Melodic fire and raw passion: an interview with Kyle MacKenzie of 7stbaby

7stbaby - Promo Image

The turn of 2014 saw the unleashing of the debut album from UK rock band 7stbaby. Control swiftly announced a band to keep close attention on with their gripping blend of varied styles into a riveting stoner and grunge veined blast of heavy melodic rock. Garnering strong support and acclaim, the band’s album was a potent statement for 7stbaby and their emerging presence in the UK rock scene. Ahead of the band’s new single Horses, we grabbed the chance to talk with one of the band’s founders and vocalist/guitarist Kyle MacKenzie. Looking at the origins of the band, Control and the new single as well as his and his band members other project, Kyle led us to the heart of 7stbaby.

Hey Kyle welcome to the site and thanks for taking time to talk with us.

Thanks for having us

For those yet to discover the delights of your sound, introduce 7stbBaby to the readers for us.

7stbaby is a project Ben and I (Kyle) had decided we wanted to do several years ago while writing for the first Static Plan EP. There were lots of riffs and song ideas which were not fitting with SP’s style, but that we still really liked and wanted to use. In August 2013 we finally got round to doing something about it, Ben basically moved into my place for a couple of weeks and we wrote and recorded Control. We then asked Greg to join us on drums for the album, and he was happy to be involved. Although we didn’t want to pigeon-hole ourselves genre-wise, we are a project that is definitely coming from a stoner rock viewpoint, just with anything we like thrown in!

Can you give further background to the band too, exploits before and alongside the band for its members.

Hilariously, line up wise 7stbaby is basically Static Plan, so 7stbaby’s background for the members is pretty much exactly the same. Ben and I met years ago while we were studying at university, when I answered an advert for a rock band looking for a vocalist. That then became Static Plan with Jonno on guitar duties, and after several drummer changes we finally ended up with Greg, who changed the dynamic of the band for the better. We gigged our balls off for a couple of years while writing and recording as many demos as possible.

7stbaby then came to the forefront as Static Plan began to wane a bit. Member changes, money issues and health and personal problems stopped us from carrying on the great momentum we had built, but we still wanted to make music and get it out there. So Control was about creating without the pressures we had experienced over the last couple of years.

Your music as evidenced by debut album Control earlier this year, is unafraid to employ a wealth of styles and flavours in its roaring recipe. How would you describe your musical canvas?

7stbaby is about doing whatever we want to do musically. If people love it that’s great, but if people hate it, then so be it. We created a concept album in a very short space of time with the tools that were available to us at the time, and because there was an ‘anything goes’ attitude, we approached it with no fear. 7stbaby’s musical canvas is anything that we want it to be.

It suggests you guys have a wide range of inspirations personally too, what are some of the more potent influences on your sound and ideas?c

Yeah we have quite a diverse range between us I think. I love artists and bands such as Martin Grech, Jeff Buckley, Radiohead, Porcupine Tree, Karnivool, QOTSA, Alice In Chains etc. Honestly there are just too many to list! I am inspired by great songwriting and great musicianship. Ben has a slightly more ‘alternative’ influence list than I have, loving bands like Gorgoroth, Mortiis, Mayhem, Mondo Generator, Sonic Youth etc. By no means are we limited to these bands or genres, I think we both have a healthy appreciation of music and its influence over us.

I read that Control was written in just three weeks, was that the reality or were some songs already around in some form or idea before that?

There were some riffs and parts floating about from writing the SP EP a while before, but the vast majority of the album was written in three weeks

Control deservedly garnered eager praise and acclaim upon release, did that surprise you in some way the vocal support and enthusiasm it received?7stbaby - Horses Single Cover

Ha-ha it did a bit! I think I was expecting it to either get distinctly average reviews or none at all, I didn’t think anyone would understand what we were trying to do! But the reviews were great to read and made me realise that people did understand what the album was about. Some of the reviews were just emphatic, and really brought some joy to me after a difficult couple of years making music.

Give us some insight to its creation and how you fitted it in with your other projects like Static Plan.

Static Plan at the time had ground to a complete halt after a couple of line-up changes. Ben and I had some free time during the school holidays and we just decided to get it done. It was incredibly fun and made us really want to start work on the Static Plan album.

September 26th sees the release of your new single, Horses. Taken from Control, it is one of the album’s biggest highlights for us. Was it an obvious choice for a single?

I think it’s a heavy song on the album, and probably the kind of song that most people can respond to without hating it ha-ha! We debated for a while which song was going to be released actually, and Horses at first didn’t seem like the obvious choice to me, I thought Leave Me To Bleed would be the better single after releasing Somebody’s Bitch. After a while of debating I realised that Ben was absolutely right, Horses is just the right single; it’s much more immediate!

Have you tinkered with it for the single release?

We have not; it’s as pure as it was

Horses, as the album, is out on Got Wrong Records; your own label?

Yes it will be a pay what you want digital only release on my label Got Wrong Records on September 26th. Available at https://gotwrongrecords.bandcamp.com

Can you give us some insight to the inspiration and theme of the song?

Horses is about conquering the power someone can have over you, and breaking out of the cage you confine yourself to when you let them control you. It’s the climax of the album for me

Horses sparked thoughts of Life of Agony for us, its provocative nature and intimate energy reminding of the great US band. Is that something you can feel?

Yeah I can see that. They’re aggressive and melodic, and that’s what Horses is in its simplest form. We really wanted to get the emotion across in the vocals, so hopefully we have done that if you’re comparing Horses to Life of Agony 🙂

The song is accompanied by a great video, who was that filmed by?

The video was filmed with a lovely chap called Sam Sheridan. Ben and I wrote some music for a short film he made several years ago, and we lost contact afterwards. As we were hunting for a director to make the video for Somebody’s Bitch we got chatting and got him involved. He has done an amazing job with incredibly little budget and filming was an absolute riot. Our lead man Alex Netting absolutely smashed it as well, bringing some intensity and humour to the whole thing.

It looked like a fun day out ha-ha; I am imagining that the central character (Alex) drew plenty of attention from the passing throng during filming?

It was a hilarious day for sure! Amazingly every person that interacted with us on the day was very positive; they loved the idea, loved the make-up and loved the character. We definitely got a lot of attention that day.

You guys are in two bands to my knowledge 😉 It is hard for any band to make an impression in the current state of music, so how have you found it juggling and driving forward with your projects?

Yep it’s hard, that’s just the way it is. I think it’s always been hard though. The key is to keep going and enjoy the small victories I think. It’s definitely possible to juggle everything and find the time if you are committed enough; you just have to want it bad enough.

How do you see the current state of music especially the catch 22 effect of the internet with its usefulness and detriment for bands.

I think that even though there are always things we can complain about, bands and artists are in a much better position nowadays for people to hear their music than say 20 years ago. It’s incredibly difficult to earn a living from it, but there’s no change there really. Hopefully in the years to come, with organisations like the Musicians Union working on behalf of musicians, fairer deals can be made on behalf of musicians on the likes of streaming royalties.

10505283_311135829045859_3576936077197922227_nIs it hard to hold your enthusiasm at times, or does the music always hold sway over the emotions?

Personally I go through high and lows on a daily basis. Sometime I can struggle to bring myself to pick up a guitar and other times I can’t tear myself away to go to bed.

What is ahead for 7stbaby?

Not a clue! We’ll have to have to have a chat about that at some point ha-ha

…And from your other projects?

I’m currently working on albums for Static Plan and Outpost Zeta, and Ben is working with Ventenner and Exquisite Ending.

Thanks again for sharing time with us. Any last words you wish to share?

Thanks very much Pete, we really appreciate the support! My last word shall be check out www.gotwrong.com for a free EP/Album from Static Plan, Outpost Zeta and 7stbaby, and spread the word 😉

https://www.facebook.com/7stbaby/

Read our review of Control @ https://ringmasterreviewintroduces.wordpress.com/2014/01/17/7stbaby-control/  and of Horses @ https://ringmasterreviewintroduces.wordpress.com/2014/09/23/7stbaby-horses/

Pete RingMaster

The Ringmaster Review 23/09/2014

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7stbaby – Horses

7stbaby - Horses Single Cover

Following up their impressive and acclaimed album Control, British rockers 7stbaby are poised to unleash their new single Horses. A track as voraciously aggressive as it is melodically seductive, Horses easily reinforces the presence and already in place anticipation of major success for the band ahead.

Formed in the autumn of 2013 by Kyle MacKenzie (vocals, guitar) and Ben Martin (vocals, bass) but an idea already long in place but held in check due to the work and success of their other band Static Plan, 7stbaby swiftly gripped attention and praise through the diversely flavoured Control. Merging the richest and rawest essences of stoner and heavy rock with grunge and progressive metal spicery, the Guildford pair along with drummer Greg Webber, also of Static Plan, set a high startling plateau for the project with their album. Taken from Control, the new single confirms and pushes further that impressive start, its mesmeric and muscular tenacity a cauldron of sonic invention and unbridled passion.

Released on Got Wrong Records as the album, Horses immediately fills ears with punchy beats and almost grizzled melodic grooves over scarring riffs. It is an intensive start given further weight by the vocal growls and increasingly gripping twang of the guitar’s grooving. As mellower tones move in to welcome the fiery chorus, there is a definite Life of Agony groove and emotion to the song which only adds to its flavoursome adventure and blossoming fascination. A slip into a more progressively honed stoner twist loses some of the song’s snarl but adds greater intrigue before the track erupts back into its compelling antagonism and captivating melodic enticement.

Horses is an outstanding provocation for ears and imagination as well as a potent doorway into the similarly terrific and impressive body of the band’s album. Think Queens of The Stone Age meets Deftones and the aforementioned Life of Agony after being filtered through a heavy vat of Electric Wizard and XII Boar and you get a sense of 7stbaby. British heavy rock is at one of its most exciting periods right now and this band simply adds more substance to that claim.

Horses is released on September 26th via Got Wrong Records with an accompanying video.

https://www.facebook.com/7stbaby

Read our interview with Kyle from 7stbaby @ https://ringmasterreviewintroduces.wordpress.com/2014/09/23/melodic-fire-and-raw-passion-an-interview-with-kyle-mackenzie-of-7stbaby/

RingMaster 23/09/2014

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Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Rise Of The Northstar – Welcame

PRESSE9

Like being bitch slapped by Godzilla, Welcame the debut album from French thrashers Rise Of The Northstar shows little respect and the utmost hostility yet still charms the frilly panties off the passions. Swiftly instilling itself as one of our lustful favourite releases of 2014, the release is an unrelenting brawl on the senses. Mixing thrash, hardcore, and varied strains of metal aggression in a binding of manga and Japanese cultural inspiration, sound and album is an exhausting thrill which violently bruises and angrily seduces at every turn.

Consisting of vocalist Vithia, guitarists Eva-B and Air One, bassist Fabulous Fab, and drummer Hokuto No Kev, Rise Of The Northstar go straight for the jugular on their Repression Records release full-length and soon has defences willing to be split and devoured by the hellacious fury of ‘manga-core’. Opener What The Fuck tears the senses from their comfort zone, the maniacal glint in the eye of the whole album swiftly and ruthlessly seizing ears once the first song emerges from its deceptive melodic coaxing, guitars opening up with a radiant lure veined by sonic enterprise. When it comes, the colossal wall of sound expelled by the track is a tsunami of spite and intensity. Riffs savage air and senses whilst beats pummel everything in sight. It is a vicious assault and quite irresistible especially as a death metal like malevolence aligns itself with rap cultured vocals and a charging thrash voracity. Everything about the song is raw, vocals and lyrics to riffs and rhythms all looming over the senses like a mix of Slipknot, Bad Brains, and Toxic Holocaust. Its open hostility is also equipped with a sonic temptation which rather than temper the raging seems to ignite it further.

The staggering start is matched within seconds by the predatory Welcame (Furyo State Of Mind), the track from its first breath stalking its victim. A Stuck Mojo like animosity rages in the midst of the storm whilst Cypress Hill like WELCAMEartsonic slithers adds a tease to the incendiary and contagious confrontation. That original slow crawl in attack eventually explodes in primal urgency to incinerate the climate of the song before relaxing back into its insidious stroll. The track is as uncompromising as it is addictive and followed by an equally ferocious and merciless assault in The New Path. Again ears and emotions feel like they are being hunted down by the intensive weight and fury of the track but also just as forcibly find themselves being serenaded by group harmonies and anthemic tenacity. It is a scintillating and pleasingly unpredictable incitement setting a new strain of hunger in motion ready for the excellent Samurai Spirit.

The album’s fourth song casts caustic sonic swirls and a bass probing to tenderise thoughts at first before vocals spew malice and spite with every syllable forced through clenched teeth. Riffs and chords hang around the song with intimidating effect whilst beats slap with increasing tenacity and muscle the further the track challenges the senses. Again though there is a vocal union which demands allegiance, another anthem emerging to push the heights of the album further.

Both Dressed All In Black and Again And Again keep things furiously compelling, the first a belligerent riot of craft and invention which uses every twist of its imagination to unleash another exciting and adversarial predation. It equally sets a web of sonic enterprise to captivate as it spills blood before its successor takes a music box simplicity and naivety into an imposingly rugged and jaundiced landscape. Though neither quite matches the brilliance of those before them, each impresses as they add new character and invigorating variety to the album just like the next up Tyson. A cloud of haunting ambience and sinister atmosphere smothers ears first before riffs erupt in carnivorous voice and intent. Hardcore driven vocals then fly at ears angrily from within in the brewing tempest around them. An infectious stride breaks out next, dragging thoughts and passions with its easily accessible yet nasty resourcefulness. The track matches its title in weight, strength, and menace, again not setting a raging fire in emotions but stirring them up to lively satisfaction all the same.

The ridiculously addictive Bosozoku uncages another storming treat; grooves and riffs in league as they bind ears and passions in their riveting anthemic bait to which rhythms administer their welcome brutality as vocals roar with rebellious relish. It is a blistering slab of rock ‘n’ roll pushing Welcame back to its highest plateau, a level maintained by the following cover of the Pharoahe Monch track Simon Says. Possibly the most brutal and imposing rap track you will hear this year, the band turns it into a storm of antagonistic destruction. There is no peace at its eye either, just more full-blooded voracity and malevolent intent.

The album is brought to a potent end through the fusion of rapcore and thrash infused hardcore uncaged by Authentic and the adrenaline fuelled thrash savagery of Blast ‘Em All, both tracks enthralling debilitating anthems no one could be unwilling to offer their bodies to. They complete a roaring triumph of a release, our introduction to Rise Of The Northstar, despite them apparently having a couple of EPs already loose on the world, and the start of a lustful friendship we suspect.

Welcame is available now on Repression Records.

http://www.riseofthenorthstar.com

RingMaster 23/09/2014

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Warstorm – Goatspel

WarstormBand

Hailing from the city of Busto Arsizio in Northern Italy, Warstorm is a young band which on the evidence of their new album, has all the makings of providing thrash metal with a new explosive character to hungrily devour. The band’s debut full-length Goatspel, is a raw and rebellious slab of metal voracity, an encounter loaded with potential which easily suggests healthy horizons for the quintet.

Formed in 2011 by bassist Federico Colombo and guitarist Lorenzo Gagliardi with the appetite to follow new thrash metal intentions, Warstorm swiftly became a threesome with the addition of drummer Davide Guzzetti. Completing the line-up with guitarist Enrico Giovinetti and vocalist Lorenzo Saccà a little after, the band recorded the Let The Warstorm Begin demo in their first year. This was followed by the last two members of the band leaving to be replaced by Andrea Collaro and Giorgio Ossola on drums and vocals respectively. Following further successful shows with the likes of with Irreverence, Vexed, Mesmerize, and Ultra-Violence, Warstorm entered the studio last year to work on their first album, its six tracks now unleashed to raise a keen appetite for the band and a suspected enthused reaction from the thrash metal scene.

Released via Earthquake Terror Noise, Goatspel opens with the excellent Checkmate for Mankind, an instantly forceful yet inviting entrance into the album. In no time feisty riffs and hungry rhythms are resourcefully filling ears as WarstormCoverthey swiftly establish a steady and eager charge which openly goes up in gears as the song reveals more of its contagious presence. A throaty bass tone adds underlying drama to the increasingly gripping excitement, its lure in full flight as the great punk vocal antagonism of Ossola belligerently erupts. Goatspel is a thrash record but immediately established by the opener, there is a definite potent punk rock tenacity and attitude to the encounter, the first track the most vocal of this welcome essence permeating the release. Striding and charging across its compelling presence, the track is a riveting treat which is also unafraid to explore its melodic corners with gentle elegance and depths with progressive colour and invention.

The exceptional start is followed and matched by the rampaging The Age of False Innocence, riffs and rhythms a predatory incitement from its first breath. As with its predecessor there is an inescapable virulence to the riffs and grooves of the track, its thrash urgency and voracity enslaving ears as the imagination is taken care of by the tantalising craft and enterprise of the guitar whose sonic seducing comes warped and discord blessed. The thrilling onslaught makes way for the similarly irresistible Cursed. Grooves as now expected cast a passions trapping web as soon as possible, and though arguably their lures and those of the ferocious riffery at times holds no surprises, it is hard to think of many same genre releases this year to enthral and tempt the passions as powerfully as Goatspel. A strong whisper of Slayer erupts across the song as a raw vocal attack from Ossola and guest Hyades rages impressively to add, alongside a funkier bass exploit and viciously grooved guitar invention, greater tempting bait for ears and appetite.

Both Relentless Possession and Pulse of Existence keep body and emotions aflame, the first a fiery torrent of thumping beats and unpredictable yet seductive grooves across feverish riffs whilst the second of the pair provides a slower and heavier stalking, though as expected it too finds a lease of urgency within its magnetic fury. The two tracks impress and thrill as thoroughly as those before them, each a merciless epidemic of attention grabbing and pleasure fuelling grooves aligned to biting inventive temptation.

The title track brings the album to a close, the song a ten minute creative emprise which seamlessly flows through progressive and melodic pastures into warlike thrash scenery before diving into even more exploratory textures and corners. The track is glorious, alone the revelation of the promise and ability of the band in songwriting, craft, and sound. As Goatspel, song and album, comes to a close it is hard to suppress the enthusiastic urge to shout loud about Warstorm and their future. It is only their first album and second release but as it is given more time to convince, it is impossible to deny that thrash metal has something special in its midst.

Goatspel is available now via Earthquake Terror Noise @ http://www.earthquaketerrornoise.com/releases.html

https://www.facebook.com/pages/WarstorM/238014932889338

RingMaster 23/09/2014

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Dominhate – Towards The Light

Dominhate-Band

Born from the ashes of Italian thrash death metallers Esequie, Dominhate certainly make a convincing and impressive call their way with debut album Towards The Light. Formed in 2008 the members of Dominhate evolved from the sound cast their former band into a more death metal focused onslaught on ears and senses as new members joined the emerging force in the Italian underground scene. Breeding their own distinct if not yet wholly unique sound with inspirations from the likes of Morbid Angel and Incantation, the Pordenone hailing quartet have put down a strong marker with their first full-length. Released on The Spew Records, a division of Punishment 18 Records, it is not a startling encounter but one which pleases, lingers, and awakens a strong attentive interest in the band.

The title track provides an atmospheric entrance to the release, the album seemingly yawning as it wakes within a sonic haziness and intimidating ambience. It is fully alert and sizing up senses once The Light of the Last Legion spreads its inviting grooves and imposing rhythmic bait across the imagination. Soon into a muscular and intensive provocation, the song creatively stumbles through ears. The rhythmic attack is unpredictable and furious, corrosively matched by riffs and guttural vocal squalls as the track continues to intensify its weight and oppressive textures. An early representation of the album, the opener is not a dramatically striking provocation but undeniably one veined by skilled enterprise and creative intrigue for a richly enjoyable encounter.

Its potent offering is surpassed by the virulent animosity of In the Principle the Great Sleep. Riffs and grooves again align to create a contagious web punctuated by the feverish hostility and craft of the drums, they in turn skirted by a DominhateCoverthroaty bass predation. With the vocals shedding predacious intent and malevolence, the track is a voracious savaging of old school death metal with modern attitude and imagination. Its gripping presence is surpassed by The New Wave of Domination, a track developing an infectious violent swing to its persuasion once it has driven through a tempestuous ravaging of sonic hostility and rhythmic provocation. Like its predecessor the fury is as unrelenting in its ruinous attitude as it is in its inventive swagger, feasting on ears with insidious ferocity and corruptive relish.

Both The First Seed and The Essence of the Choice provide new scenery to the album, the first of the two spreading a sinister and slowly invasive atmosphere over ears and thoughts whilst guitars spin an evocative web of dark intent as restrained but firm rhythms punctuate the sonic narrative. It is a gripping landscape for the imagination to feed upon, the darkening and increasingly rugged terrain of the song only sparking a greater compelling lure to immerse the senses. Its successor explores a lighter adventure, compared to its predecessor, yet still energetically and feverishly soaking ears in blackened revelry and erosive death metal tenacity. The track is a torrential ravishing, arguably low on surprises but high on thrilling and skilful incitement.

Through Perception and Obscure the Call of Salvation, band and album continue to batter the barricades with accomplished craft and enthralling enterprise. The first is a steady but forceful stroll driven by fervour drenched riffs and anti-social beats. Clad in addictively winding sonic endeavour it makes way for the thicker pestilence of brutality and vocal rapacity from the second of the two. Both tracks fuel an already contented appetite over the album, if without reaching heights forged by earlier songs, though that is soon re-established by the ruinous might of King without Crown, a gripping tirade of waspish grooves and crippling rhythms under the demonic thrall of the vocals. It is an outstanding violation which alone makes Dominhate a band worth searching out.

Towards the Light closes with Redemption of One, an engrossing surrounding of the senses with antagonistic design to its raw and ravenous presence. Again intrigue and thought provoking invention spreads infectious toxins across the constantly growing and persuasive might of the track, another sizeable triumph the reward.

It is probably fair to say that Towards the Light does not offer any real surprises but equally it definitely does not give house room to predictability. The album is a richly pleasing and exciting encounter drenched in a potential which suggests that Dominhate is an emerging force of the future and a satisfying pleasure of the now.

Towards the Light is available now via The Spew Records @ http://dominhate.bandcamp.com/releases

https://www.facebook.com/Dominhate

RingMaster 23/09/2014

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Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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