Dirty Little Rebel: Tend To Offend EP

Dirty Little Rebel

Dirty Little Rebel

From the stomping opening to the Tend To Offend EP there is an immediate captivation which just does not let go until the last note of the final track fires off in to the sunset. The EP is the debut release from UK rockers Dirty Little Rebel, a band young in its life but with a richness of maturity and pedigree to its sound. It is also a thoroughly thrilling and enterprising riot of energy, heart, and devilment.

Formed in early 2012 by Rebel Rogers (lead vocals and guitar) and Dizzy Dee (drums and backing vocals), the Cambridge duo who had previously played together in earlier bands, set about recording a wealth of songs, eighteen demos over four months, as they searched for the right bassist. The line-up was completed with the joining of J during the summer with the trio then returning to the studio to record a quintet of songs which make up Tend To Offend. Their sound takes essences from influences like Motley Crue, Sex Pistols, Iggy and the Stooges, New York Dolls and the Ramones, combining the flavours with a further distinct punk and dirty rock spicery. The result is a sound and release which does not exactly rip into new avenues for rock n roll to explore but nevertheless creates riots which are fresh and invigorating within familiar parameters. The EP is accomplished, energetic, and insatiably eager to fire up your aural deviancies, what more could one want from a bruising storm of a rock n roll party.

The intro march of the opening track Sleaze Driven Army is an instant attraction soon rammed home by thumping rhythms and 149792_364258363670774_1598753078_ninfectiously hooked riffs which have more than a passing glance to the caped crusader. The growling vocals of Rogers squall perfectly over the fiery guitar wash and prowling bass licks whilst Dee continues to jab and barrack the ear for a full and willing submission. It is a song you know before hearing it without guessing what guise it will come in, an immediate buddy for the heart and ready instigator for limbs and voice. In many ways the track with its compulsive power and insatiable hooks is the biggest highlight of the EP. The release continues to deliver quality satisfying sounds throughout its remaining songs though most just miss finding the same plateau as the first whilst still leaving one drooling in pleasure.

The following Suzie blazes across the ear next, the track an intriguing mix of eighties sleaze and nineties hard rock brought with the vocal spite and punk breath of the Murderdolls. It is a corruptive fire of great guitar teasing and expressive venom delivered through a bar room like confronting presence. The switch in gait from an eager riling up of the senses to a malice tinged atmospheric aural stare is excellent to further make the song standout amongst other like-minded tracks and sounds which have emerged over the past year.

Devil Show is soon stepping up to offer its own slice of muscular mischief and ignite another wash of pleasure to tidal wave through the senses from its thunderous barrage of rhythms and enterprising invention. It has a stronger punk spine to its presence than on the previous songs which for personal tastes is when the band really bitch slap rapture into action and leave one the most satisfied. This track easily has one nodding in unity to the intent of the track whilst its successor Reckless Love just has one dripping with lust for its again punk driven barbed hooks and flesh kissing wantonness. Though earlier we said the opener was the biggest highlight this song is the favourite, its lustful and contagious sounds sheer joy and naughtiness inspiring.

Too Hard To Resist closes the EP and is the only song which could not switch on any real positive reactions, though it is from a personal dislike of eighties glam/sleaze rock which heavily soaks the track than from any real failing by the song itself; if the likes of Motley Crue and Skid Row switch on your light this song will be certainly appreciated.

Tend To Offend is a great release and one suspects the introduction to a band in Dirty Little Rebel which is going to make big strides and spark acclaimed riots in the future.

www.dirtylittlerebel.com

RingMaster 31/12/2012

Copyright RingMaster: MyFreeCopyright

DogHouse Swine: Dogs Of War

DogHouse Swine pic

    Dogs Of War, the latest album from US rockers DogHouse Swine is not a release which re-invents the wheel but it sure smashes aside any bumps in the road not ready to join its bruising riot. The nine track album is a muscular treat which rampages through the ear like an antagonistic adversary whose only real intent is to offer up a good feisty time, something it does with ease.

The New Jersey band has earned a good reputation for their sounds and energy through live shows, which has seen them share stages with the likes of Electric Frankenstein, and Mucky Pup, and their previous album Faster Side Of Normal. Formed in 2009 by lead guitarist and vocalist Ian with former The Wretched Ones guitar player B.T. and co-founder and drummer Chris DeBellis, the band has been on a powerful rise which the new release only adds stock to. Now a quartet with bassist Iron Rich joining during 2012 which saw B.T. moving from bass to rhythm guitar within the band, DogHouse Swine has unleashed an album to stir up the heart and quell inhibitions with its punk rock passion and breath; a punk n roll treat to bring an insatiable party to each and every day.

The release opens with the first single from the album, I’m Suffocated. From its barging riffs and keen sonic guitar squalls the trackDogs Of War CD Cover has limbs and senses at the mercy of its powerful rhythms, venomous basslines, and sizzling guitar play. The effected vocals bring a menace to proceedings before turning into a defiant and raw rub across the ear. The song is a fiery excursion for the passions, an aggressive and anthemic instigator for which only full enthusiasm and energy can be given in return. The song like their sound overall, reminds of bands like Motorhead, Joecephus and The George Jonestown Massacre, and DC4 delivered with a healthy presence of punk rock found in the likes of Johnny Thunders and The Heartbreakers. It is not anything particularly brand new to the ear but brought with an accomplished skill and unbridled musical lust which takes it above most similarly sounding contemporaries.

The excellent Hard Luck Education takes over next with more of the same offered in a different thrilling guise. There is a swagger to the song which makes it openly infectious though the sing-a-long chorus and teasing melodies are as much to blame for its pleasing contagion. It is fair to say both tracks are like old friends, companions you basically know but with a new wrap of quality aural clothing to make them deeply welcome and enjoyable.

The glorious chunky riffs and ravenous basslines within Open Wide bring a new angle to the release, the slower stalking gait of the song an intimidating and fully rewarding confrontation, whilst Nonstop To Nowhere pulls one into a vintage punk brawl of belligerence and honest acceptance. Both leave one greedily satisfied and eager to hear more of the barracking rhythms and scathing sonic riffs crafted impressively by the band. Neither song is arguably as memorable as the previous tracks but still only light further desire to share their sounds again and often.

Goin’ Down The Bar is a song you will not forget, from its predatory bass leering start through the rampant guitar scrubbing and vocal celebration and on to the anthemic alcohol dripping declaration, the track is an irresistible and simple mission all can aspire to and climb on board with, thematically and musically. There are no frills or pretty decorations to the song, just pure and raw rock n roll, a claim you can happily throw at every track.

Dogs Of War is completed by a quartet of live cuts including the single Bitch from their earlier album. The tracks are rough and in your face, brawling at you as if you were there at the time. They do pale compared to the studio tracks but still only incite the need to retrospectively check out Faster Side Of Normal and catch them live if the opportunity arises.

If you want a slab of true and undiluted rock n roll/punk rock then DogHouse Swine is a band for you. With a new video for Goin’ Down The Bar directed by Dave Neabore of Dog Eat Dog fame ( he also did the one for Bitch) due soon and the planning of their third album for a possible August release, 2013 is looking like being a big year for the band and our grateful ears going by their latest album.

http://www.doghouseswine.com

RingMaster 31/12/2012

Copyright RingMaster: MyFreeCopyright

Elephantis: State of Mind

elephantis

State of Mind the debut EP from UK melodic hardcore band Elephantis is one of those releases which whether you find rapture within it or not it cannot be ignored or simply dismissed. It is a titanic explosion of fervour, expression, and searing melodic enterprise delivered with a brutality and near malice which leaves you shell shocked. The initial encounter left an uncertainty hovering over the six track expanse of the release, unsure just how good or different the EP was to a wave of emerging bands and releases in 2012 from the same genre well. After a deserved prolonged exposure State of Mind emerges as one impressive and even more promising reward for the senses, it is not an easy listen but certainly one of the most enthralling and intriguing.

Hailing from Guildford, the quintet of vocalist Angus Roberton, guitarists Connor Jackson and George Marriott, bassist Joe Oliver, and drummer Olly Harvey, has on the evidence of the EP honed their sound into a squalling and dramatic breath of emotive passion. It is a large sound with a sonic malevolence which strips the senses of security whilst leaving them satisfied and looking forward to much more future. Their influences as stated in their bio include the likes of Misery Signals, Counterparts, and It Prevails and to that you can add spices of the likes of Cancer Bats, Rise Against, and By Any Means to a sinewy mix which leaves you breathless and submerged in an emotional roller coaster of a ride.

      Eastern Skies starts things off with a furnace in its belly and rhythms which leave you trembling. It is a caustic rain of sound and1550607879-1 aggression which leaves the ear raw and smarting. The vocals of Roberton carry nothing less than unbridled heart to match the abrasive intensity and sonic assault. His tones leave finesse outside to add further vicious depth to the track. Within the tempest the guitars leave elegant patterns upon the unruly bruising canvas which counters and contradicts the violence inspiringly whilst making a compelling companion for thoughts. It has to be said that neither this song nor the majority of the others are lingering memories after their departures, though small moments do persist from within each storm, but in their presence make for deeply pleasing encounters.

The following Leo is a dynamic onslaught with its tremendous raptorial breath and shadowed stained heavy rampages; the additional vocals of Odessa vocalist Richard Lardner and the evolving invention to the structure of the track capturing the imagination completely to make the track one of the bigger highlights on the release. As with next up Stronghold, the musicianship on offer is impressive, each member stretching the songs without losing the shape and intent. The second of the two is a track which does not inspire the same reactions and acclaiming thoughts as its predecessors but is still a strong and gratifying moment in ones aural life.

After the good instrumental Ante Meridian another pinnacle is hit with Pale Shades, a track which pushes itself and the songwriting to the limit whilst being controlled and imaginative. Again towering rhythms cage a storm of melodic and inventive endeavour which sits easily alongside the perpetual vocal malevolence and consuming intensity. It is a ravaging tsunami of emotion which rewards as equally as it erodes the strength of the listener, and one very appetizing intrusion.

Ending with the unrelenting anger of the title track, State Of Mind is a strongly promising introduction to a band with one feels has much more invention and uniqueness within their emerging skilled hands. For a debut one can only be impressed and inspired to watch the band closely with a brewing anticipation that Elephantis could be a major force in the near future. As a name your price release the recommendation is check out the band as soon as…

http://elephantis.bandcamp.com/

https://www.facebook.com/Elephantis

RingMaster 31/12/2012

Copyright RingMaster: MyFreeCopyright

II II II : A Conundrum On My Coffee Table

cover

Something wicked this way comes, an exceptional experiment of sonics, sounds and adventurous sensibilities to engineer the deepest ardour. Plenty of releases excite and thrill the senses but just a few ignite a fire of passion and deeply rooted rapture for the sounds they offer. One such rarity has just been unleashed into the world by II II II. The project from former Mishkin vocalist Ben Davy is sensational and its debut release without doubt one of the most enthralling and intoxicating pleasures of 2012. The A Conundrum On My Coffee Table EP captures the imagination in every aspect, its innovative weaves and inventive teasing an invigorating breath of fresh air which like the band name inspires thought, intrigue, and a hungry anticipation which is quenched with staggering ease.

Being a massive fan of the now deceased Leeds band Mishkin, the excitement of hearing from Davy with the EP was immense and

Ben Davy

Ben Davy

arguably placed higher expectations on the impending release than any other new record might have to prove itself against. It was child’s play for the release though, its six tracks leaving hopes as just inadequate musings when placed before their creative triumphs and exhilarating sounds. Fusing  blend of mathcore, metal, jazz, and rock, the release is an experimental tempest which offers essences of Faith No More, Mishkin, 6:33, Mike Patton, Dog Fashion Disco and much more, all honed into a unique and compelling encounter. The tracks are slight sonic swipes, colourful aural blades which barely worry a third minute but are rigidly magnetic in the time they take to transform the emotions into a compliant subservient.

Dog’s Lost His Bone swaggers in with sultry melodies and bruising basslines over firm rhythmic slaps to immediately pull all focus in its direction. A tempest of delicious enterprise and aggressive sinews the track is a storm of scattergun like energies and sounds honed into deliberate patterns and senses manipulating structures. It is glorious, an evolving beast of sound which ignites every corner of mind and heart. The track reminds of Guano Padano at times especially their recent collaboration with Mike Patton, whilst offering the ever shifting weaves which marked Mishkin and the technical mesmerism of a Karnivool.

From there things just venture into arguably further elevated areas of psyched investigation and musical excellence. Firstly the psychotic HITPTYGWYDIYL exposes the nerve endings with its wanton melodic caresses and scything rhythmic malevolence, the track a piece of aural sculpture which teeters on insanity. It like the first song is just irresistible, a brief unpredictable expanse of taunting and challenges bringing the richest of rewards. If the likes of Polkadot Cadaver give you a buzz, this track as the release will have you feeling like a teenager on your first sexual quest.

No Condition and Memories follow with their own individual ingenuity, the first a tirade of white hot sonics and argumentative riffs with a smouldering seductive centre and expressive challenging gest, and the second a flash of thought exploiting invention which leaves nothing less than heightened pleasure in its wake. In addition to the previous mentioned references the release inspires there is a sense of the maniacal mischief of 12 Stone Toddler to this pair of songs bringing yet another refreshing and inspirational flavour to the whole experience.

The release is completed by the ravenous craft of The Key To Denial and the serpentine Shingles. The former is a sizzling encounter, a face to face with the devil in aural form, its sonic tongue licking over the senses with insidious sexual greed to leave you tingling whilst grinning in sheer pleasure. Like all the songs it caresses and investigates the body like an insatiable lover whilst all the time stretching and twisting their prey with their venomous desires.  The latter is even more dangerous behind its jazz lined melodic brilliance, the passage of almost corruptive challenges and dazzling invention just breath-taking and magically intrusive.

A Conundrum On My Coffee Table is pure excellence, a release coming in the closing days of December which sets the highest standard for 2013. The EP is an essential investigation and a must get with its name your own price offer on the II II II Bandcamp Page… so go on off you go.

http://ii-ii-ii.bandcamp.com/

https://www.facebook.com/pages/II-II-II/100277240054308

RingMaster 30/12/2012

Copyright RingMaster: MyFreeCopyright

Rogue Anthem: What to Believe

RogueAnthem_Cover

The tail end of 2012 has seen a record which epitomises true and honest punk rock in sound and heart. What to Believe is a blistering release of ten classic punk riots from a band in Rogue Anthem which is a battle cry for the underdog. Formed by vocalist, songwriter and rhythm guitarist Myke Augustat, the US band through their passions and music is a powerful anthemic cry standing against all that is wrong with society and the world. It is raw and abrasive, a release which lights the touch paper to a fight for change and one thumping bruise of impressive punk rock.

A few months before its release Augustat sadly passed away leaving behind a wife and three children and one impressive band. What to Believe was released at a benefit show in November to honour the man with all proceeds from it and those generated by the album

Michael Augustat.

Michael Augustat.

going to the family. The remaining members of the band, Neill B (lead guitar), Carter B (guitar), Tanner P (drums), Billy B (bassist now ‘proudly singing the Anthems’), and Vulcho (bass), came together with the punk rock community, friends, and family, to celebrate the life and music of Augustat with bands like JFA, Fiction Reform, El Nada, and Soto Street joining Rogue Anthem in playing the event. It was a fine send off for a man who had touched so many people and brought to reality one of the great arguably unsung underground punk bands.

Released through Thumper Punk Records, What to Believe enrols the passions and senses into a storm of attitude and incendiary sounds with an irresistible lure of grazing riffs, destructive rhythms, and in your face truth lyrically and musically. There is no room for niceties or refinements within the songs just pure honesty and unbridled energy.  The band was started by Augustat to carry a message to the forgotten and the underdog, the previously mentioned battle cry for all fighting against the system politically, socially, and personally, for those going up against the consuming traits of ‘materialism, false pride, greed, gluttony, apathy, selfishness, addiction, and vanity’.  Each track is an inciting bruising which fires up the imagination for not only the intent of the songs lyrically but just their individual storms of eager and contagious punk sounds. Musically the band is an antagonistic force bringing forth a compulsive blend of Rancid, NOFX, CIV, and Angelic Upstarts. It is uncomplicated, direct and aggressive, and quite delicious.

Starting with the infection brewing 1984, a song which has you joining in within seconds of its opening chorus entrance, the album just moves from one defiant party to another. With ear slapping rhythms, coarse vocals, and driving riffs, the track sets up the album perfectly and has the senses greedy for plenty more. Like the majority of the songs it plays like an old friend yet to be met, its sounds nothing openly new but making for only the richest invigorating company.

The great start is matched by the following God Save Me, the raw and unpolished production upon the release adding an extra layer of satisfying caustic breath to this song like all the others. From its furious presence the album barges through and lashes the ear with further fiery confrontations from the likes of One Voice, the stomping title track, and the excellent Needle Down, a song which brings in melodic flames of harmonica and flashes of keys and female vocals to bring a full and intriguing breath to its great punk n roll feast.

The biggest highlights come in the latter part of the album through the irrepressible tempest that is Life of Agony and the best song on the release, the rhythmic magnet Kick Down the Doors, and the closing Underdog Army, a track which sums it all up, band, sound, and heart of the whole thing. Each song on the album is simply an immense pleasure and What to Believe an album all punk fans should investigate. How Rogue Anthem will evolve without their founder time will tell but it is hard to imagine anything but further enjoyable and provocative ventures from the band.

https://www.facebook.com/RogueAnthem

http://thumperpunkrecords.storenvy.com/products/749893-rogue-anthem-what-to-believe

RingMaster 30/12/2012

Copyright RingMaster: MyFreeCopyright

Conjuring the vision: an interview with The Afterimage

Photo by: Brooks Reynolds

Photo by: Brooks Reynolds

The Afterimage is one of the imaginative and creative new bands to explode onto the metal scene initially in their homeland Canada and more recently Europe, this year. Their outstanding debut EP Formless is an introduction to a band which fuses flavours of extremes and melodic spicery into a sensational and unpredictable adventure. Given the opportunity to ask the band more about themselves and their release we had the pleasure of talking to vocalist Kyle Anderson and guitarist Alex Lappano.

Hi and welcome to The Ringmaster Review

Firstly tell us about The Afterimage, its conception and intent as a musical force.

Kyle: The Afterimage was formed in December 2011.  I (Kyle) had been fronting a project before that called ‘Centuries Apart’ which Alex was involved in briefly.  Alex and I stuck together and recruited drummer Nick McCaslin and bassist Dallas Bricker shortly after.  They were involved in a project with Alex previously and were a great fit.  Mike Ticar was later added on guitar a few months after.

You have been a band around a year and in that time made a major impression at first in your home state Ontario and now beginning to worldwide. Has it seemed a bit of a blur or have you had the chance to reflect and enjoy as things brewed and grew?

Kyle: In all honesty this has been amazing for us.  We never imagined having some of the interest we’ve had in our material.  We’re just having fun playing music we enjoy making.

From the outside Ontario appears a potent breeding ground for metal and rock bands; is that the reality and how has the area affected you as a band if at all?

Kyle: It has definitely had a huge impact on us through our time in the heavy music scene.  Growing up listening to a lot of great bands from the area and being impacted by their performances and records always inspired us to create ourselves.

You just released your outstanding Formless EP across Europe, have the highly positive responses surprised you?182321_363752250345032_761764621_n

Kyle: We are very surprised about this!  We never imagined we’d be able to release the EP in Europe and that in and of itself is  a blessing.

The tracks show a wonderfully diverse and pulsating blend of sounds, who are the major influences which if not inspiring your sound, has influenced the way you look at and create it?

Kyle: We actually have some major influences outside of Metal.

For instance…

Jaga Jazzist, This Town Needs Guns, Toe and The Bulletproof Tiger are all huge with our guitarist Alex who handles a lot of the writing.

In terms of Metal, Meshuggah, Ion Dissonance, Danza and Tesseract would be some big ones.

Musically it is fair to say you bring many sub genres and flavours together for a unique result. For newcomers how would you describe your sound to best represent your imaginative creations?

Kyle: I’d say we’re a Progressive Metalcore band if you want to use a title.  We just fuse chaos and melody.  That’s how I’d put it simply.

How do the songs, from seed to final creative explosion, come about within the band?

Kyle: Like I said before Alex handles the majority of the writing.  He had a lot of the ideas locked away for quite some time and we refined them for the release of ‘Formless’.

You have found a strong and eager audience and response in Canada, has Europe and the UK taken to the same things as your countrymen in your sound and EP or picked up on and found an ardour for different elements?

Kyle: I find the response is pretty similar.  I’d say groove/rhythmic aspects are bigger in the UK but the chaotic parts are generally received well over here.

Is the Canadian underground metal scene one which is wrapped in its own ‘juices’ or takes plenty of influences from elsewhere and how does it help new bands like yourselves?

Kyle: I’d say the influence comes from everywhere.  With the internet being the a huge force for distributing and sharing music it’s become quite easy to keep track of projects from all over.

Tell us about the writing and recording of Formless.

Kyle: As I said before a lot of the riffs were already compiled by Alex in his archives.  We re-worked structure and tweaked a bunch of things about a month before recording.

In terms of the recording, Jordan Valeriote (Structures, Counterparts, Silverstein) produced and engineered the EP.  He is an absolute pleasure to work with and we will continuously go back to him.

Photo by: Brooks Reynolds

Photo by: Brooks Reynolds

Reverie  the single from the EP which we said had a maniacal mastery through the sonic mayhem of the guitars and offered elements of jazz and improv to its chaos. A fair reflection of what is an immense track in your thoughts?

Alex: I’m extremely picky with what I like to hear, and due to this I find that I always end up writing songs that jump back and forth from each side of the musical spectrum. For example; with heavier styles of music, I love chaos and abrasiveness, but on the other hand, I’m a huge sucker for melody and instrumentals that can express emotion. On top of being extremely picky, I get bored very, very quickly, so I try to keep myself constantly entertained with the music. So I’d say my attention span (or lack thereof) is what leads to having dissonant chromatic sections followed with a melodic passage! I hope that answered your question!

What were your hopes for the EP with its release in Europe?

Kyle: We honestly had no idea how that was going to go, but so far Ghost has treated us great and we’re quite happy with the response!

Are you itching to come over this side of the world to play and when are we likely to have the pleasure?

Kyle: We’re not sure of the when right now, but it’s something we’d love to do as soon as possible!

What is next for The Afterimage, an album maybe?

Kyle: We’re currently finishing up writing the full length album, although no release dates/plans have been made as of yet.

You released Formless through Ghost Music; is this union one which goes beyond that release and how have you found them in comparison to how your releases at home have come about?

Kyle: Toyan from Ghost Music has been great to us. He’s an extremely nice guy and very organized. We have nothing but great things to say about Ghost!

What are your plans for the end of the year and hopes going into 2013?483438_428899413830315_467549125_n

Kyle: Just playing our city Toronto, ON.  2013 will consist of touring and working on the full length.

Great thanks for sharing time to talk with us here, any last words or thoughts you would like to end with?

Kyle: Just want to say thank you for interviewing us, and make sure you check out our new single ‘THE SEEKING’!  It’s a free download.

https://www.facebook.com/TheAfterimage705

Read the review of the Formless EP @ https://ringmasterreviewintroduces.wordpress.com/2012/10/30/the-afterimage-formless-ep/

The RingMaster Review 23/12/2012

Copyright RingMaster: MyFreeCopyright

Mourning Shadows: an interview with Serge Ghoustly and Elena Supi from I Miss My Death

i miss my death

Following the release of their acclaimed first album At Her Funeral, Russian gothic doom band I Miss My Death stepped into a wider recognition. With the news that they are planning to work on its follow-up next year, guest interviewer Kostya Aronberg of Globmetal Promotions, grabbed the opportunity to find out more about the proposed album and the band itself by talking to vocalists Elena and Serge.

Hello Elena and Serge, and welcome to The RingMaster Review. How are you, guys?

Serge: Hello, RingMaster. We are fine, thank you.

I must confess to you it is the first time I have had the chance to interview a married couple that sings together in the same band 🙂 Can you please tell me firstly how you met and what led to you both deciding to form the band?

Serge: We met at the beginning of 2009. I Miss my Death had been already formed and was searching for a keyboarder. Elena first joined us in this post, and after, became also a vocalist. Creative relationship developed into a romance, and soon we became a couple and a managing face of I Miss my Death.

Let us talk about your music style. How would you describe your music and within which music genre in your opinion do you find a home?

Serge: At the beginning of the band existence, our genre matched mostly classic gothic doom metal; however, over time and the advent of new musicians, he has evolved into a gothic death doom. Recently, more and more manifest notes of gothic metal.

Elena: More broadly, our music is a philosophy of the beauty of love and death. “Family voice”, symbiosis of heavy guitar riffs and melodic keyboards – all this only emphasizes the whole dark atmosphere. Music of I Miss my Death is more than just soundset.

I Miss My Death, tell us about the name and why you chose it for the band?

Serge: We chose this name because of its compliance with our music. It symbolizes the ancient vampire who grasped eternity, 2survived his death, has known all of his life, eventually tired of it, and as something sublime and unique, misses about his death.

Through the years the band has changed a lot of members. Why have so many musicians left the band and how long does it take you to find new members?

Elena: In our country, playing metal music is unprofitable so many people prefer a good paying job to music. But it’s really easy to find a new musician – there are a lot of talented people in our country. From another side, it’s hard to find optimal person, who plays good, organized, communicated and likes the music he plays.

Serge: We have very good team at this moment, but this is result of hard searching work.

The band has announced that it is going to record a new album next year. What can you tell us about the writing process of it so far?

Serge: Yes, we are going to represent a new album next year. We were expecting for this moment for several years, and hope to surprise our listeners. The writing process has not begun yet, but we have already completed negotiations with the studio recording, produced material and in December will begin recording.

The new album is going to be in the same vein as your first album “At Her Funeral” or is anything going to change?

Elena: The new album differs from our old material. I think, it is better, of course. It will show amazing symbiosis of death doom and gothic metal. As for me, it’s something new for our market. The album is interesting also because of huge participation of other band members, whose influence made songs more fresh and completed.

The band sings in your Russian language but the album title was in English. Why did you decide to go with an English title?

Elena: Well, “…At Her Funeral” consists songs in Russian, in English and in Latin (Ave Maria). The title we album got from the name of one of the English songs from this album, which mostly compliance its atmosphere. The next album will consist of only English songs.

Serge: The title is English because we were looking to the future. The songs in Russian because most our listeners live in post-soviet countries.

Thanks for the interview. Any last words you want to pass to our readers and your fans?

Elena: We hope to visit your country with a concert in near future. Listen to good music that makes your heart beat faster. And, of course, follow us on.

https://www.facebook.com/pages/I-Miss-my-Death/247040681993485