Interview with Paile from Beastmilk

A release which ‘…swamps the ear and senses with an unrelenting intensity, a shadowed energetic breath and doom coloured melodic mesmerism’ was how we described the excellent Use Your Deluge EP from Finnish post punk band Beastmilk . The four track release is an outstanding feast of self proclaimed apocalyptic post punk which unrelentingly grabs hold from the very beginning and grips and twists tighter as it consumes the ear persistently. With pleasure we had the chance to find out more about the band and release thanks to bassist Paile taking time out to answer a few questions.

Hi Paile and welcome to The Ringmaster Review

Firstly for those new to the band could you simply introduce yourselves?

Hello, and thank you. If fluids in general feel intriguing to you, our music should be to your liking. Please have a sip and a listen!

We have to ask about the band name, Beastmilk. It inspires many thoughts and images not all healthy haha but what are its seeds?

The contaminated seed is of our fathers and other homosexual men. And one should never belittle the value of taste. All beasts produce liquid substances of varying density and color.

Tell us about the beginning of the band and how you all met?

It was cold, very cold. Much snow. And very dark. Paile wanted to play drums in a band, so Goatspeed invited him to a cellar to play some songs he’d written. They needed a bottom end to it all and called bassist Arino, asking if he’d like to come and play some punk music. Arino showed up, and on that instant, White Stains on Black Tape was recorded. Goatspeed knew Kvohst from before, and the vocals were recorded later that same night when the quartet met each other for the first time.

There is already a strong history musically to the members of the band I believe?

We must all be winners then.

How would you describe your music from the inside?

Inside it’s always throbbing, between the gushes. We try not to get stuck in there too long, one tends to lose perspective that way.

The press release to your new release states the intent of the band was to bring forth music that was a mixture of various acts like The Cure, Misfits, and Dead Kennedys. Listening to your music though one feels there are many more influences and inspirations which have spiced your style and music?

In a clever way we copy other people’s music and disguise it as our own original creation. We are also inspired by female sweat. Licking armpits can be very educating.

Maybe it was our ears but we heard a definite eighties UK post punk flavouring reminding of the likes of Joy Division, Leitmotiv and Crispy Ambulance. Coincidence or do you have a heart for those sounds too?

Our sound is calculated and constructed artificially using advanced machinery. We’ve all stepped outside our comfort zones for this band, and that’s where all the tension and the flavours are coming from.

The release we mentioned is your stunning Use Your Deluge EP, four songs which for us swamps the ear and senses with an unrelenting intensity and doom coloured melodic mesmerism for the fullest aural addiction.

Thank you kindly! We trust in the vibe that seems to arise by itself when the four of us are put in a tiny space for a limited time. There is always present a balance of sceptical curiosity for what the guys will play, and yet the outcome always sounds smashing.

Tell us about the songs on the EP, what inspired them and were they written specifically for the release?

The songs are always written quite quickly, and specifically for the upcoming release. At least Ms. Chapman and A.O. Spare should feel particularly honoured this time.

Do songs emerge in the songwriting from one person or is a full band contribution throughout?

It’s always interesting to listen back to the original demos and drafts of Goatspeed after a song has been recorded in the studio. They appear to go through a natural metamorphosis. The demos usually get their specific feel and direction once Kvohst has written the vocals. Then everything crystallizes when Paile and Arino build up the backbeat.

When reviewing the EP, we talked about the track Children of the Atom Bomb which we loved by the way, as the perfect example of ‘repetition when used right and with thought is irresistible,’ In hindsight though we still know it to be true, we were wondering how you guys think about the repetition comment, if you see the song using that too quite as much as our ears do?

Never thought of it that way. Repetition in thought and in practice is a fine thing.

Use Your Deluge was only released as a 7” vinyl. An old school return we love and endorse but do you think you are restricting yourselves in the spreading of your sounds and presence by no CD release?

We love the sound of vinyl (and cassette). Do people still buy CD’s?

Was this always the intention to do a vinyl physical release?

The vinyl comes with a download code as well. But somehow things tend to exist a little more when they take physical shape, like seed and eggs.

In the studio did the way you were releasing the material make any impact on how you recorded the songs?

Not so much. Red Majesty is quite long in comparison, so it had to be paired with a shorter one.

The songs on the EP have a delicious and powerful raw edge to them leading us to wonder if you recorded them like a live cut.

We’re very quick in the studio. It all comes down to the communication between Goatspeed and Paile. They look each other passionately in the eyes until the tension gets unbearable. That’s when the main arrangements just seem to appear. Then we add the bass and the vocals and some additional overdubs. It’s not live, but we leave a lot of room for spontaneous solutions and unobstructed expression.

Is the release just a teaser for something more substantial in the near future or is there going to be a wait ahead for our impatient ears


I believe you have ‘real’ lives alongside Beastmilk, how does this impact on the band if at all?

Unfortunately you are mistaken, we do not have ‘real’ lives alongside Beastmilk. Beastmilk is everywhere

Is there a live side to Beastmilk, I ask as it was hard to find any dates upcoming or recent for you.

We are currently in the process of booking festival gigs for summer 2013. So dig out your aprons and buckets and get ready for some milking!

What does come next for you and as a band?

What does come next for us and as a band?

Thank you for sparing time to talk with us.

Thank you for showing interest and for the nice compliments!

Would you like to end with a final thought?

We hope not to have any final thoughts yet.

Read the review of Use Your Deluge EP

The Ringmaster Review 03/08/2012

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Conformist – Paid To Fake It

Paid To Fake It from UK electronic conjuror Conformist is one of those treats which is near on impossible to describe, a tall order to give a representation of to others in words, and ridiculously easy to be infected by. The album is a wonderfully schizophrenic patchwork of sounds and a raging maelstrom of energies and textures which leaves one on the edge of sanity and deeply enveloped in a consumption of for want of a better word, brilliance.

The Cardiff based Michael Simmons, the man behind Conformist, first lit our fires with his single Savages Go Modern!, the track which also opens up the album which is released August 6th. The track drew great attention and acclaim as well as strong radio play and coverage which the album is sure to reinforce and explode. Simmons is a master at manipulating and layering sounds and samples into perpetually evolving aural creatures. He uses unexpected and startling noises in unison with samples from the likes of cable TV shows, shopping channels, talk shows, pornos, and the lower end of TV, to create destructive and constructive not to mention provocative mental intrusions. It is more than just cutting and pasting these things together though, his mastery ensures the pieces come alive and breathe with individual intent and attitude to create an overall journey of stark reality and suggested crumbling futures. The great thing is you can interpret things to your own thoughts and visions, so if the intent of Conformist evades recognition at times there is an equally impactful personal premise forming in its absence.

Savages Go Modern! riles up the senses from the off, its apparent disentangled elements fused perfectly into an edgy cluster bomb of magnetic blisters. From punk scuzzed guitar scrapings to post-dubstep baselines the track triggers imagery and thought whilst laying an infectious canvas to unleash the body upon.

It is an outstanding start instantly backed up by the spitting industrial ambience of Big City Buzz Band and the senses distracting punk fuelled Ladybug Ladybug. Both tracks are immense and build on the excellent opening with their own individual distressed soundscapes. Think the likes of Throbbing Gristle, Aphex Twin, Mindless Self Indulgence, and The Art Of Noise and you get a whisper of what triumphant goings on erupt within the walls of Paid To Fake It, but you can also add flavours from anything from Pere Ubu to The Fall or Pop Will Eat Itself to Ministry to the expansive palette the album explores and corrupts beautifully. The release plays like a further mutated soundtrack to an Eraserhead no more so than on the second of this pair, its presence a prowling expulsion to falsehood and safety. It is a glorious sonic mind fuck to willingly submit to and let shatter the world and its balance spiralling.

If you look under the industrial tag and genre there are a lot of bands which really are just abrasive metal/rock bands at most but something like Paid to Fake It for us is a truer entrant to that sphere. It distils and then further corrupts the sounds of life and an estranged world into an apocalyptic like honest distortion which offers irresistible contagion with a festering underlying truth. Tracks like Post Death Sales Spike and its manipulative deceitful world and Mr Grosse and Mr Playfair with its arcade/computer game trickery expose and assault the ‘misadventures’ of modern society to inspiring effect. Of course as mentioned things are individual in interpretation and it is that quality as much as the sounds which make for a powerful involvement.

Further highlights like Schrodinger’s Cat and Panic Buying continue the album as a mesmeric and disturbing treat. By the end one is breathless with a torrent of ideas and thoughts raging inside. Paid To Fake s outstanding and though it will not be for everyone it is essential listening to all who need something more than a good tune. It is experimental and unsettling as well as forthright and wholly satisfying. Conformist is an artist who understands and soundtracks the real world better than any other.

RingMaster 03/08/2012

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