Sloths – Twenty Years

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Voracious, sludgy, uncompromising, and corrosive, all adjectives befitting the sound of US band Sloths and certainly their new EP Twenty Years. They present a thick slab of noise and intensity but also to their diversely flavoured assault and suffocation of the senses, the band explores raw melodic beauty within is just as startling in its emotive scenery. As evidenced by their new release they offer a punishingly heavy and exhausting creative offensive which at times challenges enjoyment, yet persistently it seduces with a predacious elegance to forge the most welcome physical and mental violation. It is a release which may not become your favourite release of this year but one which will spark a long term hunger for more.

Coming out of Portland, Oregon, the 2010 formed Sloths swiftly bred a sound which is as much post hardcore as it is sludge, as much noise rock and hardcore as it is any flavour you can imagine. Their sound is cauldron of noise and intensity aligned to intrusive invention, a recipe which has soaked a demo and a couple of EPs since forming, with Knives of last year a trigger to stronger attention upon the band. Now they unleash Twenty Years and it is easy to expect an even more potent response and reception to the EP’s severe ferocity. Recorded with Fester at Haywire Studios and mastered by Brad Boatright at Audiosiege (Baptists, Sleep, Oathbreaker, Tragedy), Twenty Years uncages a trio of songs connected musically and thematically in a demanding and intimidating exploration looking at “what it means to die young, a theme influenced by the recent death of a friend and the perspective gained by seeing the aftermath of such a tragedy.” The release is immersive smog of energy and sound, a suffocation of shadows and dark emotions veined with a melodic and impassioned light which ensures the release ignites imagination and emotions as powerfully as it does ears.

The EP opens with Elegy, an immediate blaze of aggression and abrasion driven by thunderous rolling rhythms from drummer Nate Sonenfeld and a sonic cacophony cast by guitarist Kyle Bates. It is a fierce examination of the senses TwentyYearsCoverdriven by viciously raw vocals but tempered by the equally dark and imposing, but more composed assault of Alec van Staveren’s bass. The initial impact relaxes as acidic melodies begin exploring the tempest, their unpolished radiance a glimmer of respite within the still boiling climate of emotional turmoil. With grooves adding their heavy spice and imposing hooks a barbarous lure, the track is a dramatic and powerful start to the release.

The song flows into the following Void and it’s less forceful but no less intensive landscape. It is a caustic reflection musically and lyrically, sculpted by evocative melodies and those still thick set and energetic rhythms. The track is initially glazed in a reserved and ruggedly pensive climate but builds up its passion and anger to expel a range of carnivorous riffs and crippling rhythms, all the time working towards a hellacious crescendo and finale. All the time though melodies offer brief escapes and tempering to the fury uncaged and urged on by the voracity of the vocals.

Passing brings the release and emotional turbulence to a close, its initial almost blackened rage expelling torrents of angst and antagonism. The individual skills and energies of the band members converge on the senses with sonic and malicious flames throughout for a destructive satisfaction, yet there is an evolving breath and presence to the song which sees it eventually leaving on a more peaceful acceptance and grace.

Twenty Years is not an easy listen but it is a compelling and emotionally invigorating one which leaves ears and emotions more fulfilled and energised by its close whilst suggesting Sloths is a band due very close attention.

The Twenty Years EP is available through The Ghost is Clear Records, Don’t Live Like Me Records, and Illuminasity Records digitally now @ http://sloths.bandcamp.com/album/twenty-years with a Ltd Ed clear vinyl out from October 2014 and a cassette version via Death Culture Tapes soon after.

https://www.facebook.com/slothsportland

RingMaster 15/10/2014

Copyright RingMaster: MyFreeCopyright

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Long riffs and binding grooves: an interview with Valfader Interview

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With the ability to sculpt riffs that almost need a certain bravery to stand before and a skill in casting melodic designs stretched with rigorusly seducing grooves which take on a predacious quality when locked together, UK band Valfader has emerged as one of the most imposingly creative and thrilling adventurous propositions to come out of British heavy rock/metal in recent years. Hailing from Bath the trio of guitarist/vocalist Dean Gaylard, bassist Matt Jones, and drummer Gareth Jones first drew acclaimed blood with their Whispers of Chaos last year with even greater attention and praise coming through the epic single Opening earlier this year. Long overdue a chat we stole time from the band to talk about the birth of Valfader, their organic songwriting, and depriving sound engineers of half day holidays as well as plenty more…

Hi guys and thanks for taking time to talk with us.

First up can we find out about the beginnings of Valfader, how you all met and started the band as well as personal histories before the event?

It all started about 9 years ago, yep 9 years ago. Me (Gaz) and Dean were in a rock / prog band playing local bars in Bath – Bristol area from 2005 till 2009 and along the way we met a lot of awesome musicians which we still know today. We had a nice little run supporting some awesome bands but we were nothing serious. Sure in our booze fuelled minds we were going to take over the world, but it didn’t matter how much we put into the band we were going nowhere slowly. We split in the winter of 2009 and we both stopped playing music all together, and went our separate ways but still remained good friends. After 7, or maybe 8 months we ran into each other at a venue in Bath and we started talking about the good old days, music and whose round it was next ha-ha. Anyway, we talked about having a little jam at a local rehearsal rooms and that was it! We realized after the first jam that the passion was still there, ok a little rusty, but planned a second rehearsal a week later to pick up where we left off. A few months into it we started to look for a bassist. We asked a few mates but none of them could commit, but that didn’t stop us, so we posted an advert on the Web and after a few weeks, maybe 4, Matt rolled up and as they say, the rest is history and here we are now

Did you start out with a specific intent or direction for the band?

Not really – we really aren’t that organised! We never really plan stuff or think long term. In the beginning we never sat down and said “let’s be a stoner rock band” or “let’s be like this band”. We just knew what music we liked and enjoyed jamming together. After that, our “sound” came together so we put it out there to see what happened.

Your sound merges the rich essences of stoner and heavy rick with sludge and doom bred emotive tenacity, not forgetting the voracious riffs. It is a distinctive and increasingly unique sound daring people to try and label it. How would you describe your music to newcomers?

Ha – we have no idea man! It’s not something we have really worried about or tried to do! We have read lots of different descriptions about ourselves that have used the terms doom, stoner, psychedelic, rock, progressive, metal and ambient so take your pick I guess!!

How do you see it has evolved since starting out in 2010 and the recent release of Opening?valfader opening

In the beginning our songs were much shorter, more uniform in the sense of verse / chorus etc. and more one dimensional. However as we all played together more and brought our ideas to the table, the songs grew longer in duration and more diverse in different sounds, which is where we are now!

Is Opening a single or EP, I have seen it described both because of its length, often in the same piece ha-ha.

We put Opening out there as a single. As you may have noticed we tend to write long songs so this was just one track for us… however, if people want to consider it as an EP then that’s cool.

Last year saw the release of your debut EP Whispers of Chaos, which was where we discovered you. It has seemed to have whipped up a storm of attention and eagerness for the band. How has it been on the inside since its release?

On a day to day basis, not much has changed for us really. We all still work full time jobs, look after family, meet up for jams and try to get gigs! However we now have this global online presence which is lovely. It’s been very humbling and gratifying to see how far our music has travelled and how well it has been received. The attention for the band seems to come in waves, which can be a bit of an emotional roller coaster!

Did its success surprise you even with your obvious confidence in your own music?

It totally blew us away – completely. We still remember talking in the van the night before we were going to put it out there on Bandcamp, we really had no idea how it would be received as we don’t sound like other bands out there – we were so tense!! The amount of positive reviews and comments we received were far in excess of anything we could have hoped for, so a big thanks to everyone involved again!!

Was there any extra pressure on you because of its success emotionally for your next unveiling?

It’s hard to say – I guess so though. We were all really clear that we really wanted Opening to be another step forward from the EP, which we feel we achieved.valfader4

Did you learn anything from the EP which made you approach Opening any differently?

(Gaz) – I was a lot more relaxed this time around and I believe you can hear that in my drumming. Recording Whispers I was nervous as hell and only had a day to record four tracks, so was holding back trying not to fuck up. On Opening I was more relaxed and enjoyed every minute, plus the producer and a good friend of the band who came to film us are fellow drummers, so I was talking shop all day with them which made a nice change.

Opening consists of a single epic fourteen minute or so track; so with your songs generally on the side of epic in length how difficult was it to write a track of such a long presence to ensure it enthrals ears and imagination constantly, which it surely does?

In all honesty there was no real intention of making it so long, the song evolved out of the initial clean riff and just kept growing. I think we have a pretty relaxed approach to song writing, we rarely set out to do something deliberately, it’s usually just a case of letting the mood of the music take us somewhere and not getting too analytical about it.

So it a track which evolved organically in sound and length, or one you planned more precisely before strings were plucked and riffs spawned?

Generally our songs do evolve quite organically, though this one was more or less written as a whole prior to playing it together. This is quite unusual as I think we benefit greatly from each other’s contributions when song writing.

How long did the song take to record, I heard it was done in a day?

Yep – all done in a day!! I think the sound engineer thought he was in for an early finish when we told him we only wanted to record one song – then he found out it was 14 mins long!!

Opening presented a different facet to the music found on the EP; is this a swing in direction for future releases to explore or just another character in your overall sound?

A bit of both really. Again – when we write songs we never try to make them sound a particular way or force them into a genre. They evolve naturally which means all our songs are quite diverse. We are currently writing quite a lot of new material, some of which is more like Opening in style, others more like tracks from the EP.

VALFADER  Cover ArtworkThere is also an intimacy to the song maybe not as open on Whispers of Chaos, something you feel too?

Yeah definitely, it’s quite an emotional song, and I (Dean) felt pretty damn nervous about recording so many clean vocal lines. I think there’s quite a vulnerability to the song, but hopefully that’s a good thing, there’s no pretence, just an honest expression of something both painful and beautiful.

Riveting riff driven rock whether stoner/sludge/or simply of heavy metal descent seems to be on a very healthy and powerful ascent across the UK right now with emerging bands, such as Morass Of Molasses, Desert Storm, XII Boar, Caravan of Whores being four examples coming to mind alongside yourselves. Are you finding the appetite and hunger is there from fans too not only for releases but live shows?

Honestly? Not really! It does seem to us that people don’t seem to be prepared to go out to local shows and bands to support music scenes anymore. People will spend hundreds of pounds to go to some large venue to watch a band that’s been around for 20-30 years but don’t seem willing to walk down the road and spend £5 to see 4 or 5 bands that they haven’t heard. We have played some gigs where there is a good local scene and support for new music, but feel these are all too rare. We have also played on bills with some amazingly talented musicians to pretty empty rooms!

How about from promoters and venues putting on gigs, same attitude?

We are lucky to work with Cowbell promotions in Bath. These guys are REAL music enthusiasts who put on shows simply because they love the music. They have been amazingly supportive of us and helped get us out there, so a huge thanks needs to go to them. The music industry desperately NEEDS more people like this. Unfortunately all too often promoters and venues don’t really give a shit who you are or what you sound like, they just want you to guarantee ticket sales and make money. We understand that of course they are businesses and have costs etc. to cover, but there seems to be little to no interest in music, or working with and supporting bands

What comes next for Valfader and for the rest of 2014 from you?

We are having a little break over the summer after a run of gigs and then hoping to get back into the studio to record a new full length album towards the end of the year. This thing is shaping up to be massive. Over an hour in length and more riffs that you can point a very pointy thing at!

Finances are tight if absent for most emerging bands so many are turning to crowd funding sites to try and finance releases etc. Something you feel you might look at ahead or do you feel it is an option still only for bands with an established active fanbase right now?

It’s something we have considered and talked about, but not something we are completely comfortable with I thinkvalfader3

Once again a big thanks for chatting with us; any last words or thoughts you would like to leave us pondering?

Thank you! We really appreciate websites such as yourself and the work you do to help bands. Huge thanks to everyone who has bought our music, come to see us, sent us nice messages or supported us in anyway. It really makes a difference and is so appreciated by us all. And support local music – new bands need your help!! Don’t worry – Dave Grohl and Trent Reznor are ok for money!!

And lastly give us an idea of the most inspirational records which went some way to sparking the need in you to make music.

GAZ – It’s all about Sabbath and Zeppelin. Just hearing any tracks of theirs inspires me to play the drums whether I’m behind the kit or not.

DEAN – Well the bands which got me going originally were Metallica, Pearl Jam, Pantera and probably a load of dodgy Nu metal bands when I was 16, ha-ha. Now I’m always searching for music which doesn’t sit too comfortably within one genre, I really love Opeth, Elder, Baroness, and Maeth to name but a few!

MATT – oh so many!! I suppose early on bands like Slayer, Nirvana and Pearl Jam gave me the idea of picking up an instrument and playing it. Deftones, Glassjaw and Isis made me want to express something emotive and beautiful, and the guys from a band called Jim Fear first made me believe I could do it!!

www.facebook.com/valfader

Pete RingMaster

The RingMaster Review 26/08/2014

Copyright RingMaster: MyFreeCopyright

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Hessian/Primitive Man –The Abyss Stares Back #2

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Continuing their series of split releases The Abyss Stares Back which began with the impression union of Amenra and Vvovnds in May; Hypertension Records unveil the second instalment of dark consumption with a two track union between Hessian and Primitive Man. The second of a planned five splits, The Abyss Stares Back #2 brings again exclusive propositions from the two protagonists, a pair of tracks which drag the senses and emotions through cavernous, insidious landscapes but with the sweetest toxic lures which feverishly ignite the imagination and fears.

With future releases in the series to include Nihill, Scott Kelly, Drums Are For Parades, Mathieu Vandekerckhove, and Alkerdeel, Hypertension has already set a gripping standard and presence for the series through #1 and #2, the newest a startling and compelling onslaught of virulent hostile seduction. As all in the series it is wrapped in the artwork of Tom Vanuytrecht and with the photography of Stefaan Temmerman, but consumes and envelops in its own unique voracity with frightening intensity and ridiculously easy success. Both bands on the release are united in the devil’s oppression whilst providing an individual merciless savagery and invigorating violation to maybe unwillingly but certainly rewardingly bask in.

Having been rigorously persuaded by their debut album Manégarmr, appetite and anticipation for Hessian’s contribution to the release hessian (pic Stefaan Temmerman)was keen and swiftly satisfied by the Belgian band and their track Inward Dawn. Consisting of guitarist Levy Seynaeve (of Amenra), drummer Tim Bryon (of The Black Heart Rebellion), vocalist Bram Coussement, and bass player Kenneth Vanhoutte, the quartet threaten as they lumber in upon heavily punching rhythms and a sonic web of antagonism. It is a disarming sweep of sound and confrontation lorded brutally over by the vocal causticity of Coussement but one which swiftly enslaves the passions through the rolling and inciting drum enticement of Bryon. Like a puppeteer he directs and cages the imagination so the scorched sonic endeavour of Seynaeve can layer web upon furious web of deviously captivating and searing design. The repetitious lure of the track aligned to the rapacious rhythms is the prime bait though; it’s intermittent enticement the irresistible spine to which emotional enmity and aural chastisement explores their rich potency and hostile animosity. Gloriously insatiable and contagiously persistent, the encounter is a fall through the depths of organic persuasion, a sirenesque anthem come hymn to the primal core of body and emotion. The track is pure addictive venomous alchemy, Hessian reaching deeper into their rapacious ingenuity than ever before for a seriously hypnotic and ruinous triumph.

primitive man   Primitive Man swamps the senses in a darker corrosive tsunami than the pestilential but voraciously mesmeric suasion of Hessian, though neither you would trust with your soul. Their track Unable takes mere moments to invade and permeate body and feelings, its lumbering sludge tar coating senses and thoughts with suffocating efficiency. As shown on their impressive debut album Scorn, the Colorado trio of Ethan Lee McCarthy, Jonathan Campos, and Bennet Kennedy, venture into the lowest, base primal sounds and provocation, unleashing sonic swarms as lethal and disorientating as the destructive slab of slow rhythms and maliciously devouring intensity beneath. Similar to Hessian though, there is a potent lure of addiction forging enticement working away, warped grooves and anthemic rhythms breaking free just enough to entangle fevered appetite and eager passions with their riveting coaxing. It is often an understated but constantly infectious trapping within the malevolent corners of the song, a potent seducing for the same senses and psyche which are being unrelentingly worn away and viciously smothered by the doom entrenched pestilence. Closing on a brawling tempest of vitriolic energy and punk infused urgency, the track is a towering predator which easily draws submission for its hellacious fury.

Both tracks on the split are exhaustingly glorious, though of the pair Hessian has a toxin which steals body and mind for a truly lingering pleasure. Both also provide stunning introductions to newcomers to the bands and a raw hint of further things to come for fans, each breeding further waves of anticipation. Hypertension Records with their first two episodes of The Abyss Stares Back easily ensure the forthcomings offerings will be eagerly awaited, and with each split pressed on 180gr. vinyl for a one time only release of 500 copies, time procrastinating is the way to missing out on, certainly in the case of #2, one of the year’s finest essential releases.

The Abyss Stares Back # 2 is available now @ www.hypertensionrecords.com.

https://www.facebook.com/Hessianofficial

https://www.facebook.com/primitivemandoom

9/10

RingMaster 01/07/2014

Copyright RingMaster: MyFreeCopyright

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Conjuring Noise: The Great Sabatini Interview

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Having inflamed like so many others, our passions with their blistering intensive and thrilling album Matterhorn, Canadian noise metallers The Great Sabatini returned earlier this year with an even greater mouthwatering proposition. Third album Dog Years is a masterful tempest exuding virulently destructive and invasive sonic devilry; an enthralling examination and manipulation of the senses. Not needing to be asked twice, we rifled questions at Sean from the band to discover the depths of The Great Sabatini, talking about origins, lyrical intimacy, musical magick and much more…

Hey Sean good to meet you and thanks for giving over some of your time to chat with us.

Tell us about the birth of The Great Sabatini and the time leading up to the uncaging of the band in 2007?

Hey, nice to meet you too. It’s our pleasure to talk a bit about our dumb selves. All of us came together when bands we were previously in collapsed. We all decided to start moving away from the kind of things each of us had been doing with past efforts, musically. It seemed to come together easily, naturally. We just kind of went with the flow.

How did the four Sabatini’s meet?

Rob and I have been playing music together since we were 15 or so. We’ve played in bands together since that time. We knew Joey from other bands around town, and even shared a jam room together years before we started playing together. We met Steve in Sudbury, 2004 at a really crappy weekend fest that both of our bands at the time were playing. We became fast friends, and the rest is history.

Did the band start out with a specific intent and is that still the same driving force now or has it evolved with your music?

I think the only intent really was to move away from our previous musical comfort zones. Rob and I were used to writing more technical metal things in standard tuning, so there was a focused effort to distance ourselves from that. We bought baritone guitars and started slowing things down naturally, due to the nature of the much lower tuning and feel of the instruments. You can’t be as busy sometimes when you’re playing in a lower register, so riffs start slowing down for clarity’s sake. In regards to intent, it’s the same as it was from day one; keep challenging ourselves to create music that subverts our own comfort zones as artists. It might not be a huge leap from record to record, but there is movement, and growth, with every new project we take on

You sound is a unique brew of noise, sludge, doom, progressive rock…and plenty more. How would you describe it to simplify things?

As a kind of inside joke, we refer to our sound as “swamp trench arithmetic”. Maybe it hints at a sludgy math-rock vibe… Usually I describe us as a sludge band, because for all the variety rolled into our songs, all of it is pretty grimy or sludge-based. The end result is sort of wrapped up in this sludgy package.

We discovered you through your second album Matterhorn, a startling and riveting treat to our ears. How would you say your music and 1964881_815898598424769_284230856_ncreativity has changed and evolved from your first days, through that great album and onto the just released Dog Years?

I think that, as songwriters, we focus on making things simpler; communicating ideas in a simpler way. Part of that is recognising our strengths, and reining them in. We want to include a myriad of ideas and influences into our sound but feed them through our creative process in a way that results in more a more cohesive end result. I suppose one might call it “nuance”… Not something that most folks associate with brutal, loud music, but I feel that there’s more and more depth and nuance to our songs as we go. Matterhorn was the first time I really felt like we’d accomplished a certain level of that in our music. The songs are relatively simple in structure and riffing, and seem straight forward production-wise, but there’s a subtle balance of feels and ideas stitched together throughout. I think Dog Years employs this much better. Taken at face value, it’s a loud, raw, angry record, but there’s a lot going on in the songs, in a way that isn’t like an overt genre mash-up kind of thing.

We feel the brilliant Dog Years, and it is, is less cruel and destructive than its predecessor but has a more intensive and precise examination of the psyche which makes it just as exhilarating and threatening. Is that something you would agree with?

I do agree. Matterhorn was about cruelty and violence and the harshness of life, ‘cos that’s what I felt when I heard the music we were writing. Dog Years, musically and lyrically, is kind of exploring the things that drove us to play music initially. It has some throwback moments with the punkier parts, and maybe it rocks out a little easier. I still feel like it’s a punishing, loud, angry record but maybe you picked up on the focus of the record. It’s hard to tell sometimes, as the creators of the music, how much of what we’re saying is obvious and how much is completely buried in the end result, but Dog Years is more of a look inside OUR heads and our history, to some extent.

Did you approach the writing and recording of your third album in any way differently to the previous release?

Well, we usually do a lot of writing together in the jam room but a few small bits were demoed separately and sent out via email to the guys, and then tweaked and moulded by each of us on our own time. The songs are totally malleable… they can change easily before we hit the studio. In the past, a lot of our material, especially the Matterhorn stuff, was played on the road a lot before it was recorded, so the songs adapted and changed a bit more, but almost all of the Dog Years material was written and then quickly recorded with less time to mutate. Maybe that gave it a bit more immediacy, or urgency.

I guess the studio and recording process is something always bringing new lessons and discoveries which can be used or avoided next time. Was there anything from Matterhorn which had that inspiration and any new things learned with Dog Years?

There’s always a learning curve. We’re always learning things and trying to apply them the next time around. I can’t think of any major things that happened with Matterhorn that wound up shaping Dog Years in an obvious way… we’ve always strived to make things sound more raw, natural or live-sounding on our records and Matterhorn was a nice step in that direction, but Dog Years, I feel, has a bit more of that raw thing going on.

How long was the new album in the making?

We started writing in earnest at the start of 2013. We spent a lot less time on the road that year and really just focused on writing. By December 2013 we were in the studio and by February of this year the record was mastered. It was a pretty quick turnover, for us.

Like a great many bands do you have to struggle and deal with obstacles of everyday life when it comes to creating and certainly recording a record?

Obstacles are always present. But we’ve been a band for almost 7 years and we deal with things together, in a focused manner, quite efficiently. Making records is something we’re always trying to get better at, but we’ve all been doing it for over ten years and our collective experience is constantly being employed to overcome any obstacle. Thankfully, we’re all really good friends, so we’re good at working together to accomplish our goals

There seems an intimacy at times to the lyrical side of your music which suggests inspirations often come from things close to home and personal experiences. Give us some idea of stories or situations to songs upon Dog Years.

Some of the songs relate to people or things in our personal history. Pitchfork Pete is about a guy Rob and I knew many years ago. Some of the songs deal with our rituals, our perception of our lives as romantic black-magick purveyors of the Almighty Riff. When the reality of being a penniless touring musician sets in, the thing that keeps us going is the magic. Music is total magic and we have fun projecting some kind of cartoonish self-importance onto the band. It’s much more fun to think of ourselves as traveling Riff-Warlocks spreading the unholy gospel of Satan through amplified guitar riffs than it is to see ourselves as the jaded, ageing heshers that we ACTUALLY are. We’re following our dreams. Dog Years is a glimpse into that world, we hope. Lyrically it’s all about that… the world we’ve created for ourselves, full of feral beasts, oracles, war-cries, Viking battle-lust and strange visions. But sometimes this kind of fantasy shit collides with the naked truth of our choices in life, and that’s where the “Dog Years” thing comes in. One day, maybe, we’ll be old men looking back on these times as our Dog Years, all that time we spent hammering away at our dreams.

487212_598817973466167_250606339_nHow does the creation of songs more often than not transpire in the band?

More often than not, Rob and I write riffs or ideas in our own time, and then, when we get together, the ideas are presented and everyone puts forth their own takes on the riffs and we arrange the structures together. There isn’t any one mastermind. Everyone’s fingerprints are on the end result.

Is there a particular moment or twist in Dog Years which gives you an extra inner tingle of pride or just satisfaction?

I think each of us probably has his own moment like that, but for me, Akela was one of those. I wasn’t thinking that would be on the record, but the guys heard my demo, and wanted it to be there. It’s a pretty naked thing, for me, to have a song like that on there. There isn’t any wall of noise to hide behind. I recorded that in my room at home and everyone agreed that to re-record it might ruin it. So, I feel pretty happy that Akela is on the final cut.

Tell us about the great ‘scary’ album cover.

We wanted the cover to reflect our childhood in some weird way. We were aiming for an image that looked borrowed, from another time, not from 2014. I made the puppet, and he represents a certain aspect of our collective personality. Rather than actually steal an old image that may have worked just as well, we opted to create this thing ourselves and hopefully imbue that aspect into it in a subtle way. Really, I want people to see it, react to it, and fill it in with whatever feeling they think is best.

The album has been released on the great Solar Flare Records. How did that come about and is it true that the equally brilliant Sofy Major has some inspirational input?

We met Sofy Major first in North America when they came here to make a record and tour a bit and then later when we played with them in France. Sofy Major/Solar Flare are the raddest dudes on the planet, so their interest in Dog Years is incredibly flattering. Those dudes have been through a lot and suffered it all with a smile on their faces so that alone is a huge inspiration to us. Their music is incredible… I don’t wanna butter them up too much, but getting to work within that particular family is a huge privilege.

What is the Montreal metal and rock scene like right now and specifically in regard to your style of creative mayhem?

Montreal is always a hotbed of awesome music. In recent years, more of the sludge, doom, noise-rock and stoner rock stuff has been surfacing, which is nice, but I feel like everyone here is reacting to their surroundings, in a nice way… nobody is trying to sound like anyone else, I feel. Everyone that I know kind of does his or her own thing and tries to blaze their own trail. Sometimes it’s hard to be heard among all the amazing bands and artists, but we have our niche.

What comes next for The Great Sabatini across the rest of 2014?

We’re just about to get home from the first stretch of touring. We’ll probably do a few small things this summer but in the fall we head out again to do some touring in the U.S and then get ready to hit Europe in the spring of 2015.

Once again big thanks for sitting down with us; any final words for us to contemplate?

Thank you for your interest and support. Final words? Ummmmmmmmmmmmm……

And lastly give us an idea of the biggest inspirations on you musically and individually.

Take your basic 80’s/90’s generation stuff, all the grunge, punk, metal and hardcore, and throw our dad’s old Beatles, Zeppelin, Sabbath, and King Crimson records in there too. We’re all just disciples of this great tome of Rock. Finding a nice balance is the hardest part when starting a band, but ALL of that stuff is in our music, and album covers, lyrics etc. You could get real specific and say things like Melvins, Today Is The Day, Helmet, Jesus Lizard, Napalm Death, King Crimson, or what have you, but there’s just too huge a range of stuff influencing us to make for an easy answer.

http://www.thegreatsabatini.com

Read our review of Dog Years @ http://ringmasterreviewintroduces.wordpress.com/2014/06/02/the-great-sabatini-dog-years/

Pete RingMaster

The RingMaster Review 21/06/2014

Copyright RingMaster: MyFreeCopyright

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

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Electric Taurus/Prehistoric Pigs – 12″ split

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Split releases are invariably a gateway into new striking adventures and intrigue drenched propositions, the awakening of attention to artists seemingly more often than not lying in shadows away from attention. They can be the beginnings of great sonic friendships and in the case of the Electric Taurus/Prehistoric Pigs split from Go Down Records, the announcement of important emerging forces. Consisting of three tenaciously imaginative and vivaciously inventive soakings of stoner/hard/psychedelic rock, the release is a mouthwatering encounter to invigorate the senses and stoke up the passions.

 

First up is Irish band Electric Taurus with their sixteen minute epic Behind The Sun, a glorious exploration through a space rock landscape with ever shifting and expanding scenery. Formed in 2010 as a recording project by guitarist/vocalist Matt Casciani, the Dublin trio went through numerous line-up changes before finding stability with the addition of bassist James Lynch, and drummer Mauro Frison. 2012 saw the band sign with Moonlight Records for the release of debut album Veneralia, a well-received encounter bristling with the inspirations of heavyweight like Black Sabbath, Hendrix, Led Zeppelin, and Deep Purple with those of underground bands from the same era such as Buffalo, Leaf Hound, Iron Claw, Primevil, and Captain Beyond. It is only one shade of their sound though as evidenced by Behind The Sun, the sultry sizzling flavouring from bands such as Monster Magnet, Kyuss, Electric Wizard, and Orange Goblin, adding to what is a refreshingly distinct conjuring from Electric Taurus.

Their contribution to the split embraces ears in a sonic web, a spatial entanglement which teases and stimulates the imagination and senses. It is also an intimidating enticement but one with charm and bait to inspire a hunger to dive in deeper, especially when a flirty stride of rhythms burst out of the thick mist with mystique wrapped, fuzz kissed melodies riding their lure. Now within an evocative premise still revealing its intent with unpredictable twists and diversions, the track steadies its pace and experiment to slip into a potent blaze of stoner fuelled sonic endeavour and melodic blues acidity. Binding the ears in rich grooves, provocative rhythms, and a great doom groan, the song paints an emotive journey, which finds its strongest trap for the passions with the entry of guest vocalist Barbara “Babz” Allen of Irish blues rock titans Crafty Fuzz. With a delicious growl to her riveting tones, air and thoughts are brought into a sirenesque harem of syllables and melodic incitement. Her presence also sparks a stronger flame to the sonic thrust and tenacity constantly weaving through the track, resulting in one searing blaze. Again though it is just one turn in the emprise, the song continuing to colour and bewitch ears for a voraciously creative and thrilling escapade sculpted by the skilled and magnetic exploits of each band member. It is a stunning track setting a formidable task for its release companion to match.

Italians Prehistoric Pigs more than put up an enjoyment equalling effort with their two tracks, even if personal tastes does just plump for the previous track as the pinnacle of the impressive release. Hailing from Mortegliano, the trio of guitarist Juri Tirelli, drummer Mattia Pi, and bassist Jacopo Tirelli employ inspirations from the likes of Kyuss, Jimi Hendrix, Sleep, Black Sabbath, and Led Zeppelin into their instrumental incitements. Their sound is a sludge rock rich mix of bracing doom soaked psychedelic alchemy, an earthy mix which paints the imagination and strokes the emotions for individual sonic paintings, as presented on Wormhole Generator, their excellent album of 2012. The Perfection Of Wisdom presents the perfect evidence of their potent weave of sound. Starting with a lone bass lure beneath whispered calls of the song title, the track shapes a compelling ambience with precise melodic hues of guitar, their presence gentle and unhurried as they colour the increasingly smouldering breath of the emerging track. It is a seductive unveiling of the full weight and terrain of the ever impressing piece, rhythms gaining intensity as the sonic enterprise ebbs and flows in insistence before unleashing a voracious flame of imagination and ingenious texture.

It is an enthralling provocative flight of sound and creativity swiftly backed by 79360 Sila-Nunam. Its entrance is subdued and slightly muffled in comparison it its companion but ready and eager from its reserved poise to escape into a climactic burst of intensive sonic wind and rhythmic demands. Grainy in its air and scorching in its touch, the track sizzles with the heat of a Karma To Burn upon Kyuss like desert rock, every note and riff igniting thoughts and emotions for a thoroughly captivating and somewhat corrosive treat.

Electric Taurus and Prehistoric Pigs come together for one of the best split releases in recent years and one of the most exciting psyche/stoner heavy rock releases in recent times. It is an essential doorway into the worlds of two extremely talented and imagination inspiring bands which deserve the fullest attention possible.

The Electric Taurus/Prehistoric Pigs Split is available now on 12″ vinyl format through Go Down Records @ http://www.godownrecords.com

https://www.facebook.com/electrictaurus

https://www.facebook.com/PrehistoricPigs

9/10

RingMaster 20/06/2014

Copyright RingMaster: MyFreeCopyright

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

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Deep Desolation – Rites Of Blasphemy

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Casting a captivating web of sludge and doom drenched black metal ripe with fiery psychedelic grooves Polish metallers Deep Desolation make a very convincing argument for turning to the dark side with latest album Rites Of Blasphemy. The release is a venomous yet irrepressibly magnetic soundscape to a blasphemous occult driven world, an encounter which as the greatest evils has an irresistibility which says all is well as it infests with ruinous intent. It is not always a kind listen though and carries a few niggles which stops it making and even greater impact but from start to finish, Rites Of Blasphemy makes for a compelling and potential soaked enjoyment.

Hailing from Łódź, Deep Desolation was formed in 2009 and within a year creating their debut album. Released via Quid Est Veritas Productions/The End Of Time Records in the February of 2011, Subliminal Visions made for a formidable introduction to the band and its sound. A line-up change followed before the band provided two tracks for the split release Chapel of Fear with fellow countrymen Primal and Iugulatus that same year. From there the quartet of vocalist/guitarist Meriath, guitarist/vocalist Markiz, bassist Piorun, and drummer Wilku, set about working on their second album, a release which steals attention from the outset, never relinquishing its grip until the last note of its demonic fascination.

Rites Of Blasphemy opens with the epic persuasion of Between the Tits of a Witch. From a sinister landscape of disturbing DD coverwhispers within an intimidation ambience, thick predatory riffs and ravenous rhythms seize senses and thoughts as rasping venom fuelled vocals slowly squall over their brewing toxicity. It is an instantly striking and appealing mix which flirts wantonly as it worms around and into the psyche. Acidically sculpted grooves add to the captivating bait, their touch and enticement fiery as they sear air and ears with inventive design. Within the caustic beauty and at times seductive enterprise, there is a threatening underbelly of rabid shadows and merciless malevolence working away led by the raw vocal spite. All combined, the track makes an excellent beginning to the album, a constant trigger for the imagination to erupt from but it does push the limits of its stay at almost ten minutes in length with no major deviations in its concentrated languid prowl.

The following Searching for Yesterday emerges from a potent heavy metal coaxing into a darker rapacious but no less gripping provocation. Riffs and rhythms all carry a heavier intensive weight and throat to their attack and sound, as does the malice seeping vocals, though this is tempered by the spiteful grooves and great individual endeavour of the guitarists. The track has a bestial breathe to its body which is accentuated by the distressing landscape of the instrumental Intermezzo. The piece is a demonic insight into the stomach of hell, a maelstrom of lost souls and suffering sounds which is quite mesmeric and provocative before it leads to the doorway into Blasphemous Rite. Rich transfixing grooves entwine around ears as riffs, aligned to thumping and agreeably challenging rhythms, heavily consume the senses. The song as the album prowls and preys on senses and emotions, a creative predator happy to skirt around and intimidate its victim with riveting lures of sonic adventure and intrusive melodic toxins. Like many of the tracks and again fair to say the release itself, the encounter does not ignite and burn as ferociously as you hope and expect but that cannot prevent it making a sizeable impression and deeply satisfying proposition.

The expansive length and weight of Mroczny Hymn comes next and though it also outstays its effective suasion at over eleven minutes, the track does not fail in taking thoughts and emotions on an intrusive and in many ways a cinematically expressive journey which excites the imagination. The guitar craft is especially inciting and impressive within the tempestuous soundscape, as is the rhythmic stalking, but it cannot prevent the track losing its richest hold on attention more than once across the length of time it engages the ear.

Cuius Regio / Eius Religio offers an almost insidious tone and menace through vocals and the venom infused grooves and hooks which wind around the raw caustic rage of riffs and the just as exacting rhythms. The song’s thrilling slightly pestilential call is swiftly backed up by I Became Your God, a track from the start encroaching on ears with great abrasing ravenous riffs which are soon in league with devious grooves. The track moves through evolving gaits and changing strengths of rabidity as it hunts down emotions for just one more commanding pleasure.

The album closes with the exhaustive weight and predatory oppressiveness of Necromouth, a final track impressing whilst confirming the craft and might of the band’s songwriting and invention. With essences of bands such as Cathedral, Pentagram, and Carpathian Forest to their sound, Deep Desolation is a band fans of sludge, doom, and extreme metal should definitely be checking out.

Rites Of Blasphemy is available via Darkzone Productions now!

https://www.facebook.com/deepdesolation

8/10

RingMaster 06/06/2014

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