The Life EP is a delicious emotive storm of post hardcore from a band which has already garnered strong acclaim and support since forming in 2009. From the North East of Scotland, ElevenEleven has taken a major step forward from already impressive earlier releases with their new EP to give the genre in the UK a new tempest of creativity. It is an expansive mass of passion which without inventing new tools uses existing genre weaponry to fresh and adventurous heights.
Since their first days the quintet has shared stages with the likes of Lower Than Atlantis, Flood of Red, Heights, The Elijah and Don Broco, made their own successful national tours, and released to acclaimed reactions the Memoirs (Part One) EP in 2010 and a two track release The Light/Dark Sessions in 2011. Last year though was one which brought a few obstacles the way of the Aberdeen band in the shape of serious illness, a line-up change and the subsequent collapse of their intended second EP. The band has on the evidence of Life though emerged a greater and even more imaginative force and by marking their return with the EP as a free download, has opened one expects the doors to greater recognition.
Life is seemingly inspired by the previous months for the band, its themes of love, loss and life trials maybe not directly reflective but it feels as if it is charged and emotionally sculpted by events. It is an atmospheric wrap with is intrusive and weighty whilst offering a captivating shadowed beauty. As the release agreeably scores the senses the obvious comparison is Deftones but to that you can add essences of Funeral For A Friend, Thrice and Devil Sold His Soul, with dark whispers of muse and Incubus for extra spice. It is a dense engagement lit by melodic invention and sonic skill, and an encounter which as soon as Lost unleashes its passionate heart finds a fulfilling connection to the listener. The opener stages a dramatic initial contact with bruising rhythms from the drums of Ross Senkbeil and the intimidating bassline of Stuart Ritchie within caustic flames of guitar from Eliot Leonard and Euan Wilson. It is a striking start which with the entrance of the fine vocals of Chris Spencer entwines and exchanges its intense gait with another of smouldering mellow ambience, the ‘respite’ itself also carrying a charge of passion which ignites thoughts.
The following Iscariot offers a similar stance though is still distinct in presence, soaking one in further intensity and thick melancholy to challenge and reward equally. As with the first, it is a song with a haunting shout to its voice and a coarse defiance which erupts in scowls of vocal rage at times alongside the increasing impressiveness of Spencer. At this point as one wonders if the whole release would offer a similar breath to is passion, the band shifts into a harsher aggressive tact with The Other Side. The song is an energetic badgering of the ear with an irresistible groove and questioning air. It is an excellent provocation which shows another side to the band whilst stretching their invention and skills in a new direction. Probably the most accessible of all the tracks it leaves one glowing in satisfaction to the same depths of the previous songs but with an openly different aspect.
The release is completed by the expressive rich sonics of Chemical Dreams and the slowly emerging passion of The Ocean. Both songs again venture down new soundscapes and songwriting craft whilst making seamless connections to the other tracks. The latter is a rising torrent of emotion which like the subject of the title ebbs and flows, rises and sweeps over the senses in powerful waves. It is an exceptional end to an excellent release which at times makes you work with it to discover all its wonders but ensures only a wealth of pleasure in return.
ElevenEleven provide something fresh and inventive to a genre which has seen many new bands step forward this year, but this quintet is the one you feel will go the furthest.
This year has seen many impressive and promising pop punk bands emerge but the majority offer the same conclusion, still to find a distinct personal voice to their sound. These bands share a similarity to each other and those before them to make the moment enjoyable but the future the canvas where hopes of standing out from the crowd, or not will play out. UK band Forever After is one of those rare exceptions, not only does the band ooze great promise ahead with the impressive EP Pictures but already has stepped into a unique place of their very own.
The bio for the Essex quartet states ‘for fans of Lower Than Atlantis, Deaf Havana, and The Maccabees. You cannot argue against that but easily can add the likes of Buzzcocks, Undertones, and Hagfish, such the feisty new wave and original punk essences which tantalise and molest the passions wonderfully throughout. Though not quite perfect Pictures is outstanding, an immediately exciting treat to fire up the heart which just gets better and better with every play.
Formed at the beginning of the year, Forever After soon had audiences baying for more with their live shows which included playing alongside bands including Mallory Knox and Ten Second Epic. Released earlier as a free download, Pictures too only excited a crowd looking for something different and with its official appearance November 5th, as the band prepare to record its follow up, a wider recognition seems inevitable once the four tracks thrust their wanton hook smart dance on more and more eager ears.
Touring The Map opens the release up with fiery riffs and thumping beats, as most pop punk songs do. It pulls attention its way without startlingly offering anything new, leaving expectations exactly where they are when being confronted by another pop punk effort. Into its stride the track whips out teasing hooks, beckoning melodic weaves, and the excellent distinct voice of guitarist Dom Littler. Suddenly you realise you are in the midst of a sonic storm of originality and outrageous infectiousness, the beats of drummer Craig Mcqueen persistently probing the ear whilst bassist Harry Stokley prowls the song with throbbing intent whilst adding his own fine vocals to back up Littler. This alone would certainly ensure a fresh sound and experience but with the excellent guitar invention of Sam Byford, his melodic weaves bordering on lustful irreverence, the song is an irresistible piece of aural mischief, the thing sonic wet dreams are made of. The song is brilliant, one which leaves one breathless whilst in full union with its passion physically and vocally, and the beginning of one of the bigger musical indie thrills this year.
The following (Old) School, is as it says on the tin, well in part as original punk flavours vein this great slab of rock n roll. Slightly grittier than its predecessor but equally as contagious, the song is a kind of mix between Bad Religion, Radio Stars, and Maximo Park but again belongs to no one but Forever After. A more abrasive affair the hooks easily captures the imagination whilst the vocal harmonies and melodic flames from the guitars just ignite further thrills and appetite for much more form the band. Like the first, the song is a shifting beast of pleasure, the rhythms erupting into excited bursts and bass offering a swagger which sets it apart from but perfectly in league with the charge of the guitars.
The third track called Interlude is just that. It is an ok instrumental but out of place on the release and just feels like a filler which is needless on a brief EP. Saying that though it leads perfectly into final track Say It True so maybe just reinventing it and making it a proper intro to another great song would be a rewarding thing to look at. The closing track is a riot of manic guitars, anthemic energy and shouts, and challenging rhythms all wrapped in irresistible invention and magical enterprise. The track just kicks up a storm of pleasure from which escape is impossible and full engagement willing.
Pictures is outstanding, simply as, and Forever After a band destined to make the future one thrilling and explosive punk rock adventure.
Held By Horses is a quintet from Chelmsford in the UK which is starting to turn heads their way with strong and impressively delivered rock music. The Essex female fronted band now builds on their already rising stock with the release of their new EP In History. Consisting of five songs which grab attention and feed the desire for vibrant and well crafted songs, the EP without arguably bringing new startling detours in the direction of rock music, leaves one fully satisfied and looking forward to watching and hearing the future of this promising band.
Forming in the opening weeks of 2011, the band soon had their debut EP rampaging in ears and since have lit up stages alongside the likes of Mallory Knox, Mystery Jets, Johnny Get The Gun, and Our People Versus Yours. Produced by Dan Lancaster (Lower Than Atlantis, Mallory Knox), In History is their next impressive step in a steady rise as the band works their way to the fore of national recognition.
To swiftly get the obvious comment out of the way when listening to the EP, it has to be said the surface sound of the band though impressive is not groundbreaking. With other great emerging bands such as Leopards, Never The Last Breath, and Hitchcock Blonde to name just three treading the same field of sound, there is a familiar feel across them all. This makes initial impressions less dramatic then maybe is deserved and only with a closer inspection does the craft and skill of the individual come out as with Held By Horses. The trouble for bands is how many have that intent and patience? Saying that though, the band does have an emerging style which is maybe more suggested right now but it is there and destined to evolve ahead.
The release opens with You Win Some, You Lose Some. It is a song which initially under whelms with the main reason being that the vocals of Harriet Reynolds are lost within the mass of the music. It is like she is veiled but thankfully as the rest of the EP explodes in the ear her great voice and delivery is allowed the clarity to shine and hit home with vigour and passion. The song itself is a pleasing if not adventurous companion and certainly keeps one happy to check out the rest of the release.
The following Little Water is soon putting the opener in the shade. Immediately the vocal harmonies sweep one up in their charms and the incisive groove which follows has one eagerly ready to feast upon the song. The early sonic grip leads into energetic guitar play from Kyle Ginn and Will Smith which switches from a more expansive wash back to the tighter acidic groove and back throughout. Lively and persistent the song is sure to be an explosive live favourite and sets the release on track to ignite deeper pleasures.
As great as the previous track is the best song on the release steps up next in the fiery shape of The Last Word. Featuring the vocals of Renz Byrne from Never Means Maybe alongside Reynolds, the track is a feisty rampage of dusty melodics speared by thumping rhythms from drummer Scott Dillon. The muscular bass lines of Charlie O’Halloran under pin the smouldering guitar melodics and hooks perfectly to give a depth to the stirring breath of the song but it is midway when Byrne joins Reynold that glorious sparks fly, their union dazzling and impossible not to be enamoured by. The song is mighty in power and emotion, and of all the songs shows the depth of promise within the band and their writing.
Down And Out has the envious job of following and does a fine job, the song a thumping treat of energies, air scorching melodics, and captivating vocals. It leads one keenly into the closing Virtues, another song which only has good thoughts going its way. Lively with a Paramore pop rock kiss to its attack, the song ticks all the boxes to leave one smiling. Inventive and impressively delivered it makes a strong end to a more than decent release.
In History is a strong and pleasing release showing a band finding impressive form and promise. Yes the release does not really standout on its own amongst many other similarly fuelled bands but one senses that will come. Held By Horses ensures the company of the EP is gratifying and enjoyable, really all that ever matters surely.
Raw, abrasive, and deliberately confrontational, Irish post hardcore band Milestones is already well on the way to making a dent not only in their homeland but further afield, something their new release can only reinforce. Their new EP Entropy is an impressive swipe of aural brutality, one bruising bully to endure but be fully rewarded by. It leaves one clutching a support under its onslaught but full of complete satisfaction from its violent presence.
The quintet from Dublin rose from the ashes of Out of Nowhere in April 2011. With the band name came the Blood demo, a three track release which marked the new direction and set in motion the growing attention and power the band has since triggered. Two tracks The Boats and Gone With The Wind followed, each pulling further acclaim, whilst the band consistently destroyed stages alongside the likes of US band Bury Your Dead, Betrayal and Stick Around. Entropy is evidence of the band growing quickly and finding a depth to their music within songs of sheer towering intensity and undeniable quality. Released as a limited tape cassette via Savour Your Scene Records, just 100 units available, and as a download, the six track release is one to rupture senses and fry thoughts whilst igniting both into action just as equally.
Still Organs scrapes raw from its opening graze upon the ear and is soon probing the wound with a fury of tumultuous riffs and spiteful vocals. The delivery of Peter Kealy, backed by Jack Marmion and Rafino Murphy, simply crushing notes into being with plaintive cries and earnest shouts to match the inciteful guitar play of the other pair. The track is barely in excess of a minute but is a corruptive and stirring beast.
The following Premonitions carries the great start to even more intense heights. Again vocals and guitars strip flesh with their caustic might whilst the drums of Keith Davis rifle and plunder the ear with strong challenging beats and the bass of Keith Fish is a predatory stalker within the sonic violence. Again short, the song is an impact which leaves lingering marks to satisfy all with its extreme musical vehemence.
Needing an extra focus to delve beneath the surface acid, the EP is a varied and intelligent piece of songwriting. It is not an easy listen at times admittedly, and probably too harsh for some, but given time it unveils some of the freshest and more invigorating music to emerge in post hardcore for a long time. The outstanding Old Hands and arguably even better Graveside, leave the air sizzling as their venom is squeezed out through confronting rhythms and incendiary melodic enterprise all brought within a tight sonic whipping. There is a definite punk vein pulsating throughout, especially in the second of these two songs, which adds to the temper and cantankerous attitude of the music and rubs that little bit harder on its target.
Entropy ends with the riveting manipulative tones of Pound OF Flesh, a track which takes a different though no less intense journey than before and the brawling nasty Ladders. The second is a concussive blistering which takes its time to emerge out of an initial chaotic storm to evolve into an infectious and compulsive weave of emotion and expressive rock.
Influences for the band come from the likes of Comeback kid, Defeater, Everytime I Die, and Lower than Atlantis, and to that elements of bands like Gallows and Ghost Of A Thousand also emerge as the EP plays. Milestones has a distinct energy and sound which with Entropy sure to recruit more and more wasted contented ears, pretty much means there will be no stopping them.
Loud, energetic, and wholly infectious the new single from UK melodic rock band The First is an ear grabbing treat which further concretes the band as one of the most vibrant and thrilling to have emerged in the past few years. Take It Back brings a feisty ride of high octane energy, jaw shaking heavy riffs and melodic enterprise to light any heart. Fusing rock n roll with punk rock and slithers of post hardcore the track is a stirring riot of contagious hooks and hard rock power moulded into an explosion of pulse racing pleasure.
The Cambridgeshire quintet ignited great critical acclaim with their 2010 debut album Swimming With Sharks, a release which easily set The First as a band primed to become a major part of British rock. Their energetic live shows too only went to bring a growth in the stock and reputation of the band with shared stages with the likes of Deaf Havana, Gallows, Architects, Bring Me The Horizon Mallory Knox and Lower Than Atlantis and their impressive appearance at Hevy festival last year only leaving eager and swelled attention in their wake.
Released August 13th through Another., the single shows the band has moved to higher levels as it evolves further into a distinctly refreshing and powerful force. The track sees the band return heavier and more energetic whilst their melodic imagination is tightly crafted into a sharper impressive weave. From the first note the song slams into the ear with towering riffs and face slapping rhythms. The instant groove pulls the senses right up to stare the song in the face as the excellent vocals and their harmonies heat up the air alongside the emerging heart igniting melodic invention from the guitars. The chorus is sheer contagion which recruits passions and voices from its recipients with ease. To be honest the whole song is an infection which cannot be denied or dismissed and as it rampages it explores incendiary melodic rock flavours and hardcore aggression vocally to great effect. It is a multi coloured palette the band work from in sound and intensity and they with Take It Back have created a masterpiece which fires up an impatient anticipation for more.
British melodic rock is in safe hands with the tightest and most powerful grip coming from The First.
Just released is one of the most explosive and destructive yet impressively creative with deep melodies and thoughtful craft. The new EP from UK metalers What The Night Brings is an ever evolving mix of hardcore, deathcore, groove and melodic metal, each song within Bound By Apathy is an abusive treat that leaves one breathless and fully satisfied. We had the pleasure to ask the band about the release, their music and themselves in general.
Welcome and many thanks for taking time to answer our questions.
Firstly could you introduce the members of What The Night Brings?
Hi! we are:
Adrian Noone – Vocals
Pete Bright– Drums
Scott Rand– Guitar
Tom Brooks- Bass
Darren Tunaley – Guitar
How and when did What The Night Brings begin?
The Band as WTNB formed officially in early 2008, from an amalgamation of bands that used to be from around the Buckinghamshire area. The majority of that was our current guitarists Scott and Darren and our original bass player Luke. Pete joined in Oct 2008 and Adrian joined January 2010. More recently we are very happy to welcome our new bass player Tom to the fold (Feb 2012).
Do you have musical histories before the band?
Adrian and Pete both played in other bands prior to joining the band – Ade being in hardcore bands and Pete playing punk and metal bands. Scott and Darren have played together since they both started playing Guitar. Our latest edition on bass, Tom used to guitar for another bands but switched to bass prior to joining WTNB.
What were your initial intentions sound wise when starting the band and how has that changed or evolved up to this point?
When we first started out we knew we wanted a hardcore and metal sound as well as having melodic influences, but had no real intentions on sound, just that we wanted to draw on our musical influences. But as we have evolved, we have developed and refined our sound a bit more, and we have more of an idea of the sound we are going for. Even with the writing of the album we are still pushing for a better sound, and looking to challenge ourselves even more.
What are the influences that made the biggest impression on your music and the band?
I think bands like Parkway Drive, Sepultura, Johnny Truant, Norma Jean, and Architects all definitely had a major influence as well as bands like Crawlspace, Pantera, August Burns Red, The Chariot, Cro-Mags and Darkest Hour etc.
You have just released your excellent new EP Bound By Apathy, what can people expect within its muscular walls?
You can expect to hear some heavy songs infused with some indirect melody and touch of tech, some brutal breakdowns and Pissed off lyrics.
How does it differ to your debut release Tides in sound and songwriting?
To begin with, the line up when we wrote Tides was different, and I think we were still discovering and honing our sound, where as with Bound by Apathy, we worked really hard to develop and capture the sound we were looking for. Adrian joining the band prior to us starting to writing had a significant effect on this also. Bound by apathy is much heavier sound, the songs are constructed better and overall I think there is a much better sound.
Bound by Apathy contains a quartet of tracks that take aggression and intensity to lofty heights but still offer well crafted impressive melodic strokes and grooves, how hard is it to keep both aspects as open and distinct, something many other bands try but do not find the balance you do.
We tried especially hard on this record to aim for that sound, we all draw on different influences and it was important to maintain that throughout the writing process. We never wanted to follow the trend and we worked really hard to make a heavy collection of songs with a sense of melody that didn’t sound clichéd in the modern heavy music environment. That can be challenging.
Which part of Bound by Apathy are you most proud of?
Overall we are really happy with the outcome and each of us has parts of the record that they are proud of. Collectively I think are all really especially proud of the construction of the songs – especially in “Front Towards Enemy”.
The EP also brings forth the intensity one imagines is a feature of your live shows, how did you achieve that to such good effect?
When began writing the EP, we knew we wanted to bring some devastating songs and originally we wrote 5 tracks for it, but dropped a track as we thought it didn’t fit in with how heavy the EP was, or that it fit in with the overall feel of the record. We were very particular about the song tracking order, as we wanted to keep the intensity throughout the EP.
How does the songwriting process work within the band?
For us, it can happen a number of ways, sometimes it can be very organic, when we want to jam out some ideas in the rehearsal room, however, for the most part it starts off with a riff idea- Darren and Scott usually get together and collate ideas and work out the riffs and bring them to the rehearsal space where as a band we start refining them down, seeing what works best etc. It’s an important aspect to the writing process that we work as a band to achieve the sound we want.
There is a defiance and aggression to your lyrics on the EP what inspires you the most that flavours your lyrics?
Adrian (vox): I attempt to not be entirely self-obsessed when writing lyrics. I grew up listening to a lot of socially aware music and that’s pretty much embedded itself on how I think and express myself. That’s not to say I’m solely political in my lyrics, or that I don’t sing anything personal, I just tend to think there’s a lot more to be concerned/angry with than just my corner of the world.
You have shared stages with the likes of Protest The Hero, Your Demise and Lower Than Atlantis. What has been the highlight so far and what have you gained as a band from appearing alongside these more established bands?
I would say definitely playing with the bands mentioned above as highlight, absolutely incredible shows, and an honour to share the stage with them. More recently also playing with H2O – a band that Adrian has been going to see since he was 15! You gain a lot of experience in terms of stage presence when you play with bands of that calibre and it certainly gets you fired up to keep doing what you’re doing.
Is there a different feel or buzz for you from headlining your own intimate shows to opening up and supporting in bigger arenas with these kind of bands?
There is definitely a different feel – when opening up for bands like Protest the Hero, not only are you playing to usually a much bigger crowd but also you have to work that much harder to win over the crowd as a opener band, so there is a lot more pressure. For intimate headline shows though there is more a relaxed party feel, and you know that you can go and out there and have a great time as they are there to see you.
What are your hopes or aims for the rest of 2012?
So we are currently in the middle of writing our debut album, so we will be looking to start pre-production soon with an aim to start recording towards the later part of this year. On the touring front, we are looking to head over to Europe for the first time and tour out there, before coming back and doing another UK tour. We are also starting to book up some weekenders up and down the country. We are aiming to play as much as possible this year.
With the impressive quality within Bound By Apathy and what must be great acclaim coming its way over the weeks ahead are you relishing the pressure and expectations for even more from your future releases from media and fans alike?
Absolutely! It will certainly be a challenge and we are pushing ourselves to write even better songs for the album, hopefully it will gain even bigger success than this EP.
Again a great thanks for talking with us and good luck with Bound By Apathy.
No worries, thank you.
Would you like to leave with some words for your existing and future fans?
Thank you for your continued support for the band, without you guys it wouldn’t really mean much. Keep up the support, and expect to see a new music video very soon and then the debut album! Come party at a show with us!
And finally give us some personal sounds that have inspired you as your EP will so many others.
Check out bands like August Burns Red, Parkway Drive, Protest the Hero, Cold Hard Truth, Integrity, Minus the bear –there are a lot of great bands out there, and some really good up and coming UK bands as well .
Whether you wish to call them hardcore, melodic hardcore, or metalcore, three of the descriptions they have been tagged with, the only thing you need to know is that UK Metalers Envy The Fallen are one mightily formidable outfit, a band who brings intensity, aggression and harsh melodies together and uses them like a belligerent and angry chef. The result an intimidating and explosive debut EP called Hoist The Colours, and a recipe for all metalers to feast upon.
We will be open from the start and say the EP does not offer anything groundbreaking or stunningly new but it does contain songs and music that thrills, exhilarates, and basically bludgeons one into submission to much greater satisfaction and pleasure than the majority of similar veined brutes over recent months. The EP is inventive and powerful, and even though the originality is confined within existing genre parameters it is impossible to really criticise what is a very impressive and more importantly enjoyable release.
Hoist The Colour begins its assault on March 19th with the quintet from Newquay ready to build on the acclaim already received through shared stages with the likes of Evergreen Terrace, Feed The Rhino, Brotherhood Of The Lake, and Lower Than Atlantis, and their appearance on a cover CD on an issue of Big Cheese Magazine. With a full UK tour about to kick off alongside the release it feels like now is the time of Envy The Fallen, something the EP alone should trigger if there is any justice.
Hoist The Colour opens with The Brave One, a track which enters on a slightly subdued and chained scorched melodic riff which draws closer to explode into a thunderous full on assault. Vocalist Anthony O’Reilly crawls all over the lyrics with a delivery that is venomous and spiteful whilst the heavy artillery riffs take pot shots at the ear with shotgun like effect. The drums of Jon Redd are staggering, an unrelenting but well structured bombardment which he repeats on every song within the release. The guitars of Quiche Smith and Ryan Drew plunder the senses with a mix of vindictive malice and inventive melodic craft, whilst the bass of James Killackey stalks the track with a brutish strength and if there is one complaint of the release it is that his play is often hidden, over powered by the sounds elsewhere.
The release is off to a great start but soon lifted higher by the title and best track on the EP. Hoist The Colour tramples through the ear and all over the body without a thought for mercy, though the punishment comes with a delicious groove which picks up the floored senses as often as they are knocked down by the immense power generated. The song is combative and refractory, the band as a whole coming together in stance and might that is impossible not to become part of as the track stomps all over the ear and beyond.
The great thing about Envy The Fallen is it is not entirely all about destructive intent, the band skilfully interweaving stirring melodic avenues into their smothering and violently wilful intensity. The likes of the brawling and equally rebellious I Will Prevail and the crippling This Is Not Goodbye, a song that takes one to their knees within seconds with its heavy bombardment of aural quarrelsome truculence, meshing both elements in to a keen and formidable event. As with most tracks though the band stay firmly on the side of combat rather than seduction through inviting cleaner persuasion though the closing song reveals the band can go that route Just as ably too. The Ending leaves one with provocative sounds and acute melodic play from the guitars to suggest more variety and ingenuity ahead from the band, the piano that graces the track in its latter part an emotive contrast to the distorted harshness beneath it. The song is an excellent counter and follow-on to the tremendous Until Lambs Become Lions before it and another unreserved violation on the senses.
Hoist The Colour is a potent debut from what already is an impressive band, yes there needs to be more innovation from the band maybe but that as these the songs suggest will come. UK hardcore /metalcore has never been fresher and now Envy The Fallen have added their dynamic breath too.
The moment the video for The Longest Year from Belfast band Dead ‘Til Friday grabbed our attention with its unbridled fun and enthused aggression further investigation of the band was a no brainer. Their current EP Water further impressed and set the band as one to watch closely over the year ahead with their stirring blend of rap metal and inventive rock sounds igniting a strong anticipation for future sounds from the quintet. Wanting to know more about Dead ‘Til Friday we had the pleasure of getting vocalist Adam McKee to answer our questions about the band and their music.
Hello and welcome to The RingMaster Review
Firstly would you introduce the band and members?
I’m Adam I sing, we’ve also got Conhuir and Steve who play guitar, Jonny on bass and Colin on Drums.
How and when did the band begin?
The band began in around 2007/2008 but there’s been a few line-up changes since then and the band has only really been this formation for the past year or so.
Is Dead ‘Til Friday the first band for you all?
Not at all, we’ve all been in previous bands before, myself and Conhuir we’re in a band called Acidtone, Steve played alongside us in other local bands for a few years, also Colin and Jonny have been in a few local bands before too.
What was the influence for the band name?
The band name came from a random conversation on a night out between Colin and our previous vocalist/guitarist, they joked a bit about it and said it would make a great band name, and hey, it stuck!
Your sound is a feisty blend of rap metal, muscular riffs and infectious melodic choruses what are the influences that have added shape to your music?
Feisty? Haha, cool! Yea, I myself have been singing and rapping like this for years now. We listen to a VERY large spectrum of music between us all. The metal side of things isn’t normally what I would listen to myself in my free time. All in all it’s a great thing because when it comes to writing we’re never stuck for ideas, melodies or riffs.
You and another great metal band Gacy’s Thread come from Belfast so what is the metal and rock scene like there for bands and fans?
The metal scene at the moment is great! We’ve also recently proved it by heading a short distance outside of Belfast and the amount of bands looking to play Belfast is exciting. The bands and band members look out for each other, which is awesome; we definitely all help each other and do our best for the scene.
Is there a bond between the bands in Belfast that bands in other cities especially in the rest of the UK do not have with each other?
Yes and no, haha, we would definitely be more tight knit being on an island with other bands compared to the likes of America or Europe where everyone is so much further apart. We can also relate to the same struggles you go through trying to get touring and travelling overseas as much as possible. If we don’t all help each other out then we all kind of lose out at the end of the day.
As you mentioned you formed around 2008, how has the band evolved over the subsequent four years or so?
Our sound is one of the big things that has definitely evolved, especially through the line-up changes I mentioned earlier. A different vocalist and song writer definitely changed things up a lot, but this line-up and sound is very solid now, it takes any band a little time to find this and we’re excited!
The last two years appear to have been the biggest to date for the band, touring alongside bands Your Demise and Lower Than Atlantis, sharing the stage with the likes of Skindred, And So I Watch You From Afar and Forever Never, plus a prestigious slot at the Tennent’s Vital Festival to name a few notable moments. Has this time felt like a sudden intense elevation for you as a band in the same way that it appears to us on the outside?
Definitely, it’s a whole world of emotions all at once, fear, excitement, joy etc… but the key thing it has given us all is the hunger for it, every one of the opportunities and shows you mentioned gave great clarity to why we’re doing what we’re doing.
Tell us more about the Tennent’s Vital Festival; I believe you played to 50,000 with a slot between Jimmy Eat World and The Kaiser Chiefs?
Yea, we were nervous, but I think we certainly held our own. It was both surreal and exciting all at once, it’s a little hard to put into words almost! We got an amazing response to our heavier sound we have was great! We’d do it all again in heart beat! Haha!
Last year saw the release of your excellent EP Water, but I am led to believe there was an earlier release before that?
Thank you! Yeah there was a few EPs previous, but they were from a previous line-up or formation of the band, it certainly doesn’t represent us now.
Water grabs the attention with its great hard hitting insatiable sounds; did it exceed your expectations response wise?
Every time new ears hear it with touring we’re overwhelmed by the response! We love all our fans and it’s amazing to see it mean so much to people we don’t even know. Even simple things like people taking off work to come to one of our shows just blows our minds.
The Longest Year is the song from the EP which really grabs the listener by the throat and wonderfully demands attention; it must be a big crowd favourite at your live shows?
It definitely gets a sing along that’s for sure. We found the video release helped immensely for people to identify with it live.
Can you tell us about that video of the same song?
Sure. We shot the video with the very talented Darren Lee of Maverick Renegade Productions in an old abandoned warehouse in Downpatrick. We spent a day of filming close up, slow-motion and all the band shots, then to top it all off we even brought down some of our mates for the crowd shots and made them go mental. We must have heard the same song 200 times, haha, but it was a lot of fun.
Turning back to the Water EP, you usually seem tagged as a rap metal band but the release shows a much more diversity to your sound. Do you feel frustrated at the more limiting tag you seem to be generally given?
Not at all, we find people need to give a name or tag to something these days so we just tend to go along, we’ve seen it called many different things, which is great cause it shows us people are taking an interest at least.
How does the songwriting process work within Dead ‘Til Friday?
Our guitarist Conhuir usually starts the ball rolling with a good riff and initial structure then ideas flow from there. We all then help out with structure, lyrics and other wee ideas usually.
With the band having a strong reputation and following across both sides of the border in Ireland it seems, is the UK the next centre of attention for you or are you looking further afield for 2012?
Definitely! We travelled to the UK last year and done a few days and met some new friends on the way, we could only hope we can keep going back and making strong connections and see some interest grow.
You are known for a firm DIY approach as with the EP release, is this something you always intended or simply the only option available to you right now?
A whole lot more of the first, we are lucky to have such a talented producer (Conhuir) in the band already we didn’t really feel the need to splash out on studio time etc.
I believe you are working on your debut album? How is that going and when are we likely to feel its pleasures?
We are indeed! It’s going great and we’re spending a lot of focused time on it at the moment. You can feel some of its pleasures now in our live show, but for the actual release we’ll be aiming for sometime mid to late 2012 after our over the top quality control gets a look at it, haha!
What is next for Dead ‘Til Friday as we move further into 2012 apart from the album?
The album is our main focus at the moment, but we have a few other things planned for around that time too.
Have you given yourselves any aims or objectives as a band for the coming year?
Haha, other than knuckling down and keeping doing what we’re doing not really. We’re going all out on the new album and focusing all our attention to it to try and make it the best it can possibly be!
Thanks so much for talking to us.
Would you like to finish by telling people who find you in a venue near them why they MUST come watch you?
It’s a no brainer! We’ll wreck the place and let them join in on the action!
The Ringmaster Review 29/02/2012
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it feels as if it is charged and emotionally sculpted by events. It is an atmospheric wrap with is intrusive and weighty whilst offering a captivating shadowed beauty. As the release agreeably scores the senses the obvious comparison is Deftones but to that you can add essences of Funeral For A Friend, Thrice and Devil Sold His Soul, with dark whispers of muse and Incubus for extra spice. It is a dense engagement lit by melodic invention and sonic skill, and an encounter which as soon as Lost unleashes its passionate heart finds a fulfilling connection to the listener. The opener stages a dramatic initial contact with bruising rhythms from the drums of Ross Senkbeil and the intimidating bassline of Stuart Ritchie within caustic flames of guitar from Eliot Leonard and Euan Wilson. It is a striking start which with the entrance of the fine vocals of Chris Spencer entwines and exchanges its intense gait with another of smouldering mellow ambience, the ‘respite’ itself also carrying a charge of passion which ignites thoughts.
