King Canute – Drive EP

King Canute Online Promo Shot

When UK rockers Ghost of the Highway came to an end two years ago fans were definitely left with a hole to fill in their enjoyment. Rising from the ashes, band member Johnny Lett (bass/vocals) has alongside Chris Woollams (drums/vocals), easily brought a new provocation to thrill over and bridge that gap in the compelling shape of King Canute. Fusing heavy rock and punk in a much more ferocious and raw yet voraciously imaginative brew than previous exploits, the duo made an immediate impression when emerging last year and its continues in the potent brawl of new EP Drive. Four tracks which roar and incite with unfussy and magnetic tenacity, the release is a storm not exactly setting out into new scenery for UK rock but undoubtedly giving it and fans a compelling adventure to keenly embrace.

Hailing from Guildford and Harlow, since forming King Canute has taken little time in raising support and attention with their at times uncompromising sound. They have lit up stages alongside the likes of Slaves to Gravity, Zico Chain, Idiom, Bad for Lazarus amongst a great many, as well as drawn acclaim with debut EP Cutting Teeth, it receiving equally strong media attention. The release which featured Jamie Lenman (formerly of Reuben), set down a feisty first marker for the band which Drive now pushes deeper with a richer persuasion, the Gavin Monaghan produced EP leaving ears and appetite with a new hunger for the band.

Cocaine Skank is the first encounter on the EP and instantly entwines ears in a mesh of vibrant rhythms and tempting bass, both increasing their coaxing in urgency and persuasion as the song evolves into a punchy incitement. Hooks King Canute Cover Artworkand short grooves add to the appealing and raw texture of the song whilst the vocals offer a potent expression and raw honesty to the proposition. A healthy punk antagonism crowds ears and riffs too whilst there is an alternative rock invention to the twists and turns the song seamlessly strides through.

The title track comes next and takes a more considered gait into its just as swiftly appealing presence. With scythes of chords and sonic temptation sweeping behind the strong vocals of both men, and a thumping rhythmic prowl inviting the fullest engagement, the song is a simmering hostile and openly anthemic enticement. Essences of Queens Of the Stone Age colour the impressive song but it, and the others making up the EP, most of all spark thoughts of nineties British rock band Skyscraper. Its captivating impact is matched by the following Trash Talk. Primarily electro punk but with aggressive abrasing and mildly corrosive melodies, the song is a mix of OurFamous Dead and Hundred Reasons with a touch of Alkaline Trio yet unique King Canute all the same.

An electro coaxing swiftly leads into the caustic arms of bass as Hellmates begins bringing the release to a close, jabbing rhythms and the similarly honest and expressive vocals of the pair soon joining the contagious bait. The song’s swagger is an instantly successful lure whilst the slipping into slower evocative moments, without gripping as potently still leaves thoughts and emotions enthralled. The song is again punk rock at its heart but the electronic veining, which equally pushes the potency of the song, and the exceptional intimidation of bass with its gnarly flavouring, all go to create a fresh and inventive proposition.

Drive confirms and reinforces the impressive emergence of King Canute whilst suggesting of greater things and more dramatic sounds ahead. That may come in the shape of the band’s debut album which they are currently working on for a 2015 release. Time will tell but it is hard not to have a healthy anticipation for its arrival thanks to the richly satisfying Drive EP.

The Drive EP is released 1st September and available through all good digital outlets.

www.KingCanuteOfficial.com

8.5/10

RingMaster 31/08/2014

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Jensen – Zero One [Redux]

Jensen_2

    Early last year UK electro punks Jensen made their striking entrance with the impressive Zero One EP, a three track seductive abrasion which instantly drew keen focus upon the band whilst suggesting greater things would loom across their horizons. Almost a year later and the band has unveiled Zero One [Redux], a fully re-mastered update of their debut with two additional tracks. Things may not be driving forward as rapidly as one would have imagined certainly on the recording front but as the new EP shows artistically and skilfully the project is not losing any of its potential and magnetic resourcefulness.

     Born from the demise of the impressive Ourfamous Dead, Jensen is the studio project of the previous band’s founder Andrew Reeves. Ourfamous Dead was a force which was no stranger to acclaim whilst earning a strong reputation for live performances which saw the band alongside the likes of The Blackout, Funeral For a Friend, and Gallows. Their last single Claws At The Door was the band at its height but Reeves was not happy with the sound and maybe its direction so bravely bringing it to a close he threw himself into exploring the ideas and explorations rising up inside him. Revisiting put aside older tracks he had written, Reeves was soon sculpting the flavours and imagination he wanted, with the exciting Zero One EP the result. Recruiting the talents of Vier Jennings, Simon Green, and Robin Speight also from Ourfamous Dead to create a live band, with early 2014 the launch pad for the band to hit stages, Jensen recently signed with Armalyte Records with Zero One [Redux] the first offering to tempt whilst Jensen work on their debut album.

   The band opens up the EP with Ghosts, a track which emerges from a blistering sonic wash to smother the ears with a Redux_CD_FrontCover_Finalcompelling and confrontational squall of noise punctured by the passionately shouted vocals of Reeves. His delivery successful battles against the tide of sonic abrasion and a web of electro noise which smothers and seduces as irrepressibly as the contagious chorus. It is a raw and caustic brew which never takes it easy on the ears, the electro punk feistiness and bristling embittered energy giving no respite from its riled tempest or the agitated acidic and emotive ambience wrapping it all. Nevertheless the track only enthrals and captivates throughout this stormy treat laying down melodically crafted electronic bait at its heart which is irresistible.

   The Corrupter follows and instantly is a different kind of beast from the same creative litter. With a darker heavier breath and imposing intensity, the song surrounds and probes the senses with thumping rhythms and corrosive riffs drenched in electronic provocation and smouldering persuasion. Finding a more industrial coarseness than its predecessor, the track has a fiery corrosive resonance which, with the again effected and expressive vocals, provides a magnetic grazing which recruits the imagination as fully as the melodic fascination and rousing incendiary presence of the excellent provocation.

    Continuing the diversity Stars next provides a primarily electro rock persuasion which is less temperamental sonically than the previous tracks but no less engaging and enjoyable. With the vocals getting a clean production this time which for personal tastes works much better than when coated in additives, the track pulsates and bulges with inventive essences and spices. Industrial and punk add their tempting to the mix making up an electronic embrace complete with chafing guitar and melodic acidity. It completes the re-mastered songs from the original EP release and definitely all benefit and excel with the new touch and expressive aspect placed upon them.

    The extra tracks on the EP are provided by the enjoyable Have A Ouija Board remix of Ghosts by Scottish maths/electronica retro-futurist duo i!, which closes up the release, and before it a blazing cover of the Duran Duran classic Wild Boys. It is as inflamed musically as you would suspect going on the evidence of the earlier songs, and is bursting with metallic rapaciousness and a scuzz kissed almost pestiferous edge to the electronic stomping and abrading riffery to leaves you wanting more and actually improves the addictive original.

     Released on the 27th January, Zero One [Redux] not only re-confirms and pushes the promise already shown by the band, it makes the anticipation for Jensen’s full-length debut a rather impatient one. Still in evolution it is hard not to be excited about the Leeds band and what they have in store for us ahead.

www.wearejensen.com

https://www.facebook.com/wearejensen

8.5/10

RingMaster 16/01/2014

 Copyright RingMaster: MyFreeCopyright

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Jensen: Zero-One EP

Jensen

    Like so many the demise of UK band Ourfamous Dead brought more than a tinge of sadness here but was tempered by the fact that band founder Andrew Reeves was already working on his next project, something which one suspects is the evolution of the previous band rather than a whole new enterprise. Certainly the debut EP from Jensen, Zero-One suggests this, its sounds incorporating the rich experimental essences of the earlier band but exploring and expanding them into something more defined and focused.

Hailing from Leeds, Jensen is the studio project of Reeves who provides everything on the EP, with the band live becoming a trio with a line-up completed by Simon Green (synths, bass) and Rich Jennings (guitars, synths), both also former Ourfamous Dead members. The three track release immediately grazes the ear with the opening to Ghosts, the blistered distressed sonic surface an intriguing abrasion which transforms into a confronting squall of noise as the vocals of Reeves passionately shout against the tide of sonic abrasion. Listening to the song and looking back to the final single Claws At The Door from his previous band, hindsight reveals it was a step between both projects in many ways, Ghosts drawing on its hardcore punk breath and filtering it into its own caustic electro brew. The track never settles into an easy engagement for the senses, its surface bristling with embittered energy whilst beneath there is an agitated torrent of acidic and emotive ambience, but throughout loud melodic whispers wring their elegance out to offer an enticing infection within the riled tempest to enthrals and captivate the imagination.

The Corrupter stands tall with thumping rhythms and corrosive riffs whilst the synths again ingrain a fiery touch into the senses coverwith craft and inspiring invention. The sinews pulsate with a more pronounced resonance than in the first song to offer an industrial confrontation to the track, with the effected vocals spilling expressive passion with every syllable and accusing breath they can unleash. The track shifts and extends its taut electro provocation within the charged presence to further fascinate and persuade the senses whilst magnetising thoughts with its infrequent but compelling haunted moments.

The closing Stars introduces itself with a more direct rock stance though again surrounding the chafing guitar flashes and melodic vocals is an electronic provocation suggesting menace and mystery with its presence. As its predecessor the song suggests an industrial essence has evolved within the invention of Reeves to add another spice to the accomplished sound on the song and EP. The song without quite sparking the strong passions of the other two still cements the now blossoming opinion that Jensen is a new force to inspire, invigorate, and exhilarate not only fans but UK music from industrial through to electro punk and noise.

The Zero-One EP is the first step in what one anticipates will be an exciting and rewarding future for the band and with the release available as a free download from their website http://www.wearejensen.com/,only blinded ears would resist climbing on board the ride Jensen has just begun.

https://www.facebook.com/wearejensen

8.5/10

RingMaster 16/03/2013

 

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The Bone Orchard Show 34

The Reputation Radio Show has a well established recognition and notoriety for finding, championing and promoting the best of the independent artists and sounds around the globe. Unrelenting and tenacious the promotions company/radio show is acknowledged as the prime source for finding the best talent of all genres with the introduction of the same followed closely. The intense and heavier world of sound is discovered and unleashed through The Bone Orchard, a show where anything with muscle and a riotous tendency is eagerly presented. From all forms of metal and industrial/harsh electro through punk and psychobilly on to noise and psyche with all in between, The Bone Orchard bears their individual shadowed fruits eagerly.

This past week saw the latest episode bringing six of the most impressive and exciting bands around as well as bringing a debate on some aspects of music. Hosted by the blue hued Pete Ringmaster and Reputation Radio Show CEO and mastermind Johnny Summers, the show cleared the sinuses and lit up the ears of all those with urges to match and compliment the great sounds played.

Opening with the traditional opening intro provided by Mr Strange of The Shanklin Freak Show, a band the hosts would talk about at length within the show giving the audience the latest developments from their carnival, the show immediately treated the eager crowd to a track from the debut album Defaced from UK rock band The Self Titled to be released June 18th. Mr Nobody is a stunning track, a metal and rock fusion with stirring vocals from frontman Mark Campbell over a brew of inventive and powerful sounds. With an insatiable thirst for gigging and an equal demand wanting them for shows, The Self Titled are one of the best bands in the country right now, their sharing of stages with the likes of Forever Never and Sarah Jezebel Deva as well as acclaimed festival appearances, leaving nothing but devoted fans in their wake.

Next there was a burst of real punk rock from another band from the UK in the mischievous bruising shape of Dirt Box Disco. With self declared influences ranging from Kerbdog, The Damned  and the Ramones to The Bonzo Dog Doodah Band and Showaddywaddy, the quintet from Burton on Trent make music which is honest, feisty, and insatiably infectious. The contagious track played, I Am Rock n Roll, was an exclusive from Legend another album to be released June 18th. The song played and the album the song comes from is one which revives the true 1977 spirit of punk meshing it with rock sounds as anthemic and voracious as you could wish for.

Before a lively debate about bands including cover songs in their live sets which saw the hosts at opposing lecterns but ultimately ended in the blue man being right, so he claims, things became intensified with the devastating aggressive sound of Amongst Carrion. From South Wales the five piece metallers woke up the airwaves with their track The Fear In Her Eyes taken from their latest EP We That Should Not Be. With a melodic groove recalling In Flames and the brutal riffage of an August Burns Red, the track easily declares the band as an emerging force in UK extreme metal. They have definitely moved on fully from their early days as a cover band, the point which inspired the following discussion.

Continuing the UK theme Leeds band Ourfamous Dead provided the next outstanding track with their forth coming single Claws At The Door. A rampant brew of hardcore, punk, and electro the song is the latest step in the vision of band founder and song writer AJ Reeves. Fresh off a UK tour with another Bone Orchard favourite The Sun Explodes, the quintet are a band on an accelerated rise pulling in acclaim and fans with each show and release persistently. Having supported the likes of The Blackout, Funeral For a Friend and Gallows, the band is fast approaching the point where others are eager to share stages with them.

As the final featured band of the night, US melodic metal band Vajra stunned and thrilled the listeners with their epic masterpiece Inside The Flame. Taken from their forthcoming album Pleroma, to be released in July, the song is a hypnotic and powerful example of the darkly melodic progressive rock fused with Eastern Indian influences which they inventively create. Led by the glorious voice of founder/producer/keyboardist/songwriter Annamaria Pinna, the band is one with a craft and imagination which is sure to find a feverish demand over the months ahead.

Closing out with Irish metallers iBURN, a band which is frequently requested since the debut of their song Where It Begins taken from their new EP of the same name, and another band which leaves you wanting more, The Bone Orchard dished up another formidable dose of new and impressive music. If anyone tells you there is nothing good or new coming out, place them in front of the podcast of the show, and they will soon be put right by this group of bands alone.

With the show primed to unveil more outstanding artists and sounds across the weeks ahead you can catch this, previous and future shows over at The Bone Orchard page at The Reputation Radio Show site as well as watching a selection of videos from a host of the bands featured on the show.

Get in touch with the show via  boneorchard@reputationintroduces.com

RingMaster 16/06/2012

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Mask Of Virtue: In This World

Electro metal from the UK seems to be on an ascending high right now with continually bands and releases emerging to light up the senses with intensity and quality. The likes of Silent Descent and Ourfamous Dead have blazed a trail through the ear in recent weeks to great effect and now adding their own might and fine creativity is Mask Of Virtue and their debut album In This World. Released May 21st through Rising Records, it is a pulsating and mesmeric slice of melodic post-hardcore metal and electronica, an album leaving scorch marks as it envelopes with impressive sure invention and blistering energy.

Formed in 2009 the Rotherham band has been the epitome of hard work with persistent gigging the length and breadth of the UK and refining their thoughtful and impressively textured sound. Conquering the local scene and further afield was inevitable with this ethic and their great sound but now with the release of the album things look set to explode into greater realms. Recorded last year as the final month began closing its eye, In This World is a vibrant and captivating release that bristles with muscular intensity as equally as it infects with triumphant melodies and caressing electro seductions. It stirs up the pulse rate and emotions through persuasion rather than intimidation but still packs a distinctly formidable punch.

As the opening brief and striking introduction to the album of Antagonistic Nations leads straight into the following The Bridges Will Burn the sense of something special ahead is unleashed, energy and expectations rising dramatically as the song opens up its firm and welcoming arms. The track accosts the ear with a tempered but eager stomp whilst wrapping tightly around it with swarming electronic warmth. The song offers unpredictable twists and turns and quite impressive vocals from Joe Rosser who also provides the electronic invention. His vocals are supported more than ably by those of guitarist Dan, and either with stylish clean or predatory growls the pair provides the band and songs with a pair of impressive voices.

From a strong start the band raise the tempo and heat with the excellent Blood For Free. The song swaggers with an aggressive but controlled attitude, its infectious enveloping sounds rubbing the senses into an excited and agitated state yet perpetually captivated by the keen outstanding vocals and vast melodies. The track drives with a sure intensity thanks to the drums of Ash and growling basslines of Tom, both bringing a spine of might and steel to the songs. With the guitars of Dan and Seb battering with caustic and powerful riffs the song is the best on the album though closely challenged throughout the release.

Through Your Eyes is one to make a claim for top honours, a tightly and imaginatively crafted song to leave one breathless from its unpredictable avenues and strikes. When Mask Of Virtue steer their sounds with a force and intensity they hit the mark accurately and effectively but they are no slouches with the skill and quality of their mellower and melodic persuasion of emotions either. Songs like Drowned In Tears and the outstanding Cure The Pain, a song which from its piano enchanted start whispers and soothes with an atmospheric presence and even when its soul takes on a more energised heart remains a stirring emotive rapture. It is another song that fights for best track showing the general high standard and craft of the album and band in many guises.

To be slightly critical of the album there is a similarity across its length at times which means if the focus drifts a little you can easily find yourself a couple of songs along from where you think you are but as the sounds and songwriting is strong and very satisfying it is not a major problem, just an invitation to hit replay. From a personal preference maybe more of the more aggressive intensity would give the band an even more distinct tone though they stand apart from most rivals easily and when songs like the wonderful It’s Here To Stay with its staggering melodic grace and yes another contender for that top spot, are so good it is impossible to be dissatisfied at any point.

In This World is an album which not only holds its head up high with great power and invention but pitches Mask Of Virtue into being a band that is on the verge of great things. Even though the album does not quite ignite the biggest fires within consistently it always sparks up compulsive enthusiasm and eager anticipation for much more from the quintet.

RingMaster 14/05/2012

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Collisions: Believe In This EP

Just when we thought Irish band iBurn had already wrapped up our EP of the year choice even this early in the year, there comes along UK electro metallers Collisions to challenge and make us just think about our choice. Feeling like a bookie who has already paid out on Manchester City winning the English Premiership title a couple of  months back, the Brighton quartet has shown that nothing is ever clear cut.

Collisions has unleashed a pulsating mesmeric release that shows UK metal is just as vibrant as any where let alone as that of its Irish counterparts. Consisting of five tracks that exhilarate and incite the senses, Believe In This is a feisty cross breed of metal, electro, punk, and drum n bass that eagerly pulls one to their feet and drills them in the way of having infectious fun. The sounds that burst from the EP are tight, energetic, insatiable, and an infection that one just wants to go deeper and linger.

Formed in 2010 the band took no time in making a mark on their local scene which considering the perpetual health and competition in the Brighton area is a CV marker all on its own. Their impressive sharing of stages with the likes of Senser and Floors & Walls led them through an ever growing attention to headlining their own sold out show at The Hydrant and recently a European tour supporting (Hed)pe. It is hard to imagine anything other than a triumphant explosion of attention coming their way once Believe In This is released on May 7th, and maybe exploding onto the UK underground metal scene the least they can expect.

The moment the opening Middle Eastern electro vocal chants swarm around the ear on the opening title track the anticipation of something special is rife. A beckoning riff and electro teasing draws one into big meaty riffs and an irresistible energised punk attack. Immediate thoughts are Max Raptor meets Breed 77 and as the song explores and tantalises the senses that  feeling is imprinted further with touches of Dub War added to a special flavouring that is all Collisions. The song rampages with great vocals from Olly Simmons over moody distorted riffs that rile up the emotions and rhythms that drive with an excitable but controlled enthusiasm.

If this was the only good song on the release compliance is still a given but the band simply slams their quality home with an even better track in Fire Fire. The track is glorious, a feast of dance rhythms, ragga metal, and punk that leaves one breathless and deeply eager to dive right into it again. There is a definite Skindred stamp to it with essences of Billy Talent and Pendulum for extra spicery. From the tight controlling beats of Will Chapman and the brooding bass of Richard Speaight to the blood boiling riffs and melodic intrusions of guitarist Andy Trewin, the song blisters the ear and sends the senses into blissful spasms. Once more the vocals of Simmons  lead the charge magnificently ably backed up by the rest of the band in great group choruses and shouts.

Two down and great heights reached so there has to be a lull or drop in intensity right? Not at all just a change in sound showing the strong diversity the band brings to their music. Chasing Forms begins with an emotive rap metal vocal opening through an atmospheric slow enveloping of the ear, with electro elements to the forth the song then makes its full presence known with intense riffs and sturdy rhythms that expand to include intelligent melodic invention. Again the Pendulum feel flows through the song bringing an inventive form to the Kennedy Soundtrack like restrained slower moments.

Push and  Once Weary Eyes (remix) complete this stunning release. The first of the two is an electro/trance metal lined track that lies somewhere between Pendulum, Silent Descent and Ourfamous Dead. It is a powerful animal that burns itself into the senses with scorched melodies, unfettered rhythms and riffs that strike with a fully intensified metal heart.  The closing song Once Weary Eyes rounds things off perfectly with its drum n bass/metal sounds that wraps around the ear and beyond with a hungry intent.

Believe In This is immense and the finest declaration that Collisions are a band about to brew up a storm and a fresh breath for UK metal.

https://www.facebook.com/CollisionsUk

RingMaster 24/04/2012

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Interview with AJ Reeves of Ourfamous Dead

By Gavin McQuarrie

The past year has seen many bands emerge to grab firm attention and distinct acclaim for their sound. One such band that has easily garnered praise is UK electro rockers Ourfamous Dead. Their debut single and the following I Am Human EP brought them impressively into hungry ears and the eager focus of a great many, something their  forthcoming new single Claws at the Door should easily increase. We had the chance to let fly at band founder, songwriter, and vocalist AJ Reeves with questions to find out more about the band and their music.

Hi Guys, many thanks for chatting to us.

First of all can you introduce the band?

Hi there, the live band consists of Simon Green on Bass and Vocals, Robin Speight on Drums and vocals, Rich Jennings on guitar and vocals, Callum Knight on guitar and myself (AJ Reeves) on vocals.

How long has Ourfamous Dead been going and how did it all start?

Ourfamous Dead is coming up to 3 years. It started with myself writing and recording songs in my bedroom then taking it to a live situation with a live band. We then took to the local scene. Since then I relocated to Leeds to take everything to a larger audience.

Is the band your first musical endeavours?

I suppose it isn’t really, I’ve played classical piano since I was around 6 years old and I’ve played in a few small local bands prior to Ourfamous Dead.

The band name makes one think of people who have gained more fame and acclaim after their demise, but what is the story behind the name?

It passed the two week test. The worst thing about a band is creating a band name. Basically I figured if you write it down and come back to it at a later date, if it doesn’t suck as much as the others then it’s the one.

Your music is quite distinct combining elements of punk, hardcore and electronica. What are the major influences that have helped you arrive at your finished sound?

Firstly I wouldn’t say this is our finished sound. There’s going to be a lot on the album that’s different from anything we’ve done before in terms of sound and arrangement. What’s led to the sound of the work that’s out there at the moment primarily is a mix of the stuff I was listening to at the time. I was trying to establish the band and gain a fanbase so I guess I was trying to fit in with a specific music genre or scene. I don’t regret that but it is not the way I want the band to continue.

You sit between and link the likes of Enter Shikari, Silent Descent and The Browning whilst offering a punk infused energy to set you apart. How do you see yourselves though?

It is strange, by the time I’ve recorded a song I’m usually sick of it so looking back in retrospect is pretty difficult. At the moment I would just say we’re different. Especially if you come to a live gig. We’re currently only playing 3 of the songs we’ve released. The rest are new and completely different but still very much us.

You are about to release your new single Claws At The Door, a formidably excellent song. Tell us about the song and its background.

Basically this song is around 2 years old. I wrote it first as a piece of music with no lyrics, so primarily it had no meaning at all and it was only a “thing”. The band then learnt the music and we began playing it live and I would just make up lyrics for it at each gig. As the lyrics developed it became more apparent it was about the duality of man. And that is essentially what it is. I only finished the lyrics for the song when I was stood in the vocal booth laying down the vocals. That’s your OFD fact of the day.

How has your music evolved since your debut promo a year ago through to this new release?

A heck of a lot. I am human was written almost three years ago (claws at the door isn’t too far behind that either) and I’ve already had a lot of material for the album and beyond. I basically wanted to test the water with I am Human to gauge the response it received. I was pretty happy even though I view the EP as being somewhat immature. I felt the need to write songs that were aimed at a specific genre. I looked at popular bands at the time and aimed to write songs that they could have written. It is not exactly what I wanted to do but I figured it would build an audience. Now I am writing stuff that people aren’t ready for and I’m slowly breaking that sound into our music. The debut album will be a transitional album. What comes after that will define us. or so I feel.

How are your songs constructed from seed to the finished result?

I often come up with the music first. Lyrics are definitely last.

Your outstanding EP I Am Human took you to the awareness and acclaim of many new fans and the media such as magazines like Rocksound. Obviously all bands hope this will be the case with each release but did it exceed your hopes the response you got?

To be honest, I wasn’t expecting too much from it. Id chosen those four songs with diversity in mind. A kind of showcase of the different routes the band could take. As I said earlier I was testing the water with it. I have so much material written and nothing properly released so I just drew a line under it and thought we needed to start somewhere. At the same time I didn’t want to select some of the newer material. Who wants to ride the fastest rollercoaster at the theme park first? the rest will seem substandard after that. That’s exactly what I did with I am Human.

Live you have shared stages with the likes of The Blackout, Funeral For A Friend and Gallows, which shows the varied styles you can easily sit alongside. Is there a certain crowd other than your own fans of course that take to your music over others?

I’m not entirely sure. We definitely don’t go down well in Castleford. We accidentally played a gig there some time ago and the people In attendance didn’t know what was going on. We played four songs, nearly got into a fight and left.

As you mentioned earlier there is an album in the works. Is there a date for its release yet?

As of yet, no. I don’t want to put a date on it because I don’t want to release anything sub standard again. Even though a lot of the songs are there, they are still being crafted. That as well as funding. I don’t want anything to leave that isn’t industry standard. To get that standard isn’t cheap and funding a band as a student is difficult. Even between the five of us  is still tough and we’ve done a lot recently. We just bought a van for the tour and the video single package was done too. At the moment we are waiting to see where we are after the tour to see when we can commit to a date.

What treats and new things will we find within album walls?

Less hardcore influence, darker synths and percussion, same accessibility.

You are about to start a UK tour with The Sun Explodes, another favourite here. It should be one explosive and thrilling series of shows. The anticipation for you must be high?

Indeed, we actually played our first gig the other night, it was great. The final night is pretty close to my home town (and is TSE’s home town) so it should be busy. I am looking forward to seeing some old faces and of course the TSE lads are awesome guys.

You have a reputation for lively and high intensity gigs; this is the arena you really enjoy as a band?

It is indeed. Its great writing music to go together in the studio but afterward we have to re map everything so it works live. It is an exciting prospect bringing all the songs to a live audience and we really love doing it!

In a time where more and more show promoters only put on bands who guarantee fan attendees, how have you found it to this point trying to play to more and more people?

It is an uphill struggle, constantly. 90 percent of promoters don’t care if you’re the best underground unsigned band in the world. They would rather have a covers band play if it meant  50 ticket sales than support real music. Everything is a popularity contest these days. “Tag your band on here and get all your chummy mates to “like” us and your post. The band who gets 10000000 likes (and get people looking at our Facebook page) can play.”

It is backwards. We hate spamming shit everywhere because we know people get sick of it. We therefore have to do things the hard way. The old fashioned way. Get out there, play your music, get a real following. Your music speaks for itself that way.

Most promoters don’t even promote anymore. The amount of people who say “yeah you can play, how many ticket sales?”. We’ve done a few of these before and the promoter hasn’t done anything. One of them literally just left the bands to it. No posters, no advertisement, nothing apart from a Facebook status half an hour before the gig. The two bands that played did all the promoting, brought their fans through and made the promoter his money.

How do you feel about the internet and its wider base for music, something that brings great positives and equally large negatives?

Yes basically the internet has given the modern musician a medium for getting their name and music out there. In that respect it is great, its free. The other side of the coin is, it is now nearly impossible to make money out of your product, your music. People can get your music for free one way or another and CDs are pretty much obsolete. If you can’t stay ahead of the game and think of other ways to keep people interested, you are always going to fall behind. Basically the good and the bad cancel each other out in my opinion. We embrace the good but don’t rely on it. We still do things the way bands always have before the internet. This was good old fashioned hard work. Get out there constantly gigging, getting our heads down out in the cold flyering etc….

After the tour and working on the album, do you have more in store for the rest of the year?

More gigs, more records, possibly another music video.

And hopes?

Some funding would be nice, as would someone to back us. Someone in the industry who believes in what we’re doing.

Again thank you for taking time to talk with us and good luck with the tour and single.

Would you like to end with any last words for your growing army of fans?

Thanks for the continued support!

Read the I Am Human EP review @ http://ringmasterreviewintroduces.wordpress.com/2011/10/04/ourfamous-dead-i-am-human/

And the Claws At The Door review @ http://ringmasterreviewintroduces.wordpress.com/2012/03/03/ourfamous-dead-claws-at-the-door/

The Ringmaster Review 17/04/2012

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