The Floodgates – You

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The Floodgates is a young acoustic rock band which, if debut single You is any indication, is looking at a rather healthy and rewarding future. The song is a transfixing and intensely pleasing proposition which dances and emotionally engages with ears and imagination with impressive ease and creative charm. There is a bit of a buzz brewing up around the band and it is easy to see why through this introduction.

Hailing from Tunbridge Wells, The Floodgates consists of vocalist/guitarist Martin Stenning, guitarist/bassist Tim Fullbrook, and keyboardist Alex Wane, a trio bringing inspirations from the likes of Mumford & Sons, Bruce Springsteen, Jeff Buckley, and Tom Odell into their own ideation and invention. Since emerging not so long ago, the band has already notched up an array of successful shows, played the ColdHarbour Festival 2013, and been invited to play at the open a0944602616_2day of Heavyweight boxing champion David Haye’s gym after being spotted whilst busking. You is their big prompt for national attention and it is hard to imagine it not lighting up a keen and hungry spotlight on the band.

Emerging from warm yet haunting keys, guitars and beats are soon strolling with a smiling gait and melodic temptation whilst Stenning lays down an equally impressive caress of vocals. The song is instantly catchy and inviting, every aspect a gentle yet potently bulky enticement in individual and united engaging charm. The quaint vintage tone of the keys midway especially adds a drama and tone to the already vibrant and resourceful folk seeded scenery evocatively colouring ears and thoughts, but it is the enterprising elegance and virulent passion of the song which makes the richest connection and leaves a lingering persuasion behind.

You is an impressive entrance and though only one track to cross our gaze so far from the band, it is hard to resist suggesting that The Floodgates has the potential to make big and eventful moments ahead to excite us all.

You is available now @ https://thefloodgatesmusic.bandcamp.com/track/you-single

http://www.the-floodgates.co.uk

RingMaster 14/10/2014

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Gifted Kings – Lose What Makes You

gifted kings pic

    It is hard to say that Lose What Makes You, the debut album from Scottish rockers Gifted Kings, ignited a fire in the passions for their accomplished and soulful sound, but certainly the 2012 formed band sparked an appetite and satisfaction with their enjoyable release which many emerging bands can only dream of. Consisting of eleven impressively crafted and expressive songs, the release makes a potent and promising introduction to a band we are sure to hear and enjoy a lot more of in the future.

    Hailing from Glasgow and consisting of two sets of brothers, Derek (guitar/vocals) and Andy Murray (lead guitar) alongside Gary (drums) and Paul Smith (bass), Gifted Kings build on the undeniable potential and presence of first single Dead End Road, which has just received its video release also, in fine attention grabbing style with the album. It is not unfair to say that the band’s sound has a rich familiarity to its presence right now, not of any specific band but in general which defuses some of its ability to surprise and stoke those emotional flames, but there is little else to raise a quizzical and disapproving eyebrow over. Recorded with producer Nick Brine (Oasis, The Darkness, Bruce Springsteen) at the same studio which housed the making of Oasis’ What’s the Story Morning Glory and Queen’s Bohemian Rhapsody, and mastered by Pete Maher (U2, Depeche Mode), the album proves its case with a stirring presence and potency which easily awakes positive reactions and attention to match that already brewing as far afield as Russia, Ukraine, Thailand, and India over the band. With their music already gracing several shows on Channel 4, S4C, ITV1, and Sky Sport as well as being adopted for advertising campaigns by Ripcurl and O’Neill Sports targeting the USA, Australia, and Asia, the quartet are on a rapid visible ascent which What Makes You Lose has all the qualities to accelerate.

     The album makes an instantly engaging and gripping start with Rains Will Come, its opening a sonic intrigue of guitar which expands with a rhythmic jabbing and fiery melodic glaze as company. It is not a startling entrance but one which secures full focus especially as the expressive vocals of Derek Murray joins the already pulsating lure of the song. Thoughts of Bristol band Mind Museum offer a suggestion whilst essences of Placebo also hint throughout the increasing emotive brewing of the track; all to a positive effect. The only strange thing about the song is that it never explodes, just simmers as if an intro to the album rather than a stand-alone proposition. Nevertheless it is a great start matched right away by The Last Time. A heavy throaty bass sound and imposing rhythms make the initial temptation as the guitar’s thoughts crowd around in a sonic breeze before making inviting weaves of melodic endeavour around the incoming vocals. Again there is something recognisable about the encounter, though it just makes it an easier ride to immerse within, which with its especially persuasive rhythmic enticement just infects.

     Both No One Knows and Drive keep the album bubbling in thoughts and emotions if missing the heights of the previous pair. The first is embraced by powerful emotive melodies and crescendo like rises in energy and passion as melodic veining arguably inspired by the previously mentioned Mancunians works away, whilst the second strolls with a reserved and enticing alternative rock weight and texture to draw in the imagination. Neither sets sparks to tease the passions into major action but definitely each provides a healthy offering for the appetite to chew over and enjoy, as equally does Dead End Road with its alluring and richly expressive narrative and sound. Though definitely not the best song on the album it is still easy to see why it has drawn such eager responses the band’s way since being released as the first single from the album.

     The following pair of Tell Me Something and Fortune In The City return the release to the commanding and contagious levels it started on, controlling rhythms and rich melodic fire rigorously and anthemically tempting the senses within the first whilst its successor explores another evocative climate with an inventively gripping groove and an infection clad chorus within an unpredictable exploratory landscape. Both tracks alone reveal the depth and potential of the band in sound and songwriting, reach easily lighting keen anticipation for future endeavours.

   From the pleasing and very decent creative exploits of Last Trace Of The Sun and the sonically colourful, not forgetting contagious Wait, the album’s best moment is brought with Neon, a song built on addictive nagging riffs and crisp rhythms which persist until full submission is given for their vivacious bait. Once more the band casts a virulent infection over the ears and imagination which is impossible not to find a lingering hunger for, it’s dramatic touches and blues kissed strikes quite irresistible. Alongside the closing and strong if underwhelming in comparison Written On The Wall, the pair bring Lose What Makes You to a thoroughly entertaining conclusion.

     Gifted Kings has laid the strongest base with their debut, the first of many potent and impressing encounters ahead you suspect.

http://www.giftedkings.com/

8/10

RingMaster 23/02/2014

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Darktown Jubilee: The World, The Flesh & The Devil

©trevorpalin 2012

©trevorpalin 2012

    The World, The Flesh & The Devil is one of those releases which refuse to die down after completing its musical persuasion before the ear. Though the debut album from UK indie band Darktown Jubilee does not particularly offer anything strikingly new or adventurous, its songs have the intriguing habit of popping up again in thoughts and memory long after departing the speakers. Whether a melody, hook, or particular rhythmic encounter from the album they sneak up on you and strongly invite a return to what is a rather decent release.

The Manchester based band consisting of David Boardman (songwriting, vocals, guitar), Stuart Day (bass), John Cosgrove (drums), Al Roberts (lead guitar), and Gary O’Brien (keyboards) formed in 2010 and have been on a sure ascent ever since. Their sound finds inspiration in the likes of Bruce Springsteen, The Doors, The Killers, and The Temper Trap, a wide flavouring which certainly spices up the robust and anthemic album. Produced by Boardman and long- time collaborator John Kettle, The World, The Flesh & The Devil involves the listener from first note to last with rampant rhythms and colossal hooks a continuing temptation alongside the flames of strong melodies. Released on their own Parade Recordings, the album as mentioned does not stride into uncharted territories at any point but certainly creates waves which offer the longer term seduction. It is also a release which takes time to makes its full persuasion, maybe only a few tracks immediately having an instant irresistible temptation, but it smoulders with each return to its presence convincing a little more.

The two singles from the album open up the release starting with the energetic Breakdown. The song is a feisty storm of guitar avatars-000006888741-tsflnt-t200x200driven sound with a thumping heart and expressive breath vocally and musically. Guitars and bass stroke the ear initially whilst beats tumble across their gait, the rhythms increasing in force and frequency as Boardman begins the songs narrative with his impressive tones and delivery. There is an unmistakable Foo Fighters infectiousness and rampancy to the song coring the melodic teasing of keys and guitars and by its end the fiery encounter leaves one breathless and deeply satisfied.

The terrific start is matched by second single Stay, a less demanding but equally potent tempest of infectiousness. With a pulsating and mesmeric pulse from bass and synths, the track is a magnet to the senses and once in control sends layers of sultry keys, persuasive vocals, and stirring guitar strokes across the ear for the fullest creative suasion. Like the opener the anthemic depth of the song is towering but tempered by the emotive and shadowed lyrical presence. Both of the two songs find Darktown Jubilee at their best which could have left the album top heavy but the following tracks with varying success ensure the release is rounded and relatively consistent.

The likes of acoustic ballad The Great Escape and the big boned power ballad All I Want bring immediate diversity to the album after the adrenaline coursed start and though admittedly neither comes near to grasping the same impact as the first pair they are well crafted songs easily worthy of attention. Give Me a Sign, though a song which gains better appreciation with more companionship, slips below the already pleasing standard, though again here or at any point on the album you cannot criticise the songwriting or musicianship bringing the songs to life. It just does not ignite much more than appreciation due to its familiarity to plenty of other songs before and undoubtedly coming after it, something which cannot be said of Stop! Look Around. Starting on a sparkling cascade of sonic sprinkles the track bursts into a tall rampant gait with the occasional reserved restraint to create impressive crescendos of energy and sound. It is another catchy anthem puller which puts the album back on course.

The thrilling When You’re Wrong which starts as seemingly another emotive ballad before brewing and unleashing addiction fuelling rhythms and bighearted melodies without losing that initial intimate feeling and the intriguing Beautiful Night both continue the again enthralling lure of the album. The latter of the two is a weave of atmospheric grace and definite familiarity though without allowing a defined reason as to why emerge in thoughts, and a further refreshing variety to the album.

The remainder of the album settles into a strong if unremarkable stance though again songs like the Costelloesque Lost and  Something’s Gotta Give with depth and style ensure further strong pleasure.  The World, The Flesh & The Devil is an album which could be said does not ignite a fire in the belly or explode with dramatic moments but boy does it linger and return with ease whenever it wishes. If you are looking for accomplished and powerful big hearted tunes than Darktown Jubilee certainly fits the bill.

http://www.darktownjubilee.com

https://www.facebook.com/darktownjubilee

Given time…8/10

RingMaster 23/02/2013

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Rayne: The New Enlightenment

Sixteen years is a fair time to wait for a debut album from a band to say the least but when it sounds as good as The New Enlightenment from British alternative rockers Rayne, the wait for fans will have been more than worth it. It is a release which just pulsates with quality and craft, making one wonder how it has taken so long for us, like so many others, to have come across the great sounds of the band. The album has been out a few months as you read this but is worthy of a look for all those yet to discover the melodic and imaginative presence of the Sunderland trio.

Since forming all those years ago whilst at school, vocalist and bassist Ben Potts, guitarist and keyboardist Adam Dagg, and drummer Steven Naisbet, have certainly made their mark on the UK underground scene. Four times they have been Battle of the Bands winners at a national level, come runner up at the 02 Live & Unsigned final out of 10,000 bands, and been awarded an ‘outstanding contribution to music’ award from a national music organisation after a public vote. Rayne has also raised approaching £20,000 for numerous charities across the years and with their impressive album and the luck all bands need, one feels a wider recognition is coming soon for the band.

The band is constantly compared to the likes of Muse, U2, and Coldplay, and it is hard to disagreed, but they offer other essences which point at the likes of Mind Museum, Doves, and Incubus, though they are all breezes in the original melodic wind of Rayne. The songs are nicely varied but come with an epic air, whether brooding or ignited for a full expansive breath, which wraps warmly around the ear and offers an infectious involvement for the senses.

The expressive grace of the title track opens up the album, its building energy and lively contact a notable introduction and entrance into the album. The following Raise The Alarm then steps forward with fiery riffs and firm rhythms to grab attention before resting slightly for the golden weaves of the keys which drove the first track to return and glow within the skies of the song alongside the strong impressive vocals of Potts. It is a potent brew of rich melodies and emotive heart vocally and musically which captures the imagination.

The excellent mix of sinewy riffs and teasing harmonies of The Ground Floor raises levels next, its inventive blend of incendiary guitars and smouldering harmonies against effected vocals and stirring rhythms an impacting brisk encounter to lick the lips over. It has a rawer more intense presence which marks the beginning of an unveiling of diversity to band and songwriting, soon emphasized by the emotive My Final Plea with its impassioned expression and tender keys. The song holds its shadows close whilst lighting its path with slivers of melodic caresses and heated charm, evolving into a blaze of fervid guitar play at its climax.

Consisting of fifteen inventive and superbly crafted songs the album is a constant pleasure with its greatest heights coming in the irresistible Twisted Flame, the heaviest song on the release with its forceful riffs and prowling energy even in the mellower melodic moments, the equally compelling track The Impossible Story, and My Desperation. The second of the three has a classic rock gait to its excellent body of inventive sounds whilst the last is another passional feast of heart and what feels like personal relevance to the band such the potent delivery and expression.

The classic rock seeded sounds return in Hero Soldier and the closing Springsteen like Against The Natural Order for satisfying and enjoyable results though neither song manages to match some of the other tracks mentioned but again they show the accomplished variety of the album. They are certainly despite their strengths found wanting up against the best track on the album, Compel To Be Pure.  Starting with sound bites discussing mental illness over an impacting emotional piano, the track erupts into a punchy slice of rock with fervent guitars and thumping rhythms. It moves into an exquisite mix of the still inciting piano, acute lyrics, and challenging vocals before thrilling further with feistier rhythms and sizzling guitars combining to offer an anthemic treat in exchange for a defined ardour its way.

The New Enlightenment is a tremendous album which all rock fans should take the opportunity to explore and immerse within, its triumphant sounds and large textures an inspiring joy. One can only hope it does not take Rayne so long to follow it up.

www.officialrayne.co.uk

RingMaster 27/11/2012

Copyright RingMaster: MyFreeCopyright

Need To Breathe: The Reckoning

It is fair to say that even if US rock band Need To Breathe does not send your senses into raptures or even enthused passion, they are a band one can easily appreciate in regard to their qualities and skilled craft. The same can be said about their fourth album The Reckoning, a release full of excellently crafted and delivered songs brought with passion and heart dealt energy. We cannot say the release left us excited and soaked in any lingering presence due to personal tastes but it certainly was a decent listen throughout with its southern rock invention and in a couple of moments a more than satisfying companion.

     The Reckoning gets its UK release September 10th and seems sure to follow the great success it had back home upon its arrival last November. The South Carolina quartet has already made a mark through their previous releases and hearty rock sounds, which bring essences of the newer Kings of Leon music and Mumford & Sons into their own climactic stadium rock sounds. Just off of a six month tour of the US, the foursome of brothers Bear and Bo Rinehart (vocals, guitar, piano and guitar, backing vocals respectively), Seth Bolt (bass, backing vocals), and Joe Stillwell (drums, backing vocals), follow up their acclaimed previous album of 2009 The Outsiders, with fourteen big boned sky filling songs which persistently drip with soulful and emotive imagination. Yes for us the style does not light raging fires but for those loving the earthy American drama of a Springsteen and arguably Tom Petty as well as those previously mentioned Need To Breathe and The Reckoning will have their ardour sparking greedily.

Easily the best track on the album opens things up and it is a song which instantly captivates. From its initial dulled melody and emotive vocals Oohs And Ahhs has the ear in close attendance and mesmerised, but when the chorus breaks loose to sizzle upon the senses passions, for arguably the only time on the album, go soaring. In to its stride the track is a hearty forceful rock song to leave anyone breathless and caught up in the moment. Midway in the song take a brief respite before rekindling its energy and building up to a fiery crescendo which has grins breaking out everywhere. The mischievous track then repeats the event though this time the stride towards the flaming ending is tinged with stirring brass and discord driven keys. It is simply a stunning track which the album for personal tastes fails to repeat again.

The following White Fences and Drive All Night stretch their melodic wings to bring expressive depths to their soulful breaths, both finding an energy and tension which evokes thoughts and feelings. The songs of Need To Breathe are not necessarily faith driven but do bring a moral touch to their strong lyrical content though importantly it can also be interpreted into the lives of all.

Songs like Slumber, Maybe They’re On To Us, and Wanted Man, as well as the title track, all wrap around the heart with rousing and in their individual gaits, stomping anthemic majesty. As we said at the start there is no missing the quality and accomplished invention of the band let alone their ability to wring every emotion and passion out of every note and line, and for those receptive to their Americana/Southern rock songs it is hard to imagine anything other than deep pleasure gained from The Reckoning.

The other big highlight for us came with the newest single Keep Your Eyes Open, a song which takes inspirational and stirring sounds and songwriting to their fullest expansive heights. You can argue how original the song is with nothing openly surprising going on but it is hard to recall any rock song which has sparked the heart into reflective and eager life as potently.

If Southern rock/Americana is your brew to hungrily feast upon than The Reckoning will leave you full to the brim, and to be honest even if it is not your preference, the album and Need To Breathe is still worth an hour of your time to be sure.

http://needtobreathe.net/

RingMaster 08/09/2012

Copyright RingMaster: MyFreeCopyright

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Interview with Greg Cargopoulos of Absolace

From the unlikely place of the United Arab Emirates has come one of the most impressive and impassioned albums so far this year in the refreshing and stirring might of Fractals from Dubai quartet Absolace. Like a breath of fresh air within rock music the album is full of boisterous riffs, melancholic atmospheres, cultured songwriting, and emotive melodies. With the feeling that things could be on an even greater rise for the band, we had the pleasure of asking drummer Greg Cargopoulos about Absolace, their new album and more.

Hi and welcome to The Ringmaster Review. Big thanks for taking time to talk with us here.

Firstly for those unaware of the Absolace could you introduce its members?

Hey guys. On bass, from Australia, we have Ben Harris. On vocals we have Nadim Jamal, from Lebanon.  Jack Skinner, from UK, is our guitarist. And my name is Greg Cargopoulos. I’m the drummer of the band, and come from Greece.

Could you begin by telling us about the beginning of the band?

It all started when Jack and I were just jamming out a few tunes that I had written. We were trying to form a full band. We were looking for a drummer first of all to jam with. I was actually supposed to be the bassist originally, but it was so hard to find a drummer, that I ended up playing drums just to jam. I really loved the drums from the very start so I stuck with it. We were also originally supposed to have a female vocalist. But that idea eventually faded away for some reason.

After a while of writing bits and pieces, we realized there was enough material for an album, so jack and I booked a studio to record drums, and put down the tracks. We then started to track guitars and bass at my place. Then approached Nadim to be our singer, and tracked the rest of the album. After the album was complete, we approached Ben to be our bass player. The rest is history :)

Is there a story behind the band name or a relevance to it for you?

Yeh big time. I’ve always been a fan of bands that switch from a heavy sound to a mellower atmospheric sound, so that’s what I really wanted to do.  Absolace is a mixture of the words Absolute and Solace. Both words referring to the two sounds we move between. The heavier sound and the ambient sound.

You are the first rock band we have come across from the United Arab Emirates, is there a thriving rock scene there and in the Middle East in general?

No unfortunately there isn’t really. There’s a bit of an underground scene, that’s about it. It is getting better though. More and more bands are pushing further and going overseas. The biggest problem here is the lack of venues to play at.

One imagines it is much harder to be noticed as a band from that region worldwide than if a UK or US based artist. Have you found that to be the case so far?

Yeah definitely much harder. Not so much to get your music out, because we all have the internet, which gives you unlimited access to the outside world for our music. The problem is we can’t tour as easily as bands from Europe, UK, or US, which means we can’t promote our music as well.

You have just released the brilliant album Fractals, a release we love here. How long has it been in the making?

Writing for fractals started about January 2011 I believe. It took, on and off, about 4 months to write. In June we started tracking the album, which finished in September or October, with 1 month off in the middle. Then mixing and mastering at the end of the year. So yeh, about 4 months writing, and then, on-and-off, about 6 or 7 months production.

The songs within Fractals are beautifully crafted and presented but with an edge that stirs up emotions, suggesting a care and attention to every detail of your music  is as deep a part of your  songwriting as any organic evolution, is that so?

Yeah we definitely paid a lot of attention to detail with this album. We literally completely dissected some songs to get them as good as we possibly could. You have no idea how much time was spent on this.

How does the songwriting process work within the band?

Some songs differ from others. Some songs are written by one person, on pro tools, using programmed drums. Other songs are written as a result of a jam. It all depends. We don’t really have a specific formula.

The new album follows up your acclaimed and again rather special debut Resolve[d].How has the band and music evolved between the two releases to you?

Yeah it has definitely changed in some way, as it is a group effort now, rather than a single person’s writing. But that’s a good thing. A band’s music needs to change, it needs to keep evolving.  We’ve all changed as well. Everyone’s keeping healthy and happy. We’re all at a good stage right now.

You have been compared musically to the likes of Porcupine Tree and Tool and we threw in the flavours of Karnivool and Sunna in our review of Fractals, but what are the influences that have firstly made the biggest impact on you as people and secondly on the music of Absolace?

As people, we have so many influences there are just too many to list. Also musically, we are all influenced by so many bands including the ones you mentioned (Karnivool, Tool, Porcupine Tree). These are just the ones people are picking up on the most.

Tell us about the apparent theme within the songs on Fractals, the link between chaos and every day details of life.

It is all about relating the chaos theory to everyday life. Our lives, essentially, are chaotic systems, that are affected largely by initial conditions.

That link can be looked at either positively or negatively, and you combine both in your songs from the calm inspiring sounds that at times challenge and raise the intensity and your lyrics. What is the underlining impression you are hoping comes over in the album?

This album really speaks out the truth. Whether its happy moments of realisation, or harsh reality. It depends how you take things really. A lot of the lyrical content is sad-but-true topics in the world like modern-day slavery, tyrants, etc… It is supposed to have a bit of a shock effect.

There is a depth and expanse to the songs within the album that feels organic, like the songs dictated their own evolution is that so?

Yes that is definitely true. We try and write in a natural way. Not sticking to traditional structures. Also, we look at all of our instruments as a whole when writing, rather than individual parts. It is more of holistic way of writing.

 Do you feel a greater maturity to your songwriting and music has grown in the two years or so between your albums?

Yeah definitely. Songwriting, musicianship, showmanship. It has all grown in my opinion. It’s a natural course for musicians as long as the passion is still there. Also, more importantly, I think we’ve all become more familiar with each other musically.

Resolve[d] was mixed and mastered by Jens Bogren (Opeth, Katatonia, Paradise Lost) and I was led to believe Fractals too but since I noticed production on the new album was down to you and U.S. producer Joshua F. Williams (Bruce Springsteen, Stevie Wonder, Flo-Rida), could you clear that up for us please?

I actually produced both albums, using Jens as the mix and master engineer for Resolve[d], and Josh Williams as recording and mix engineer, and also to co-produce it. Both guys did a fantastic job. The obvious advantage of Josh is that he is in the same country. I think it is good to keep working with different people, keeps albums different from each other in terms of sound.

 Has the album turned out as you envisaged going in to the recording or did it bring some surprises to you along the way how it evolved?

Actually we pretty much had most of the songs nailed before going in, so no surprises there. However, Chroma Mera and Wade 2.0, we pretty much made it up as we went along. They turned out awesome considering.

How did the actual recording differ this time around, were there lessons learned the first time to make Fractals an easier experience?

Fractals was definitely put together easier than Resolve[d], but still a few frustration along the way. But it only get easier with every record…..I hope

 Is there any part of Fractals that gives you an especially deep satisfaction and glow inside?

Chroma Mera….FUCK YEAH!!! Also, the production turned out awesome. I’m so happy with it.

Going back to your homeland and Dubai where there are known social restrictions does that have an impact on music and what you are allowed to bring into a song lyrically?

Ummm, I dunno really….Our lyrics are never really a problem. They are not too provocative, and we don’t swear in our lyrics. Maybe if Rage against the machine were born today, and happened to live in Dubai, there might be a problem :)

You have played some high profile shows, like supporting Anathema in Beirut and playing in the Formula 1 celebrations in Abu Dhabi as examples as well as playing the Byblos Festival in Lebanon, so I have to ask how has the rest of the world not been fully aware of Absolace before now haha?

Probably cause we have yet to Tour. It is quite hard being from a place so isolated from the rest of the world. We’re working on it though, having PR campaigns to raise our awareness in EU, UK and US. We shall see :)

Do you ever see a time where you may have to relocate to find deserved recognition?

Some people have suggested that, but it is much easier said than done. We all have jobs, girlfriends, and commitments in our lives, and it is not always easy to drop it all to move country for the band.

So you have real lives to live alongside the band and if so do they make a generally seamless fit?

Yes we are all very busy people in our professional lives, and most of us have girlfriends. Ben is even expecting a child soon. It does get difficult sometimes to find the time, but as I see it, if the passion is there, you can always find enough time.

Tell us about your video for the brilliant I Am, So I Will (our fav song on the album).

We are super happy with the video. The shoot was really fun, really cool people to work with. It was a great experience overall. The director, Cyrile, he came up with the concept of visuals and screens. It looks pretty catchy, and I gotten us some good exposure. Youtube is a huge way bands are getting discovered these days, so our video presence is essential.

Once the wave of acclaim and attention we foresee coming over Fractals, have you any plans for the rest of 2012?

To start writing again :) Not many gigging plans this year, but hopefully a new release by early/mid next year, so we’ll be busy writing for the rest of this year.

Thank you for joining us to tell us about Absolace. Good luck with the album. 

Would you like to leave us with any last thoughts?

Thanks for giving your time for reading this interview :) Please check out the tunes, and the video, and leave some comments for us, join our mailing list, etc…Hopefully see some of you at a live show one day :)

Lastly tell us the one song or release that you would say truly inspired you to make music.

Hard to nail down to one album, so can I name 3? Pretty please? This will also give you a hint as to which years I started writing our stuff :)

-          Opeth – Ghost Reveries

-          Porcupine Tree – Fear of a Blank Planet

-          Tool – 10,000 days

Thanks so much for the interview. Take care :)

Read the Fractals review @ http://ringmasterreviewintroduces.wordpress.com/2012/03/26/absolace-fractals/

The RingMaster Review 04/05/2012

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