Chamber: City Of Seven Hills

We do not get a lot of music come our way from India but when it does make an appearance it is rarely disappointing and often quite superb as is the case with the new single from Chamber. A magnificent captivating blend of progressive metal and rock, City Of Seven Hills is quite simply outstanding and a deeply impressive teaser for their debut EP planned for later in the year.

From Guwahati, Chamber consists of vocalist Bhargav Talukdar, guitarists Dishankan Baruah and Aditya Bordoloi, bassist Shan Singha, drummer Sandeepan Baruah, and Writam Changkakoti on keys. Formed in 2010 the band creates music which wraps itself around the ear with the gentlest of caresses but a power and craft which leaves one energised and enthralled. Technically and inventively though not so much in sound the sextet remind of Motherjane, both bands the most accomplished songwriters and producers of ingenious melodic beauty.

City Of Seven Hills opens on a lone guitar which instantly mesmerises and as the warm breath of the song from keys and atmosphere envelopes the ear there is an emotive energy which captivates. Scorching guitar play lights up the ambience before making way for the excellent vocals of Talukdar to bring the lyrics to life. The song is about their home city Guwahati, ‘where people migrate in search of a better life but many of them have to shut their pain away to survive everyday.’ It is deeply and strikingly powerful in word and sound creating the passion and depth of emotion in a stunning portrayal which is impossible not to immerse within.

As the song evolves it explores and creates textures of sound and emotion beautifully, the keys persistently inspiring an dramatic atmosphere punctured and driven by commanding yet reassuring rhythms. The guitars venture into plateaus of invention which dazzle and are easily matched by the unexpected progressive exploration mid song, its entrance a surprising and thoroughly enjoyable piece of imagination.

City Of Seven Hills is wonderful and as mentioned the perfect invitation to the forthcoming Chamber EP. But do not take our word for it as the band has released the track as a free download so go and hear the proof of our words.

RingMaster 30/06/2012

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Kids We Used To Be: And We Would Have Gotten Away With It Too… EP

The And We Would Have Gotten Away With It Too… EP is the debut release from Liverpool pop punk band Kids We Used To Be. Released through Like Records it offers four tracks dripping promise for a band still in evolution. With a hardcore vein bursting through their songs the band whilst not laying down deep scars of originality leaves one anticipating great things ahead once they find their true selves in their sound.

Taking their name from one of their influences Alexisonfire and their song Old Crows, Kids We Used to Be is barely a year old, being formed in the Summer of last year. Consisting of vocalists Ste McEvatt and Carl Gunning, backed by the musical prowess of guitarists James Cremor and Lewis Gardner, bassist Mike Higgins, and Lee Berrill on drums, the sextet use additional flavours from the likes of The Wonder Years, Set Your Goals, Alexisonfire, and Man Overboard, to forge their own not yet distinct but flavoursome sound, the band feeling like one still in transition. They have in their relatively short time already lit up stages alongside bands such as Polar Bear Club, Paige, Kyoto Drive, The Story so Far, Man Overboard, and Decade and set themselves as a band to certainly keep an eye on, something the EP does nothing to suggest otherwise.

30 Down opens up the release with a firm hand of striking melodic strikes and cruising riffs. Gruff brawling shouts going as vocals enter the affray and are fair if unspectacular in what seems to be a growing need for bands to employ this aspect against clean vocals which here are very agreeable and add a balance to their coarse counterpart and the track itself. The song itself is a bruising encounter without unleashing a barrage of aggression which works well with the melodic enterprise from the guitars.

The following Hey Aqualung litters the ear with feisty riffs and firm rhythms in a regular pop punk approach. Again the dual vocals dominate the song predominately though it is no reflection on the strong songwriting and sounds which without being the most imaginative easily satisfy and keep the attention fully engaged. The building crescendos throughout work well and add extra intrigue to what is a good song with an anthemic edge.

By this point the rough vocals feel in need of variety to be honest, the idea of using the twin attack in pop punk is a different aspect but someone simply screaming in the ear is at times too distracting. Against music which at the end of the day is not the most intensified and violent personal taste leaves one to hope there is a reassessment in that department, not a removal but a better definition and diversity.

The best song by far on the EP is Nothing Good Happens After 2AM, a song which alone shows why the suspicion that Kids We Used To Be has a definite strong future ahead is so strong by the end of the release. Easily infectious the song is the most inventive and imaginative track. With the punk urgency which is to an extent lacking elsewhere and a predatory air to its muscular riffs and thumping beats, it shows a band in complete unison and at the top of their current skills. Whether the song is new compared to the others or recorded at a different time we cannot say but in every aspect it is better, in creation, individual delivery, and production. This is the lead song and should be a single to really set the band off on a decisive rise.

Completed by a demo version of Man, I Hate Your Friends which again offers strong assumption the band will make a bigger mark ahead, the And We Would Have Gotten Away With It Too… EP is a more than decent introduction with one song by itself declaring Kids We Used To Be a band who will grab our attention often as they develop. Right now the EP is well worth some of your time, Nothing Good Happens After 2AM worth a persistent entertaining.

RingMaster 30/06/2012

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Ellis Ashbrook: Meridia

When an album leaves one feeling good inside you know it has to have something special about it. Such is the case with Meridia from US rock band Ellis Ashbrook. The release, the third album from the band, is a mesmeric collection of swirling and heated songs which captivate with ease and infectious imagination. It is an instant friend to the ear and an eager perpetrator of heartfelt delights with its irresistible weaves of invention and passionate melodic enterprise. A series of varied peaks without any lows in between Meridia is simply one enormous pleasure.

The Brooklyn based quartet of John Barber (vocals, lead guitar), Natalie Lowe (vocals, keys), Jonathan Granoff (bass), and Alex Major (drums, electronic percussion), draw in influences across multi genres to create a rock sound rippling with diversity and shimmering beauty. It is feisty when it needs to be and as funky as your hips could dream of and the overall blend is a perpetually engaging and fresh pleasure for the senses. With two previously well received albums behind them in their self titled debut of 2006 and Assemblage in 2008, Ellis Ashbrook has taken their sound to a new level with their latest album to be reflected in the what one expects will be even greater acclaim going its way.

The album immediately infuses emotions with full enthusiasm through opening track Accelerator. With a dawning electronic breath the song unfolds its arms to envelope the senses with a mighty indie pop feast of elegance. From the initial voice of Lowe there is an immediate Blondie lilt to the song before it evolves into a more rock orientated flow as the vocals and excellent guitar of Barber join the party. Electronic bursts and spotlights of sound keep things wonderfully warm and casual alongside the firmer thrust of the song which by this point and as it approaches its climax ripples essences of Oingo Boingo.

Second song Slide takes no time in showing the variety of the album and music of Ellis Ashbrook in general.  A pacing melodic tease split with sharp guitar play and surges of muscle the song is a hypnotic fusion of Alice In Chains/Nirvana and classic rock brought with a breath of psychedelic warmth. Again vocally the song radiates infection and class whilst musically the band turns contagion into an art form.

As the album continues to envelope the senses songs like the jazz funk flight of magic which is Cat Song, the brilliant hypnotic tropical treat Peripheral Declination, and the crystalline shimmering No Please, Don’t Watch, leave the heart desperate for more. Peripheral Declination is especially irresistible and a rival to the opening pair for best song on the album, its magnetic Mike Patton crossed with Beck craft impossible to stay away from.

As mentioned there are varied heights of excellence on the album but there is never a time the album leaves one merely satisfied, songs like Climax, the folk rock gem Unbreakable, and the emotive Bottomfeeder, leading thoughts and emotions on a sensual experience as rewarding as the more boisterous and irrepressible tracks elsewhere. As Meridia progresses its air evolves from an urgent and energised beginning into a mellower and more passionate atmospheric ambience especially over the latter six or so tracks, though it still offers plenty of stirring bursts as in the closer 22 to compliment and invigorate the pulsating beauty and impressive songwriting.

Taking extras spices found in the likes of Talking Heads, Led Zeppelin, The Smashing Pumpkins, Ween, and Pink Floyd to name a few, Ellis Ashbrook manipulates them into their own unique sound to offer something which is as we said at the start rather special. Meridia is a gift for the ear, time to treat yourselves.

Ringmaster 30/06/2012

Copyright RingMaster : myfreecopyright


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Karybdis: From The Depths

Striking and commanding the senses like the mighty swinging claws of a bear the debut album from UK metallers Karybdis is an openly impressive and powerful destructive pleasure. Still remarkably unknown despite being formed late 2009 and with a sound which leaves one grasping for support whilst gasping for more, things surely are set to change with the release of From The Depths. It is a crushing slab of invention and creativity brought with a skill and accomplishment of the highest order. Previous releases, the single Condemned To Extinction and the War For Land EP marked the London quintet as a band to watch and they have not left any disappointment with From The Depths.

Karybdis bring a storm of extreme metal across the album as powerful and rich as the Greek mythology which inspired their name, a sea creature from Homer’s Odyssey the exact source for their title. Each song is a blistering aural violation of death and groove metal punctured and energised with challenging hardcore influences. Within the constant assault though there is a consistent brew of imaginative invention even if at times it needs an extra concentrated look beneath the bruising consumptive surface.

The album opens immediately with the best track on the album though it is challenged for the honour persistently throughout the release. Minotaur is outstanding to understate things, from its dark atmospheric introduction of soulful and melancholic breath upon waves of the sea and solitude the track is a mesmeric storm waiting to be unleashed. As its air becomes more tempestuous with coarse growls and raised intensity there is a sense of a collision impending for the senses, something the song eagerly deals with stunning efficiency. Once in full rampage the ear is accosted with a groove as teasing and wanton as it is infectiously irresistible. Accompanied by bulging riffs and combative rhythms to buckle all knees the track leaves one breathless as it consumes to exploit and ultimately violate every corner of the senses, all the time that persistent devilish groove picking away at the wounds with the delight.

From the first song alone one is strongly impressed by the merciless rhythms of drummer Mitch McGugan alongside the demanding riffs and enterprise of bassist Jay Gladwin. The dual guitar attack of Pierre Dujardin and Harsha Dasari spring from this immense framework to bring their own creative sadism, their invention manipulating the ear with riffs which leave cartilage alongside bone crumbling and a melodic scorching to flay the senses into a submissive frenzy. Vocalist Rich O’Donnell, the newest member of the band, brings from his depths energy and intense malevolence which only accentuates the assault and delivers the lyrics as brutally and intrusively as you could wish. The following title track immediately enforces all that came before it whilst bringing a distinctly different approach. The grooves are here but more restrained whilst the incendiary guitar sonics and melodic explorations are to the fore. Though not as contagious as the first it is no less a fully satisfying brute.

The likes of the venomous Without Wings, the perpetual assassination of synapses that is Medusa closely followed by the equally damaging rage of Maelstrom, all extract the deepest satisfaction and pleasure from within. It is the duo though of Worth It and I Say alongside the opener which compound the existing thought that Karybdis are sure to make a major impact in the future of UK metal. The first of the pair is an excellent savage crusade of riffs and malicious energy against the senses with a tendency to unleash the cruellest undefined grooves which taunt throughout. The track has all the predatory instincts of a pack of wolves and the ravenous appetite too. The latter song starts as relentlessly and greedily as the first but evolves into a feast of winding insatiable grooves and a wonderfully surprising prog jazz like aside within the rampant aggressive intent. Both songs are as immense as the opener and gratifyingly varied to each other, whilst together the trio easily epitomise the album as a whole.

Produced by Russ Russell (Napalm Death, Dimmu Borgir), From The Depths is a stunning debut and the bringer of real promise for not only the band but UK extreme metal. If one was being over fussy, maybe there is still some originality to be found to truly set them apart from others but it is hard to recall a recent extreme release as enjoyable as this and that is what it is all about.

RingMaster 29/06/2012

Copyright RingMaster: myfreecopyright

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Sleepwalkers: Love Lost

Is there a point where extreme music and violence is interchangeable, one has to wonder when listening to the debut EP Love Lost from UK metal/hardcore band Sleepwalkers. The release is a wonderfully nasty bruising inventive slab of extreme metal brought with an aggression which should be caged to protect society. The five track release is a towering assault of crushing intensity and distinct imaginative invention within a direct and undisguised destructive nature.

The EP actually had the misfortune of following another extreme metal release from Karybdis which is rather special and highlighted the elements which one could harshly call flaws here. Usually a venture into a different subgenre is the course of things when reviewing so immediate comparisons do not occur but time dictated things though it could not hide the great quality of Love Lost. To get it out of the way the only real problem with the EP and it is as always down to personal tastes is the vocals of Andy Wiggins. He is a strong and more than decent frontman but without diversity in style or delivery his aggressive and demanding shouts verge on the tiresome and distract from the musical prowess and invention around him. At times though things really work well especially with the addition of support vocals even if again shouts, to state all that is needed is a different approach at times and  more variety. It is a growing trend it seems to have the singer just shout with a singular intent and for some like us it threatens to go beyond testing.

The EP opens with Better Than This and corrupts the ear instantly with rampaging rhythms and striking guitar enterprise, the twin attack of Adam Forsythe and Martin Jarrett powering through to the senses with colossal riffs and fine melodic surges of creativity. The track dips and surges in pace whilst maintaining the surest of intensity upon the ear. The song is a strong opener without leaving one dazzled but as the EP progresses it takes care of that.

Blackjack takes no time in winding hungry riffs and melodic tangles around the ear, the track tightening its grip with an increasing brew of enterprise. Drummer Andrew Busby assaults with a military precision and attack to bring a merciless hold as the guitars explore the boundaries of the song and their imagination. The result is a track where predictability and expectation has not even a whisper and compulsion is rife to bring a sure satisfaction.

The excellent Love X Lost is the band at its best on the release. Hypnotic in the extreme and as punishing as any primal storm the track is a hardcore gem with muscles borne from the extreme metal heart of the band. Though not the heaviest of the tracks it is no less powerful and formidable with the promise of the band undeniable. Again there is an ever changing swarm of direction and ideas beneath surface aggression to keep things persistently unpredictable.

The remaining songs The Beggar The Sculpture and The Blessed ensure a no less rewarding or challenging experience. Both treat the senses like punch bags with vindictive rhythms and corrupting riffs whilst oppressing the ear with the fullest intensity. Again the songs stir with explosive inventive twists and melodic curveballs to leave one more than intrigued by what the band is bringing forth and will eventually produce.

Love Lost is a mighty and impressive release from Sleepwalkers which incites a definite close eye on the band. They are still in evolution one feels with all the evident imagination and excellent enterprise at times not quite removing their sound far enough away from other similar bands but with this base to work from they are sure to be a notable force in UK metal.

RingMaster 29/06/2012

Copyright RingMaster: myfreecopyright

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Interview with David J. Caron

When a debut album comes in the form of a 28 track well presented CD curiosity is piqued if maybe intimidated at the size of the introduction. When the quality of music, imagination, and invention is so impressive and high it can only be talked of as one of the best debuts from a rock solo artist in recent years. Thru Eever-Ending Black from composer, writer, and producer David J Caron is quite simply outstanding, a wonderfully infectious and persistently compelling slice of creativity. With great pleasure we had the chance to find out much more about the album and music by asking the man himself to take us into his musical world.

Hi David, thank you for letting us spy into the world of David J. Caron

Hi Pete, Thanks for the curiosity and thanks for the great album review. 🙂

Firstly tell us about the man.

I was born in Italy and lived there until I was five, Irish Mother, Italian Father, one brother. I was fortunate to grow up and go to school in England, where my extra-curricular musical schooling and development took place, in terms of musical Influences through friends, going to gigs, listening to many albums etc. My family moved back to Ireland some years later and County Donegal became my main home ever since. All that, doesn’t really answer your first request, I know, but hopefully  the following answers will help to slightly unravel its complexity .. possibly 🙂

What was the trigger or inspiration which led you into music, performing and songwriting?

One day when walking to school football practice with some friends, I heard “Let’s get it up” by AC/DC on the radio and was totally transfixed by this sound as the song played. I had never heard anything like it before that point. It changed me at that moment and knocked me onto a different path, with new desires and aspirations. I wanted to find out more about this kind of music, I wanted to play guitar, without realising immediately that I would have to spend years learning of course, but I soon worked that out!

Music has always been a part of or in your life from a child?

Before that day at school, I was always aware of and listened intently to music and lyrics. My Father would play tapes in the car a lot and records in the house as I grew up. The Shadows, Elvis, Johnny Cash for example, even Classical and Country!  My Mother had a Piano and I would mess about on it. I even had to go to guitar lessons at school with the typical high-action, finger-hurting, anti-progress, classical guitar, but I had no Interest then. I would hear pop music on radio and TV, some of it was attractive and was a way of socialising with friends, and getting to know cute girls..but it wasn’t  life changing! That all changed when I discovered the deep magical well of fantastic Rock music, classic and current at the time, that I immersed myself in and searched for from that moment on. Growing up near London was also a definite musical personality shaping bonus, with all the great Rock bands you could jump on the train and tube to go and see for the evening at Hammersmith Odeon or Wembley Arena, every weekend.  I was fortunate to be bought a decent electric guitar and amplifier by my Mum and Dad, and I spent all my time learning every riff and solo I liked, until I could play them note perfect. I’m still learning..that’s the never ending beauty of it. I do remember starting to compose riffs, ideas and lyrics, very early on, as well as recording them in simple form on a basic 4-track machine.. I still have all the tapes !  Some riffs of which can be heard on many tracks on this album.

You have just released your excellent debut album Thru Ever-Ending Black but what is your musical history up to this point?

Thank you very much.  I am very proud of every compositional aspect of my album, which is the culmination of many years of song-writing work. Some tracks have been around in some form, recorded many times in different formats, changing slightly each time and hanging around in various versions, while some tracks were written during the recording of the album.  My musical history has really been waiting to burst into life, in a decent, professional , noteworthy fashion, in a way that I can be completely satisfied with, in control of and proud of, as it has now. This album is really the big bang of my musical Universe and all else that I hope and plan to follow it with, starts from now. To me, in this case, the previous to it doesn’t matter . I have played in various bands obviously, but nothing that has any real relevance or affect on the songs that make up this album. Many artists may have a history playing with this band or that one, whether good or bad, and include it in their bio, maybe to embellish their product a little, but I don’t think that would necessarily guarantee or have any bearing on the quality of the album you release at some later point in your life. It certainly doesn’t for me. I know precisely what kind of songs I wanted to create, I know what I am capable of, I know exactly what I like to hear , and I have done exactly that, irrespective of any previous endeavours or associations.  I do hope to let the songs on this album create a musical history from this moment on though, and hopefully some meaningful bonds and collaborations with others, in terms of building a band around it. That’s the way I’ve ended up doing things anyway! 🙂

How long was the album in the making?

I decided at the start of 2010, that I needed to record all the tracks that I had hanging around for years, properly, once and for all,. I always thought they were great songs with such a unique style, that I had to record them and see if anybody would like them as much as I did, and as much as I thought they could be. I think they have great potential. Recording started in June 2010 and finished, 28 tracks later, in December 2012, so about 18 months, including many returns to the studio to re-arrange little bits here and there, until I was completely satisfied with everything

Was it a project with tracks being written and composed simultaneously or was it a one song at a time process?

I started off the recording process with no real expectations of it even being an album. I just wanted to record the music to all my songs as professionally as I could with the facilities and finances available to me. I initially planned to put vocals down purely as a lyrical and melody guide for a decent, better singer to come along later on and have a complete song to learn from. But as the vocals started to come into shape, they started to sound not so bad, so I just left them on, for the time being anyway. With the help of co-producer Rob Mancini  I somehow  managed to bring out the best in myself vocally, from somewhere I never expected.

I started with about 12 tracks to record. I then resurrected 7 un-finished instrumentals during recording, writing lyrics for them, and while this was going on I kept waking up in the early hours of the morning, with new riffs and melodies going around in my head, that I had to get out of bed, half asleep, in order to work out what I was dreaming, musically. I could actually hear them while asleep, which never happened to me before. These ended up being  9 new songs, totalling 28 in all. In the end there was only enough room, annoyingly, for 27 and a half, on two CD’s. (“Final Bell” is only available as a free download if you buy the CD, or included in the digital download).  So I was forced to omit 1 track and I chose this one purely because it had seemingly the darkest subject theme, although in fact the song is about something entirely different.

Which of the songs were the initial dozen written before the album?

The first 12 songs were :  Memory Magnetic, Feels of Fire, Frozen Ice, Dark of Night, Too Much Little Time, The Knights, Who are you, Wall of Life, Beam the Ray, In me,  One by One, Irreplaceable.      The 7 Instrumentals resurrected with new lyrics were: Still Just One Moon,  Escapin’ Back, Unlock it Apart, Final Bell, Has to be, I am your Shadow, The Tree that waits…The rest  were the new ones that woke me up !

How do you bring songs into life from their first seed?

It always starts with the music for me. Either on guitar or sometimes with layers of synth  composition, that I leave room for guitar parts to drive. The initial idea and everything that attaches to it has to be catchy musically, to me at least, with harmony and melodic hooks that you want to hear repeat. If it isn’t then there is no point in me continuing with it. It has to interest, grab and move me and be at its best at every moment of the song from start to finish., as well as being stylistically unique to how I compose.  It has to be musically purposeful with a style and attitude that transcends genre requirements and makes it ever-lasting. It  can be made up of many layers and components that combine in a way that results in it being different to how any other piece of music has existed before, in quite the same mixture, to make it unique. On top of all of this there has to be as catchy and perfect an original vocal melody as I want to hear. But with all these elements, the underlying philosophy is never to take the obvious, expected, overused,  clichéd Rock path. I like to mix in some random, quirky unconventional aspects to both music and lyrics. Any part I may come up with that doesn’t  satisfy all these conditions, has to be rejected and replaced with something that does. The lyrics always come last, and have to also follow my rules, of timing, rhythm and sometimes multiple rhymes and double meanings. It has to all fit into a secret stubborn musical mathematical formula, that only I know, when I hear it.. Occasionally in fact Rob would turn to me in the studio and say “ What the **** are you on about”? lyrically, or “ Are you sure you really wanna do that”?  musically.. which is often exactly what I like to hear.

The album as you said is a 28 track epic which obviously was not your intention initially when starting out on the album.

I didn’t plan 28 tracks anyway. The word “Epic” conjures up images of an enduring, impressive, meaningful voyage full of great achievements and courageous heroic events. I think there is a note-able lack of meaning and integrity in a lot of current music, the lack of which is so easy to accomplish. Whereas it is a definite requirement in my style of writing, so I would have to say that to have my album described as being epic is both a welcome complement and an intention achieved. So thank you.

Did you have any qualms about putting out such a large release?

Not really. I know it’s unheard of to have a 28 track debut double album, but following convention is not my style in anything I do, just  as it isn’t in my music. The only thing that came into my head was people thinking ”Who does this guy think he is”? But if the songs are all good, and it costs much the same as a single album, then a double album to me is a bonus and tells a bigger picture, leaving a bigger impression, especially for a debut.  I had a few reasons. Firstly I had all these songs recorded at the same time as a project that seemed to belong together. I didn’t want to separate them from each other. I thought they were all equally good enough to belong as a collective. In fact they seem to follow on from each other on the discs as you listen, like pages in a book, as if destined to co-exist. I also wanted to be rid of them and release them all from me, to go out into the world and be finally heard, since some had been with me for a long time. I also wanted to be able to start totally afresh with new ideas for my next album, without re-visiting old tracks yet again. And on top of all this, I like to do things a little different to the standard. I thought that if it’s too much for someone to listen to, then they can just listen to half of it if they want..(if they can )! 😉

The tracks seem quite personal is that the case?

Yes, a song has to have some personal element or connection with me, although it is often disguised in a way that could be interpreted in many different ways with no direct obvious meaning. Some tracks that seem to mean one simple thing in fact mean something more intricate and some tracks that seem to be un-decipherable are actually about very simple, obvious themes.  I like to keep the listeners thinking and guessing about Lyrics. I don’t see the point of writing about anything that has no personal attachment what-so-ever or that is void of any significant meaning. I think an audience can connect better to that which comes from inside, rather than hearing repeated, the same thing they’ve heard a thousand times before. There’s a lot of blandness inherent in popular music lyrics that has no purpose. Maybe I’m too much of a thinker, but the intrigue-less and un-imaginative has no stimulation for me and it doesn’t suit my style.

Is there an element of releasing demons or the songs bringing a kind of closure to things?

I never seem to write a song about just one idea. It’s always a collection of thoughts from many different experiences and fantasies that relate and connect with each other to mix and form into a particular theme of a song. These can often include demons that we all have and a certain closure to some un-resolved, un-explained occurrences and personal experiences.   Lyrically it’s essentially a way to express my  feelings , thoughts and observations in a way that paints images into the mind of the listener in order to get them to try and figure out what meanings my particular combination of words visually suggest to them.  That makes it a more personal experience for them too. But I have referenced certain of my own demons in this album, in places, as a way to release them from me in a positive way, to empty myself for future chapters to fill me. The title of the album is also purposely misleading. It is actually an optimistic collection of very confident, positive and logical thoughts.

Musical though the album is melodic metal it does have a wonderful diversity to it taking flavours from varied subgenres, what are your biggest influences which impacted on your songwriting the most?

I grew up listening to many Heavy Rock and Metal Bands, as well as many other bands and so-called genres, but I wouldn’t call anything on this album Metal.  It always amuses me slightly how some people, especially some dj’s, reviewers and music connoisseurs often can get into a slightly confused and unresolved state trying to work out what genre to place it into, because it seems many people have become obsessed with trying to categorise every artist they hear into a particular pre-named type, era and direction of music. I have always either liked a song, or I haven’t. To me it’s as simple as that and that’s all that should matter. It doesn’t matter to me what “genre” it’s told to be. When I started writing the album people asked me, “Oh, so what kind of music is it that you write”? I replied “It’s just my own music.. The only way to describe it, is to listen to it”. I have never tried or been interested in wanting to try and sound like any other band or type of music, even though there are many bands that I admire. Too many great bands to even attempt to try and copy.  Usually when artists are asked who their influences are, they recite a long list of artists that affected them or that they listened to or aspired to be. I could have a very long list too, but I believe that everything you ever hear, good and bad, influences your musical mind and creative work. It certainly does to me. If I listed 100 influences here I would be omitting 100 more. All the best bands that have ever been just sound like them-selves and no-one else sounds like them. They are instantly recognisable. Then there are all the rest, who start out by trying to sound like their favourite band. It just doesn’t interest me. Only I can write exactly as I write, and I am proud of that. Nobody but oneself can write their own original style of songs, but anyone can copy someone else’s songs as their style.  It’s easy to get a big bowl and throw in a certain combination of a little of some of your favourite bands, like mixing up a recipe, and then calling it your own. It’s a lot harder and more rewarding to just invent something that doesn’t sound like anything else. That’s what I like doing. I don’t care if it fits into what is supposed to be current. I am glad of it. To get on the radio, or to get promotion, or to submit a track for a TV/movie licensing deal, it seems the industry is programmed to search for artists that sound like other artists all the time. ”Who do you sound like” is a question I am constantly asked and not able to answer because I don’t sound like anyone.. This seems to be a problem to some, but I am proud of it. It’s the way I am designed and the way I’ll always be.

Every aspect of the album is you except bringing in Robert Mancini to co-produce. How much frustration and emotional intensity did this bring upon you whilst creating it?

Rob had the studio facilities, and engineering knowledge to produce all  the technical engineering side while I was free to concentrate and produce the writing, performing, arranging and deciding how I wanted everything to sound and come across, with his suggestions. Every creative and compositional decision on the album was my own, so there was no frustration at all brought on by working together. In fact it was  the opposite. Rob is a very patient, talented and enjoyable to work with Engineer/producer without which I would not have ended up with quite the same finished album. He would ask me what I wanted to do, and he would work with me until everything was exactly as I envisaged and wanted, however fussy I was for however long it took. We are both perfectionists in slightly different ways, so between the two of us I think we managed to make sure nothing would slip past our high standards of technical, performance and compositional quality control.  I think we both learnt a lot in the process as well as having a lot of laughs a lot of the time.

How did you link up with Robert?

Rob is a good friend and in 2010 he offered to record some songs with me in his studio, although neither of us knew then it would turn out to be 28 tracks over 18 months.

He was the objective ear which all music needs to some degree?

It was great to have his musical background and knowledge to consult with throughout the production. Rob like myself has an un-biased professional approach that always has the best interest of the song at heart and of the production quality in mind, regardless of his own personal preferences or style.

Tell us about the elemental and space type themes you brought the emotion and songs hearts through.

Well it’s mostly all inventive symbolism, disguising simpler basic emotions and everyday feelings through the use of more fascinating and perplexing imagery.  I have an interest in all things that are mesmerising and interesting, but anyone who thinks I am actually writing about meteorites in “Look Out” for example, is not reading the clues and missing the point entirely. Nearly every sentence of every song is disguised as something to decipher and discover.  Writing blatantly obvious lyrics is not only too common, but also far too easy, un-challenging and un-rewarding.  I am as proud of my lyrics as I am of my music. The whole package is important and it keeps me entertained.  There are some recurring  motifs that pop up now and then throughout all songs, which connects them.  Dark and Light, Time, Integrity, Wisdom, Wit, Strength, Love, Truth, Courage, Pain, Reason… amongst others…basically most of the important elements in Life.

When you write a song what is the predominate spine of intent you try to bring forth?

To create what satisfies my own standards of compositional perfection, so that I love every part of the song and wouldn’t want to change any part of it in any way, when it’s completed. Also to make the listener not only enjoy it but take notice and listen as opposed to just hearing. To create something unique in style that connects with you, moves you, leaves you fascinated and intrigued, has attitude, purpose and meaning, as well as remaining in your memory as something you have gotten to know well, are fond of and that gets even better with each listen. That’s what I strive for and work on until I feel I achieve it.

Tell us about the videos which accompany some of the songs on the album.

What videos ? 😉 I don’t have any official music videos available as yet apart from the moving graphic lyrical videos for a few of the tracks(what we meant 🙂). I do plan to shoot some professional music videos at some point, although with me they will have to be something fairly unique also. I would love to have full length digital animations to interpret all the symbolism in the songs but that takes a lot of time and money.  (If anyone is interested please let me know through my website)!. I do believe there is a very devoted fan somewhere who edits some pretty interesting and visually fascinating movie clips to the audio tracks of some of my songs, which gives another dimension to the music. They’re quite entertaining actually. I like the fact that often the chosen edited images don’t attempt to have absolutely anything to do with the theme of the song. Sometimes this can work quite well instead of trying to recreate the lyrics with images. There is no need obviously since the music speaks for itself and is perfectly capable of planting images in the listeners mind, as it is. But it’s something cool to look at while listening to add associated impact.

Have you or will you be presenting the album live at any point?

At some point in the future, I plan to get a band together with individuals who would be as committed to the philosophy the music is built on, as I am myself.  I would love to take it live, in the right environment and I believe the songs have great potential for a bigger live setting at some time, with many elements that could be incorporated resulting possibly in a spectacular production show, not only as a live gig.  The possibilities and potential are limited only to a lack of imagination, which thankfully I don’t have. I need to recruit the right team of talented and like-minded people around me I think.

What is next for you?

I am working hard promoting my album. It’s getting good reviews and airplay in different countries. It’s getting featured with exposure in different magazines. There will be a couple of tracks issued on 10,000 sampler CD’S each in UK and Italy next month. I am currently looking into licensing opportunities for Film and TV.  The music business has changed dramatically with the digital revolution creating so many new possible directions and I intend to pursue and take advantage of as many of them as I can for the time being to get my album around the world to as many ears as will be interested in it. I am gaining fans daily and have many elaborate plans for the future including a live show, new music,  music videos, animated feature films, even ideas for computer games based around my music. ” Beyond the realms of possibilities we’d be arrivin’”! as someone once said… 😉

Once more thanks for chatting with us David.

Your welcome and Thank You, Pete.

Find out more about David J. Caron @

Read the Thru Ever-Ending Black @

The RingMaster Review 28/06/2012

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Redcode:Revolution : The System Has Fallen EP

Renowned for his industrial metal sounds with Diehard, a band that has become a firm fixture on the Reputation Radio Shows, Alexander Morte has turned 2012 into an energised year of creativity from himself starting with the alternative electrocore music project Redcode: Revolution. The debut release from the band comes in the shape of The System Has Fallen EP, a thumping and stirring three track storm of absorbing and diverse electronic music, deeply aggressive vocals, and equally challenging lyrics.

Nürnberg based Morte alongside Diehard has also captured the imagination of a great many with his solo instrumental work as well as finding acclaim as a freelance composer, film musician and producer. The immediate future is set for the unleashing of his metal band Era Hex and EBM project Error:Genesis as well as this release, Morte a man who seemingly never takes a breath but consistently maintains a high and continually inventive surge of imagination and artistic skill as proven by The System Has Fallen EP.

The promo sheet attached to the release states ‘RC:R is a scream of the ghost flying above the ruins of post apocalyptic world!’ and that is exactly the feel and overbearing imagery one gets whilst within the intrusive yet hypnotic soundscapes, the sense of worlds and lives left in chaos and husks of a once prosperous energy from the fallout of power and greed. Apart from the proposed apocalyptic future premise the EP is centered on the now and hits hard with its dramatic theme.

The EP opens on a siren, its wail opening up the ears to the electric venomous sounds bleeding through the air from the start of opener Red Code Revolution. With excellent female harmonic cries with a great Eastern ambience warming the bristling atmosphere the track stomps across the senses with an immediate infectious breath. Pulsating and vibrant it stirs the emotive elements of thought as the song leads hypnotically into its intense heart. Once Morte brings his harsh and combative vocals into the song the shift in energy is definite, the track and lyrics challenging and inciteful. The song though blends the beauty and the fight within the song in a clean and seamless weave, the senses finding themselves abused and exhilarated in one flowing and captivating intrusion.

The following Chemtrails initially skirts the ear with skittish electro pulses as melodic murmurs form an alliance with the senses. This almost subdued entrance soon digs into its intense depths to expand into gut punching vehemence and dazzling sirenesque infection. The track offers up a chorus as insistent as it is anthemic and is destined to trigger mass limbed responses. It also acts as a powerful aural spark in inciting the imagery of organised gang salutes of world forces in history and arguably for revolution, the essence of the EP.

It is that aspect of the release which is as satisfying as the sounds, the premise and intent is strong yet not forced down the throat but it is the music and its structure which lights up the imagination before the powerful portrayal and inspiring defiant commentary.

The System Has Fallen closes with the equally outstanding Electrocore Devision ensuring the release is fully impressive from start to finish. The song once more wonderfully meshes anger and tension with glorious sonic waves of irresistible sounds but this time brings a stronger industrial presence. The great repetitive chorus has a Rammstein feel to add extra muscle to the enveloping contagion elsewhere and at times seemingly teases with eighties electronic suggestions for extra spice.

The EP is outstanding and though already aware and a fan of the work of Morte, The System Has Fallen has surprised and surpassed expectations going into it. The EP is sure to excite industrial/harsh EBM/electro fans as well as metal ones everywhere and with an album already well into its creation the revolution is nigh, the Redcode: Revolution.

Listen out for a Bone Orchard industrial/electro podcast special featuring amongst others Redcode: Revolution coming soon from The Reputation Radio Show.

RingMaster 28/06/2012

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