must be.

JE: … all is possible. No plans, no expectations, no disappointments ;)

Have you shows/tour in the works to support D:REI, and if so will you be rampaging around Europe, the UK maybe?Black Space Riders 2

JE: Yes we have played some release-shows in some of the bigger German cities and are working on more shows and festival-slots in 2014. We are doing all this on our own. We have a distro and some professional help in the background, but in order to keep our independency and all rights… no label-contract! So most of the work, organization and booking is up to us. Additionally we all have families and jobs. It seems as though our new album, D:REI, will be received very well, so with that kind of “tailwind” we are starting now to book more shows for 2014 and will hopefully be able to play some festivals in the summer as well. Would love to play some shows in the UK, but we don´t have an “official” distro or label in the UK … so I guess we have to wait for some nice offers to play the UK.

Rightly or wrongly I have the assumption that you are a band which never stops writing or working on ideas, if correct how far are you into writing album 4? ;)

SEB: Honestly we have just a few ideas or fragments, because we were very busy with the preparation of our release-shows. But the prickling is already there and I’m looking forward to the upcoming rehearsals.

 Once again many thanks for sharing time with us, any last thoughts to leave us with?

JE: If you like what we are doing … tell the world about it! Spread the word! May the force be with you!

And lastly what are our biggest inspirations not so much for Black Space Riders but just as musicians?

JE: Of course each of us has different inspirations that is why we sound like we sound. On the other hand we have a lot of common preferences – and again – that is why we sound like we sound. Band-favourites are e.g. Black Sabbath, Deep Purple, NWOBHM, The Chameleons, Motorhead, Monster Magnet, Alice in Chains, Massive Attack … many more. For me personally on top of those: Psychedelia like on the early Pink Floyd –Albums. 80ies Dark Wave like Bauhaus or Joy Division and the BIG three: David Bowie, Tom Waits and Johnny Cash.

Read the D:REI review @ http://ringmasterreviewintroduces.wordpress.com/2014/01/23/black-space-riders-drei/

http://www.blackspaceriders.com

Pete RingMaster

The RingMaster Review 12/02/2014

Copyright RingMaster: MyFreeCopyright

 

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Venus DeVilo – Edgar Allan Ho EP

venus devile 2

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

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

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

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

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

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

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

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

https://www.facebook.com/VenusDeViloSongsFromTheStalkersPointOfView

10/10

RingMaster 24/07/2013

Copyright RingMaster: MyFreeCopyright

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Sinezamia: La Fuga

Foto di P.Rubini

Foto di P.Rubini

Despite one frustration arising from it, La Fuga (The Escape) the debut album from Italian gothic rock band Sinezamia is a rather tasty shadowed delight. Fusing dark rock with new wave and post punk, the Mantova quintet has created an album which is perpetually enthralling with its often nostalgia inspiring sounds and emotive breath. From an initially absorbing first impression it also grows into a presence which is hard to tear oneself from though once you do it is arguably not as memorable in hindsight as you expect. In its company though it is a thoroughly pleasing and exciting release.

That frustration mentioned at the start is actually surprising. Usually there is never an issue with bands singing in their native tongue, in fact very often it adds something extra emotively, but on La Fuga it left one feeling out in the cold a little, like missing out on the secret you are meant to support without knowing its content. Despite that the album leaves only satisfaction and welcomed intrigue amongst thoughts and emotions.

Formed in 2004, Sinezamia began finding a shape and stronger response to their well-received dark wave/rock sounds from 2006 which elevated with the release of their debut EP Fronde the following year. Media and fans took to the release with eagerness and the band began pulling in more to their fan base through touring. With a new line-up in 2009 the band recorded their second EP Sacralità which was released to strong success and interest from the print media and radio not forgetting an ever increasing legion of fans. As a foretaste of what was to come from La Fuga, the single off of it Ombra came out in 2011 to fire up anticipation for what has emerged as a very impressive debut full length.

The album has a grip on the passions immediately with opener Ghiaccio Nero (translated as Black Ice), the breath of synths and sinezamia-la-fugathe pulsating velvet clad bassline an instant infectious lure. Within seconds one is reminded of The Cure around their second and third albums with the contagious melodic hooks of Leitmotiv. The bass of Marco Beccari is irresistible within the weaves of sonic elegance from the keys of Charles Henry Scaietta and the teasing guitar play of Federico Bonazzoli. Into its stride with the great vocals of Marco Grazzi at their expressive might the track shifts into the darker aural shadows of Bauhaus to leave one even more magnetically drawn to the track. It is an excellent start instigating memories and pleasures from a few decades ago with a fresh touch.

The title track is a harder straight forward encounter of rock n roll with the rhythms of drummer Stephen Morbini leading the muscular passage with skill and tight control. The song still leads the ear into beckoning dark corners but lacks the mesmeric charm of the first though instead offers a bite which not only shows a good diversity to the music of the band but entraps a willing attention with ease.

     Nella Distanza opens on a slow haunting bass resonance before expanding into a sultry presence with a tight irresistible serpentine hook. The track took time to get to terms with, musically it is a smouldering wash of elegance and energetic passion but accosted by the initial distraction of the vocals of Grazzi. It is obviously down to personal taste but his slow almost spoken delivery send the song slightly awry and startlingly out of place compared to what came before. Thankfully it is only until he surges into his full singing range where you can only be impressed, his heart driven tones as powerful and thrilling as the constant musical imagination. Being selfish one only hopes he avoids this slow walking delivery in the future, but that is just one lone view of course.

The album continues to excite but when the aforementioned single arrives it just sends shards of rapture through the senses.  Ombra (Shadow) is sensational, a song which is like a beacon for the heart, especially if the likes of Leitmotiv and Play Dead hold a place in the emotions from times past. With a persistent sonic tease and boisterous energy around the ever inciting caresses of the keys, the track commands body, thoughts, and emotions like a sonic temptress. It is the best track on the album though matched by the closing triumph Nebbia di Guerra (Fog of War). It too is an insatiable wash of melodic elegance and almost raptorial energy from guitars and rhythms section speared by contagious carnivalesque teasing and sultry wantonness. Like a cross between Sex Gang Children and the poppier touches of The Danse Society it is a final act of magnificence from a simply stunning release.

If the heady times of the older bands mentioned do things to your little blood pumping organ than Sinezamia and La Fuga are a must.

https://www.facebook.com/sinezamia

RingMaster 19/12/2012

Copyright RingMaster: MyFreeCopyright

A Sky Jet Black: Japanese Moon

If the electronic/post punk sounds of the eighties still whisper in your ear or are a recent discovery for you younger retro investigators, then the excellent debut album from US band A Sky Jet Black will easily light some burning fires with their shaded glowing sounds. Japanese Moon like the band, is heavily influenced by new wave/post punk/gothic pop as well as according, to their bio, Berlin era Bowie/Eno/Pop, Phil Spector wall of sound girl bands and 8-bit. It is the post punk dark electro pop elements which firmly cores it all though as the songs weave their impressive charms, their breaths igniting thoughts and memories of numerous iconic British artists.

Formed in 2010 by Hope Iris and Karasene (both keys and vocals) alongside Tim-O (bassist, vocals, production), the band spent its first months honing and creating its sound before making their live debut at the infamous Monstrosity House at SXSW. The following years has seen the band in a hectic flurry of recording and touring, including supporting David J (Bauhaus, Love and Rockets). The Austin, Texas trio recorded the album alongside producer Mike McCarthy (Spoon, …And You Will Know Us By The Trail Of The Dead) and have created one vibrant and mesmeric feast of warm and crystalline soundscapes posing as songs.

The album opens with the eager pulsating Be My, a song bringing the melodic charms of The Cure and Felt through the shimmering vocals of Siouxsie Sioux. It energetically wraps itself around the ear with a firm grasp whilst inspiring memories and dazzled passions, the sounds alongside the vocals of Hope a graceful impactful pleasure. Wholly infectious and fully enchanting it is a hypnotic start to the album, its nostalgic presence a perfect union with the heart of today.

The following Honey has a harder presence, a steely post punk surface to the again instantly absorbing melodic touch. The vocals have a slight Ian Curtis air bringing a Joy Division/The Passage essence across the icy yet heated emotive sounds. Its successor Sunday holds a similar gait but from a glowing New Order aspect, its brisk emotion teasing the electro pop of The Pet Shop Boys, though as throughout the album, shadows add the strongest voice to the romantic noir heart of the song.

Already the varied structure and sounds of the songs impress and ensure the release is never predictable even with the re-energising of well preserved sounds. The band also shows a wonderful ability to evolve things into their own distinct world as with the cover of The Stone Roses song, I Wanna Be Adored. Admittedly not a fan of its creators anyway, the song emerges as easily the better version from A Sky Jet Black, its sensuality and throaty bass veining the astounding contagion to leave one breathless.

As the seductive title track with its oriental kiss and cold beauty of Siouxsie & The Banshees/The Creatures, the kinetic Heart On Your Sleeve, and the brooding Out To Sea captivate thought and imagination, there is nothing but deep pleasure within. The second of the three songs especially hits the sweet spot with its early Human League like beginning and evolution into another New Order spiced piece of addiction, though the third with its Cocteau Twins/Chameleons teasing is equally powerful and deeply reaching.

The final piece of post punk sonic glory So Far Away, closes up what is a wonderful and enthralling album in Japanese Moon. With an album of beauty and darkness brought with provocative and exciting passion, A Sky Jet Black has taken us back in time but indie electro forward. It is majestic and an essential experience all should spare their hearts and time for.

https://www.facebook.com/askyjetblack

RingMaster 14/09/2012

Copyright RingMaster: MyFreeCopyright

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Interview with Gavin Tate of The Gaa Gaas

The Gaa Gaas Brighton Aug 2011 by Katherine Missouri

The Ringmaster Review ever since being seduced by The Gaa Gaas debut single Voltaire has eagerly and persistently tried to convert all and sundry to their psyche punk/post punk beauty through word, voice and with the kind help of The Reputation Radio Show. Neglectfully we have not actually got the band to sit down for an interview so we remedied that by grabbing the time of singer/guitarist Gavin Tate from the band to catch up on all things The Gaa Gaas as well as look back on their early days.

Hello and welcome to The Ringmaster Review

Please introduce the members of the band.

Huurah! We’re the artists formerly (known) as Gavin, Chris and Mark.

How did The Gaa Gaas begin?

It all started in my Mum’s garage, got some amps and a drum kit in there and put loads of posters over the walls and ceiling (a couple of nude lady ones as well, I’m not going to lie much). We began just jamming as an instrumental trio and then soon found a poor excuse of a P.A system for the vocals and that’s when the Police started showing up every night!

What inspired the band name?

A psychedelic prog group from Germany called Gäa. We started off as a messy garage band and I thought (that) The Gaa Gaas really suited what we were doing and still does.

Was and is there a vibrant music scene over in Jersey? 

Yes but it’s long gone now, an amazing garage punk night called BOMP kicked off around 2002 held at the best venue in Jersey which was called The Q Bar now The Live Lounge. It was a 7 night a week place and BOMP was on Thursday nights; they would bring some really good bands over and have local support. There were a few other great nights there as well, an indie night called Moroccan’roll and some great Drum&Bass/Motown/Reggae nights.

There seems to be a more frequent emergence of strong and very diverse rock bands from Jersey in recent years, besides yourselves we have come across Top Buzzer and Hold Your Fire to name a couple. Is there less distractions to take youngsters away from music there than elsewhere in the UK for example do you think?

I think most towns with not a lot produce the best bands and I’ll be honest in saying Jersey didn’t offer a lot to musicians aged 17 – 25 apart from a long fight to play your own material in clubs, most club owners always wanted bands to play covers which was rubbish if you wanted to play your own songs to people. In a way it made us want to escape!

You moved away from the island, relocating to Brighton. Was this a necessity for you and is for all bands really hoping to make progress?

You can’t do anything more than play the big local festivals in the island. You’ll get promises but they never happen. The only way you can do it properly is to move somewhere else, not just the UK. I know bands from Jersey who have started up in Europe and are doing really well; it just takes a lot of ammunition and a few massive guns!

As distinct as your sound is anyone who hears it can name some of the influences, for the record though what are the major influences musically which have shaped or flavoured your creativity?

There are so many. I’d say The Fall has really shaped us, I love every era and they’re still producing great records to this day!

Many I have introduced your music to fail to notice the ‘Almost Red’ era Killing Joke sounds whereas it seems obvious to me, is it them or me? Haha

We’re always getting compared to either Killing Joke or Bauhaus and when I told my Dad about it he said (in a scouse accent) “Think of it as a massive compliment Son” so I think you might be right on that one! ;)

There seems a definite revisiting back to the post punk era with bands recalling inspirations from the likes of Joy Division, Wire, Pil, Gang of Four etc, do you think you may have instigated that a little yourselves?

I hope so, when groups like Neils Children split up I was really gutted because there wasn’t many bands trying to maintain their own sound by using those types of influences. There were lots of bands just trying to sound exactly like Gang Of Four because it was in at the time. I thought the Neils boys were really on to something and had produced a great sound that was their own. There are some other really good bands instigating it at the moment like… Wild Palms, O.Children and Disconcerts.

Do you still see yourselves as part of an underground movement with this new emergence of bands?

We’ve never really felt part of any movement. We originally started because of bands like The Eighties Matchbox B-Line Disaster and the whole garage revival so if we’re part of anything I think it would have to be that. It’s been slow for us being from Jersey and having to relocate but I’m happy with everything we’ve done so far and the debut album is going to be a reward to everyone who has helped us along the way!

Your debut single Voltaire was unleashed in 2010 on The Playground Records, how was that initially received?

People couldn’t believe the transformation of the band. We were always trying to look like a band and always ranting about being in a band but after the single was released we actually had it written in stone. There were 8/10 reviews, some reviewers hated my voice and some loved it but I think the statement was made and I always wanted the first release to make a strong impact!

The single was produced by James Aparicio (Nick Cave, Mogwai) and mastered by Robert Harder (Brian Eno, The Slits) , how did those link ups come about?

We were put in touch with James Aparicio through our former record label and when we signed to The Playground team we were introduced to Robert who we plan to continue working with, the man is a genius!

I mentioned Voltaire as your debut but there was the Repulsion Seminar EP before that. Tell us about that and are the tracks are still available in some form?

The only hard copy releases we have are the Voltaire 7″ vinyls that we had to get pressed up ourselves as we were messed about by the label. There were 200 copies of each of the EP’s but they sold out pretty fast!

You took a long time to release anything officially was this down to the band striving for the exact sound you wanted or merely lack of opportunity and finance?

I think a lot of it was to do with relocating. Brighton isn’t the easiest place to get known. When we first arrived there you couldn’t get a gig, demos would be put to the bottom of the pile and we were looking at a 3 month wait just to play The Prince Albert but soon we managed to gig quite vastly and the name was getting more popular in London, it was a case of waiting for the press to take notice and then soon label interest started. We didn’t have the funding to be D.I.Y; I was stealing food every day to exist and putting my equipment in Cash Generator to fund touring. I don’t regret any of it though we’ve had some amazing times!

You have also had tracks featured on various compilations, with a new one out right now I believe?

Our first ever release was a psyche-garage cover of Plastic Bertrand’s “Ca Plane Pour Moi” released by Filthy Little Angels Records. It was for a compilation titled ’1978′ with lots of bands covering songs from that year. Our cover got the best reviews and is a signature to our early sound. The Peter Out Wave compilation CD was released last week on Swedish label Peter Out Records, a 17 track album by bands from all over the world. They asked us if they could include Hypnoti(z)ed (Alt Version) on the album and we gave them the nod!

How does the song writing work within the band?

It’s made up of jams mostly. We got heavily in to The Stranglers ‘The Raven’ album and loved the improvisation they had so we started working on songs with the same analogy and it’s really worked out. I think bands that just go in to a room with a song wrote 2 hours before at home are really missing out on the musicianship that can be worked. Listen to (The Stranglers) and throw your Libertines albums in the bin.

You are almost veterans of festivals not only in the UK but in Europe, which has been the most rewarding and pleasing to return to?

Drop Dead Festival was an amazing experience. Great bands and great ideologies! We’re due to play Fave Rave in Berlin again, that was one of my favorite European ventures, such a great city!

Do you get a distinct audience for your hypnotic and intrusive sounds or is it generally varied at shows?

A lot of the people that come to our shows are dark wave kids. They like the darker element of our sound and the groove that goes with it but we’re trying to mix it up a bit. The album is going to have a dance feel to it! The dance element in bands needs to come back and we’re hoping to revive that!

What have you lined up for the rest of the year gig and festival wise?

We’re relocating to London and starting to write and record the album in full, having a bit of time off over the summer but will begin playing shows again in August starting with a festival appearance at Vale Earth Fair in Guernsey with bands such as Roots Manuva and then we’re due to play some come back shows for a certain band later on in the year. We’ll announce a 12 date UK tour at some point as well, really looking forward to getting back out there!

Is performing live the most rewarding aspect of the band for you?

It’s definitely the most fun part of being in the band but I’d say the most rewarding aspect is when we have written a track, recorded it and hear the response from the fans. It’s all about the fans, they’re what keeps us doing it as well as our own passion to write, record and play. If they don’t like it then we give them a massive slap! ;)

Going back to compilations, I think you will correct me I am sure, it seems that your songs have been on more compilations than your own releases. Is that right and was it planned or just how things worked out?

Yeah I’d say that is true but I think it’s a good thing, I don’t know many other bands who get asked to be on a 2000 pressed compilation CD released in Europe without an album out. We’ve been quite lucky in that respect, completely fluked it!

What is next song wise in regard to releasing something?

Our next single is called ‘(SYS)’ and it sounds like the second chapter of Voltaire which is what we were striving for. It’s a faster pace and it’s a bit Twisty, people are gonna think of bands like Joy Division on this next release. The B-side will be Statues, a song we made available as a free demo download but has recently been mastered by Robert Harder who has made it sound FAT.

Any chance of an album or multi track EP sometime soon?

We may release another EP but we’re concentrating more on writing the full album, we want to get it out there next year for our 10 year anniversary, god we sound old!

Many thanks for talking with us, much appreciated.

Have you any words for you’re the readers?

Learn about cooking, baking, meal planning, cuisines, entertaining, holidays and more with Allrecipes’ informative articles and step-by-step photo tutorials - allrecipes.com

And finally tell us the song or tracks which made the deepest impact on you as people leading to the choice of music as your life.

Gavin: The Count Five – Psychotic Reaction

Chris: Black Flag – TV Party

Mark: Led Zeppelin – Ramble On

www.thegaagaas.co.uk

Listen out for an upcoming special Bone Orchard show from The Reputation Radio Show featuring the new remastered by Robert Harder version of Statues.

www.reputationradioshow.com

The Ringmaster Review 22/06/2012

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Calling All Astronauts: Winter Of Discontent

After the success and acclaim for their debut single London based socio-political band Calling All Astronauts return with their new track Winter Of Discontent, a dark brewing storm of malcontent. Once more the band have harvested seeds of social and political dissatisfaction into an inciteful and charged piece of songwriting and music. The trio of vocalist/programmer David B, guitarist JJ Browning, and bassist Kristi Bury, this time have intensified the dark electro energy which invaded through their first release Someone Like You into a heavily shadowed and deeply rooted provocation. It is immense, a resonating heart spawn soundtrack for today.

Released June 24th through MKM Records, Winter Of Discontent follows up what has been a productive time between releases with the band receiving consistent airplay across sixty radio stations and on shows like BBC 6 Music Introducing with Tom Robinson. Ireland’s RTE Culture Café, and The Bone Orchard from The Reputation Radio Show. They were also featured on the cover mount of Big Cheese Magazine and supported A Place to Bury Strangers and Pop Will Eat Itself amongst their own successful headlining shows. The new release is the next accelerated step for the band, its blackened seduction simply irresistible and unforgettable.

The song immediately consumes the ear from the start with agitated electro sparks and a wonderful throbbing pulsating cello/bass groan from Kristi Bury which is unrelenting and insistent through the length of the song. It is like a primal call, an anthem for dark times and shadows and mesmeric within its resonating drone atmosphere. Around it the guitars of JJ Browning spark and enthral whilst excited beats light up the growing intensity behind the emotive vocals of David B, his plaintive tones a fluid link between the dark and light of the song. As with their debut there is a heavy Sister Of Mercy breath which pervades the senses and at times as the song plays their track Alice comes to mind, its flavour a formidable and invigorating spice to the thrilling sounds and reinforced by the Andrew Eldritch like vocals of David B. Imagine the pop craft of The Cure and the atmospheric shadows created by Bauhaus in addition and you get the essence of the sound within the single, though Calling All Astronauts expand into textures and soundscapes uniquely their own.

Winter Of Discontent is outstanding and destined to eclipse its predecessor in success and acclaim. Calling All Astronauts are one of the most exciting alternative rock bands in the UK right now, maybe the best.

Grab a free download of the single @  http://callingallastronauts1.bandcamp.com/track/winter-of-discontent and listen out for the track on The Reputation Radio Show @ http://www.reputationradioshow.com/.

http://www.callingallastronauts.com/

RingMaster 16/06/2012

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Lettie: Good Fortune, Bad Weather

Lettie might predominantly be tagged as electro pop but as her new album proves there is so much more depth and diversity to her sound and creativity. The UK artist is an imaginative and instinctive songwriter who weaves sounds and emotions with mesmeric and irresistible flourishes and skill. Unpredictable, insistently contagious, and persistently the cause of pure pleasure tingles within the senses, the new release Good Fortune, Bad Weather is a masterful and delightful feast for the heart.

To simplify a back story for an artist who has as many tales and sure to be inspiring moments to her life and career as the album, Lettie is a Suffolk girl who for the past decade has played in various bands and recorded solo material with Anthony Phillips (ex- Genesis) for Universal Publishing. It was in 2006 though that she met composer/producer David Baron and together it led to the recording of two albums in America. Things suddenly started to happen from this point with both Age Of Solo and Everyman without any real promotion gaining strong attention and acclaim. These led to a session for the BBC, special guest appearances on the tour of ex- Bauhaus frontman Pete Murphy in 2009 and also the following year, as well as guest slots with Chris Difford (Squeeze) and Roger O’Donnell (The Cure).

Personal tragedies surrounded the release of the albums for both Lettie and Baron and she returned to the UK, where she worked with a writer and producer in Oxford on her third album Other Days which never saw a completion as problems continually stood in its progress. A call from Baron led her back to America to work on a new, an invitation that has benefitted everyone given the wonderful result that has emerged in Good Fortune, Bad Weather.

From the moment opening song Swirl wraps around the ear there is a sense that something unique and special is on the horizon and the track takes no time to insist that feeling will be realised. From the brooding dark synth start with her sparking vocals on top, one is immediately drawn to an eager attention. A line mentions ‘the puppet master’ in an open swipe at a certain TV personality, television producer, entrepreneur etc, yeah him, but that term easily represents the skill with which Lettie caresses and weaves her sounds and ideas. Only difference is there is no self serving intent or dark lining to her creativity. Funny thing is if she was in front of the man you know he would not recognise the talent and pure artistry on offer.

Lucky steps up next with a beckoning graceful stomp across the ear, piano and guitar as melodically captivating as her stunning vocals. Nothing is forced, the song an organic summer upon the ear and thoughts that warms as it pleases.

The sensational Bitter actually puts what came before in the shade somewhat, great songs they are this track is simply delicious, a perfect slice of inventive, thoughtful and passionate. As with the album nothing is predictable or assumed, each note , harmony, and spiral of melody an inspiring and heart igniting joy. With a simple pulse but deep atmosphere the track explodes upon the senses like the brightest sun.

The addictive and pulsating electro Never Want To Be Alone sparkles in sound and lyrical poetry but has to make way for another of the strongest highlights on the album in the shape of 80’s electro pop flavoured Sanctuary. It brings the warm harmonies of Bat For Lashes alongside the hypnotic melodies of Orchestral Manoeuvres In The Dark though at times it could be Thomas Dolby and Shakespeares Sister partying with Propaganda. Yes it is that mesmeric and irresistible.

There is no weakness on the album, only varying heights for the continuous peaks of wonder. The sensational Digital with its Thompson Twins spice and sneaky Jona Lewie lurking melody both radiating nothing but pleasure, and the indie jewel that is Pandora with its jangly guitar and sultry flow, further incite a stronger an accumulating affection for Good Fortune, Bad Weather with ease. They also show the eclectic nature of the album, each song distinctly varied to each other and irrepressibly enthused with multiple flavours as the folk hearted Mister Lighter, the reggae pulsed title track, and Gwen Stefani pop of Aluminium Man show impressively.

Every song on the album deserves a mention but that is for you to discover as Lettie pleasures your very soul, though we have to mention Crash And Burn, another major highlight which lights up skies with shooting aural flashes and siren borne melodies. This is admittedly our first introduction to Lettie but it will not be the last, we want much more of this sensational stuff.

http://www.lettiemusic.com

Ringmaster 15/05/2012

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