Warped romances and deathly seductions: exploring the psyche theatre of Dedwardians

Dedwardians

The recent release of AA-sided single Love Sick/ Like An Animal reinforced UK garage punk/psyche rockers Dedwardians as one irresistibly primal and infernally seductive incitement. Breeding a raw and scuzz lit infestation of the senses and imagination from the essential essences of psychobilly, garage punk, psyche rock, fifties rock ‘n’ roll and plenty more, the London quartet has emerged as one of Britain and garage punk’s most exciting and flirtatiously inventive propositions. Already carrying a lustful appetite for the band’s sound we thought it was time to learn more about the dark sonic beast that is Dedwardians, so with thanks to drummer Ben Auston we explored the band’s origins, sound, new single and much more…

Hi and thanks for sharing time to come chat with us.

Firstly can you tell us about the background to the band and how you all linked up?

Hello there. Paul (vocals) and Gaff (guitar) found me (Ben, bass) via the bands manager at the time. We met up for a few drinks in Soho and we took it from there. We went through a couple of drummers before finding the boy wonder, Dan Bridle. As for our backgrounds, I can only guess that Paul and Gaff, being men of the North, were raised listening to Venom whilst working in a shipyard or something equally manly. We’ve all grown up playing in rockabilly, punk and rock ‘n’ roll bands….so we’ve all been cut from a similar cloth. …Faux leather.

The band members I believe hail from cities like Liverpool, Leeds, and London, but now all London based for the band. Why the choice of the Capital for the band’s home and would you Dedwardians Bencontemplate living anywhere not beginning with the letter L? 😉

We wanted to move to Aleister Crowley’s old dwelling, Boleskine House on Loch Ness, but the bedroom tax malarkey ruined that, so we settled on a 6 berth caravan in South London.

Many bands seem to start with one direction or idea of sound before emerging with or evolving to their true sound, Ministry maybe the biggest named example. With Dedwardians, I get the feeling you were all born to create the music you do, so was the sounds gracing your two singles it from day one?

Kind of…We started off with a bit more of a 1950’s rock ‘n’ roll sound with our first single – almost Jerry Lee-esque, but somehow we have gone a bit darker and twisted with the newer stuff…which I guess is more true to how we actually sound live. The name was a bit of a play on the Edwardian Drape Society/Teddy Boy thing, so we’ve not strayed too far off from the original ethos.

In our review of the new AA-sided single Love Sick/ Like An Animal we drew on comparisons to the likes of The Cramps, The Dropper’s Neck, and Eighties Matchbox B-Line Disaster, and we could have mentioned Gene Vincent, The Heartbreakers, early Misfits for example too. What are the predominate inspirations which have shaped your tastes and influenced your invention?

You’ve pretty much nailed it on the head with those, but The Cramps are the band we’d all agree on though if I had to pick one. We’re an eclectic bunch on the whole though. Glam through to Psychobilly, Garage Punk to Goth…we’ll borrow shamelessly from wherever. Might confuse some listeners, but hey ho.

As you just mentioned your sound really is a creative frenzy whipped up from essences of numerous styles. Has this diversity just come from all your varying tastes over time or always been there in the songwriting from day one?

It’s been there from the start. It’s becoming more diverse as things progress, which has been tricky in the past when it comes to picking what to play live as we’ve been worried about jumping too far from one style or genre to another. Somehow it always sounds like us nonetheless, so it can’t be too far off. I think we’ve got it down now though, so not too many perplexed looking faces in the crowd. Hopefully.

How would you describe your music to newcomers?

Errr, something along the lines of Gene Vincent, Lux Interior and Captain Sensible on a night bus home.

We love the band name, The Dedwardians speaking for itself and of course you touched on it earlier, but who came up with it?

I think it was Paul and his love for Teddy Boys…Or boys with teddies…Can’t remember. Good though.

Are both your singles Bang Bang Die/Stop Destroy and now of course Love Sick/ Like An Animal songs written around the same time or over different periods?

There was a bit of a gap, maybe a few months at the most. What delayed things was trying to find the right studio to get the sound we were after. Some studios we tried made us sound way too clean…completely not what we wanted, but then we didn’t want to sound too digital or heavy metal. We ended up picking Andy Brook to work with, who I’ve known for years. I wish we’d just gone to him in the first place. We’d have an album sorted by now…maybe.

Dedwardians2How are you seeing the evolution in your songwriting and sound as the band grows and matures together?

The songs are getting a bit more thought through and taking longer to sort out the final arrangements. I don’t mean in a Math Metal/Prog direction, we’re just trying to get the most out of the dynamics and avoiding becoming formulaic. Sometimes it’s tricky doing so with just one guitar, bass and drums. Saying that, Gaff is often louder than two guitarists…Sound men love him.

Is there a predominate inspiration to the lyrical and emotional side of your songs?

The only recurring theme I’ve managed to pick up on is DEATH. Which is odd, as Paul is generally a pretty cheerful chap.

Tell us about the recording of the new single. Did you have any particular intent with the tracks?

We wanted it to be loud; fuzzy guitars, big drums, over driven vocals and dirty bass. Andy Brook (engineer) pretty much got what we wanted straight away. He knew our influences better than the other studios we had recorded in, so that took a lot of the guess work out.

The songs have an instinctive, almost primal lo-fi breath. This edge makes them predatory and insatiably addictive, certainly for us drawing out the true heart of the tracks. Many bands seem almost afraid to tap into raw sounds, what lures you into this approach?

It’s probably the hatred for the opposite. We’re not Hi-Fi for sure. We’re really not about high end boutique guitar amps and overly compressed tracks. Our influences aren’t squeaky clean, perfectly auto-tuned performers. Raw is always better…Red raw.

It is fair to say you make music for you, sounds that you adore and then hope others feel the same?

Yep. Haha. Utterly selfish. When me and Gaff are writing together, we’re honestly not bothered about trying to please a certain scene or genre. If you go that route, you’d just end up sounding like you’re trying to suit a certain style.

Tell us about the video for Sick Of Love?

We shot it in a dark rehearsal room in a few hours, again, about as lo-fi as you can get. I shot most of it and edited it…DIY all the way. It’s not that we can’t afford something more grand though…we saved up enough cash to get Martin Scorsese interested, but we ended up blowing it on a night out in Skegness.

You have earned strong praise and acclaim for your live performances as well as the singles. Rampaging in front of the audience is where you really get a fire in the belly I am guessing?dedwardians3

Yep. We go for it on stage. Who doesn’t want to watch 4 sweaty blokes playing too loud for 25 mins?!

Where can people catch the band live next?

Butlins. No, err, The Finsbury, 18th December.

Any Christmas treats in store for fans with shows?

Yes, naturally. The venue’s ceiling will be so heavily adorned with mistletoe that it resembles stalactites. We have a list of all the naughty girls – Dan will be dressed as Santa for their pleasure. Paul will be dressed as an Elf. Me and Gaff will be head to toe in black leather, with tinsel detailing…humming Wizzard’s festive classic – I Wish It Could Be Christmas Everyday. We’re the gift that keeps on giving.

Thanks again Ben for sharing your time, anything you wish to shout out to finish off with?

A dog is for life, not just Christmas…and buy our fucking record!

Cheers Pete! Merry Crimbo!

Ben Auston

Read our review of Love Sick/ Like An Animal @ https://ringmasterreviewintroduces.wordpress.com/2014/11/22/dedwardians-love-sick-like-an-animal/

https://www.facebook.com/Dedwardians

Pete RingMaster

The RingMaster Review 11/12/2014

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Hellbent & Hammered – Death Rattle

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With far more deep rooted grooves than a wet weather race tyre and the torque to seriously send body and senses spinning, Death Rattle from UK metallers Hellbent & Hammered is a wake-up call for ears and attention to the band’s evolution and presence. Formed in 2004, the London quartet has certainly been through the usual obstacle bands come up against as almost perpetual loses and gains in the line-up create a turbulence to defeat most bands. Stability in that area has been found over the last three years or so and as the band’s outstanding and ferocious new EP reveals, Hellbent & Hammered has only relished in and flourished from that calm.

The band wears their inspirations on the sleeves of very note and viciously swinging groove it is fair to say but twists it into a rich flavour that appetites can only become greedy for. The accompanying press release cites Down, Lamb of God, and Clutch as a trio of references merging to fire up the band’s sound, and it really does sum up the potency and force of Death Rattle if not all the fury and raw enterprise fuelling each track on the encounter.

Since forming Hellbent & Hammered has been an acclaimed force on the live scene, blistering stages alongside the likes of Feed The Rhino, Godsmack, ANVIL, Godsized, Thunderhorse, Head-On, and Sons of Merrick along the way. Their groove metal has been an increasingly potent lure across the south of the UK from the start, but with the current line-up completed in 2011 when guitarist Junior Gouch linked up with vocalist Ryan Le Roux, bassist Dr. Jon Casey, and drummer Simon Bullock, the band has in a way shed a skin to their sound in creating an uncompromising and bordering on toxic strain of groove metal as evidenced powerfully by Death Rattle.

The EP’s title track opens up the seductive hostility, riffs and rhythms creating an imposing wall from its first breath before the first flirtatious groove entwines ears and appetite. There is Hellbent&H coverswagger not only to the increasingly tempting grooving but every mighty swing of Bullock, bassline of Casey, and the grizzled delivery of Le Roux. It is Pantera-esque in so many ways but with a blues toxin and the superb bait of Gouch’s inventive lures and craft, the song provides an invigorating freshness. The first predatory anthem of Death Rattle, the track stalks and overwhelms the passions with ease.

The gripping start is swiftly matched by Hung, Drawn & Quartered; the track showing a more merciful welcome for ears, if only by a hairs-breath, before turning out a relentless rapacious stride of abrasing riffs, crippling beats, and psyche searing grooves. As its predecessor, the song is inescapable in its anthemic tempting and the sonic binding of the imagination, whilst the searing solo of Gouch adds further toxic manna alongside a deliciously throaty stalking bassline which just lights the passions.

The gnarly yet beckoning tones of Le Roux hit the sweet spot too, and in third song All Consuming, which from another irresistible bass bred bait, launches a virulent and corrosive smog of torrential riffery and rhythmic slaughter, he unleashes a delivery of impressive grazing power and fury. The track itself is the most inventive on the release moving from a strong and appealing start into a fascinating cauldron of aggressive adventure and sonic spite.

The EP closes with Built That Way, a powerhouse of rhythmic muscle and sinew sculpted riffs roared over by Le Roux and the blazing enterprise of Gouch. It is an impassioned furnace of grooved causticity amidst a hurricane like energy, with plenty of inventive designs and melodic venom to ignite the imagination all over again.

The track is a tremendous end to a thoroughly thrilling release. There is a familiarity and originality to Death Rattle which aligns for the perfect recipe of grooved mayhem in undoubtedly one of our favourite propositions of the year. Hellbent & Hammered has found the spice to greater things going by their new incitement and the potential to sculpt plenty of major things ahead. A thunderous way to round off a great year of releases sent to us by Garry of SaN Pr, and we thank him for all his help and support, Death Rattle is a must for all groove and seriously anthemic metal fans

The Death Rattle EP is released on Monday 15th December through all digital stores.

http://www.hellbentandhammered.com/

RingMaster 11/12/2014

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Aevum – Impressions

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Listening to Impressions, the debut album from Italian gothic metallers Aevum is pure theatre, every track an adventure which at times has ears and emotions in bliss and in other moments seriously challenged and unsure. For all its undulating triumph and uncertainties though, the album is one seriously compelling proposition which persistently ignites the imagination.

The seeds of the band began with the meeting of vocalist Evelyn Moon and pianist Richard around the changing of 2007 into the following year. The first twelve months saw the release of Celestial Angels EP and the first showing of the band’s fusion of diverse sounds. Though tagged as gothic metal, Aevum transcend a multitude of styles with their creativity as proven with Impressions and its expansive diversity. Various changes in personnel came with subsequent years before a stable line-up emerged around two years ago. 2012 also saw the released of the Nova Vita EP, again as the previous offering a self-released encounter earning good attention. Last year the band signed with Wall Records for the release of acclaimed single My Vampire before the Turin quintet converged on the studio to create Impressions. Mixed and mastered by Ettore Rigotti (Disarmonia Mundi) and released via Fuel Records, the album is a tapestry of sound and shadow fuelled emotions; the exploration of opposites using a perpetual weave of startling flavours and provocative invention upon a neo-classical and gothic metal bred symphonic canvas.

As soon as the ghostly wails and electro tempting of opener Il palcoscenico della mente grasps ears, imagination and intrigue is yanked from their slumber, the brief instrumental a haunting of sinister and captivating potency. Building a portentous air through rising harmonies and symphonic seduction, the piece soon grows into an epic and imposing electronic provocation, slipping into the mellower yet still intimidatingly textured lure of Blade’s Kiss next. The second song in no time is striding with combative rhythms and shadow cloaked sonic colour, the entrancing play of Richard against the more expansive soak of synth enterprise cast by Ian magnetic. The formidable rhythmic antagonism of drummer Matt and bassist Violet are soon laying down their thick bait too as the operatic squalls of Moon pierce the landscape, joined soon after by the potent tones of Hydra. In no time it is a maelstrom of fascinating drama and unpredictable turbulence, spoken tones from Violet and rapacious growls uniting in the eventful and resourceful bluster of individual flavours. It is a challenging proposition, more vocally than musically, but one becoming more persuasive given time and attention. The electronicore and industrial elements of the song provide further transfixing and exhilarating temptation, adding to a song, which as the album, has plenty to excite and enthral but a few moments which worry personal tastes, which maybe something as varied and experimentally imaginative as this was always going to come up against.

Intermezzo is another bewitching instrumental, its melancholic flame of brass sounding keys dour but spicy bait before The Battle takes over with a sorrowful caress of piano cast melodic a0417005191_2emotion embraced by an evocative synth crafted atmosphere. Hydra adds his croon to the poetic landscape next and is almost immediately joined by the rich throated narrative of Moon. As the music is ever evolving across songs, the band presents each narrative in a web of primarily English and Italian presentation, both languages interlocking seamlessly. Bulging rhythms push the walls of the track outwards as a great vocal mix almost toys with the listener whilst the guitar of Lord Of Destruction sculpts its own gripping adventure into the engrossing soundscape. A spellbinding song which just gets better the further into its virulent thirteen minutes you go, it sets a fine plateau for the album which the classical beauty of Il lamento della ninfa cannot match but certainly adds a fresh vein of masterful exploration to the release.

The swift shadow lit kiss of Impressioni leads to the outstanding Lost Soul, an imposing and voracious roar of a track which charges through ears like an adrenaline fuelled lover equipped with an armoury of the folkish vivacity and death bred savagery and undertaking a do or die mission. It is a blistering predator of a track, every second either musically or vocally an experiment of tenacious invention and sonic experimentation. The song leaves ears and passions bruised and blissful as it forges the album’s pinnacle.

To Be or…to Be in its smouldering individual way is another track which brings new surprises with every twist and melodic swing within in its creative emprise. Irresistible classical and jazz seeded persuasions settle easily in ears just as the ruggedly melodic textures and more blackened metal essences seducing from within the bold drama. As the album, it is a track which takes a few listens to reveal its majesty but rewards relentlessly once understanding is found, much as after the dark menacing skies of the album’s instrumental title track, the mighty Monsters. Dark clouds instantly smother ears as the soaring tones of Moon scythe through their intimidating ambience, but within the tempestuous climate the band continually switch from a forceful stride to a ravenous charge unleashing a kaleidoscope of almost salacious sounds and fiery ingenuity which colours the explosive theatre of it all.

Finishing on Adieu à la scène with its music box like waltz, Impressions is not going to be for everyone and definitely needs proper attention and time given to it. Its first touch left us rigorously unsure but compelled and it was only over numerous plays that the songs and Aevum’s imagination found clarity in thoughts and emotions. There are still parts which fail to convince but for the main Impressions is a thrilling and hypnotic adventure all gothic, symphonic, and avant-garde metal fans should have a go at.

Impressions is available now via Fuel Records http://www.fuelrecords.it/?wp_releases=impressions and digitally @ http://aevumopera.bandcamp.com/album/impressions

http://www.aevumband.com/

RingMaster 11/12/2014

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Scout Killers – Stand Your Ground EP

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With each release, UK alternative rock band Scout Killers seems to discover another layer to their songwriting and sound which is as intriguing as it is enticing and new EP Stand Your Ground is no exception. At times dramatically intense and often sonically fiery, the release is another flavoursome proposition from the emerging band. It is again fuelled by the striking potential the band always shows and which may be taking time to be fully realised, but has so far equipped each encounter with a fascinating and highly enjoyable adventure.

Formed in the latter parts of 2009, the Bath and Bristol hailing Scout Killers has consistently grabbed attention and praise since the release of We Cage the Storm EP and especially the greedily devoured single from it, The Waves. Drawing on inspirations from the likes of Rage Against the Machine, Queens of the Stone Age, Pearl Jam, and Red Hot Chili Peppers, the band’s growing sound merges emotion drenched atmospherics with imposing textures and melodic virulence. It provided an enthralling presence to the band’s well-received self-titled debut and its acclaimed lead song No Reason last year. Now the quintet show further potent strides with Stand Your Ground, five tracks of raw and incendiary emotion entwined in a weave of creative and intricate endeavour.

The EP’s title track is first to seduce ears, the song blooming from a moody sonic drone with a gentle but fiery wash of keys and melodic guitar intricacies. It is a smouldering temptation, a slow coaxing of energy which swiftly welcomes the excellent expressive tones of vocalist Scott Cox. Its restrained gait is also the fuse to a building intensity and drama in the song, the guitars of Beau Stevens and Julien Morrez spinning an emotive web around the melancholic basslines of Josh Ellis and firm beats of drummer Chris Phillips. In many ways the song is wrapped in a tempest of emotion, dark shadows through the vocals and pensive invention of the song superbly conflicting with the radiance of keys and reserved yet potent melodies.

It is a powerful and increasingly persuasive start followed by The Rains. Entering on choppy and wiry riffs, the song makes a gripping persuasion which expands into another fevered blaze of EP Artworksonic and emotional angst coloured with engaging enterprise. It plays like a flame, flickering drama a rich hue to the senses licking intensity and blazing crescendos lining the track. It does lack the additional spark to match its predecessor but leaves ears and thoughts fully contented before making way for the sultry croon of Time and Again. It also is missing something to match up to those before it but with an open elegance to its melodic and emotional exploration, the song is a warm and vibrant caress on the senses.

Honey drifts evocatively around the listener next, the song another gentle serenade but with thick boned rhythms and a provocative taste to its alluring melodies it is soon mesmerising and igniting the imagination. As with the opener, the song is unafraid to erupt with raw and feisty expulsions of energy and causticity which seamlessly emerge from and fall back into gentle and melancholically lit radiance. The track grips from start to finish, boiling up as it heads towards its finale then passing over its theatre of emotion and energy to the closing Cease and Resist. The best track on the EP, it is a turbulent incitement from the first hungry riffs and weighty beat offered, a sonic tenacity matching the aggressive tone and impact of the outstanding track. Loaded with a grunge and raw predation, the storm of attitude and musical voracity with blues oiled fire is a dramatic and uncompromising roar and the EP’s pinnacle.

Scout Killers continue to impress as they grow and though the band has not found the massive triumph their potential suggests is inside, they are undoubtedly heading in the right direction, the evidence all there in Stand Your Ground.

The Stand Your Ground EP is out December 12th @ http://scoutkillers.bigcartel.com/

http://www.scoutkillers.com/

RingMaster 11/12/2014

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The Inkhearts – Temper Temper/Uptight

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Formed in 2010, UK rock band The Inkhearts has a mature sound which belies the ‘immaturity’ of its creator’s ages. With the quartet aged eighteen or nineteen across its line-up, the West Lancashire band casts a sonic proposition which lies somewhere between The Libertines and fellow youngsters The Jacques, whilst vocally there is a regional twang which hints of ‘county rivals’ Arctic Monkeys. It is a healthy mix finding its own individuality through, on the evidence of the band’s new single, potential flooded indie pop songs.

The union of Temper Temper/Uptight is a magnetic lure of raw textures and creative imagination which simply intrigues and excites whilst brewing up a certain appetite for more. As mentioned formed around four years ago, The Inkhearts’ seeds began at a music tuition initiative at The Engine Rooms in the band’s hometown of Skelmersdale. Meeting for the first time there, a seven piece emerged but it was with the departure of three of the founder members that the band found its natural sound and direction. Taking inspirations from the likes of The Vaccines, Two Door Cinema Club, and The Libertines into their writing and music, the four-piece roused up an eager following for their live performances and focus in the media through previous single Keeping Up. With its recent release, Temper Temper / Uptight is poised to spark another surge in attention and hunger, whilst suggesting rigorously that The Inkhearts is one band all should be keeping a close eye on.

Temper Temper instantly holds ears in a melodic jangle and sultry caress, the guitars of Lauren Shaw and Ryan Ward a swift expressive temptation. Equally the voice of Shaw makes an Picture 37immediate persuasion, her tones distinct and flavoursome within the spicy melodic web cast by both guitars. Framed and driven by the pungent basslines of Ben Warburton and punchy beats of Matthew Wright, the song rattles along with a confident stride and virulent infectiousness, hooks and vocals a contagious lure in the lively enterprise of feet and imagination igniting revelry.

Uptight is more subdued in comparison to its companion, yet with another tangy tease of guitar and shadowed toned bass enticing, the track is an easy going and richly satisfying proposition. It reveals more of the inventiveness within the songwriting and craft of the band and though it is lacking the spark of Temper Temper its golden harmonies and great unpredictable twists of gait and energy ensures the song nudges another wave of hunger for more.

With a single this promising and potent from a band so young that you still assume they still get Mum to do their washing, the future looks rather rosy if they carry on and evolving like this. Remember the name, The Inkhearts.

Temper Temper/Uptight is available now @ https://itunes.apple.com/gb/artist/the-inkhearts/id792653411

https://www.facebook.com/TheInkhearts

RingMaster 11/12/2014

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