Numerous shades of a melodic glow: exploring the creative bulb that is Broken Glow

Broken Glow_RingMasterReview

Broken Glow is a band which has been creating its own distinct rock ‘n’ roll driven roar over the past eight or so years whilst becoming a potent proposition on the Georgia rock scene in recent times with their diverse and adventurous songwriting and sound. February saw the release of the band’s new album Filament, an attention grabbing proposition creating one of the reasons to delve deeper into the band and its heart which the members of Broken Glow kindly assisted with…

Hi guys, thanks for talking with us.

Can you first introduce the band and give us some background to how it all started?

Broken Glow consists of Paul Burba on drums, Sara Clash on bass, and Garrett Deming on guitar and vocals. Though the band began in 2008, we’ve gone through a few line-up changes. Paul started the band with some old friends from high school, one of whom met Garrett when they both studied at Ithaca College in upstate NY. In 2008 we all got together in Hartford, CT, and since that time we’ve lived in Brooklyn, NY, and currently in Savannah, GA. The love of playing together is really what’s kept the band going through it all.

Have you been involved in other bands before and have those experiences had any noticeable impact on what you are doing now?

Sara used to play with Chicks Throwing Bricks in NYC, Culture Vulture in Savannah, GA and currently plays with Tokalos, a 3-piece surf-blues group based out of Savannah. Born and raised in Sweden, she has a lot of experience performing in various instrumentations, as well as many years’ time working in the music industry. Her understanding of back-of-house event logistics, management techniques, etc. has been invaluable to our band as she’s brought those skills to Broken Glow. The other members of Tokalos are old friends from NYC, so we’re happy to see them playing and are sure to book the bands such that our schedules don’t interfere.

Garrett has a background in classical music since a young age, but Broken Glow is his first rock band. Recently he’s been filling in for local blues outfit Jubal Kane, which has really given him a chance to work on his lead guitar chops. Paul likewise has filled in with local acts Xuluprophet and Sister Beards. We enjoy being a part of our music community, so collaborating and playing music in different iterations comes naturally. It can only make you a better player.

Broken Glow_RingMasterReviewWhat inspired the band name?

“Broken Glow” comes from Led Zeppelin and Beatles lyrics. “Broken” comes from Across the Universe (“images of broken light…”), and “glow” is from a line in Dancing Days referencing the “evening glow.”

Did you have any specific idea behind the band at its birth and indeed in what you wanted it and your sound to offer?

The original band leader was founding member Brenner Eugenides. Highly proficient in jazz and blues guitar, he was tired of playing in cover bands and so gathered Paul and Jon (original vocalist), friends since childhood, to begin a project. As soon as Garrett was recruited we wrote roughly 15 songs.

There was no specific guideline as to what the songs should sound like, only that it should sound like rock music. We knew we wanted to be riffy, in the vein of blues but without relying on standard changes. The bands we all love to listen to are adventurous, so we try not to limit ourselves regarding style. There are a lot of odd modes and scales, and we are careful to use different key centers and rhythmic devices so as not to have every song sound like the same old thing. That said, we’ve settled on “bluesy grunge” as a descriptive term.

Do the same things still drive the band when it was fresh-faced or have they evolved over time?

To an extent we’re driven by some of the same things, specifically the love of performing on stage, the bond that exists between musicians during that performance, the energy flow between perfumer and observer… these are all elemental aspects of playing that keep any musician going.

That said, we’ve learned a lot as a group and as people over the previous 8 years. In the early days we dreamed of fame and fortune, stadium tours around the globe, all the tropes of rock n roll that young dreamers get drunk on. Those hopes still exist to an extent, but they aren’t what drive us forward anymore. After the death of Brenner in 2012, the band took some time off to find center. When we reconvened the next year, the fire was different. Now we rock to honor our fallen friend, and to remember not to take for granted how much fun it is when we play.

Since those early days, how would you say your sound has evolved?

Well we’re certainly better players now than we were then! It’s hard to analyze your own work, but it seems like the biggest thing that’s changed is that we now have a single guitar rather than the 2-guitar team we’d become used to. Our recordings still feature dual guitar lines, often times harmonized or with a lead/rhythm relationship, but it’s been Garrett overdubbing himself for the last 2 recordings. We’ve been exposed to all kinds of music during the career of the band, and those influences definitely show these days as our live sets could contain a blistering metal tune, an Otis Redding crooner, and an Eastern meditation one after the next.

Has that evolution of sound been more of an organic movement or more done to the band deliberately wanting to try new things?

A bit of both, really. When Sara joined the group she brought her own particular rhythmic ideas and harmonic sense, which naturally evolved some of the older material as she played it, not to mention those that we’ve written and recorded together. That said we feel it’s important to push yourself if you truly want to get better at what you do, and sometimes that means trying something out that seems out of place. For example, our newest album features a piano accompaniment, which is a big departure from previous recordings. It just sounded too good not to use, and it brings a different tone as the album winds down. We don’t like to do things differently just for the sake of it, but if something works it works, regardless of where it comes from.

There is a wide range of inspirations across the band and any in particular which have impacted not only on the band’s music but maybe your personal approach and ideas to creating and playing Broken Glow_RingMasterReviewmusic?

Musically we take heavily after late 60’s and 70’s rock bands (Zeppelin, Hendrix), and their exploratory approach to recording and live improvisation. We’ve always appreciated the work ethic of those classic bands, touring and recording constantly, always pushing their own abilities. Philosophically we understand that music has power, and as such it’s important to send out good vibes with it. Hendrix never wrote a song about hate.

Is there a regular process to the songwriting within the band?

In recent years Garrett has written the bulk of new material. Songs come from all different places – observations of strangers, personal anxieties or reflections, little stories – but usually begin on the guitar. After a rough form is worked out the song is jammed in rehearsal and the structure is finished when it feels natural. Other times we’ll record our rehearsals and find the bits where we were jamming, and a song can magically appear. Those are usually the best songs, when everyone has input.

Where does the lyrical side of songs most draw inspiration from?

Some of the songs are about direct experience (i.e. Blister, Sun Comes Up), others are indictments of injustice or apathy (i.e. Iconoclast, Mr. Suit & Tie). Garrett writes nearly all the lyrics, and he has a firm literary background, so rhyme schemes and rhythm are generally heavily employed. Then again, sometimes the lyrics just come, walking to work and written on a napkin. Our newest song, Us and Ants, uses a verbatim statement made by Paul in casual conversation. If you keep your eyes and ears open you can find inspiration in just about anything.

Please give us some background to your latest release.

Filament was recorded in August 2015 at Habitat Noise Studios in Wilmington Island, GA. Donal Moats served as engineer and recorded us on 2″ reel to reel tape. Our friend Chris Horton helped out as producer and briefly played with the band during preparation for the release. We partnered with Southbound Brewing Company, a local brewery in Savannah, GA, and concocted a custom beer to be sold at the release show, which was held at the brewery. We released the album February 19th 2016 and were joined at the release show by local rockers BBXF. Local radio broadcast live from the event, and we played the entire album in order while liquid light artist Planetary Projections dazzled with an insane light display. Here’s a clip . It was a great time, and we’re very happy with the new album.

Can you offer some insight into the themes and premise behind it and its songs.

One of our goals with Filament was to cover a lot of sonic territory and with it various subjects. As the filament is what allows a bulb to glow, so the album attempts to hit the root of emotion and what drives you to get up every morning. The first 3 songs are from the early days of the band, while the following 6 are newly written as of April 2015.

Iconoclast opens the album, an apocalyptic howl against false idols and those who would wield power with impunity. Running Scared and Smoke both struggle with personal issues (i.e. paranoia, addiction), then the album opens up with Monk Mode, a psychedelic meditation. Fish Out of Water has no proper lyrics to speak of, though the ideas behind its title are howled by Sara. Next is Blue Dream, a rift rock tune about brotherhood, and Blister, a quick punk-inspired song about how inconveniences can become advantageous with the right mind. Cousin is the most personal song on the album, exploring the themes of family, age and retrospection, whilst to round it off Well stomps as a bluesy ode to pure water, the essential element of life.

Broken Glow art_RingMasterReviewAre you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

We never write in the studio. Studio time is precious and often expensive, so we’ve always worked the songs out before we go in to record. We prefer to record live, together in the same room, which we did for Filament. There is very little additional production on the album.

Tell us about the live side to the band, presumably the favourite aspect of the band?

Obviously playing live is the best part about being in a band. It’s the only time you’re in the true element of a performing musician, and it can be the best and worst experience ever. We like to improvise heavily during our sets, sometimes extending solo sections, other times throwing medleys together on the spot. We prefer long gigs to short 30 minute sets, as we’ve accumulated a lot of material in our 8 years. Generally Sara and Garrett have mics, allowing for harmonies and interplay between vocalists. We rarely play the same set, and frequently attend local open mics to try out new material in front of an audience or to help promote upcoming events. Live music is literally what our lives revolve around, even outside of the band. We’re always going to our friends’ shows or gathering community musicians at our house for food and music.

It is not easy for any new band to make an impact regionally let alone nationally or further afield. How have you found it your neck of the woods; many opportunities to make a mark if the drive is there?

There are always opportunities to succeed if you have the tenacity to stick it through. Many bands don’t last more than a few years, not accepting the fact that success depends largely on longevity. Yes, there are rare situations where a young prodigy becomes a star overnight, but generally it’s a much slower process. Labels don’t allow artists the opportunity for growth like they used to. Instead, they expect a seasoned, professional act before they’ll sign anything. With this in mind, people who join a band to become rich and famous don’t generally last very long.

In the southeast USA, there are many local and regional opportunities for growth, but our operation is funded solely by the members. We’ve never been affiliated with a management company or A&R firm, nor a record label of any kind. Since most “mainstream” media outlets are run by a very small handful of connected corporations it can be nearly impossible to break through to a large audience without being beholden to Viacom or ClearChannel. That said, the real consumers of music are regular people, and the more you play and make a good impression the wider your reach becomes. It’s just physics.

How has the internet and social media impacted on the band to date?

Frankly we’re not huge social media users. While the internet’s capabilities of making people aware are obvious, we’re not the type of people with our nose stuck in a phone. Garrett and Sara don’t even have an internet connection at their house, and we prefer to spend more time talking with real people than wondering how many “likes” our newest photo got.

An issue with social media is that you must be strategic to use it in an effective way. Some people practically spam everyone they know with show invites and page requests, to the point where the boy who cried wolf can’t get someone to pay attention when they’re doing something REALLY cool. We use the standard sites, but don’t live and die by them. We like print media and radio airtime locally for promotion, as well as the old fashioned technique (who remembers fliers and handbills?)

Once again a big thanks for sharing time with us; anything you would like to add?

If you’re just learning to play, keep playing! If you just started gigging, keep gigging! If you like a new band, interact with them and support them! Music is a community-based activity, not just an iTunes playlist. Thanks for digging the band!

Pete Ringmaster

The RingMaster Review 13/04/2016

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Murena Murena – Shame Over

Pic © Jann Averwerser_klein

Pic © Jann Averwerser_klein

Genius or lunacy?

A question to ponder as Shame Over seduces ears and infects the psyche with its deranged carousel of dark imagination and off-kilter rock ‘n’ roll. The riveting aural amusement park of warped thrills and twisted adventures is the new album from Munich based Murena Murena. Though self-tagged as horror soul,  the release offers twelve tracks of unique imagination twisting alchemy embracing both genius and lunacy which, though hard to easily reflect in word, is maybe best described as Powersolo meets Wall Of Voodoo meets Nick Cave whilst lost in the realm of Twin Peaks.

Murena Murena is the creation of Daniel Murena, vocalist and writer/composer of some of the most irresistible cinematically lit murder ballads and sinister shuffles heard in a long time. 2014 saw the release of debut album Ghoaster Coaster, a slice of sonic and creative loco within which the seeds to Shame Over can be clearly heard. They are beginnings though which have blossomed into a proposal far more unhinged and seductively unsettling; an album of songs which work the ears and imagination of the listener like a puppeteer. With Albert Pöschl, Tagar, and Dizzy Errol alongside Murena, the band and Shame Over simply turn ears into an addict whilst sharing a cracked Sin City like comic book of noir fuelled escapades.

The album opens up with Newsflash Apocalypso, a dark romancing of ears with a rumble in its belly and a Yello-esque flirtation to its electro hues and devilry. Imposing in emotive dark and beguiling with a maze of vocals which trespass song and imagination, it is an attention grabbing start to the album and swift glimpse into the house of visceral shadows and provocative tales to come, starting with the outstanding Drag Race. Cowpunk rhythms and an appropriate swing quickly grip body and appetite with rockabilly devilment swiftly adding to the Cajun tinged stomp. Again vocals are a mesh of asylum bred incitement matched by beats and country hooks, an aligning of textures breeding a scent of Powersolo / Heavy Trash to its rascality.

The necrophilic romance of Le Van´s Wife immerses ears and thoughts in dank graveyard mustiness next, its soulful moon lit insight hosted by a sultry electronic glow framed by prowling rhythms. There is no escaping a Nick Cave hue to the excellent nocturnal disturbance and its smothering embrace of dark doings, or the invigorating diversity brewing in the album which continues with the reggae spiced bounce of Dancing Naked. The grouchy tone of bass enjoyably tempers the lusty shuffle of riffs and skittish beats hugged by the warm kiss of keys, a fusion of textures creating an addictively surreal surf/spaghetti western/ska flavoured hop

cover_RingMasterReviewCountry and rockabilly strands entwine the following Lovely Homes, skittery beats laying an eventful canvas for the smouldering dark charm of air and narrative of voice to conjure upon. Guitars and bass only add to the increasing drama, spawning a Helldorado like theatre that once having seduced ears and enjoyment, steps straight into the unbalanced horseplay of Pretty Please! which quickly has feet and thoughts  jumping like a psychotic mix of Th’ Legendary Shack Shakers and Johnny Kidd and The Pirates with an added twist of The Dancing Did.

The pair simply disorientates and ignites the senses before Peace swaggers in with its throaty Johnny Cash climate and vocal dexterity as rich sultrily hued melodies wind seductively and poetically around ears. The track epitomises the whole of the album and Murena Murena sound, there seeming little going on in the building of a thick array of textures yet every moment is a kaleidoscope of new noise and imagination which reveals more and more with every dark engagement.

A lighter dance is provided by Shy Goose, its sixties pop and electro rock dance a magnetic croon which gets right under the skin with bass and beats masterfully leading the infestation. It shimmers and erupts with increasing tenacity and bewitchment before being pushed aside by the addictive sonic and rhythmic agitation of Tu Tu. Sounds and textures almost seem to battle each other in the bedlamic stomp, but in the end they simply collude for a hyperactive rock ‘n’ roll waltz that leaves body and soul alive and ready to be drawn into the psych rock haunting of War Drugs.  In another twist to the album, it is a dark enveloping of the imagination which is alive with vocal psychosis and warped echoes of noise and emotion, and quite beguiling if equally disturbing.

Shame Over is brought to a close by the pair of Fossil Fuel and Fossil Fuel 2. The first is a throbbing draw of vocal resonance and ethereal electronic theatre with plenty of suggestive bite whilst its successor is a blues romancing equipped with nostalgic easy listening country-esque mesmerism. Both tracks sublimely bewitch with their individual imagination, a description which fits the whole of the quite unique and gloriously unpredictable, not forgetting wonderfully eccentric or should that be crackpot, Shame Over. Creative diablerie does not come much better or deliciously darker it is easy to say.

Shame Over is released globally by Totally Wired Records on April 15th @

Pete RingMaster 13/04/2016

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Hot Moth – Small Fires EP

hot moth_RingMasterReview

Just passing their first year as band, UK rockers Hot Moth have just released debut EP Small Fires. It is an introduction which simply demands attention, three slices of alternative rock woven with just as potent essences of math and punk rock. A further progressive intent does songs and release no harm either, another vibrant texture in a sound which is yet to find its true individuality but has little problem, on the evidence of Small Fires, in making a memorable impression on ears and enjoyment.

Hailing from Brighton, Hot Moth is made up of vocalist/bassist Matt Sparkes also of The Farrah Joy Quartet, guitarist Matt Metcalfe, and drummer Freddie Hills who also hits the skins for another great band from the town, The Slytones. Formed March 2015, Hot Moth has drawn comparisons to the likes of Biffy Clyro, Oceansize, Reuben, and Mars Volta, which listening to Small Fires is often easily understandable. Creating captivating roars equipped with hungry riffs, anthemic rhythms, and strong vocal enticement, the band also has a subtlety to their sound which sees them able to almost serenade the imagination one moment and creatively bully it in the next.

cover_RingMasterReviewThe release opens with Rhino and an initial scaly lure of riffs which soon opens up into a formidable but inviting collusion of rowdy rhythms and sonic enterprise. The entrance of Sparkes’ excellent vocals and expression brings a momentary mellowing which quickly builds again into the same feisty proposal the song leaped in on. Ebbs and flows in intensity skilfully continue as the track provokes and entices with increasing prowess. There is a touch of Freeze the Atlantic to the song, a grittier snarl which works well with the melodically fiery textures that combine with Hills’ dynamic and addictive rhythms.

The impressive start continues with I Miss The Missed, a slightly less energetic proposal in many ways yet makes up for it with the emotive suggestiveness of vocals and melodies. There are plenty of dynamic crescendos involved in the track’s landscape though, evocative eruptions around the tenacious and agile enterprise of Hills and the melancholic tone of Sparkes’ bass. As with the first, there is an instinctive catchiness which permeates everything from the growly swing of the bass to the crisp beats and the potent weave of imagination shared by Metcalfe’s strings. Closing on a boisterous finale, the excellent track leaves a want for more as it makes way for EP closer Levelling The Tales.

A funk infested slice of metal aggravation and melodic infectiousness, the final track is a fiercely beguiling adventure playing like a blend of Reuben and I Plead Irony with the progressive touch of Porcupine Tree. Once more contagion soaks every unpredictable twist and rousing turn with a tapestry of flavours and energies in tow. It is a union of imagination and resourcefulness creating the EP’s best track as it completes a thrilling first listen to a band with the potential to make great strides within the UK rock scene. Available as a name your price download, Small Fires is one extremely easy proposition to recommend.

The Small Fires EP is out now @

Pete RingMaster 13/04/2016

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Plutonium – Born Again Misanthrope


Born Again Misanthrope is one of those great releases which maybe initially leaves ears and thoughts unsure but with deserved attention works its way deep into the psyche whilst proving to be one highly magnetic proposition. The nine-track engagement, with a tone and character living up to its name, is the recently released third album from Plutonium, a one man project from Sweden and an encounter which crafts and in turn captivates with a voracious theatre of raw and dramatic shadows.

Carlsson, more often known as Mr J,. is the creator of Plutonium and a sound which imaginatively merges extreme industrial and black metal, though that over simplifies the sonic adventure within certainly Born Again Misanthrope. Hailing from Karlskoga, the project emerged in 2003 with an early demo appearing the following year. Three years on and debut album One Size Fits All was unveiled with successor Devilmentertainment appearing four years on. With hindsight investigation of those releases, it is easy to assume Plutonium has drawn potent attention and support over the years, even if yet to find itself breaking into the broader spotlights beyond its homeland. Born Again Misanthrope though, might be the key; certainly it is the most imaginatively accomplished and unique proposal from Plutonium yet and given the time a sizeable magnet for ears and eager attention.

The album opens with its title track and a militarist nagging of beats which subsequently sparks a similarly toned parade of riffs. From there blackened toxic grooves spring upon ears and appetite as the dark rasping tones of Mr J. almost crawl through the enveloping muggy landscape. It is a ravenous confrontation unafraid to allow a seduction of melodic calm to join its persuasive trespass of ears and imagination. The collusion of industrial and extreme metal is a hellacious tempting with post punk and progressive twists icing on the pestilential cake. As suggested earlier, it provides a thick challenge initially, taking body and thoughts aback with its unconventional design and aggravation but over plays the song really blossoms into one dramatically compelling affair.

It is a journey and achievement which pretty much applies speaks for the album too, and second song Cortex Vortex whose intrusive invasion is at first a boldly unsettling incitement. Taking time to acclimatise to its creative animus of rabid intensity and a ravenously tantalising sonic undercurrent though, the song emerges as another captivating protagonist of the senses. Its unpredictability is as enjoyably ripe as the diverse strains of styles woven into the corrosive theatre of sound and intent; a soundscape as prone to melodic and avant-garde intrigue as it is emotive despair.

For personal tastes it is when tracks venture into that wrong-footing and seriously diverse scenery that they truly come alive and remove themselves from more recognisable black metal dilemmas. The Inverted Panopticon Experience is such an offering; though instantly taking a hold of the appetite with its death march of debilitating rhythms and corrosively wiry riffs and grooves, it is the industrial and sonic imagination that elevates its stature and lure even though its dominant incessant stalking of the senses never abates.

Casque Strength has that same nagging quality too though this time with a warmer melodic hue to its worrisome nature. Straight away it is working the senses though it holds it back somewhat as a great industrially coloured atmospheric mist descends before returning to its unbridled niggle soon after as the vocals offer venomous predation through it all. Already a virulent strain of persuasion, the track only grows in potency as an enthralling, almost indie rock bred melody and accompanying hooks perpetually vein the venture whilst sparking a bold swing to the torrent of sonic tempting.

One of the clear pinnacles of the album it is followed by the shadow rich drama of The Masque of The Green Demon. A sweltering reflective ambience envelops ears as guitars slowly spread their sultry lures whilst drawing on stoner and sludge bred qualities as the song bracingly shimmers on the senses. Vocally Mr J. never veers from his black metal inspired delivery yet it works perfectly with the heavy rock ‘n’ roll of the fiercely enjoyable track for arguably the most unique moment on the album.

The harsh cold landscape of Renuntiationem comes next; the track a wasteland of warmth and hope that spawns a dark and sombre hued drone laced with just as melancholy rich elegant melodies. It is a provocative and mesmeric flight of sound and emotion that, as many, flourishes with every listen, though time the outstanding Electric Barbwire Crown of Thorns has no need of. From its first electronic/metal seeded assault, the song has ears and appetite enthralled with a web of sonic enterprise within an industrial tirade of noise. Swiftly though, the song twists and turns through inventive detours and imagination fuelled escapades as addictive and infectious as hey comes. Along with Casque Strength and The Masque of The Green Demon, it is reason enough to check out Born Again Misanthrope and Plutonium.

The short instrumental of Alice in Plutoniumland (Two Minute Hate Part III) sparks the imagination next, playing like the haunted soundtrack to a psychedelic kid’s tale set in dystopian X-Files spawned surroundings. It is an ever giving piece for the listener to play with before Confessions Of A Suicidal Cryptologist aggressively leaps on ears and emotions with its furious smog of intensity and cancerous animosity. Fair to say though, the album closer has its own enthralling moments of boisterous catchiness and brazen rock ‘n’ roll endeavour, not forgetting atmospheric synth woven incitement.

The track provides a formidable and potent end to a thoroughly enjoyable adventure which simply becomes more impressive over time. With certain moments of majestic ingenuity backed by further creatively rousing craft, Born Again Misanthrope is a proposal that extreme and industrial metal fans especially should definitely explore.

Born Again Misanthrope is out now @

Pete RingMaster 13/04/2016

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Eujenics – Alec Guinness


Having already given the year a striking event with the release of their acclaimed debut EP, Humanism, British alternative rock band Eujenics have quickly backed it up with new single Alec Guinness. Their most forceful and dynamic track yet, which is going some such the quality of said EP and previous singles, the release is a rousing and fiery slice of rock ‘n’ roll from a band it is becoming increasingly easy to suggest real success lies ahead for.

Hailing from Sunderland, Eujenics formed in 2015 and quickly stirred up eager attention with their first pair of singles. Together the September and December respectively released Meniscus and Kalashnikov provided a potent and attention grabbing introduction to the quartet, though it was as part of the four-track Humanism EP uncaged this past February , that they really helped ignite a new wave of eager acclaim and new fans. Live too, Eujenics has become an eagerly praised and sought proposition, sharing stages with bands such as Dead!, Despite My Deepest Fear, Edenthorn, Massa Confusa, and Deadfire over the past months.

Now it is Alec Guinness ready to make a striking impact and follow its predecessors in luring strong radio play around the country. Straight away it has ears and imagination lured as vocalist Nic Wood melancholically sighs alone. His emotive coaxing is soon engulfed with pungent rhythms and growling riffs though, his expression continuing to ooze emotive angst as the tenaciously anthemic beats of Adam Hay grip and tendrils of bluesy guitar entwine the senses. In the belly of it all as the song shares its roar, there is also a virulent rumble with the pulsating resonance of David Scott’s  prowling bass in prime position as guitarist Chris Hanna weaves an evocative and often incendiary tapestry of blues, stoner, and psych rock imagination.

The first single from a new upcoming EP, the track is quite irresistible; as antagonistic as it is seductive, as ferocious as it is dramatically flirtatious and as suggested a track to really put Eujenics on the radar of many more. Alec Guinness, man and song, continues to be one mighty inspiration.

Alec Guinness is available now @

Pete RingMaster 13/04/2016

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