Keys – Innocuous Beats EP

The Innocuous Beats EP from UK band Keys is certainly not going to be for everyone, the distinctive and unrefined treats within destined to leave many confused and scared to take on the teasing unpredictable challenge on offer, but for those it does make a connection with there is the strong possibility of it being a long-term union. The three track release is a psyche sculpted mesh of indie, punk, noise, and colour soaked melodic enterprise bled into pastoral shades without losing vitality. It is not easy to truly describe in word but if any of the references it offers through the rest of the review up strike your ardour than Keys is an awaiting joy.

Formed in 2009, the Bury St Edmunds, Suffolk quartet of William Burns (vocals/synth), Jon Titcombe (guitar), Ed Pipe (bass), and Ben Ward (drums), according to the promo sheet accompanying the release started Keys ‘from a mutual sense of not fitting in.’ A term which describes the sounds on Innocuous Beats perfectly, their ability to not fall in with any established or dare one say accepted style but stride forward with their own unique DIY intent and flavouring refreshing.  The band has built up a good and devoted fanbase through their live performances which have flourished from a policy of showing up at as many gigs as possible in within a 60-mile radius and persuading promoters to put them on and their release can only bring further recruits to their aural cause.

The Sturm Und Drang released EP opens up its presence with the title track, a song which immediately encroaches on the senses with a grouchy yet beckoning bass call. As beats muster their wares jangling guitars add a bright funk high stepping breath to proceedings, their vibrant and keen presence bringing an early Orange Juice flavour to the heavier tones of the enthralling bass persuasion. The vocals of Burns are expressive without blowing the cobwebs from the passions but fit perfectly in the teasing overall sound which suggests a major explosion but never does take the full leap though its riotous climax with a funk infused boisterousness which brings thoughts of eighties band Mouth, certainly energises and triggers a livelier escapade.

It is an infectious and compelling start easily matched by the following Hiding In Our Smirks, another song opening with the throaty call of the bass making the strongest beckoning. As vocals and guitars strut their hypnotic stuff with again understated intensity but enthused energy the track is a scuzzy trigger to an even stronger hunger for sound and release. The track seemingly has seeds found in the likes of World Domination Enterprises  as well as a tinge of early Gang Of Four to its gait and like its predecessor simply fires up the senses and emotions with its post punk and punk invention.

Communications Tower is the last contribution to Innocuous Beats and lives up to what came before with ease. It is a prowling blend of again the likes of Mouth and World Domination Enterprises with loud whispers of Swell Maps and The Fall which stomps and swaggers with uninhibited confidence and in the face disobedience. The melodic swell of the synths are also eighties borne with a Martha and The Muffins touch to their warm caress  and with its brief but potent offering the song completes an impressive and deeply persuasive encounter.

Recorded by Cambridge DIY supremo Richard Rose (of R*E*P*E*A*T Records fame), the Innocuous Beats EP marks the arrival of an exciting and hopefully boundary stretching if not breaking band of the future. Right now they simply offer an extremely pleasing and inciting encounter which if their quirkily inventive and unapologetically stand-alone sound ignites a connection will leave a big grin on the passions.

https://www.facebook.com/RustyKeysBand

8/10

RingMaster 05/05/2013

 

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

The St Pierre Snake Invasion – Everyone’s Entitled To My Opinion

    The St. Pierre Snake Invasion is one of those bands which has the capacity to ignite an immediate rapture and lustful hunger for their sounds, something they certainly did with us with the release of their debut EP Flesh a couple of years ago. It was a startling and synapse twisting slice of devilry, a caustic brew of punk, garage rock, noise, and insatiable mischief, though to tag their sound is as easy as scaling the Shard on the back of Katy Perry, impossible but sheer fun trying. Now the UK band return…finally…with its successor Everyone’s Entitled To My Opinion, a release which rips out the essences of the earlier EP and distills them with new imaginative additives for an even greater irresistible riotous slab of Satan spawn rock n roll.

The five track EP is quite sensational, realising all the selfish expectations and hopes placed upon the band and then some. The Bristol quintet band have unleashed their distinctive venom of noise since forming in the latter months of 2010, earning a devoted and passionate fanbase and plenty of acclaim through their wild and exhausting live performances as well as the first release, but the widest recognition still waits to be triggered, something Everyone’s Entitled To My Opinion has all the potency, sonic armoury, and big boy balls to achieve.

Call The Coroner opens up the release with immediate demands upon the ear and attention, which both willingly submit to as chunky scything riffs and a scowling banshee cry split the air. Rhythms lay in wait as the intro lays its net with the vocals of Damien Sayell scouring the senses in expressive and tortured tones, their earnest and slightly maniacal embrace as incendiary as the hungry sounds. Into its stride the chugging riffs from Szack Notaro and Patrick Daly abrase and seduce whilst the bass of Mark Fletcher prowls with menace from note to note, the combination with the magnetic rhythms of drummer Sam Forbes chaining up any chance of escape, a deliciously bedlamic yet contagious maelstrom of energy and sonic virulence.

The following Encore! Encore! plunders the ear with raptorial riffs and mutual offensive rhythms whilst the impacting squalls of Sayell scar the air with his romantic violations. The raining down of muscular and intensive slaps from guitars and bass offer a little respite in one moment of mercy as they step back for the escape of melodies and harmonies before taking charge again and completing the face to ear incitement. It is a riveting explosion of glorious filth in tale and sound which seamlessly flows into U.S.S.A., a punk fuelled bruising riot of industrial lime like sonic scrubbing. The track strains itself and the listener with greedy glee, the growling broody bassline and insatiable riffs an unrelenting scourge with the rhythms of Forbes the ringleader to total subservience before the alchemy of noise, with the vocals a rodeo cowboy riding the rapacious charge.

Hey Kids! Do The Choke Stroke steps up next to continue the eclectic force of the EP, its reserved chain gang/gallows hung intro bursting into another punk brawl with irresistible aural theatrics and epidemic infectiousness. Like many of the band’s songs it does offer up one issue…the thing is too damn short, just as the passions and limbs, not to mention voice, are casting their additional help the track leaves them a lone voice in a big all eyes watching crowd… damn them.

The closing Say No To Stop Motion leaves one final slice of brilliance, the scuzz coated epidemic of catchiness a last stomp to lose the heart to. It rattles the cages with attitude and sonic spite, something applying to the whole release, and provokes with suggestions of who the aimless ears of today’s media led appetites should really be listening to, as well as certain artists, climaxing the track. The song leaves a lasting swipe with the final forceful recommendation of The Fall, a band which is more than a potent whisper in their sound.

It is a brilliant end to an equally sensational EP, a release which goes far beyond the assumptions from an already biased heart. As mentioned it is hard to truly describe the sound of The St Pierre Snake Invasion but at any time across Everyone’s Entitled To My Opinion there is a mix from the likes of obviously The Fall, as well as Marc Riley and The Creepers, Gang Of four, Wire, Houdini, McLusky, Dope Body, Melvins and many other similar suggestions, though the band in as many ways does not sound like any of those either. A must have release from one of the UK’s most impressive and boundary splitting bands.

http://tspsi.co.uk/

10/10

RingMaster 30/04/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

Undercurrent: Will Kill For Money

    UK rock band Undercurrent has been on our to watch closely radar ever since their towering track The Count caught our ear and imagination over a year ago. With their debut mini album Will Kill For Money, the Sheffield band has not only confirmed that initial promise which was borne with the song but evolved  it into an even more  rounded, strongly accomplished, and thrilling still rippling with a sense of so much more to come from within the band. The six track release breathes enterprise and diversity driven by a strong creative hunger, and whether confronting with an intense snarl or an emotive intrigue it continually engages and provokes with inventive craft and persuasive passion.

Consisting of vocalist Mo Hassan, guitarists Adam Beaumont and Lamahl Saleh, and bassist Lee Carnall alongside drummer Hayden Parkin and Mike Smith who provides keys, guitar, and backing vocals, Undercurrent has earned a strong reputation around their local area whilst breaking out further afield with their explosive stage performances. Their sound pulls on rich essences of many genres to create a fusion of alternative rock, post hardcore, melodic metal, and punk rock which assumes its own distinct character and voice. Listening to Will Kill For Money even with its individual stance you feel the band is still in the early stages of evolving their sound which only leads to further excited expectations ahead.

The album opens with Hollow, a song which immediately pushes through the ear with sinewy riffs, firmly snapping rhythms, and a restrained groove which calls on thoughts to engage with its suggestive tone. The sturdy start takes a slight step back as the vocals of Hassan impressively begin the reflective narrative of the song. There is a whisper of Pearl Jam to the emotive stroll now in place, its pace guided by a comforting bassline and equally magnetic guitar caresses, but it is the compelling keys with their strings like melancholic embrace which seals the deal for the passions. With fiery crescendos for the chorus and additional biting snatches of intensity along the elegant gait of the song as it reaches a stormy climax, it is a thrilling song and beginning.

The following Wasted Time instantly hooks in the ear and passions with its initial addictive hook and jabbing beats over a gentle ambience. The eager lures of the track ignites a hunger in the listener which the vocals feed upon with freedom to again show their quality and passion. Like with the opener, submission to its contagion takes mere moments and leaves the listener to fully enjoy and be enthralled by the mix of caustic vocal squalls and melodic infection musically and from the clean vocals, each confronted and pushed excellently by the growl of the song.

The previously mentioned song The Count is one which no matter how many times you hear it the quality and strength of it seems to grow and impress more. The delicious gnarly bass and sonic teasing open up the ardour first with the vocals adding their wash of antagonism and welcoming comfort to increase the already in place passion for its punk and metal veined rock n roll venture. As it plays the track reminds in places of Gang Of Four with its clean and sharp intent as well as a Birdland with its tempestuous rock urgency and muscle. The predatory feel of the song across its length continues to intimidate and seduce, and no matter how many times it is heard it remains just as potently impressive.

Something which one feels is the destiny of An Education In Self Loathing, another scintillating gem of a track. The electric grazing and teasing of the keys sets the senses on alert to keenly welcome the soon to appear thrust and heart of the song. Rich in punk attitude and sound you sense the song wants to brawl with the listener from start to finish for a fully rewarding and satisfying challenge. The bass prowls through the song whilst the guitars have an agitated edge to their play and alongside them both, the vocals superbly add to the menace and irresistible attack. Complete with commanding if not demanding rhythms from the drums, the one area where maybe the song could find a further bite to hit the listener at the core, the track is an irrepressible impacting agitator in the making.

The release is completed by Darkness, a song which is certainly well-crafted and emotionally strong but underwhelming against what preceded it. Despite that it shows the strength of variety and skilled thought to the songwriting of the band. Will Kill For Money is an excellent album which should be the trigger to national awareness at the very least for Undercurrent, something you sense that even if the release remarkably proves not to be the key will be happening in the future such the depth and invention of the band shown upon it.

https://www.facebook.com/UndercurrentUK

8/10

RingMaster 23/03/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

 

Jacob’s Mouse: The Dot EP / No Fish Shop Parking

    Jacob’s Mouse was a band in the early nineties which stretched creative limits and ventured into unexplored sonic shadows but also escaped the deserved success and recognition less worthy ear friendly bands received. The trio brewed an instinctive and intrusive blend of indie rock, post punk, and various incisions of inciting noise and aural storms, a sound which explored the listener as much as its own corners and boundaries. Now for the first time two of their releases have a digital release, their debut EP The Dot and first album No Fish Shop Parking, and a long overdue treat for noise fans they truly are.

From Bury St Edmunds, the 1988 formed Jacob’s Mouse consisted of identical twin brothers Hugo and Jebb Boothby on guitar and bass respectively, and vocalist/ drummer Sam Marsh. Taking reported influences from the likes of Fugazi, Minor Threat, Big Black, Pixies, and Hüsker Dü, the band released by the vinyl-only The Dot EP through Liverish Records in 1990. The release grabbed critical acclaim and led the way to support slots with the likes of Nirvana, Suede, Th’ Faith Healers, and Manic Street Preachers, as well as enthused support from John Peel and Kurt Cobain. The following year saw the release of No Fish Shop Parking on Blithering Idiot, an imprint label of the band and continued the strong responses and acclamation surrounding the trio. As the nineties bred and flocked to the Brit-pop phenomenon, Jacob’s Mouse was found itself left out of the focus of an indie scene which was drooling over Oasis, Blur, and similar flavoured presences with a seeming tunnel vision. The threesome reacted in their own way by becoming even more experimental and creatively wilful, their following albums I’m Scared in 1993 and Rubber Room of 1995, released via Wiiija Records (home to Cornershop, Therapy? and BiS), testing and pushing their invention and craft to continually unappreciated responses. The year of their third and last album also saw the band call it a day to leave behind a legacy of unique and inspiring releases and songs which now finally have the chance to cast their magnetic sonic incitement once again.

Both releases come through Sturm Und Drang Recordings and make just as impressive an impact as they did first time around. The Dot EP musically is easy to describe though what you consequently imagine barely glances the reality of the sounds created. Like a searing fire of World Domination Enterprises, The Fire Engines, and Hüsker Dü, the five track release teases and taunts whilst creating its own eclectic character and originality. Opening track Signs initially plays with the ear with an inviting sonic groove before vocal squalls assault with abrasive passion. Unveiling up a web of mischievous delicious hooks and addictive discord driven melodies, the song is the strongest persuasion possible ably coaxed deeper into ardour by the wantonness of the basslines.

The following garage punk caustic brawl of Enterprise leads into the mesmeric Hey Dip Sugar with its dub infused charms and exhausting sonic adventure. Both tracks leave passions ablaze whilst Ho-Hum ignites the senses with insidious repetition lyrically and sonically for a full capture of the imagination and a grazing of their sensibilities. Closing on Microflesh with its blistered atmospheric radiance and gloriously acidic melodies, The Dot was and is an irresistible and deeply compelling introduction to the band and it is no surprise that the releases garnered such plaudits.

      No Fish Shop Parking shows the evolution in the ideas and sound of the band at the time. It still has the essences which made the EP so refreshing but expands to explore and extend the innovative design of the imagination reaped. Opening track Tumbleswan envelopes the ear in a sonic blaze veined with evocative spoken vocals, provocative bass taunts, and more defined melodies than found on the EP. There is a Gang Of Four breath to the track which opens up the attraction further whilst immediately standing as a step forward from their debut release. The following tracks Twist, She Is Dead, and A Place to Go to, entrap the passions further with their distinct stances, the first another Gang Of Four like provocation whilst the other pair search through garage rock seeds to breed their own senses confronting glories.

From the dub blossomed Carfish, a track which has a touch of Ruts about it, the best track not only on the album but arguably one of the best from the band ever sends one into orbit. Caphony is simply sensational, a psychobilly rhythm and simmering tease loaded into a hungry and devilish groove and energy. Though the song predates Th’ Legendary Shack Shakers they are a fair reference with slithers of Screaming Blue Messiahs adding extra spice. Justice and The Vase complete the exceedingly magnificent album with further unique enterprise, the whole release an inspiring sculpted maelstrom of invention and noise.

As more and more noise rock bands emerge you can hear the sounds and inspirations of Jacob’s Mouse within much of their creativity, whether they realise it or not and with this twin release maybe the band will now get the full recognition and awareness it so surely deserves.

www.facebook.com/jacobsmouse

The Dot 9/10 No Fish Shop Parking 9/10

RingMaster 12/03/2013

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

www.audioburger.com

 

Dope Body: Natural History

Baltimore band Dope Body is predominantly tagged as noise rock but they should just be under the category eclectically unique. They are likely to be alone in the list which is as it should be as despite the band drawing on a flourishing feast of influences and suggestions no one truly sounds like or comes near to Dope Body. With the release of their new album Natural History they have widened further that divide between themselves and the rest. There are plenty of exciting and discord driven noise rock artists out there but none use the tools with an imagination and skill to create songs which are maybe raw and jagged in their surface but have a rounded balance, an instinctive and rich life, and are near abhorrently senses disassembling.

Natural History is the second album from the band and named after the The Museum of Natural History in their home town where they played their first and meant to be one off show. Formed in 2008 the band felt and knew from the destructively chaotic sounds they were creating and success of the night this all felt right so they continued gigging and creating. Released via Drag City, Natural History is pure sanity bending air fragmenting sonic poetry and possibly the best aural treat since the big bang. It is a release and sound which will work for you or not but if it does its genius in its simplicity and complicated inventiveness.

How to describe the band? Well it is impossible as you will see when we mention some of the tracks but imagine a primal mix of At The Drive In, Hot Hot Heat, Morkobot, The Three Johns, World Domination Enterprise, and most definitely early Wire. Oh you can add a slither of your favourite sludge, stoner, and grunge band too for good measure…and still not really come close. It is an individual sound to the band which will bring different references from each individual who hears it, something one wishes all bands would give the problem of.

Dope Body makes initial contact through the disorientating Shook. At first it drops falling essences of sonics through the air before a bass pulse begins its bruise of the atmosphere and the vocals of Andrew Laumann score the ear with caustic and disentangled melodies. Air ripping and blistering the song is a sludge/doom driven intensity littered with inquisitive and ultimately challenging pokes and disturbances, a mighty corruptive start to check if one is up for the fun ahead.

The following Road Dog is quite simply wonderful and the first of an unrelenting feast of brilliance to leave one breathless and with the biggest smile possible. Stirring up the ear with prickly guitar strokes and near smooth melodies alongside perfect infectious hooks, the song explores the senses with acidic enterprise around the prowling bass of John Jones and the eager vocals of Laumann. It has that primal early Gang Of Four rhythmic core with a Clash/Rocket From The Crypt punk sound especially with the additional mid reggae additive. The garage feel of the song is strong too and all in all is simply magnificent.

Beat and Twice The Life manipulate and ignite the passions further. The first is a striding beast of discord, its bulk rippling and pulsating with sonic guitar from Zach Utz and ear splicing melodics which spear the air with predatory menace and venomous intent. The track circles like a ravenous wolf its sounds gnawing on bone and synapses to leave one floundering in pure bliss. The second takes a lighter approach with the unpredictable rhythms of David Jacober puncturing its distressed yet mesmeric warm breath, again that reggae/punk air lights up the senses. Of course the song is wonderfully as disturbed as ever.

Arguably the best track on the album Powder is pure infection and just as dangerous as any illicit contagion. Insatiably eager and disturbingly joyful, the track with a grin as sinister as the hook is impossibly irresistible, easily and willingly draws one into the riot of senses fragmenting ingenuity.

Every song is immense; the snarling caged manic Out Of My Mind and the twisted rock n roller Weird Mirror just two delicious slices of further brilliance. That is the most apt word for the whole of Natural History and when a release ends on a bonus track like Alpha Punk, a near one minute pure Wire homage with the song sounding like the bastard cousin of Mr Suit or 1.2.X.U., you know it has been something special.

Dope Body is without doubt one of the most exciting bands in music right now if not the most and Natural History quite possibly album of the year, it will take something truly outstanding to match it.

https://www.facebook.com/pages/DOPE-BODY/310914069790

Ringmaster 13/07/2012

Copyright RingMaster: MyFreeCopyright

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

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 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 ‘Never Tell You Again’ 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 Mclusky 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

copyright RingMaster

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

Black Hats: Austerity for the Hoi Polloi

To be honest when the songs from the outstanding debut album from UK indie rock band Black Hats graced the ear there was an instant thought it was a new release from Young Knives even though the CD said differently. As Austerity for the Hoi Polloi unveiled its full might and collection of infectious and striking tracks there was obvious that there was much more going on within the songs but there is no mistaking that the band which came to mind first is a big influence to Black Hats, which can only be a good thing.

From Oxford, Black Hats consists of Ian Budd (bass, vocals), Nick Breakspear (guitar, vocals) and Mark Franklin (drums, vocals). Eighteen months or so as a band has seen them consistently and increasingly grab attention as they unveiled new songs, grabbed radio play including a live session for BBC Introducing (Oxford), and released their first EP Magnets. With the release of their debut album Austerity for the Hoi Polloi, one can only see bigger and more urgent things coming to hound and throw acclaim at their door.

As the opening guitars shower the ear with crystalline melodies, first track You Make Us What We Are immediately has the ear offering full attention. With a slight ska lilt to the riffs the song pokes and insists the senses take notice as a delicious dark bass line meanders wonderfully through the centre. It is very Young Knives which made the double take at first but as the song plays and captivates more and more the distinct and different qualities of Black Hats is easily apparent. The song never ignites into a full out frenzied party but borders it closely to make a song which is deeply engaging and openly infectious.

     Death By Record bounces in next with a punk urgency and inspired melodic mesmeric teasing. Checking into the band before writing the review there were quite often comparisons with Gang of Four mentioned which the first song never suggested at all which had one wondering where they were coming from. Here there is a definite feel of that band which spices the flavoursome song, to which you can add essences of Maximo Park and Baddies too. By this point an affair with the inspired basslines of Budd has been nurtured, his reggae grooves and punk moodiness an easy and impressive meld.

Already the album is destined to only acclaim which Blood And Space with its jazzed bass invention and thoughtful structure only enforces and the following and amazing Impossible View ensures is an even greater affection. The best song on the album it is instant addiction. The rhythms of Franklin cage the sirenesque melodic conjurations which light up the ear and beyond. Breakspear and Budd dazzle with inventive play and the sax that strikes ingeniously is glorious. With its ska lined riffs and rhythms alongside its indie pop heart the song is a full pleasure.

Impending single Fall Out and current one Kick In The Doors complete the album just as impressively as up to this point. The first is another ska riffed, dub beat spined feast of post punk power pop. A mouthful but it brings it all into its excellent vibrant body. The closing Kick In The Doors with its acidic striking keys clasping and squeezing the consistently striking guitar and bass invention leaves one as the release ends simply breathless and with no option but to dive right back inside Austerity for the Hoi Polloi again. To be honest any song would be the perfect entry point into Black Hats but this track certainly scoops one up welcomingly in its irresistible arms of intelligent and articulate pop-punk.

Normally when a band reminds of another as closely as Black Hats did initially there is a doubt about them but this trio soon put all those thoughts firmly away with their skilled, inventive, and completely absorbing impressive sounds. There is a new energy for indie music starting and it is in the shape of so pick up Black Hats and their simply wonderful EP Austerity for the Hoi Polloi.

http://www.blackhatsmusic.co.uk/

RingMaster 30/04/2012

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