The Cellophane Flowers – Staring at the World track-by-track

The Cellophane Flowers give insight into their forthcoming album, Staring at the World track by track.

Ian: “This one has become a real live favourite, starting off quite simple and poppy, then getting very very loud and raucous by the end. On the album, it’s more of a steady builder, so we reckoned it was a good way to start the album. The lyrics are quite psychedelic and fantastical, it’s probably the one we like playing live the most.”

The Promise
Ian: “This is the only track we’ve ever taken into a recording studio incomplete. We had the song, but had no idea what to do with it. Dave’s influence was biggest here – he added the sequencer keyboard part and the rest just fell in to place. There was a lot of space to play around with, so we had a lot of fun with it. It was originally going to be called Pokerhead until someone pointed out the Lady Gaga track.”

Pendulum Eyes
Ian: “We went for something quite 60s here, a sound like ‘Needles & Pins’ is what I had in mind. It turned into something different but still has a bit of a 60s feel. I’m not sure if it’s deliberate, but when we write a song the darker the lyrics the lighter the mood. This track is the diametric opposite of ‘Rock’n’Roll’.

Forever Lost

Francesca: This is the track we often use to epically end our live gigs. We love the way it builds and goes into a complete musical frenzy towards the end. The only song with Ian on slide too, which adds to the melancholic feeling of the track. I am particularly in love with the bass line; it’s magical. One track to listen to over a whisky or two.

Tears Of A Clown
Ian: “With ‘In a Hole’, this is probably the most mellow track we’ve done. Of all our tracks, this is my favourite and it’s the most personal lyrically. It’s about covering up for the fact you’re feeling down when the world is going mad around you.”

Ian: “The drums were recorded in a massive, disused NHS hospital kitchen, not once but three times. The triple-tracked beats transformed what was originally meant to be a light hearted 50s-style tribute to innocent lust and fumblings, into a darker, angsty shoegaze-on-Red Bull tale of frustration.”

Francesca: “One of the most upbeat tracks in the album, but the story behind the track is not as happy. We love playing with contrast! When Belinda unexpectedly passes away she is highly missed amongst her friends. So they meet at her funeral and they share memories of the old days…”

Ian: “Like Voices, this one has a slightly fantastical theme. We wanted an epic feel to match the theme and worked like buggers to get there, it was a hard song to get right. But as they say – if in doubt, go spaghetti western!”

Lucky Day
Francesca: This track means a lot to us, it is the oldest (and longest) track in the album. I remember us playing this track at the very beginning of our journey! It’s a real dreamy track, perfect for driving at night.

In A Hole
Francesca: Initially written on a ukulele, this was always meant to be a sweet interlude track. It’s just another song about a girl who is trying to find her place in this world. Who this girl is, I don’t know.

To keep up to date with the band, check out:

Free Download: The Cellophane Flowers offer ‘Tears of a Clown’ as an early Christmas present

Taken from their soon to drop debut album, Staring at the World, set to be released December 3rd, The Cellophane Flowers offer an early gift.

With the festive season around the corner, full of sparkly dresses, Christmas parties, spending time with friends and family and bursting with the spirit of giving a little more love this year, and The Cellophane Flowers are definitely getting all festive with their early Christmas present, ‘Tears of a Clown’.  The sensational quirky indie-pop foursome are giving the track away as a free download for you to add to those playlists, especially if you’re wanting to slow things down a bit and take a step back from the busy, glitzy and energetic time of year.

Download ‘Tears of a Clown’ free here:

Before The Cellophane Flowers get a chance to go Christmas shopping, they have a superb album launch coming up at the Paper Dress London: Thursday 6th December 2012, which they would absolutely love to see you there, so make sure you’ve penned that down in your diaries before you hit those office parties.

The band have been getting a truck load of critical acclaim from some of the music industry’s most exciting reviewers and tastemakers, so make sure you’ve got The Cellophane Flowers’ Staring at the World scribbled down on your letter to Father Christmas.

Catch The Cellophane Flowers live:

  • Album Launch Party // Paper Dress London: Thursday 6th December 2012
  • The Standards presents @ The Constitution: Sat 23 Feb 2013

The Story:

The Cellophane Flowers are the masters of female-fronted, driving, quirky pop, sometimes styling their sound as “psychopop” in interviews. The Cellophane Flowers songs reflect an eclectic array of influences, from tribal drumming, to alt-rock, to dark tinged 80’s pop and have name checked Siouxsie, Sonic Youth, The Stone Roses and Throwing Muses as influences. Time and again The Cellophane Flowers throw in hook after hook to support the sublime vocals of Francesca Corradini.

The Cellophane Flowers have recently completed the recording of their debut albumStaring At The World which is being released digitally on December 3rd 2012. The ten tracks of Staring At The World were recorded and produced by David M. Allen. Dave’s extensive discography covers The Cure, Depeche Mode, Human League and The Charlatans. Mastering was by Barry Grint (David Bowie, I Blame Coco) at Alchemy Studios.

Previous releases include the If I Was A Girl EP, which was played on BBC Radio 1 and 6 Music with Tom Robinson, local radio and numerous radio stations in the US, and the ‘Freeze Me’ single which gained airplay on Absolute Radio, BFBS and Recharged radio.

Praise for The Cellophane Flowers:

Gold Flake Paint – “a fresh-faced blast of subtle art-rock driven forward by the charmingly unique vocals of Francesca Corradini

For Folk Sakes
 – “It has a homage to Phil Spector…then morphs into a haze of lo-fi production which is lovely to fall into.

Tom Robinson, BBC 6Music
 -“Female-fronted slightly offkilter driving pop from London.

Electric Banana – “Staring At The World is an eclectic collection of everything right within indie music. From mysterious otherworldly swells to the no nonsense drive of honest rock The Cellophane Flowers enlists a great future promise” 5/5

To keep up to date with the band, check out:

Rising the revolution: An interview with Leigh Oates and Andy Trott of Soldierfield

This year of all the British rock and metal bands to emerge one has come forth to thrust UK rock music into an exciting and invigorating rapture more than most. From the release of a single demo track, Soldierfield lifted not only the acclaim and temperatures of fans to heady heights but inspired labels and media to sought them out. The buzz generated around the band also led to a heated anticipation for their debut EP Bury The Ones We Love, a release which veined with towering enterprise, rampaging riffs alongside fiery energies, and compulsive melodic imagination, left people breathless and us to declare it as a true classic debut. We took the chance to find out more about the release, the background to the band, and what follows for Soldierfield when having the pleasure of talking with vocalist Leigh Oates and guitarist Andy Trott.

Hi Guys and welcome to The Ringmaster Review

 Would you start by telling us about Soldierfield, how the band began, and the initial intent behind the drive of the band?

Andy – It started out with Simon and I really. I’d knocked together about a dozen tracks with the intention of putting a band around me, getting some really quality material and seeing where it went. I brought Simon on board early doors and we tried out various people to complete the line-up but to no avail so I sounded Steve out about producing some pro-quality demos that we could use to showcase what I’d written and he put Leigh in touch with us. We gave him a track called ‘Massive Dynamic’ and he came back with ‘Feel Alive’ and there it was a beautiful thing was born! That was quickly followed up by ‘Skyflower’ and ‘Better Angels’ which became ‘The Path’. ‘Leave You In Dirt’ was next, think that was called ‘Get Your Frankenstein On’, and then ‘Bury The Ones We Love’ was a real last minute bombshell, I wrote the music in a night, Leigh came back with it a few days later and we had our EP. So what started out as a 3-track instrumental demo almost overnight turned into a full-blown EP.

Leigh – The first I knew about Soldierfield was through Steve who mentioned to me that Andy an old friend of his had tapped him up to produce some tracks from his new project; he also mentioned the project didn’t at that time have vocals.  I happened to hear the demos from Steve and really liked the vibe of the tracks and thought I could definitely contribute positively so I mentioned to Steve that if Andy wanted some vocals I’d be happy to work with him.  We just made it all about the songs and they came together really easily.  I thought the potential in the demos was massive.  I never get involved with projects unless I can see that potential and really like the music so for me the drive was to record some absolutely belting songs and if we did that other things would fall into place.

Have those original intentions for the band and sound changed or evolved in any way across the past year?

Leigh – For me the original intention remains – it’s all about the songs!  Luckily reaction to the EP has been great and it’s meant that we have been able to look at doing more with the band, we always had a plan with the EP – to lay the ground work for an album in 2013 and at the moment the EP is doing a great job for us.

Andy – Yeah, gotta agree with Urco here, we picked the 5 best songs from a pool of about 8 or 9, booked a studio with Steve and went for it. People really seem to like what we’re doing so that’s just spurring us on to make the album sound even better. I think at this stage we’re just looking to write the best songs that we possibly can.

With the experience in bands for some of Soldierfield has this meant there have not been any hidden surprises and shocks in regard to the band and its passage to date?

Leigh – There’s lots of experience within the band but it’s still a great buzz to record and release new music and get a great reaction from fans & press…its always nerve wracking to release a new band and see what the fans/press will make of it, we were really happy with the EP though and as fans of music if we like it surely others will!

Andy – For me, the whole thing has been a surprise already, I’m still getting used to some of the great reviews that we’ve had, including right here! Some of the other guys have a lot more experience in the public eye than me so it’s been good to get their take on things as they’ve progressed throughout the year. It’s been strange, January and February was quite frantic with Leigh and I getting the songs ready and demo’d up, then the Metalbox thing appeared from nowhere and suddenly we were in the studio in May. It’s been a long wait to finally release the EP in October and now everything is going fairly mad again.

Your sound is impressively diverse with a seamless fluidity to its muscular and melodic craft, who are the major influences which have predominately lit your creative fires?

Andy – I just threw everything I knew into the pot! I grew up on everything from Bay Area thrash to LA hair metal, grunge, nu-metal, you name it, there’s something to be taken, or more importantly learnt, from all the different strains of rock and metal that are out there and I’m still finding great new bands all the time. For Soldierfield I always wanted to splice that massive chunky bottom end with huge vocal hooks and bringing Leigh and Jeff into the mix allowed me to do that from both ends. When it came to writing the guitar parts I just pulled on every influence I’ve ever had.

Leigh – I love music and certainly have too many influences to mention as a singer but I’ve always had a real fascination with melody and heavy music, I don’t think enough heavy bands have enough melody for me and enough melodic bands have enough heavy bits!  I guess you always run the risk of not doing what everyone else is but I’m comfortable with that.

As mentioned you have just released the outstanding Bury The Ones We Love EP, which for us are five tracks of stirring and blazing power and imagination. Has its acclaimed reception surprised you considering it is your debut?

Leigh – It’s been a great reaction so far to the EP and we’ve all been Ko’d by it.  That said, we worked very hard on the songs and knew within the group we had something special, we were confident with it but you still never know what the general reaction will be like!

Andy – It’s frankly amazed me! When I think back to writing the music to ‘Skyflower’ on Christmas Night on a nearly-as-trashed-as-me acoustic guitar… yeah, it’s kind of weird to now hear people telling me how much they love that track. Same with ‘Feel Alive’, I thought it was a great riff but listening to it getting played in a rock club and watching people going batshit crazy to it is a pretty amazing feeling. The reviews have just blown me away, I got called a one man riff machine a while back, I felt like getting that tattooed on my face I was so proud!

You released the EP through Metalbox Recordings who am I right in believing came to you after hearing a demo track you released early this year?

Leigh – Yeah the timing couldn’t have been better for us, Metalbox heard the demo of ‘Feel Alive’ and we went from there, Anna and Larry have been really helpful and I’ve nothing but good things to say about them.

Andy – Can’t really add anything to that, they’ve been fantastic for us!

What was it about the label in a time where more and more bands are going DIY style which appealed to you and led to you signing with them?

Leigh – For me it was their passion for music and their close relationship with the bands on their roster, I’ve been through quite a few deals where you never really have any clue what the label is planning for the band, with this deal its very transparent and that appeals to me.  As a band we’re pretty proactive and a lazy label just wouldn’t cut it for us.  As well as the ethos they had good physical and digital distribution and a passion for PR, again essential for a new band.

Andy – They were just really excited about it, loved the track, I think we sent them ‘Bury…’ as well so they knew it wasn’t just one huge song that we had up our sleeves. We had already heard good things about them as a label so it was an easy choice to make.

That first song we mentioned helped create a real buzz around the band with many declaring Soldierfield as the band to watch and most likely to produce something special within UK rock. Did that add any pressure around the making of Bury The Ones We Love?

Leigh – Not for me, I just knew I had to get the takes down; no one puts more pressure on me than myself!

Andy – Not at all, we put that one out as it pretty much defined the Soldierfield sound, big and heavy with a great melody, but we knew the rest of the tracks were just as strong so we were all confident that we would come out of the studio with big, memorable songs and a great production on it as well.

Tell us about the recording of Bury The Ones We Love, how long did it take to record and were the final versions of songs as you envisaged going into the studio?

Andy – We did the whole thing in 2 weeks flat, it shat it down the first week and then we had glorious sunshine for the final week. It was still bloody freezing in that studio though! We made a few minor changes as we went along, Steve came up with some really cool ideas to trim some of the fat off and make the structures a lot punchier but other than that we were pretty much prepared beforehand.

Leigh – I did all my vocals in 2 days for the EP; I was really well prepared but kept it simple and made sure the vibe was there, Steve did a great job producing me.  The songs came out pretty much as I expected they would, the guitar sounds were massive 🙂

How does the writing process work within the band?

Leigh – On the whole the songs come from riffs mainly from Andy and Steve, I then get the rough songs and add in vocal melodies and lyrics – technology is a massive help to share files and ideas.  I really go with my gut feeling on the writing side, keeping it all very natural and don’t over think anything, I’m a prolific writer when I get going and the Soldierfield songs come very easy so I don’t question it!  Once we have something that is pretty much a full demo of a song we get in the jam room and turn up 🙂

Andy – This time around I already had a lot of material demo’d up so when Leigh arrived on the scene it was simple a case of chucking it all at him and picking the best from there. Things will be a lot more collaborative going forward so we’re bouncing ideas back and forth, honing everything down into some killer songs.

Is there a more regular spark or more constant seed to how your songs evolve from, such as a riff or melody?

Andy – Most things start with me in my little office/studio with a little 6 track Boss recorder, a drum machine and an amp modeller. It’s all about the riff for me so I’ll just play and mess about and if I end up bouncing up and down in my chair going ‘Oo oo oo oo’ like a rabid monkey then I know it’s a keeper. ‘Skyflower’ was a little different, I had the acoustic track all written but it was only when I started adding in the lead lines that run throughout the song that it turned into something proper. I went back to it the following night, played it in the dark and threw in the harmony guitar lines and nearly reduced myself to tears. That’s when you know you’re onto something.

Leigh is Mr. Melody Man so I’ll demo up a track, send it over to him and once we’ve got a ‘keeper’ then we’ll start looking at the arrangements and adding in a few extra bits of fairy dust here and there.

For the album, I’ll probably kick off most of the ideas again but this time around I’m really looking forward to bouncing off of Jeff and Steve and throwing their ideas and styles into the pool.

You recorded the EP with Steve Wray, he is someone Soldierfield knows well and from before the band I believe?

Andy – Steve and I played together in a band called Swampdiva many lifetimes ago and I was always hugely impressed with the quality of the demos that Steve put together during that time. Same story again when he did the second RTA album, so when I was ready to start turning the demos into something a bit more full-on, he was first choice all the way. Knowing each other made the whole process a lot easier and a whole lot of fun to do despite his many, many terrible impressions!

Leigh – I love working with Steve we have such a great time recording and playing live so I really liked the idea of him producing the EP – good choice Andy!  I’ve played for 7 years with Steve in Rise To Addiction and had the pleasure of sharing some choice moments.  I knew the EP would sound great and be in safe hands.  The fact he contributed to the music and added leads simply meant he was hooked and is now a fully paid up member of the band!

Do you have set directions and purpose for your songs when recording them which you do not like to veer from or are you open to suggestions and ideas from say a producer?

Leigh – We usually have a pretty good idea about what we want having demoed the tracks before recording with a producer; that said you have to be open to ideas especially from an experienced set of ears!   Sometimes as a band you can be too close to the song and need that person to be a more objective view.

Andy – As I mentioned before, Steve chopped up some of the arrangements which really helped shape some of the intros and outros. We were pretty much set with everything else, we spent a lot of time on the sounds and the shape of ‘Skyflower’, I wanted to go with something much cleaner and brighter on the verses but Steve kept it simple and it’s definitely better for it. The chorus was originally quite a bit more laid back as well but we ended up just pounding it with the Mesa Boogie sounds which has given it such a massive uplift.

How are you finding the metal and rock scene in the UK being on the inside, is it as vibrant as it seems to us with the emergence of many great new bands over the past year?

Leigh – It seems to be in a good state, there’s lots of good bands about that’s for sure!  I don’t see many breaking out of the club scene though which would be nice as it would help the overall scene grow and pave the way for more successful bands.

Andy – There are so many really good new bands knocking on the door at the minute, I really hope that the door opens up for a few of them as well as us. There’s only really Bullet For My Valentine that have made the truly massive leap in recent times, would be nice to think that there are more to follow.

Do you feel bands now have to look at themselves as a business as well as a strong creative force to survive and succeed or can achieve the same levels if their sound is good enough having a split life, i.e. band and personal working life?

Leigh – It’s very hard to balance as there’s not a great deal of money in being in bands until you hit a certain level of sales and attendance at shows…most bands you think are full time probably fund their effort with other work when not on tour!

What is next for Soldierfield, an album in the works?

Leigh – Definitely!  We’re well on with the writing and we’re very happy with the direction the songs are taking J we’re also looking at live shows and the possibility of some bonus acoustic tracks in the near future.

Can you give some details about the album and does Bury The Ones We Love give a strong representation of what the release will be like?

Leigh – I think from the 5 songs we’ve got written that we’ll be building on the EP sound so there’ll be all the elements we had before but we’re trying to go a bit further and give the listener an even better fuller journey!

Andy – The album is definitely starting to take shape now, there’s some monster guitar parts on there and now that we’ve pretty much defined the sound that we were looking for with ‘Bury…’ we can look to build on that. ‘Your Bones’ is probably my favourite of the new tracks but that changes every day.

The EP ends with the massive and magnificent track, The Path. It feels like a beginning in many ways, maybe the key to the album ahead? Please tell us more about the song.

Leigh – I think you’re right, we wanted this track to leave the listener wanting to know what happens next…it does set our next release up J  The song asks the question ‘Is this the path to see the light?’ the main protagonist of the EP will find out soon I guess as will you!

Andy – Musically ‘The Path’ was one of the first things I wrote for Soldierfield but it wasn’t really until Leigh added his parts to it that it turned into the beast that it is today. We replaced the whole middle section a few weeks before going into the studio which made a massive difference and I was still fiddling with the lyrics to it while Leigh was finishing recording the other tracks. The outro was basically 3 notes on a music box while we had an hour left on the studio clock so Steve and I quickly added in a range of acoustic lines that gives it that rather magical ending.

It sets up the album perfectly, we have a ‘sequel’ if you can call it that, called ‘The Light’ which will probably be the opening track.

Do you have anything planned for the end of this year as a band?

Leigh – You can assume we’ll spend time drinking together, talking rubbish, eating curry and generally looking back on the year as a success overall!

Andy – Did someone say curry???

Thank you so much for sharing your time with us, much appreciated.

Would you like to leave with any last words of thoughts?

Leigh – Thanks for all the support we’re really grateful!! We’re a new band so help us spread the word, pick up the EP and come out and see us live; I don’t think you’ll be too disappointed :).  Here are some links:

Lastly if there is one song people should use as the doorway into the striking world of Soldierfield which would you suggest?

Leigh – We have a new video out for the track ‘Leave You In Dirt’, please check out this track for a taster of the EP!  TURN IT UP!!!

Read the Bury The Ones We Love EP review@

The Ringmaster Review 25/11/2012

Copyright RingMaster: MyFreeCopyright

Corrosive elegance: An interview with Drop from Sybreed

photo by Anthony Dubois

Easily one of the most intense and immense albums to ignite the year was God is an Automaton, the fourth album from Swiss metallers Sybreed. The release unleashed everything which is good about the cyber metal magnificence of the band and took it to another insatiable and irresistible level. Heavy, shadowed, and destructive, the album was a triumph of imagination and enterprise which kept the band to the fore of world metal for us and waves of other fans as well as inspiring deserved critical acclaim. We had the opportunity of finding out more about the release and its inspirations with the sure pleasure of talking with Sybreed guitarist Thomas “Drop” Betrisey.

Hi, welcome to The Ringmaster Review and thank you for taking time to talk with us.

With your outstanding new album God is an Automaton unleashed on the world for a few weeks now how are the band feeling?

Drop: Really good! We are very happy of the result! The fans and the press are giving us a really good feedback and so far I think we’ve reached our expectations.

Not a musician myself I often wonder if there is any feeling of an anti-climax once an album is out because of the intensity and passion it takes to create and release it?

Drop: There is something really hard to describe, something between happiness and sadness, ’cause we always put all that we have into a record, and when it’s finished it’s like all the pressure is released at the same time, a kind of baby blues, I think. But there is always that awesome moment, when you have the final product in your hands and you remember the 1st demo, the 1st track you’ve recorded and all the hard work that has been done, this is really intense.

For us God is an Automaton is easily your best work to date. I don’t expect you to disagree of course haha, but where for you does it take a leap forward compared to The Pulse of Awakening or is it a small evolution?

Drop: For God is an Automaton we only focused on writing typical Sybreed songs, a blend of our 3 previous records. I think, Pulse of Awakening went a “bit too far”, God is an Automaton might be the balance between Antares and The Pulse of Awakening, a kind of late transition. But if their writing and recording were inverted, none would have been the same, so it’s a bit dangerous for me entering in this kind of explanations haha. We reproached to The Pulse of Awakening not having enough catchy songs, I mean live oriented songs, shaped for live shows, the songs were a bit harsh to reproduce on stage and we managed to correct it with God is an Automaton, and to reach this goal we had to look back and keep some feelings we had on Slave Design and maybe Antares. I think it’s not a leap forward, but just a blend of everything we did in the past.

So it is fair to say the album reaps essences from earlier albums and moves them on?

Drop: Yeah that’s exactly what I meant in my previous answer. We took our 3 previous albums, and blend all the highlights they had in order to make new songs. Actually the writing of God is an Automaton went naturally, we wrote without searching ideas during hours, it’s a feeling-oriented album.

We found the music heavier and darker than ever on the album, would you agree and was it an organic move rather than a deliberate intent brought to the writing?

Drop: Exactly! We really wanted this live touch I spoke of before, without 100% edited tracks; we really focused on having the most organic sound, played and sound-wise. We removed every barrier we could have, and just wrote with feeling. We really like heavy and dark stuff, so it came naturally.

Did you approach and record the new album with any different working and recording ideas compared to your previous albums?

Drop: Yeah, this time we really wanted to play the longest parts possible, obviously not the whole songs in one take as our music is a bit skilled haha, but we really managed to edit the less possible things, and even keeping some “mistakes” sometimes, some little noises on the mutes, or some noisy voice breathing. It gave the album something more “human”.

I believe you started work on God is an Automaton last December? How long did it take from then to the final finish and was it an intense album only period or did you have breaks for shows etc?

Drop: We demoed 3 songs in early 2011, one of them has been released as an EP called “Challenger”, then we took a one-year break in order to build my new studio. So we started writing the remaining 8 songs in September, it took approx. 3 months, we’ve seen each other in my studio almost once a week. We started recording the album in December until end-February, then we took a one-month break to headline a tour in Australia, and as soon as we went back I went in Rhys Fulber’s studio in Los Angeles for the remaining keyboards and the mixing duties.

Are you a band which creates from scratch when together or it is a case of coming up with ideas alone and fleshing them out together, and was God is an Automaton written on the whole before the concentrated studio time?

Drop: We all come with ideas, Benjamin brings a lot of choruses, he has really precise ideas of his melodies before we start building up the music around. Kevin brings some tortured drums patterns, Ales, freshly arrived wrote down few riffs for the new album. On my side, I always have a few unfinished pieces of music, sometimes a few riffs that I feel going on the same song, sometimes only a keyboard line.
For the first time, we left almost the half of the synths and programming aspect blank before I went to Los Angeles working on them with Rhys Fulber. We wanted him more involved than on our previous album, and so I asked him to add some of his magical keyboard things to the songs. I’d really like him even more involved in our next album.

photo by Anthony Dubois

The album is the first with bassist Ales Campanelli, his work on the album we described as ‘lurking and delivering bass lines which crawl into the psyche’. Did he bring a new or different dynamic to the recording compared to before?

Drop: Yeah for sure. Actually, I don’t know if it’s a good thing for me to reveal such details, but let’s go forward and let me tell you that it’s the first time a bassist record a Sybreed album. On the previous ones I was recording the bass, so both guitars and bass were really close, cause of the same hand playing each of them. This time, we had another hand recording the bass, and I think he brought even more organic feel to the overall sound. He has a style, I would not say dirty style cause it might be taken in the wrong way, but he has these ultra-groovy skills, and I think it’s really easy to hear someone else plays in this album, a real bassist.

Though it changes daily at this moment in time Into The Blackest Light is my favourite track on God is an Automaton. Is there a moment whether a track, riff, line etc which gives you a personal tingle?

Drop: Oh yeah almost every riff are my favourite during a period of time. While writing, I always say “this is the best part of the album”. Sometime I keep listening to one riff during few hours, haha. The new things are always the favourites, at least for me. A good example is “Posthuman Manifesto” the album opener, I was so bored of that song that we chose not putting it on the album. After having Rhys Fulber working on it, adding keyboards and arrangements we chose to put him at the best place, first song, and I still think it’s my favourite. A good example of how things can change quickly.

Can you tell us about the great artwork for the album?

Drop :  It’s the work of Seth Siro Anton (Septic Flesh), he has already done the artwork of our previous album The Pulse of Awakening, we were really happy about the result so we asked him to do the job again for God is an Automaton.  We started talking about it with him during a Septic Flesh show in Switzerland. He was really inspired by the album title and told us that he already had some ideas and he was looking forward to working on this one. We first sent him some rough-mixes of the new songs, without any guidelines or concept, mainly because Seth is the kind of artist which needs to be alone to fully express his art. After the mix was done, we sent him an upgraded version of the songs, and therefore he started working on the artwork. I am really happy of the result, it’s for me the best Sybreed cover art, it fits perfectly the music and lyrics, it’s stunning.

Now the album is out, Sybreed will be touring it to hell and back?

Drop: That is the main goal of every band, releasing albums to be able touring, the most we can. We made a small European tour with Mnemic and Hatesphere, it was really cool and we’ve tested some of the new songs on stage and they reach our expectations. As we speak we don’t have any confirmed touring plans, but I hope we’ll confirm something early 2013.

Will you be playing all the tracks on God is an Automatonacross your shows, a few in each or building shows around the album?

photo by Anthony Dubois

Drop: The goal is to promote the new album, but not all of them, cause we are not headliner at each show, so we have to shorten the sets, we have 4 albums now and the fans want some songs from each album. But when an album is freshly released we try to play the maximum of the new songs, our longest set for the promo of God is an Automaton was 16 songs and we played 8 new songs out of the 11 that are on the album, so it’s cool. I told you at the beginning of this interview that we focused on writing songs “to play live”, and I must admit that almost every song of God is an Automaton is my favourite to play, mainly “No Wisdom Brings Solace” for which we filmed a live video clip during Euroblast Festival 2012 with Anthony Dubois and it should be released really soon.

How long does it take after an album before ideas come and the urgent need to write again usually proves too much to resist?

Drop: Actually as soon as we finish an album, we directly start writing the new one. As we speak we already have few parts of songs and Benjamin already has the album title as well as a lot of song titles. We really love writing, and we are always writing music in our houses. On my side I compose a lot of music, not only for Sybreed, and I also make some remixes under the nickname DropRMX

Once more many thanks for chatting with us.

Any words you would like to end with?

Drop: Thanks for the interview. Check out our new album, I hope you’ll like it, and come to see our shows and party with us.

Check out the review of God is an Automaton @

The RingMaster Review 25/11/2012

Copyright RingMaster: MyFreeCopyright

Lazy Habits: Self Titled

If there has been an album as inspirational and dynamically outstanding as the new self-titled release from Lazy Habits then we must have missed it. It is simply immense, a release which unleashes energising provocative songs to engage the senses but also one to party to without inhibitions or restraint. Whether the intention, the album plays like a glorious wake to us, a celebration of modern British culture and urban life top and tailed by the opening soulful crawl of Processional and the celebratory feast of Recessional. In between the album unveils honest tales of life with all its barbs and warmth, lyrically and musically, through a sensational mix of hip hop, New Orleans jazz, soul, and Big Band majesty spawned in the 50’s. It is unique and quite brilliant.

The 8 piece Hackney, London based Hip-Hop collective began in 2007 as the brainchild of one MC. Now a formidable and giant imaginative octet, the band has lit up stages alongside the likes of Mos Def, Soulwax, The Specials, Bonobo, Chali 2Na (Jurrasic5), and Beardyman, their onstage energy a colossal live experience once tasted never forgotten, as well as thrilling festivals such as Glastonbury, Bestival, Secret Garden Party, and Electric Picnic with their renowned insatiable energy. Debut EP On the Wagon put them on the radar of the media whilst following single Even Out took them further than ever into radio and TV awareness and attention. The new album is going to bring them national if not further afield recognition or quite simply justice just does not exist.

It would be wrong to say that The RR has a deep knowledge of hip hop but we, like a moth to a flame, never escape the lure of the genre when it is as unique and instinctively adventurous as with this release. The year has treated us to adoration evoking experiences from Shrikes, Janice Graham Band, and Dizraeli and The Small Gods, all showing a conjuration of aural alchemy from a multitude of flavours which is irresistible. Lazy Habits with their own one of a kind magic stand by their side and deep in the heart. The band calls their sound as “Beats, Rhymes and Brass of the highest caliber.” No argument here.

Released through Run ‘N’ Jump Records, the album as mentioned opens with the slow gait of Processional, the breath of the track an emotive warmth brought through the emotive wiles of the brass to leave the senses captivated and ready for the following Ashes. The new engaging treat teases the ear with stabbing melodic strokes as the vocals lay their lyrical prowess across the heated sky of the song. The jazzy gait is a smouldering weave which ebbs and flows like a melodic tide from the horns, at times a soft tender kiss and in others a more playful companion. It is an openly delicious appetizer for what is to follow.

The whole of the release is titanic but two of the loftier peaks come with next up Surface Dirt and aforementioned single Even Out. The first is a smoking blaze of jazz scorched ambience and hip hop preciseness which again leaves the senses in a smouldered embrace. The rhythms and percussion incite a disorientating compliance without losing sight of the licking sonic flames whilst the frenetic climax leaves one breathless with no respite coming from the unbelievably infectious Even Out. It is no surprise the track brought such acclaim for its energetic yet carefully primed viral beckoning. It is a song where one coaxing of the chorus has you in tandem with its flow and intent to join with a sure stance from there on in, and a track which is a lingering joy from there on in.

Every track deserves a mention to be fair, the likes of Perfect Sentence, The Road, and the striking current single Bulletin to name just three, all inventive glories, but personal highlights come with the sumptuous Memory Banks which features the mesmeric tones of songstress Babysol, the titanic Starting Fires, and the magnificent Please People. The first is a delicious dessert of harmonies, provocative bass lines, and elegant passion. It is a seductive love affair for the ear and heart brought through a sharp and finely honed mesh of lyrical licks, distinctly different vocals, and melodic expanse which you can just not let go of. Starting fires has an infamy from having been controversially pulled from national radio playlists last year due to its release unfortunately coinciding with the London riots. It is a beaming storm of aural supremacy with the union of vocalists Babysol,arguably at their finest moment on the album and the fire of the band musically and inwardly at its fullest height. The third of the trio is a spiral of insatiable hooks and orgasmic teasing, a song as catchy as the deadliest virus and as thrilling and senses enlightening as the recovery.

The album will be tagged as hip hop no doubt but it is so much more, that genre one spice in a maelstrom of invention and unpredictable heart fuelling imagination. If mischievous and swinging melodic enterprise with a cutting edge and inciting endeavour appeals than Lazy Habits is your only destination.

RingMaster 25/11/2012

Copyright RingMaster: MyFreeCopyright

Johnny Wore Black: Up in Flames

Up In Flames, the second single from Brighton based band Johnny Wore Black, is one of those songs which just ignite a lustful need to know and hear more about the artist behind them. It is a stirring slab of rock music which fires up (I could not resist) the imagination whilst thrilling the senses with sinewy strength and melodic enterprise.

Formerly The Jay Harley Band, and led by Jay (Johnny) Coen, Johnny Wore Black found great critical acclaim with debut single All The Rage, a track released in conjunction with Help For Heroes to raise funds for Help for Heroes, and Combat Stress, and given a remix re-release for Remembrance Day 2012. The track brought them strong attention and coverage through the likes of Metal Hammer, Revolver, Music Week and ITV News. The new single is sure to enjoy the same responses to its muscular and well-crafted thoughtful enterprise whilst brewing great anticipation for a forthcoming album.

Like its predecessor, Up In Flames features David Ellefson from Megadeth on bass, his distinctive touch adding extra spice to a flavoursome treat. The song rises into life like feisty embers, its sonic emergence behind a precise guitar opening into a restrained stroll. Riffs are firm and compulsive yet reserved alongside beckoning vocals and teasing melodic mastery, all enthralling as they wait for the lighting of the touch paper to the surging energy which fuels the infectious chorus. The track has the same immense presence of Deftones atmospherically fused with the warm elegance of A Perfect Circle, the impactful passion of Tool, and the melodic hunger of a Soundgarden. It is a strikingly impressive sound which feeds all appetites for muscular rock through to powerful and passionate incitement. As expected the hypnotic invention of Ellefson stands out but no more so than the fiery guitar craft and the anthemic presence to the chorus and excellent vocals as a whole. The climactic moments building to the incendiary outbursts too are equally contagious and irresistible, making the song an insatiable pleasure from start to finish.

As mentioned Up in Flames alone makes the eagerness for debut album Walking Underwater intense but after hearing the outstanding track Noise, a new song from the band which was sent through with the single, the wait to taste its delights will be without doubt impatient. There are a few bands in the UK on the brink of major recognition at home and worldwide, to that list you can now add Johnny Wore Black.

RingMaster 25/11/2012

Copyright RingMaster: MyFreeCopyright