The Bone Orchard Show 34

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

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

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

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

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

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

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

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

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

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

RingMaster 16/06/2012

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Calling All Astronauts: Winter Of Discontent

After the success and acclaim for their debut single London based socio-political band Calling All Astronauts return with their new track Winter Of Discontent, a dark brewing storm of malcontent. Once more the band have harvested seeds of social and political dissatisfaction into an inciteful and charged piece of songwriting and music. The trio of vocalist/programmer David B, guitarist JJ Browning, and bassist Kristi Bury, this time have intensified the dark electro energy which invaded through their first release Someone Like You into a heavily shadowed and deeply rooted provocation. It is immense, a resonating heart spawn soundtrack for today.

Released June 24th through MKM Records, Winter Of Discontent follows up what has been a productive time between releases with the band receiving consistent airplay across sixty radio stations and on shows like BBC 6 Music Introducing with Tom Robinson. Ireland’s RTE Culture Café, and The Bone Orchard from The Reputation Radio Show. They were also featured on the cover mount of Big Cheese Magazine and supported A Place to Bury Strangers and Pop Will Eat Itself amongst their own successful headlining shows. The new release is the next accelerated step for the band, its blackened seduction simply irresistible and unforgettable.

The song immediately consumes the ear from the start with agitated electro sparks and a wonderful throbbing pulsating cello/bass groan from Kristi Bury which is unrelenting and insistent through the length of the song. It is like a primal call, an anthem for dark times and shadows and mesmeric within its resonating drone atmosphere. Around it the guitars of JJ Browning spark and enthral whilst excited beats light up the growing intensity behind the emotive vocals of David B, his plaintive tones a fluid link between the dark and light of the song. As with their debut there is a heavy Sister Of Mercy breath which pervades the senses and at times as the song plays their track Alice comes to mind, its flavour a formidable and invigorating spice to the thrilling sounds and reinforced by the Andrew Eldritch like vocals of David B. Imagine the pop craft of The Cure and the atmospheric shadows created by Bauhaus in addition and you get the essence of the sound within the single, though Calling All Astronauts expand into textures and soundscapes uniquely their own.

Winter Of Discontent is outstanding and destined to eclipse its predecessor in success and acclaim. Calling All Astronauts are one of the most exciting alternative rock bands in the UK right now, maybe the best.

Grab a free download of the single @  http://callingallastronauts1.bandcamp.com/track/winter-of-discontent and listen out for the track on The Reputation Radio Show @ http://www.reputationradioshow.com/.

http://www.callingallastronauts.com/

RingMaster 16/06/2012

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Interview with Jonny Davy of Job for a Cowboy

With a new line-up the mighty Arizona death metal quintet Job for a Cowboy have lit up 2012 with their  magnificent new album Demonocracy. Returning with a continued evolution in musical maturity and technical excellence, the band retain their claim to being the most hostile, visceral, and exciting bands in death metal. As expected the album does not give an easy ride but is genuinely one of the most rewarding you could wish for. As ever we wanted to find out more about the album and look behind its sounds, as well as hearing more about the band itself. With pleasure we were able to do so with vocalist Jonny Davy who kindly tackled our questions.

Hi Jonny and many thanks for taking time to talk with us.

We will cut straight to the chase and the new album Demonocracy. Wow impressive, has it emerged even more powerfully than you at first envisaged?

Absolutely. We ended up changing parts and experimenting ideas within the studio. Something we haven’t really done before. I’m glad we took the time and effort to rearrange parts and hash out new ideas. We are all super happy with the product.

I admit I am no expert on the back catalogue of Job for a Cowboy but from the previous album Ruination there feels not only a distinct evolution in sound but in maturity, the songwriting and song construction especially, is that something that has been simply organic or have you worked particularly on that?

It is organic only for the fact that our motto in the bands writing system was to ALWAYS progress as a band. We are here to impress ourselves and others amongst the band. A lot of bands find their niche and safe zone, writing the same material record after record. We are entirely opposed to this and continue to enhance our sound as much as possible.

How much has the addition of new members guitarist Tony Sannicandro and bassist Nick Schendzielos, sparked the changes in the band sound?

A new lineup always sparks a fire under everyone’s ass’s. The reality is, every time we find new members we make sure that they are a step up from the previous ones. I know that it is cliché to say, but this is the strongest lineup that we have ever had, and if any of these members leave… it will be the end of Job For A Cowboy.

You are never an easy band to listen to haha, you demand a focus other death metal bands ignore but offer deeper rewards for that but with Demonocracy there is maybe a more instant aspect to parts of the music with the solos etc, would you agree?

Haha, yes I agree. I feel like this is the type of record where you really have to listen to a few times before really digesting it all.

The album and band is still as aggressive and hungry, that is very apparent on the album but is there a fine line between expanding your sound and direction ahead and losing the impact you have always brought to date to be wary of?

You know, it is hard to say. We don’t necessarily nit pick our music at that angle. We just try to have fun with it and try to make sure it is an improvement from the past.

Many bands would have used the acclaim and success of Ruination as the base for the next album but you seem to have started with a clean slate though it is still obviously a Job for a Cowboy sounding album.

I think every album for us is a clean slate. We don’t want to focus on one record and work around that. We want to keep making new ideas and stepping forward.

How does the songwriting work within the band and has it changed in any way with Tony and Nick on board?

It has changed dramatically. In the past, we always wrote and even lived together in Arizona. Now, guys live in Boston, Denver, Seattle and Phoenix. All across the United States. We had to shoot our ideas through email and home recordings. I think giving everyone space however let everyone hash out their ideas without the distractions of other members knocking them down before they could really progress.

Tell us about the theme and inspiration for the songs and lyrics.

Obviously from the title they are very political. So many bands in our genre from a lyrical perspective write about the stereotypes of death metal. Anti-Christianity, gore, death, murder… We stray away from this stuff and have a much more punk rock attitude.

You have again worked with producer Jason Suecof, he seems to have a real understanding of what you are as a band and want to bring to your music?

Jason is awesome. He has become a great friend and we really respect what he does in the studio. It is nice walking into something and know what to expect. That is why we keep working with Jason.

The album cover is immense, a welcome into Demonocracy as powerful as the music. Can you tell us about it and who designed it etc?

Brent Elliott White, who also did the cover for Ruination did this cover as well. He is an amazing artist just in the sense that you can give him so little and he can create so much with it. I gave him a rough idea on the lyrical content and he nailed it right on the head.

As mentioned you have two new members, so was the band set back a little with the departure of Bobby (Thompson) and Brent (Riggs) and can we ask the reasons for their leaving and was it something  that was on the cards for a while?

I’ll start with Bobby. He simply wanted to start the family life back at home. He actually helped write Tarnished Gluttony on the record. Great friends to this day, he just couldn’t handle the touring life with what he wanted to do at home anymore. As for Brent… Well, drugs became his first priority. He fell into the black hole of caring about drugs over everything else. He had to leave.

What was it about Tony and Nick that made you realise they were the guys to help out firstly touring and then to be added as permanent members?

We knew Nick from Cephalic Carnage, he still plays bass for them to this day. As for Tony, he was with Despised Icon for a couple years. They were both easy fits, especially from a personality perspective.

What have they brought to the music that was possibly lacking before?

Much much much much more technicality.

Has the new dynamic and ideas the two have brought in made you return to older songs with a slight re-invention in mind?

No, I think people like to hear our older songs the way they are. We don’t want to pull a George Lucas and recreate Star Wars.

I am no musician but was wondering when you bring a new guitarist in alongside the existing one is there a change required in both in regard to how they have played previously or in the existing member’s role within the already written and established songs?

It just turns into a new collaboration. We want our new members to do everything freely as they want.

One can assume you will be touring the ass off of Demonocracy?

Yes! Nonstop!

How do you think the live shows will change with the new guys on board compared to before?

A lot more energy.

You all seem to love every aspect of Job for a Cowboy but one senses the live arena is where you have the biggest thrill from?

Absolutely, we have toured nonstop for years. It is our true passion.

Too early I know but anyway what is next for the band and you as individuals?

More and more touring across the world.

Once more many thanks for taking time out to talk with us and good luck with Demonocracy, though one feels it will not be needed.

Would you care to leave us with any last words or thoughts?

Check out the new record!

Read the review of Demonocracy @ https://ringmasterreviewintroduces.wordpress.com/2012/04/04/job-for-a-cowboy-demonocracy/

The RingMaster Review 16/06/2012

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Virus Cycle: Return to Zombieland

Return to Zombieland from Boston electro/industrial metallers Virus Cycle revisits their acclaimed debut album Alice In Zombieland with a collection of striking and impressive remixes of tracks from some of the vibrant talent around the world, each re-inventing the dark creations with their own distinct vision. It is a startling tomb of re-invention, a parallel destructive world with an equally consuming menace to its source.

The music of Virus Cycle, consisting of Johnny Virum  (Vocals, Guitar, Drums, Synth, Programming), Damaris (Vocals), and Veronika (Artwork, Social Media), is a disturbed and addictive combination of horror borne lyrics, resonating beats, and guitar grinds which scythe through and ignite the senses from within an intrusive and haunting electronic consumption. It is a Resident Evil/Doom like soundscape spawn from the carcass of Night Of The Living Dead and 28 Days Later or as the band bio states ‘a post-apocalyptic future of death and decay, ruled by the flesh-eating undead’., the film the band name was inspired by. It is this heart which provides the core ignition for Return to Zombieland.  Released February of last year Alice in Zombieland was an inspiring ‘Post-Apocalyptic Industrial Zombie Tech’ corruption of the senses Return to Zombieland is its mutant bastard sibling and equally as hungry and rewarding.

Return to Zombieland opens with two new and original songs from the band in Bring You Down (Forever) and City Of The Dead. The first seeps through the ear with an atmospheric whisper behind a film sample before disturbed predatory riffs surge in and out. Intensity increases as the monster stirs, the excellent near lifeless vocals permeating every note and syllable with a decayed breath brought on a pulsating wave of agitated beats, hypnotic bass, and scathing riffs. The track is outstanding and infectious, the instigator of much impatient anticipation for the new album the band are working on. City Of The Dead too leaves nothing but an over enthused eagerness for the future work. The track is a crawling venomous violation, its heart tar black and intent malevolent. With warning calls throughout the festering aural decay enveloping the senses ensures there is no escape from its immoral smothering, the song immense and provocative

From here on in re-mixes light up the ears in varying degrees though it has to be said there is a high consistency which leaves many other similar styled releases to shame. First entrant is The Last Man On Earth (Blutaenasche Mix). The original track by Virus Cycle is an invasive sprawl of decayed energy, a slow moving fully intrusive assault whereas the remix sparks fires of melodic energy sparking far more hope and life than its source. Preference looks to the original but the reworking is more than satisfying and brings a different face to the track which is what one asks.

The album contains three remixes of Alice In Zombieland and as many versions of White Zombie. For the first song the Droid Sector Decay Mix is the stand out one though the trio all bring distinct essences of the original to the fore. This version offers the thought of a dawning realisation of the darkness behind the subterfuge of light. None of the three captures the fearful and menacing tone of the original but this is the closest as it twists its own unique shadow. The thumping original transgression of life White Zombie is a track as infectious as it is pure evil and something the remixes capture in varying degrees. The mix by Traumatize creates a more atmospheric overlook of the brewing dark within the track creating safe warmth to barrier in the rot whilst the version by UK band Ghost In The Static gets inside the distorted energy with writhing mesmeric electro fuelled eagerness. The best is from Otto Kinzel, an artist we know from Chemical Distance amongst other projects, and who has since become a studio member of Virus Cycle. His track chews up the senses with a blistered melodic sonic fingering and a rampant primitive energy. He rivals the original the closest and again inspires a keenness to hear his future work with the band.

Other tracks include remixes of Never Again, Cemetery Hill, and Rest In Peace, the three pleasing to a descending level respectively but all intriguing enjoyable efforts. The pair of tracks from Lykquydyzer easily emerged as our favourites, the brilliant versions of The Underworld and Horror Hotel an aural contagion and the strongest infection, especially the first of the pair which dare one say actually outshines the original. With an insistent and insatiable storm to their energy both tracks leave one breathless and eager for more.

To truly get the most from Return to Zombieland you need to listen to Alice in Zombieland too which is not an effort too far and will easily be one of the more rewarding things you do as you investigate the impressive creative worlds of both albums. The pair of releases are available free from the official Virus Cycle website http://www.viruscycle.com/  so no excuses not going and being corrupted.

RingMaster 16/06/2012

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Whitechapel: Whitechapel

Since forming in 2006 Tennessee death metal/core band Whitechapel has been one of the mightiest most brutal pioneers of the genre especially seizing its reins with their 20120 album A New Era of Corruption. Last year saw the band release the Recorrupted EP which included of most note new track Section 8, an impressive song offering suggestions of the band exploring new directions in thought and imagination for their new self-titled album. It really was just a hint without giving full notice of the intriguing creativity to be unveiled on this the fourth Whitechapel album, a release sure to have fans and metal talking/debating.

The album is likely to divide people as to its position against the older material and releases, certainly against A New Era of Corruption. It is impossible to imagine any will dislike it completely but the degrees to how they welcome it will be varied as already seen amongst reviewers. For us it is an impressive attempt to evolve their already devastating sound into an even more decisive and unique invention. Is it better than its predecessor? No but nor is it a step back. It is an entry through a new door of imagination and ingenuity, a sideways investigation quality wise with unpredictable and compelling results. It is not 100% successful but near as could be asked and what release is ever perfect anyway.

Released June 19th through Metal Blade Records, the album discovers and conjures distinct and intrusive atmospheres to compound and expand their already destructive sounds. The tracks are adventurous and at times surprising without losing the core of Whitechapel, and when at times the unbridled intensity is held in restraint the band achieve the same impact through shadows and a blackened craft of disturbed enterprise and melodic violations. As you read you are undoubtedly forming an opinion before a note corrupts your senses but this is definitely one time that the music has to do the persuading or dissuading alone.

The album strikes from the start with its best track in Make It Bleed. Its intro is an emotive lead of piano and brewing keys, their combination a mournful beckoning into the thunderous explosion of sound soon to follow.  Riffs crush from a great height and vocalist Phil Bozeman spills malicious bile with every word. Within the black intensity and rampaging aggression though there are slithers of teasing grooves guiding one through the mass of aural corruption. As everything presses down upon the ear more violently the track takes a respite with some outstanding melodic guitar right out of the song book of Breed 77 and combines the two approaches with a defined and skilful touch. The song twists one inside out keeping up with all that is going on, its addictive pull insatiable right up to its last note, itself a lingering snarl.

From such a great start you would imagine a step back but not with Whitechapel, they just relentlessly ignite and incite the fullest and deepest pleasure with tracks like Hate Creation, (Cult)uralist, and I, Dementia.  The first is a brawling mass of violence rupturing the senses whilst clean sonic swipes forge a sharper intrusion. Vocally Bozeman mixes up his excellent vocals with some clean spoken parts reminding of Corey Taylor/Slipknot. The middle song is a colossal predator prowling and provoking with melodic lures and incendiary sparks of malevolence whilst the last of the trio is one of the most imaginative and inspiring on the release. I, Dementia from its first presence scrapes and niggles at the synapses like a sonic leech bleeding the senses as muscular riffs force the lesions wider. Like the demon in every shadow of the mind, the track manipulates with taunting greedy grooves and bone splitting rhythms. It is a masterful track which leaves a permanent inciteful presence after its departure.

The band is at the top of their game inventively and musically, the mentioned tracks and those like Faces, Dead Silence, and The Night Remains just as impressive compelling. The album is the first with new drummer Ben Harclerode and he really is a step forward in that department though his predecessor Kevin Lane was far from a slouch, but Harclerode is a force of nature, his power and creativity persistently climatic and even when he is not so noticeable he is still driving and spearing the sounds ingeniously.

Weirdly and though still a mighty component of the album Section 8 loses the impact it had when first unleashed last year, whether it has been remixed or just the other tracks have bypassed it in quality the song is far less remarkable in the context of the release.

Closing with the excellent enveloping Possibilities of an Impossible Existence, a track of blackened heart and even darker vindictive substance, the album is outstanding and though surprisingly different to what most would  expect from the band it is invigorating and an immense base for titanic glories ahead.

Ringmaster 16/06/2012

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