Juggling Wolves – Self Titled

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With first single Mercury an impressive, thickly flavoured appetiser a few months back, anticipation for the Juggling Wolves debut album has been eagerly building as the weeks passed by. The song was a potent and fascinating encounter, its potential and tapestry of sound and emotion alone enough to awaken a keen appetite, but now in hindsight it was only a mere whiff of the majesty that is Juggling Wolves the album.

Every track upon the album is an immersive exploration, a kaleidoscope of invention and fluid evolution of sound which takes ears and thoughts on a transfixing melodic flight. The band cast a sonic narrative which can be described as progressive rock and pop, but there is wonderfully no exact label to be put upon music and album just a long list of hinting references and whispers as colours to describe the albums unique exploits. Consisting of Jimmy Deface from folk/blues rockers Rufus Coates & the Blackened Trees and Johno Leader of acoustic indie rock band The Radioactive Grandma, Juggling Wolves has spent the past two years working on their first album, creating and recording it at their own studio in Co Cavan. Mastered by Fergal Davis, the release is now having its dawning with the deserved broadest spotlight hopefully beckoning.

From its first breath, opener Deadmans Strings is crooning and potently serenading the senses and imagination, a lone guitar amidst an embrace of keys a potent texture for the instantly magnetic vocals. It is a riveting start, a gentle invitation which is soon erupting with an appealing dark bassline and crisp rhythms. Bolting on a vivacious rock ‘n’ roll adventure, the track proceeds to twists and flirt with various textures and swathes of invention, harmonies as bewitching as the sparkling melodies and muscular energy as compelling as the unpredictable imagination of the encounter.

From a head start the album only gains in temptation and captivation as Mercury steps up next. Radiance smothers ears from a distant entrance, swiftly consuming ears with harmonies and a tangy tease of guitar. Almost from its first second there is a drama to the track, a theatre to its chords and cinematic air to the vocal and emotional investigation. As agitated beats and dark bass tempting joins its melancholic yet fiery heart, the song ebbs and flows like the sea, its intensity lapping the beaches of ears and thoughts with relentless but intermittent tenacity. As in all songs though, any moment is just a character in a broader waltz of sonically poetic enterprise and melodically fuelled invention.

Tow pushes things up another level again, the engrossing proposition basking in a Faith No More like ingenuity and drama with flights of spellbinding progressive flirtation adding intriguing Juggling Wolves Album Coverand mesmeric hues. Grooves and rhythms provide a sturdy almost imposing edge and core to the song throughout, the offering a merger of light and shadows which is almost sinister in its transfixing elegance and charm before following instrumental One Trick Pony brings its almost portentous melodic haunting to ears and psyche. A sombre track which sparks new thoughts and discoveries with every fresh listen, it leads the listener towards the outstanding Daze Unknown. The track’s warped twang of a start is an immediate seduction, a glorious discord kissed bait which evolves into a spicy web of guitar and vocals within a slightly deranged ethereal haze. It is soon spreading its dramatic narrative and musical croon across the imagination with bordering on unhinged guitar endeavour contrasting and complimenting the warm breeze of keys and harmonies. Intimate yet also spatial in its presence, the song is sonic magnetism, bringing a craft and bold inventiveness which rests potently alongside that of musician John Bassett and especially his band KingBathmat.

Through the fascinating realm of Lonely Gold, a track sharing melodic elegance and reassuring calm with a darker, emotionally distraught sonic discovery, and the immersive hug of Wither, Juggling Wolves simply entrance ears and emotions. The first of the two is a startling dive into the unknown and quite invigorating whilst its successor sultrily smoulders as it expels emotionally evocative and vocally provocative beauty which recalls singer songwriter Colin Vearncombe, especially in his Black guise; a comparison which can also be applied to How to Salvage a Failing Butterfly, though across its numerous aspects and ingenious turns, the song defies everything apart from inescapable attention. Though may be not our favourite as magnificent as it is, the track has to be the pinnacle of the album with its climatic structures and busy but relaxed twists. A melodic emprise to soundtrack any emotional and intimate adventure, the song is simply sublime, just as the album to be honest.

The closing instrumental Terms & Conditions makes the perfect epilogue to the album, a luminousness weave of evocative sound and emotive intrigue capping off an increasingly impacting proposition. Hopes were high, and may be expectations too, of the Juggling Wolves album but it left those looking meagre within mere minutes of its exhilarating presence. This is a band creating musical alchemy and their album their first creative hex on the passions.

Juggling Wolves is available now via iTunes and all other digital outlets and @ https://jugglingwolves.bandcamp.com/

http://www.jugglingwolves.com/

RingMaster 10/12/2014

Copyright RingMaster: MyFreeCopyright

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To Be A King – Fear Not

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Hostile and seductive in one imposing slab of deathcore bred angst, the Fear Not EP is a challenging and ultimately rewarding debut from US metallers To Be A King. It is an encounter which takes time to persuade in parts and in other moments instantly takes a tight grip on the imagination. As mentioned the first release from the Virginian quintet is a testing proposition but a thoroughly fascinating and compelling protagonist for the senses which only leads to an appetite for more.

Forming barely four months ago, To Be A King has taken little time in making a mark and sparking keen attention at home. It is a band bursting with experience from its member’s previous endeavours, something audible in the technical craft and creative passion of To Be A King and their imaginative merger of symphonic and horror/metalcore essences with a deathcore seeded canvas of sound. Released on Imminence Records, Fear Not is a striking introduction to the band, an entrance soaked in uncompromising creative drama and ravenous aggression. It is an unbridled tempestuous onslaught but given time and intensive focus emerges as a rather impressive, potential fuelled encounter

Opening track is Plagued, an imagination igniting instrumental driven by keys and coloured by portentous emotions and sinister sounds. Building to an intensive climax, the piece sculpts a highly visual persuasion which has thoughts and emotions fully involved by the time it evolves into the EP’s title track. Within a breath of the second track, guitars are spinning a sonic web of intrigue and coarse melodic expression whilst rhythms badger and hunt the psyche alongside the raw guttural threat of vocals. Voices come in a varied spillage of venom to drive the track deep into ears and emotions, imaginatively assisted by the carnivorous skills and intent of the guitars. Beneath the turmoil though, clean vocals share their slight lures, the band’s calls almost smothered by the intensity around them but coming forward enough to be audible, especially when the elegant caress of keys reassert their presence towards the end of the song. It is a gripping assault on senses and thoughts, its short length ensuring every note and corrupted syllable comes with intensive drama.

The following Arkaik swiftly has its fingers into the heart of the imagination, the chilling touch of keys from the start a delicious coaxing before the brutal and bruising weight of the track 2pnlshows muscle and intensity. Riffs and beats take charge, along with the similarly hostile vocals, and with wiry grooves and a throaty bassline joining a blackened tirade of vocals, the song is soon weaving through a landscape of almost vitriolic invention and intrusive adventure. As the whole release, the song just grows and impresses with every listen, new elements and depths emerging as ears traverse and explore the unrelenting and imaginative emprise of sound.

The track is the pinnacle of the release, setting a benchmark not quite rivalled by the dark charms and ravenous presence of Desolation. Celestial, or should that be demonic, harmonies from the keys provide an initial haunting before the track expels its ruinous heart with raging vocals, vicious rhythms, and scorching sonic causticity. Jaggedness scars the riffing, bringing a familiar essence with little surprises, though that is left to the spatial elegance and drama of the keys to offer. The song again has ears and thoughts enticed but something is missing compared to its predecessors, the song ultimately lacking a spark to inflame and seriously excite even if it has no issue keeping satisfaction and enjoyment fully contented.

Forgiven brings the release to a close, the track a beast of a proposal from its first moment, standing over and leering at the listener with predacious riffs and the band’s ever antagonistic rhythms. Raw and rabid at times whilst casting some of the most radiant sonic beauty on the EP, the final song is an engrossing adventure revealing more of the band’s songwriting and technical prowess, not forgetting imagination. Again it misses sparking the same levels of personal emotion as to that ignited by the first half of the release, but only adds to the promise and expectation of big things ahead for To Be A King.

May be one EP is too soon to expect the band to rise to major heights but it shows that all the weaponry in skill and potential is there, and going by tracks like Arkaik, the invention too.

The Fear Not EP is available on Imminence Records from December 9th @ http://tobeaking.bigcartel.com/ and http://imminencerecords.bandcamp.com/album/fear-not

https://www.facebook.com/ToBeAKingVa

RingMaster 09/12/2014

Copyright RingMaster: MyFreeCopyright

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Thy Fallen Kingdom – Fear The Hunter

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Wearing its old school inspirations proudly on its sleeve, Singapore thrashers Thy Fallen Kingdom unleash debut album Fear The Hunter, an encounter swift to fire up ears and neck muscles. The nine track aggressor is not a proposition to change the shape of thrash metal or bring it anything particularly new but for passion and thoroughly enjoyable enterprise, it is an album to eagerly embrace repeatedly. The band lists major influences as bands such as Exodus, Slayer, Megadeth, Testament, Destruction, King Diamond, and Mercyful Fate, no real surprise as you listen to their raw and highly flavoursome encounter, but to be honest this familiarity only adds to the lure of their sound and makes Fear The Hunter like an old friend in the ear and a seriously irresistible stomp for the body.

Formed in 2005, Thy Fallen Kingdom has uncaged a trio of releases leading up to the new album. From the five-track All That Is Left EP in 2009, the quintet has aroused local attention and passions as well as creating interest in the metal underground generally. The following UnDemocratic Society a year later and Army Of One EP in 2012, only added to their emerging presence ensuring there was plenty of anticipation for the band’s first full-length. After numerous line-up changes, the more settled line-up of original member and rhythm guitarist Akhbar, lead guitarist Christian, bassist Bryan, drummer Aip, and vocalist Aidil (though since the album’s recording he has left the band to be replaced by Rajuna), has crafted the band’s finest moment to date, an album to ignite body and appetite with ease.

Adrenaline and energy spurts voraciously from the speakers from the first seconds of the second track, never relenting until the album’s final offering, but it is the short alluring instrumental Mental Oppression starting things off. An evocative melody drifts from the strings of a guitar, its elegant expression and caress a potent coaxing but courted by a sinister sonic squall which offers shadows and portentous suggestiveness, a threat soon realised in Army Of 1. The song lays down a rub of nagging bait before rampaging with nostrils flared and rhythms slapping ears with their mighty swings. In full stride the track is a thunderous provocateur loaded with torrents of abrasing riffs and great tangy grooves, all punctuated by heavy fisted beats. Vocalist Aidil stands in the midst of the incitement, his delivery scowling with serpentine hostility for a great caustic hue to the tempestuous yet melodically fuelled sounds around him. The song as a whole only increases its lure as the blend of every element beds in the senses as grooves drip with temptation.

My Murderous Childhood keeps the great start to the album in full swing, charging and pounding through ears with broad sinews and acidic invention. Vocal variety across the band adds to Thy-Fallen-Kingdom-Fear-the-Hunter-e1415715183881the contagion of the track but it is the virulent riffing alongside spicy grooves and hooks which turns recognisable seeds into a masterfully magnetic proposition. The track leaves appetite and ears that little hungrier, an increasing greed the title track is only too please to satisfy. From a sonic drama a delicious throaty bassline steps forward, skirted by a rhythmic shuffle of beats. It is a bait impossible to resist, even more so when a tangy solo sears its addictive web. In full flight, the song does not quite live up to its opening or predecessor but still lays down an anthemic and contagious provocation to devour, especially with the addition of a bluesy colouring and subsequently furious animosity.

The anthems keep coming thick and fast, the next up Imperious Regime a vocal roar over a contagious sonic turbulence whilst its successor Psychosis provides an inescapable addiction. The first of the pair teases with a Suicidal Tendencies like predation, especially in the vocals, to provide an exhausting and rigorously thrilling incitement, though it is swiftly left in the shade by its successor. From its opening swagger and grouchy bassline, the track is in full control of attention and emotions. A Pantera-like swing to grooves is pure infectiousness which persistently lingers even as the song spills the rawest corrosive essences for a cantankerous canter of sound and attitude. That is enough to make it a formidable encounter but with a slip into a pasture of radiant melodies and harmonies with an air of Motherjane to them, the track has its sights on best on album honours.

The salaciously grooved Operation B.E.A.S.T. has its say on that straight after though, its rugged terrain a barbarous temptation bound in infection soaked grooves and vocal persuasion. The result is another epidemic of tenacious thrash enterprise which with plenty of creative hues and craft from the guitars and potent invention throughout sculpts its own peak in proceedings. That success is matched by the outstanding Unchallenged, another relentless assault with additional punkish textures to the surge of voice and riffs. There is no getting away from the fact that Thy Fallen Kingdom enclose themselves in their open inspirations without seemingly trying to break into bold originality, but here and across the whole of Fear The Hunter, it does not prevent the album from being one of the most pleasing and fun genre releases this year.

Closing with Possessors Of Absolute Power, one more creative cage of vicious rhythms and inventively spicy grooves roared on by torrential riffery, Fear The Hunter is thrash metal at its most furiously compelling. It may be bred on a diet of classic influences which the band is unafraid to share in their sound, but it is a familiarity which Thy Fallen Kingdom uses in their own attention grabbing way for a proposal all thrash fans should take up.

The self-released Fear The Hunter is available now.

https://www.facebook.com/pages/Thy-Fallen-Kingdom/108260834542?fref=ts

RingMaster 09/12/2014

Copyright RingMaster: MyFreeCopyright

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

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Alex Highton – Nobody Knows Anything

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Whether it is charm or simply mischief which fuels the songs of UK singer songwriter Alex Highton, probably both to be honest, it makes for a thoroughly engaging proposition and his new album one captivating treat. Nobody Knows Anything is a collection of intimate yet easily connectable songs for the imagination and emotions to greedily embrace. The successor to his folk seeded debut album Woodditton Wives Club, the Liverpool hailing Highton has pushed into more jazz and at times dare one say eccentric explorations within Nobody Knows Anything, resulting in a fascinating and almost devilish proposition.

Naming prime inspirations as Sufjan Steven, Here We Go Magic, and Joni Mitchell for his new Gare du Nord released album, Highton has called on an array of musical talent to explore his new songs, long time musical companions double-bass-player Jonny Bridgwood (Morrissey, Kathryn Williams, The Leisure Society) and drummer Howard Monk (Billy Mahonie, The Clientele) joined by the likes of Nancy Wallace (of The Memory Band and The Owl Service), Laura J Martin, and Robert Rotifer (of Rotifer) across the David Dobson produced release.

As soon as the melodic caress of opener You Don’t Own This Life cradles ears, there is open vivacity to the song, especially in the relish which Highton’s distinctive tones seem to have casting every syllable. The track entices even more potently as keys and sultry flames of trombone and clarinet join the narrative, ending on a jazz drenched shuffle which simply ignites ears and an anticipation for what is to come. It is an appetite given a flavoursome dose of fun through It Falls Together, a mischievous canter of melodic revelry and vocal adventure. Instantly there is a potent scent of 12 Stone Toddler to the imagination and revelry of the track whilst the discord spiced keys provide an early XTC flavouring, all very welcome and thrilling in the inventiveness of Highton’s verging on avant-garde creativity in the song. It is an early pinnacle of the album, joyful harmonies and tenacious revelry all adding their colour to the dance before the following mellow reflection of Panic takes over. In a synth cast celestial climate veined by blues kissed and seventies spiced melodies, the song floats and resonates over the senses. It swiftly awakens the imagination, its visual tones magnetic scenery to which electro and rhythmic enterprise add their creative fun.

Through both the gentle croon of Sunlight Burns Your Skin and She Had This Sister, Highton offers varied and enthralling melodic proposals, the first a simultaneously melancholic and vibrant weave of twilight lit jazz infused temptation and the second, a folky acoustically bred kiss on ears with a seductive swing and tangy groove to its smoulder. Though neither matches the romp of previous and the more experimentally infused songs for personal wants, each leaves a lingering hug and easy to accept invitation to soar their elegant landscapes again.

   The rich hazy atmosphere and emotive enticement of Kills is next and again offers plenty to warrant a constant return to its warm seduction, the vocal union of Highton and Nancy Wallace pure magnetism, a lure matched by the melodic aesthetics and emotion of The Evil That Men Do, where this time the cello of Claire Hollocks and additional vocals of Bonnie Dobson add a riveting glamour to the song’s mournful countenance. The pair has ears and thoughts tightly embraced in their reflective beguiling, but soon have to give sway to the bubbly provocative pop of Fear and its pulsating magnetism.

I Only Asked You to Try and Somebody Must Know Something each add individual drama and forlorn intimacy to the expressive depth and uniqueness of the album before the instrumental majesty of the album’s title track takes ears and imagination on a provocative fall through emotive structures and melodically flirtatious adventure. It is a trigger for thoughts and feelings to play and invent before relaxing into the welcoming humid embrace of the outstanding Mephisto, another merger of folk and jazz filtered through a resourceful vat of discord mystique.

Nobody Knows Anything is completed by the glowing tempting of It’s, a bewitching end to a powerfully engaging release. Certainly some songs leap out over others for personal tastes but every moment upon Alex Highton’s album is an exciting opening into the adventure driven heart of its author and a tonic for ears and emotions.

Nobody Knows Anything is available now via Gare Du Nord @ http://alexhighton.bandcamp.com/album/nobody-knows-anything

http://www.alexhighton.co.uk/

RingMaster 09/12/2014

Copyright RingMaster: MyFreeCopyright

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

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Stormcast – Frame of Mind

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Whenever dark clouds crowd in on thoughts and emotions there is always a place for an understanding soundtrack, something Cyprus-based atmospheric black metallers Stormcast offer with their impressive debut album, Frame of Mind. The release is a tempest of oppressive intenisty and emotionally ravenous shadows but brought on an epic wave of melodic and atmospheric invention. An increasingly compelling fusion of black and symphonic metal with additional flames of melodic death and gothic expression, the release is a startling and intensive introduction to the Nicosia quintet.

Formed in 2007, Stormcast take their lyrical and atmospheric inspirations from the personal struggles of man and society’s ills. A couple of promos in 2009 and 2012 respectively, opened up a certain amount of attention but it is with the Pitch Black Records Frame of Mind that it is easy to suspect Stormcast will stepping into the widest gaze. The band’s live presence which has seen them play the likes of the MetalDays Festival and share stages with bands such as Rotting Christ, Sabaton, Stratovarius, and Nightstalker, sparked real anticipation for Stormcast’s debut full-length and from being a relative secret expect the band’s name, because of the new release, to be on the broadest expanse of lips as it infests ears and psyche.

The Executioner opens up the physical and mental examination, emerging from a spatial ambience with vocal drones, scything drama clad riffs, and orchestral grandeur. It is a portentous dawning soon realised by the crushing heavy booted feet of rhythms and a ravenous sonic enterprise from the guitars and keys. The song soon settles in to a smaller and more intensive pressure of hungry riffs and combative beats, both carrying the vocal animus of Mike Angastiniotis. His voice is a venomous squall, clinging to ears with every rasping syllable whilst around him the song ebbs and flows with intimate hostility and expansive melodic temptation. It is an instant attention grabber of a track, an inescapable provocateur with nostrils flared and creative wiles in full flow. The golden blaze of horns which lord over the song’s finale make a striking contrast to the pestilential vocals and savage riffery, a moment and conflicting union which in many ways really epitomises the whole of the album.

The potent start is swiftly matched by the dark depths and majesty of Wishful Bliss, its opening elegance soon a predatory stalking of the senses but still wearing a mesmeric cloak of keys from Cover_pbr033Mark McDonald and sonic intrigue from the guitar of George Masouras backed by that of Angastiniotis as his vocals spill further malevolence into the mix. Elements of the track, as across the album, bring thoughts of bands like Dark Tranquillity and The Pete Flesh Deathtrip but only as spice to something distinct to Stormcast, something again shown by New World Order. The track backs up the might of the first two songs with consummate and uncompromising ease. Keys and guitar offer an immediate inviting drama, before passing the fire to a torrent of niggling riffs and intensive swipes from drummer Andrew Laghos, both courted by a prowling and magnetic bassline from Andreas Spyrou and the return of the roaring horns. Whereas the previous track was a maelstrom of dark emotions and riveting enterprise, keys and guitars weaving radiant melodic colour across a brutal rhythmic and riff painted canvas, the third track strides a brighter terrain of still imposing incitement and intensity. Hooks and grooves light up its landscape with enthralling imagination and expressive hues, whilst the bass of Spyrou makes for a carnivorous accomplice to the raw throated narrative of Angastiniotis.

There is also a background hint of clean vocals to the song which are given greater rein in Of Flesh and Stone, an evocative track looking at soldiers at war and families left behind. From a sample of a wife talking, a captivating croon brings the song into potent view. Presumably it is again Angastiniotis singing and it has to be said he is a gripping element with his clean tones swiftly sparking a wish that the band employed this side of his skills even more across the album. He is soon spraying his regular caustic tones though, spite and rage impregnating the turbulent but beauteous tapestry of the epic encounter.

The pair of Withdrawn and In Entropy stirs up air and emotions next with their own individual designs and torment. The first is cored by another addictive bassline around which riffs and beats create a smaller but predacious confrontation, the track almost punkish in its hooks and spiteful riffing. It eventually drifts into a melodic pasture which simply bewitches even as first Angastiniotis and subsequently crippling rhythms add their dark offerings to the outstanding aggressor. Its successor is a radiant wind of sonic and melodic adventure contradicted by the bullish tenacity and contagious strength of rhythms and riffs. Light and dark in a riveting conflict for the listener to immediately immerse in, the song as its predecessor sets another plateau for the increasingly thrilling album.

An opening tangy lure from the guitar sets Immune off in fine and exciting style, that initial tempting continuing to coax ears and imagination as around it the song‘s atmosphere darkens and its climate becomes more imposing. The track never goes into the brutal rage it hints at though, keys providing a poetic elegance as the guitars flame with sonic adventure and the song with a creative revelry. Only Angastiniotis’ scarring tones resist the light, his words a great blackened toxin to the engaging landscape before final track Dysthymia takes over to bring Frame Of Mind to a satisfying close. It again reveals the depth and invention in the songwriting and sound of Stormcast, a blend of smoggy rabidity, unpredictable mouth-watering twists, and emotive melodic endeavour gripping ears and imagination for a potent finale.

It did not take Frame Of Mind long to impress but it is with further plays that its true weight of creativity and grandeur shows itself. With only a wish for a little more diversity in delivery from Angastiniotis a minor thought, Stormcast has pushed themselves towards the strongest spotlight with the album, a must investigation for all extreme melodic metal fans.

Frame of Mind is available via Pitch Black Records now @ http://store.pitchblackrecords.com/STORMCAST-Frame-of-Mind.html#.VIgbA3vzDox

http://www.stormcastband.com/

RingMaster 10/12/2014

Copyright RingMaster: MyFreeCopyright

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

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Dirty strides and mischievous smiles: delving into the virulent charms of Ocasan.

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Splitting their forthcoming album up into a trilogy of diverse and creatively exhilarating EPs this past year, UK rockers Ocasan has undoubtedly provided British rock with some major thrills. It is not the first time the Milton Keynes hailing trio has made a striking and adventurous contribution to the scene, their acclaimed debut album Ricochet one such triumph, but it is fair to say using recent release the Confessions EP alone as evidence, that the band is breeding a new plateau and depth of invention and virulent sound. With thanks to drummer Luke McDonnell, we set about exploring the heart of the band and those recent releases whilst taking in mutual appreciation of a certain band, learning the back ground to particular songs, and simply exploring Ocasan in general.

Hello Luke and thanks for taking time to chat with us.ocasan5

You’re welcome.

Tell us about the beginnings of the band and what inspired you to start up Ocasan.

We’d all come from numerous past projects and like most acts shared a love for the same music. When writing we found that songs poured out like vomit from a size nine Friday night slutty binger.

Is there any special meaning behind or influence to the band name?

It’s my family name, well the Irish side. We were the Ocasan’s. It’s also Japanese for ‘Mother’.

And talking of influences what have been the biggest inspirations to the band and personally in sound and musical intent?

We’ve been on a massive journey. Having stayed together for about a decade now, our influences are constantly in flux. We’ve spent many year writing singles and mainly pop oriented tunes but now rediscovered a love for our grungier roots. We’re writing music we’d want to jump up and down and scream along to drunk in a grotty venue. It’s the tits.

One of our all-time essential listens are Reuben and I heard you guys have a taste for their inspiring sounds too?

Well this follows perfectly from what I was saying. We rediscovered Reuben’s Racecar is Racecar Backwards which led to listening to their other latter work. It’s a little obsessive and we’re seeking help.

You biography mentions “abandoned stables, hippy communes and rock and roll pubs” as well as “hot tubs with millionaires” and parties with Russian oligarchs. We can assume the band’s life to date has been something out of the ordinary?

It’s had its ups and downs but some of the ups have been out of this world. What’s incredible is that it has all stemmed from the music. OK, so we’re not a big band. We’ve been trying for years to get a break, but the one thing we’ve taking away from being in Ocasan are some life changing experiences. We’re by no means done yet.

You recently released the third of a trilogy of EPs, Confessions, which comes around three years after debut album Ricochet of 2011. How would you say your sound has evolved between what are to our mind, two rigorously contagious and imaginative releases?

Our first record Ricochet was written with sole intent of breaking the market. We were still writing music we loved but were set on writing singles people could sing along to and record labels would be interested in. As each year goes by the “Fuck that!”s from all of us becomes increasingly louder. Elixir (the EP trilogy) concentrated more on our lives and our story so far. There are mentions of some serious life changing moments that we had to deal with during the record. We thought this would make the album more sincere rather than writing about teenage fancies etc. We think it’s done just that and every song is an honest story. Apart from Confessions….that’s sung from the point of view of a piano. I’m not a piano.

ocasan confessions-artworkIt is easy to see each of the EPs, London Town, Whitey Two Step, and of course Confessions, working perfectly together within Elixir but they also show distinct personalities from each other, especially the last. Was this something purposefully set out or just organically came about?

Organically…When we set out (reluctantly may I add) splitting up the record we found certain songs had something similar in common. EP1 was our ‘hello we’re back’ EP. There are some strong numbers on there and good examples of what was to come on the follow ups. EP2 More light hearted, whimsical and more creative lyrically. EP3 was much darker both lyrically and musically. We figured if we had you sold on the solid, slightly more commercial stuff from the start, you’d be digging this by now. Safe to safe this is one of the most popular records.

So each has an individual theme and is there a more personal intimacy across the EPs than maybe explored before by the band?

I would add that the third is the most personal. It explores a few subjects that were hard to write about. A good friend of ours (our tour manager) had a brain tumour and we expected him to not be with us by the release. Dark cloud was an infamous cocaine dealer from central London that we had some nasty run-ins with. etc. etc. You’ll need to have a listen to pick apart the rest.

Elixir will be released at some point as a single entity I assume?

Yes, we’re looking at early next year once our agent has sorted the next tour.

Will you sneak in anything new or rework tracks to offer another tasty dose of freshness for fans already devouring the EPs?

Yes, there’s a hidden track and some live stuff that we’ve had stored away for a while. We may even put on some new tracks to hint at the new record. We’ve been recording it all live on reel to reel recently, it sounds out of this world!

There is a great eclectic essence to your sound, a persistently varied energy and invention to your rock pop revelry so how does the songwriting work within the band. It is a group effort in ideas and writing?ocasan1

I generally come up with lyrics and bring them to the other two. They’re both so talented that normally before I have time to blink they’ve written what I was hearing in my head…if not, better. I guess this just comes with working together for a long time.

Parasites from the Confessions EP is one of our tracks of the year, and went down a storm on our recent podcast. Can you give us some background and the spark to the riveting contagion posing as a song?

As discussed earlier, this particular track was about our friend who was diagnosed with a brain tumour. It was seriously traumatic, obviously for him, but for everyone that loved him dearly. I’m delighted to say that he’s still with us today. But yes, that in essence is the ‘parasite’. “these white coats, do they know the ropes” was a stab at the doctors that kept misdiagnosing him and putting him through emotional hell.

All the tracks across the EPs and thus album were recorded with Romesh Dodangoda (Funeral For A Friend, Motorhead, Kids In Glass Houses). How did that link up come about?

We listened to an Attack! Attack! record years back, did a little research and said Romesh was the guy for us. As we worked so well together on Ricochet we figured “if it ain’t broke…” so we went back to do our second album there. We have a big respect for Romesh and would be happy to work with him again.

You have a serious appetite for gigging and have hit stages across the globe as well as nationally. It feels like this is what it is all about as a band for you guys, where you are most at home?ocasan4

We love it! If we could be out 364 days a year (Fuck gigging on Christmas) we would. So many bands believe that you can do well from making music videos and putting them on YouTube but nothing will beat just getting out and playing to new people. We love seeing the world and making new friends, what a brilliant way to do it.

Are you a band which likes to preview and explore new songs live before recording or vice-versa?

Yes, it’s incredible how much audience reaction can help develop a song.

What is in store for and from the band going into 2015?

We’ve nearly finished writing album three. Most of it will hopefully be demoed this side of Christmas. We’re off to a studio in Italy in January to try out a studio south of Rome. We’ll release Elixir as a whole (with little extras) and hopefully have the third album ready for release shortly after. After that it’s just tour tour tour, music video, tour tour tour, music video – repeat.

Once again big thanks for sharing time with us; any last thoughts you would like to leave us pondering?

If the brain was so simple we could understand it, it would be so simple we couldn’t.

Read the review of the Confessions EP @ https://ringmasterreviewintroduces.wordpress.com/2014/09/30/ocasan-confessions-ep/

http://ocasan.co.uk/

Pete RingMaster

The RingMaster Review 10/12/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

The Reverse – No, I Don’t Want to See Your Stupid F**king Band

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Hailing from London, UK band The Reverse showed themselves quite handy at crafting strongly persuasive and magnetic songs with the release of their Kind Words For Cruel Times album around a year ago. Merging the drama of folk with indie inventiveness, the band’s sound is a gentle and welcoming tempting which does not startle but certainly entices keen attention. Now the band returns with new single, No, I Don’t Want to See Your Stupid F**king Band, providing more of the same charming enterprise which lit their full-length but with even greater colour and potency to its creative flame.

Formed by vocalist/guitarist Nathan Loughran and drummer Jason Moran, The Reverse was eventually completed by guitarist/backing vocalist Sam Hartley and after a previous bassist, James McKeown (ex-lead singer of The Great Divide and The Colours). A triplet of well-received EPs from debut A Clean Incision in 2006 through to Shutterspeed the following year, and in 2008 My Lifelong Psychological Experiment, reinforced the band’s emerging live reputation. It was the Graham Dominy (The Rifles, Razorlight, Ray Davies, Supergrass) recorded and mixed Kind Words For Cruel Times which opened up a broader attention, its success matched by shows with the likes of Klaxons, The Wave Pictures, Lupen Crook, Sgt Buzfuz, and Carina Round. The new single shows another engaging step forward for the quartet and you suspect with a similarly blossoming reaction.fucking_band_front

No, I Don’t Want to See Your Stupid F**king Band opens on a coaxing acoustic strum, the guitar casting a welcoming melody as Loughran begins the narrative bred from experiences and obstacles all emerging bands come up against. With lively yet controlled beats courting magnetic keys and harmonies, the song shuffles and tempts with a radiant weave of melodic prowess as bass and guitar lay down their own highly persuasive bait, the whole mix a gentle and unassuming song musically, compared to the lyrical altercation, but textured with refined and resourceful enterprise to spark the senses.

No, I Don’t Want to See Your Stupid F**king Band is a soothing seduction with a snapping title and lyrical premise, a song which reconfirms The Reverse as a band to keep good attention upon. It is not going to set your world on fire but the track is certainly going to give it a satisfying glow.

No, I Don’t Want to See Your Stupid F**king Band is available now @ https://thereverse1.bandcamp.com/track/no-i-dont-want-to-see-your-stupid-f-king-band

www.thereverse.co.uk

RingMaster 09/12/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/