Circling conflicts and distractions: talking Die So Fluid with Mr Drew

It was a decade ago when the release of their second album, Not Everybody Gets A Happy Ending had us at The RR enthralled and hooked on the inimitable musical adventure that is Die So Fluid. A greedy backward look took us back to its beginnings and a first album which added to an instinctive appetite which subsequently has kept a close ear ever since. Earlier this year the band released their fifth album in the deviously magnetic shape of One Bullet from Paradise. We have had the pleasure to since talk with one of the band’s founders and guitarist/keyboardist/songwriter Drew Richards; getting down to chat about the band, the latest album, the tragedy before it and much more…

Hello and thanks for taking time out to talk with us.

Can you first introduce the band to newcomers and give us some background its beginnings?

We’re Die So Fluid; a female fronted hard rock three-piece out of London and Los Angeles. Grog (Vocals and Bass) and I, Drew (Guitar), met through mutual musical friends over twenty years ago and have pursued truth, justice and power chords ever since. Our drummer is a moonlighting international man of mystery – Justin Bennett who also plays for Thrill Kill Kult and Skinny Puppy. One Bullet from Paradise is our fifth album.

I know the band is nearing the end of its second decade but is there a musical history for you before Die So Fluid?

Nothing I did before Die So Fluid really mattered and it all just inspired a desire to do something more truthful and authentic.

What inspired the band name?

Sadly a lot of beer… Drink driving is bad but drink band naming is worse. You get stuck with a trademark that made perfect sense when everyone is shouting at each other in a bar after 6 pints. Then you spend a lifetime explaining the result of that ‘discussion’ to people

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

No it just fulfilled the primal drive to be part of a gang and to create stuff that made you look cool so the opposite sex would want to sleep with you. At a certain point you realise you’re actually enjoying the music making and you want to create truly beautiful and original and poignant art. Once that bug bites you it’s hard to kick it.

And still the drive for the band even after so many creative years?

I kind of just answered that. The money is still shit though so count that out as motivation.

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

It was definitely purer and rawer when we started. I’d like to do that again but I don’t know how you can lose sophistication gained from years of playing without things sounding contrived.

It has been a more organic movement of sound or the band going out to deliberately try new things would you say?

Both but I have to think everything new that can be recorded has been recorded by now. I think I really need to look at what the true core of Die So Fluid is and just perfect that.

Are there any specific inspirations which have impacted not only on the band’s sound but your own personal approach and ideas to creating and playing music?

We really like Rush. They were a three piece that really did not ever shy away from experimenting and managed on more than one occasion to marry a really catchy song with some really progressive music and arrangements.

Is there a process to the songwriting which generally guides the birth of songs?

For me music is very instinctive and the main lyric/title is too but the rest of the lyrics are tough. I have a lot of notebooks and I’ll put the music on my phone and walk all over the neighbourhood listening to it and chipping away at the words.

Where do you, more often than not, find the inspirations to the lyrical side of your songs?

Well there’s a lot going on in the world right now so there’s a lot to draw from. I may divert away from reality again in the future and try and be a bit more poetic and mythic. People need an escape.

Could you give us some background to your latest release, One Bullet From Paradise?

The most dramatic thing about this record is it is the first one on which the third founder-member of the band did not play on. He died a month before we were due to record the drums. So we took a while to decide whether to carry on with the band let alone this album. If Grog didn’t know Justin we probably would not have but he really pulled out some stops to get it back on track.

Give us some insight to the themes and premise behind it and its songs.

The title track is about religious dogma emboldening Isis soldiers in battle. There’s quite a lot on the album influenced by conflict in the world come to think of it so my favorite diversion is ‘Bittersweet’ which is a comic book heroine that will ‘only fight you on guitars’. I was going to put #guitarsnotguns at the end of the Tomorrow doesn’t always come video but it seemed cheesy and then the Parkland school shooting happened and I definitely didn’t want to look like I was using a tragedy to sell something. I’ll leave that to the mainstream media.

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

Totally sorted and demoed three times before we go near a studio. These days most stuff is recorded at home and we only need a studio for my elaborate string arrangements anyway.

Tell us about the live side to the band; presumably still a favourite aspect of the band?

It has been one of the best aspects of my life – traveling the world entertaining people but when you get older it is way too hard to continue to put the rest of your life on hold to tour. The pleasure of playing live has never faded since I first stepped on stage at sixteen.

It is not easy for any new band to make an impact regionally let alone nationally and further afield and far more difficult these days. How do you see it and feel its cage from when you guys started out?

Surely the opportunities are all in the ether of the world wide web now. I’ve seen people explode overnight just from getting on the right playlists and getting pushed by curators on the right platforms. Very gimmicky a lot of the new stuff that succeeds though; that’s how you stand out by doing some shit like Babymetal.

How has the internet and social media impacted on you as a band to date? Do you see it as something destined to become a negative from a positive as a band grows in regard to ease of streaming and illegal downloading or something which can continue to be a potent weapon?

Social media is a tool that some artists not only wield with great skill but they seem to actually revel in tweeting what they had for tea or what shape their turd was this morning. As you may already be able to tell I personally find social media narcissistic and boring but it is totally to the detriment of your band if you don’t get on it. The internet as a whole has at least put some power into the hands of creators if they want to be a DIY record company so there’s a positive.

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

I am dizzy from your in depth interrogation. I feel like I have given two pints of blood. I need a cookie. But before I do that I should tell you about our special show coming up at the Lexington in London on November 11th. Only a few tickets left.  A new video is also about to be revealed. Check it all out and come see us in action!

One Bullet From Paradise is out now @ including

 For more links to the album and all things Die So Fluid explore the band @

Pete RingMaster 26/10/2018

Copyright RingMaster: MyFreeCopyright

The Dahmers – Down In The Basement

For any sporting or physically demanding endeavour it is advisable to go into some sort of training. With music it is not a requirement that is until you come up against the new album from Swedish rock ‘n’ horror fiends, The Dahmers. The band has just released Down In The Basement, a beast of a record bursting with eighteen tracks of rock ‘n’ roll fever as ferociously energetic as it is virally infectious. From its first heartbeat to its last the bands third full-length is an insatiable incitement keeping the body rigorously and eagerly bouncing.  It is relentless, exhausting, and pure pleasure from start to finish.

Bromölla hailing, the Dahmers has been no strangers to keen attention having released a pair of ear enticing albums in Demons (2015) and In the Dead of Night (2017). Each has shown and evolved a sound which is bred on a patchwork of numerous flavours ranging from garage and classic punk to vintage rock ’n’ roll, sixties pop and garage rock. Each of those releases certainly pleased ears but have now been imply blown out of the crypt by the simply irresistible and irrepressible Down In The Basement.

With a mass of tracks the size Down In The Basement offers you would expect a few fillers here and there but they are conspicuous by their absence; from the opening surge of Blood On My Hands the album a full-on meal of prime cuts. The first track bursts into life on a tide of voice and guitar bred persuasion, straight away twisting and turning like a dervish whilst unleashing a wave of catchy mischief. The vocals of Christoffer Karlsson lead the way in manipulation but more than matched by his and fellow guitarist Josef Underdal’s devious hooks and the rhythmic salaciousness of bassist Tobias Augustsson and drummer Karl-Oskar Hansson. Something akin to The Hives meets Asylums the track simply stomped into ears and the passions setting the album off on a mighty course.

The following Murder Ride is just as reckless and tenacious in its own punk infused charge, sending insistent grooves and rapacious hooks through ears with a fifties rock ‘n’ roll meets seventies punk irreverence before Street Of the Dead brings its garage rock/indie pop boisterous to the already devilish party. More reserved than its predecessors but just as equipped with ripe catchiness, the song had the body fully employed in no time.

Across the classic hard rock tinted antics of Down On My Knees and the corrupted boogie woogie nurtured devilment of The Ripper new flavours and rascality sweeps across Down In The Basement, The Dahmers already revealing their most diverse web of sound which Hit ‘N’ Run exploits for its contagion loaded adrenaline fuelled punk ‘n’ roll romp. All three tracks infested body and spirit with ease, the latter mercilessly before Howling merged the rock ‘n’ roll decades with its nefarious holler for a matching success.

As suggested the album is a perpetual rush of treats which simply continue with the revengeful punk ‘n’ roll of I Spit On Your Grave and the fiendish infestation of Demon Night. Both had the body twisting like a possessed soul, their pop seeded rascality pure manipulation and inescapable corruption in the outstanding second of the pair.

Classic rock gets a nudge within next up Creepiest Creep, another track with hooks and grooves which worm under the skin like invaders into a six foot buried offering while Reoccurring Dreams is just a punk rock scourge of temptation draped with surf molestation. Both make a play for best track honours though already the list is a fair size and only about to grow as Without a Face declares its option through a sixties pop ‘n’ rock spiced saunter abound with rousing vocals and rhythms heated with fiery melodic flames.

The cinematic breath of Kiss of Dario has the imagination as busy as ever, Man Obsessed straight after sparking grinning lips as it flirts with Blondie for its prime hook as it teases an already lustful appetite for the album. Even so both are outshone by the voracious rock ‘n’ roll rascality of No One and a quite glorious cover of the Devo masterpiece, Social Fools. Both tracks show The Dahmers at their most irresistible, the first a prize roar of their untamed imagination and boldness, its successor of their inimitable punk ‘n’ roll enterprise which did not improve on an existing gem but certainly re-energised its might.

The final pair of November with its deceptively calm sixties hued, pop coated calm and dark instrumental The End brings the album to a magnetic close. The last track is another moment of cinematic intimation, an industrial creased piece which replaced a bouncing body with an imagination conjuring suggestiveness to keenly intrigue.

Down In The Basement is a momentous offering from a band due bigger and broader attention; it is not just us saying that but a collection of tracks which demand your soul.

Down In The Basement is out now via Lövely Records across most online stores.

Upcoming Live Dates:

02/11 – Skövde In Rock Fest   Skövde, SWE

03/11 – Halloween Meltdown   Eskilstuna, SWE

04/11 – Kulsturkvarteret   Kristianstad, SWE

15/11 – Cinema   Aalst, BEL*

16/11 – Dusseldorf   Ratinger Hof, GER*

17/11 – Eindhoven   Helldorado, NL*

* Supporting The Dwarves

Pete RingMaster 26/10/2018

Copyright RingMaster: MyFreeCopyright

New aspects and visions: chatting with Molly Grue

Earlier this year we chatted with Krista Acheson about her music as Krista D. As she continues the unveiling of her project, Molly Grue, with a new single ahead of her debut EP, The happy ending cannot come in the middle of the story, we had the pleasure of talking with the Canadian singer songwriter about her new adventure.

Can you talk to us a little about why you started this project?

I started Molly Grue so that I could have a separate project under which I could release some songs that I’d written which didn’t match the style of music I was releasing under my Krista D project.

How many bands, or rather projects, are you involved in?

At the moment, three… The Krista D project is for the material that is a blend of 50s and 60s musical elements, with some punk flavouring.

Molly Grue is where I’ll be releasing some soft, alternative, rock music and I also have another project called Hooha and the Peter Guns under which I plan to release some harder rock material. I felt it might be easier for people to know what to expect from me if my music was compartmentalized according to style.

What inspired the Molly Grue name?

It’s a character from an animated film called The Last Unicorn. I used to watch it a lot as a child. I still do from time to time. I was working on some art and thinking about starting to release music again, after about a 10 year hiatus, and the film was playing in the background; the part where Molly was angry with the unicorn came on and that’s when I decided on the name. I was like… that’s exactly how I’d react if I found success at music at this point in my life.

Do the same things still drive you as an artist from when you were fresh-faced or have they evolved over time?

When I started in music, in the mid 90’s, I was extremely naive. I started recording quite young and at the time I assumed that if someone had an inherent talent for something, they would just naturally find a place doing what they were organically suited for; as if somehow your skill-set preordained you to eventually become successful in a career.

As I grew up I realized that’s not how the music industry works. So, now the only thing that drives me is the desire to create and express myself.

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

It changes a little from song to song; sometimes I’ll toss in a new instrument or a weird audio sample, but overall I stick to the same pattern. I’m not sure if there’s been any true evolution, and if there has, I’m probably too close to my projects to hear it.

Has anything or anyone directed, or majorly inspired, your approach to creating music?

Not directly, no…A lot of my writing and composing is intuitive; it happens on a subconscious level. I think it’s basically a collage of a bunch of musical elements that I’ve picked up throughout my life – but I never consciously set out to sound like anyone in particular.

Do you have a particular process to your songwriting?

My songwriting process is: a melody and lyrics pops into my head…strings, piano, trumpets or other background elements accompany it. Then I try to communicate it, either with plotting it out using a keyboard to give to someone to transpose into sheet music, or, for rock oriented stuff, I either strum the chords, write out the chords or resort to humming them at a guitarist. It’s a very slow, strained process, to be honest. I don’t play many of the instruments I like to write for, so I’m trapped in my head a lot. I’m currently setting up a small studio space in my house so that I can plot out all the instruments digitally, by ear.

Where do you, more often than not, draw the inspirations for the lyrical side of your songs?

It’s all mostly based on personal experience. The Molly Grue project is a venting project… it’s actually a bit depressing, but I think sorrow serves a higher purpose when it’s converted into an art form.

Would you give us some background to your latest release? What is the newest single about?

My latest release is a single that I’ve called O Dymphna! with the alternate title ‘Stepped Over’. It’s dealing with sexual assault and I’d written it years ago, recorded it last year, and it’s due to be out on digital platforms next week. It’s actually the only song in my career that I’ve had to put an explicit lyrics warning on. The title O Dymphna! was meant like a supplication to an icon that represents multiple forms of suffering. I had read somewhere that she was the patron saint of assault, anxiety, mental illness, runaways and probably a few other things; sources seem to vary. I’m not Catholic, but I find the iconography interesting and chose the title to encompass various experiences, because no matter the specifics of an individuals’ story, we all share a very similar emotional aftermath that forever alters our reality.

Do you go into the studio with songs pretty much in their final state or develop them as you record?

I do what I can to best express what I want to hear on a rough demo, before it gets studio recorded, but things always evolve slightly depending on the musicians I’ve chosen to work with or hire.

How as the internet and social media impacted you to date? Do you see it as something destined to become a negative from a positive as the project grows and hopefully gets increasing success but also sees an increase of people trying to get your music for free etc.?

The biggest positive impact it’s had was when my single Land Mine received over 719,000 streams, in a month, through Pandora internet radio.

Aside from that, I’m probably one of the artists who struggle to use social media to their advantage. I’ve been mainly using my social media accounts as portfolios but rarely actively promote or market myself. I do realize how important social media is to people, though, so I do intend to try to work harder in that area; especially where Molly Grue is a new project starting from zero.

Our big thanks for sharing time with us: anything you like to add or reveal for the readers?

Thank you for the interview! For anyone wanting to follow my progress on either my visual art or the upcoming EPs, they are welcome to friend me on Facebook. I am most active on this account:   I also have links to all of my music at:

Pete RingMaster 26/10/2018

Copyright RingMaster: MyFreeCopyright