The Black Income Interview

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

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

Hi, thank you for having us….. yes sure…we’re the Black Income a Stoner Grunge band from Denmark…

We started out late 2011, got the idea to change the world with groovy stoned fuzz-metal with melodic a melodic twist… so we got together starting writing song, and experiment with the music before we recorded our first album Noise Pollution

Had you been involved in other bands before? If so has that had any impact on what you are doing now, in maybe inspiring a change of style or direction?

Yes, we have played in a long line of bands, and sure the musically inspiration we have gotten from other bands, is sure with us to this day… but it wasn’t really what we wanted with Black Income… we wanted a more honest sounding more punky kind of band… we wanted to create something that took start and focused on the music, and not the industry.. meaning we create the music we love, and are not trying to create some certain kind of music, we go with the flow and that’s what music is all about if you ask us, and we think it’s much more fun for the fans to follow a real band, rather than following some studio project trying to fit in at a certain genre of music.

What inspired the band name?

Ohhh we get this a lot… haha

Well it started out as fun thing…it’s always been a part of the music business since the money is not that big for upcoming music… but as time went by our name got more a more relevant, as now a more expression of freedom.. meaning as the systems locks down on all of us, and deciding what you should do…. Black Income is really your only weapon against the system, so thinking off it…if all people stood together and stopped paying their taxes, we would have the power back… and that’s what our name Black Income is to us..

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

As we said before, we just wanted to play some honest music, and sure we got some inspiration from the Stoner and Fuzz scene, and sure we have elements of the Grunge era, but we try to do our own thing, and develop our own sound, that’s really what it’s all about for us.

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

We think we still have the same goals really, but sure we developed as a band and go to new places with the music…. and listening to our 2 albums, we think unSOUND is a more mature sounding record than the first one.

Between those releases, how would you say your sound has evolved?

Well it’s hard to say really… we talked about the sound of modern Rock and Metal music today, and we came to the conclusion that we think the sound is too pumped these days, it ruins the experience for the listener, so on unSOUND we aimed to go with a more open and realistic sound, and we did create separate mixes to the Streaming and the Vinyl we released.

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

We changed a bit in the line-up, we started out as a 3 piece band, and we’re back at that line-up again… we found that the trio setup is more tight, and the music lock’s in at another level… it’s easier for us to get the riffs packed and tight when we’re only a trio, and as this came to our attention the sound evolved with it… and that’s really where we stand today, with the new release.

Presumably across you all there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

Sure we had a lot of influences along the line, but the honesty of the bands from the 90’s sure had a huge impact, not only in the music but also in the lyrics… but also bands like Queens Of The Stone Age with their more desert kind of sound and feel we listened a lot to but also we looked at elements from bands like Fu Manchu and mastodon ….that have a more Fuzz and Metal edge to it..

Is there a regular process to the band’s songwriting?

Usually it’s Henrik our vocalist that writes the basic ideas to the songs, and we normally take the ideas and jam on them, letting ideas flow until we have like a whole track. We tend to keep the basic idea, musicians tend to get bored with their own songs and keep developing them to the worse… we try to keep what got you hooked when you first did write the song, and keep that in mind all the way thru the process of writing.

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

Well we write about realism, and we get inspired by everyday people and feelings, we aim to write lyrics you can set yourself in center of as a listener, and not pointing thing out like other bands… it creates a more open lyrics universe for the listener, just like reading a book and creating your own pictures.

Please give us some background to your latest release.

unSOUND we started recording in 2017 in Medley Studio with Soren Andersen, and after that we recorded 5 Tracks in Tube IT Studio Denmark, and finished up the album there as well; we did mix and mastering ourselves, we wanted to have total control of things and not just lean back and let some producer take our music somewhere else… so this way we found our way of working in the future.

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

Well it’s kinda like we described, but on unSOUND  you will find a wide range of different songs, stretching from modern love songs like ‘The Sun’ to the more real songs like our single ‘Loaded Gun’ that tells a personal story to songs like ‘Somethings wrong’ that takes off at the world and the problems we’re facing today.

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?

For us to be able to find the right elements of the songs, we work with the songs before entering the studio, but we leave space to develop things in the recording face as well….

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

We love playing live, that’s where our music comes to life… we are an energetic kind of live band, meaning we don’t give a F.ck, we are here to have a great time with the people who showed up.. so let’s F…ing Rock out…

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it?

Well call us old fashion, but we believe that in the end good music will survive, it might take some time, but don’t give up…. We started out in our own country Denmark, and as time went by we found that with streaming and the internet, we gained a lot of love from other countries than Denmark… so with that in mind we decided to go where our fans are and not focus so much on our own country, so for us we get a lot of love from USA and the UK, but also Germany and Sweden. So with this new world, it’s more like don’t spend a lot of time pressing your music onto a certain land or community, go where people like your music instead.

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

Well social media has changed so much since it started out, when it first started out it was a great tool…today we’re not really sure what to expect from it, it seems like even though fans like your page, they don’t see the news your postings unless you pay for it… and what is it good for then? We think social media will fall back the next years, and streaming services like Spotify will take over that part, and gives more meaning to gather the information with your music.

So you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success or is it more that bands struggling with it are lacking the knowledge and desire to keep it working to their advantage?

It’s really hard to say really… but it seems every bands are doing the same, so with all the music and videos coming out all the time, what would we expect from that, and how people react to it…what impacts the upcoming scene the most at the moment, is in our opinion that bigger established bands, don’t earn any money at record sales anymore, and with the streaming fee so low, they are not taking up place at all the venues because that’s where the money is, leaving the upcoming scene not being able to get anything from the gigs they play, it they can get any gigs… so that’s one of the more negative sides to the music business today.. so that leaves upcoming music to struggle with the internet and streaming, breaking thru the noise of bad music being published from every bedroom studio around the world.

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

Thank you so much… yes just wanted to let you know that you can check out our brand new album on the links below, and we will see you in 2020.

Thank you…

Our brand new Video “Loaded Gun”

YouTube: https://youtu.be/KKNJd9Kg_aY

Shop: Http://shop.tubeit.eu

Social Sites:

Website: http://www.blckincm.com

Facebook: https://www.facebook.com/blackincome

Instagram: https://www.instagram.com/blackincome/

Twitter: https://twitter.com/blckincm

Spotify: https://open.spotify.com/artist/5XzUUfJH9hTfcvjInSUytt

Video: https://www.youtube.com/user/BlackIncome

Pete RingMaster 18/10/2019

Copyright RingMaster: MyFreeCopyright

Watch Clark – Couch

photo by Christy Wiseman

The sound of Watch Clark is suggested as being akin to the Seattle indie goth/industrial scene of the early 2000’s but definitely there is also an eighties synth pop inspiration which richly flavours its imagination. It is a fusion which goes to make new album, Couch, one ear grabbing and imagination slab of contagion and very easy to recommend to all electronica embracing ears.

Watch Clark is the solo project of Seattle based musician Paul Furio, a former member of Static Engine and SMP. Founded in 2012, Watch Clark released debut album Perfect Imitation the following year with its well-received successor, First Week of Winter unveiled in 2017. Produced, mixed and mastered by Kasson Crooker (Freezepop, Symbion Project, ELYXR), Couch is the striking successor very easy to see pushing Watch Clark into a far bigger spotlight.

A collection of songs themed by a reflection on relationship, political, and life turmoil, Couch immediately had ears and appetite hooked with opener Misery. The blooming of keys and heavy pulse of rhythmic enticement openly wears a Depeche Mode influence but as swiftly the track reveals its own individual character around the magnetic tones of Furio. Industrial dissonance breaks upon the melodic landscape throughout to escalate the potency of drama within the unapologetically catchy and rousing affair.

The outstanding start to the release is matched by the infectious body and swing of the following Class Actress. Like a blend of B Movie romanticism with Kudzu post punk shadows within a Visage-esque croon, the track like its predecessor is pure contagiousness, its instinctive bounce manna to appetite and body before The Sound of Robots Pooping parades its industrial nurtured dance. As dystopian in breath as it is warmly infectious, the predominately instrumental track proved as much a spark for the imagination as an incitement for hips.

Diversity is a potent trait within Couch and potently shows its creative worth with next up Tansfläch, the track an electro industrial incitement bearing the Neue Deutsche Welle tempting of a D.A.F. alongside the cold wave theatre of a Kraftwerk, while The Darkest Place adds its own individual new wave lined proposal in the varied mix with contagious appetite and dexterity. In voice and sound, Furio lights up ears and speaker with a virulent touch which is hard to ignore in movement let alone pleasure.

The following Cross the Chasm has compelling darkness in its heart and touch which only accentuates its bold almost invasive yet haunting quality while The Act of Wanting offers a flirtatious slice of electro rock which again has energies and limbs hooked like a puppeteer across its purposeful stroll. Each again only adds further sides to the varied electronic prism of the album which Math Grenade emulates with its teutonic breath upon industrial dissonance. Again dystopian hues explore thoughts from within the dark infection and once more Watch Clark had attention glued before the equally arousing Get to Win added its particular electro punk grip on ears.

Featuring a vocal duet with Lark Remy in its haunting sigh, Weakness made for easy captivation. Though the sounds around them only hugged satisfaction it was the vocal prowess of Furio and Remy which most seduced and the way the production alternated between moments when each voice has slight dominance in their union.

Completed by the dark infested instrumental of The Cup of Bitter Fate and the melancholy soaked balladry of Choose, two tracks which lingered to haunt the imagination once sharing their final breaths, Couch is an album which provides a rousing fusion of nostalgia and new imagination which as mentioned earlier can only be suggested as a definite exploration for all with a taste for electronic pleasure.

Couch is out now; available @ https://watchclark.bandcamp.com/album/couch

https://www.facebook.com/WatchClarkMusic   https://twitter.com/WatchClarkBand

 Pete RingMaster 15/10/2019

Copyright RingMaster: MyFreeCopyright

Caresses Amidst Punches with a handful of songs

With thanks to Shauna at Shameless PR our attention was pointed to a clutch of singles which may have been of interest. What they all proved to be was the source of increasing pleasure and each a teaser to bigger and bolder things.

Firstly as their debut album looms ever near, Los Angeles hailing psych rockers Tombstones in Their Eyes have released a rich temptation for it in the shape of new two track single Open Skies.

The band’s sound is a thick blend of psychedelic and shoegaze bred textures soaked in atmospheric density but offers a further array of flavours in its creative breath. The quartet has already unveiled its attention luring potency through earlier releases and only breeds greater anticipation for that first album, Maybe Someday, with their latest proposition.

Released through Somewherecold Records, Open Skies takes shape from within dark shadows, its fuzzy breath soon enveloping ears with an inviting trespass of sound and intimation. The lead vocals of guitarist/keyboardist John Treanor swiftly bring their magnetic resonance to the melodically cacophonous encounter as the rhythmic stroll of drummer Stephen Striegel and bassist Mike Mason provide a controlled yet tenacious incitement. It is a dense cloud of captivating enterprise, crawling over the senses with sonorous dexterity within a haze flooded soundscape skilfully shaped by the craft of guitarist Josh Drew side by side with Treanor.

The song comes with an alternative version of Dreams, the closing track on that forthcoming full-length. It too embroils ears in suggestive smog, one fuelled by caliginous light and seductive radiance. A siren of temptation the song prowls as it glides across the senses, wrapping the imagination in a post rock/psych rock ambience as physical as it is somnambulistic.

Together both tracks make anticipation of Tombstones in Their Eyes new album a touch on the keen side.

Another band with an eagerly awaited release ahead is Italian rock band Elizabeth The Second and they too have provided a rather tasty appetiser for it in the shape of a new single, the reason for that keen intrigue.

No One Cares is the Padova based trio’s debut single and comes from the Two Margaritas at The Fifty Five EP released this November. Formed in 2018, the band’s sound has already drawn references to the likes of Blur, The Libertines, The Strokes, The Clash, and Franz Ferdinand but as their first release reveals there is plenty of individuality involved in its contagious character.

From the first strum of Ben Moro’s guitar No One Cares has a rousing breath to its catchiness, its swing driven by the lively beats of Luca Gallato and the great moan of Michele Venturini’s bass. Moro’s vocals are soon adding to the infectious proposal on offer, the track’s garage rock toning across a punk ‘n’ roll bounce instinctively anthemic. Every subsequent riff, hook, and roar only accentuates its contagion, the song a striking and easy to devour introduction to Elizabeth The Second and spark for an already impatient wait for their first EP.

Another artist with an album poised to be unveiled is Sebastian Straw, an Italian based musician/songwriter creating a sound with a certain nineties Brit pop edge to its alternative rock breeding. My Friend is the latest single taken from Welcome Yesterday, a track which provides an infectious lure to artist and album.

Keys and guitar caress ears from the start, rhythms soon adding their moody touch before Straw’s distinctive tones spark the heart and more volatile instincts of the track. Already the song is a manipulative incitement with something akin to Richard Ashcroft meets Gaz Coombes to its songwriting and character while strings and keys only add to its contagion and fiery drama, emotion lining every moment.

Straw has been making music since a young age and if My Friend is a potent clue to the endeavours within his first album will be finding some sure attention coming his way.

Finally we have the song Dancing With Death to recommend. It comes from British outfit Noctorum, a duo comprised of guitarist/singer-songwriter Marty Willson-Piper (The Church, All About Eve, The Saints, Anekdoten) and producer Dare Mason. The pair was one of many who severely suffered through the bankruptcy of PledgeMusic with an estimated $15,000 through pledges owed to them. They still honoured all those pledges for the album, The Afterlife released earlier this year, out of their own pocket. Now the band, in order to recoup those funds, are releasing The Afterdeath EP through a GoFundMe campaign, a four track digital encounter with two new tracks and two covers exclusive to pledgers.

Dancing With Death is the teaser for the release, a treat of rock magnetism wrapped in gothic shadows. There is something of The Mission to the song, its quick ear grabbing dexterity fuelled by melodic enterprise and rich imagination. Guitars alone offer a drama which just got under the skin, their twists and turns fluid within that shadowed melodic rock landscape.

The track is superb and reason alone to treat yourself to The Afterdeath EP but potently backed by the other new track in The Mermaid and Noctorum’s covers of The Sound’s I Can’t Escape Myself and Buffalo Springfield’s Nowadays Clancy Can’t Even Sing.

 

Open Skies from Tombstones in Their Eyes is available now @ https://tombstonesswc.bandcamp.com/album/open-skies with Maybe Someday released through Somewherecold Records on November 15.

https://www.facebook.com/TombstonesInTheirEyes   https://twitter.com/tombsinthreyes

The Elizabeth The Second single No One Cares is out 15th October with the Two Margaritas at The Fifty Five EP released November 9th; available @ https://elizabeththesecond.bandcamp.com/album/two-margaritas-at-the-fifty-five

https://www.facebook.com/elizabeth.the.second.band   https://twitter.com/Elizabethe2nd

Sebastian Straw’s My Friend is out now with Welcome Yesterday released 18th October via Seahorse Recordings.

https://www.facebook.com/sebastianstrawofficial   https://twitter.com/SebastianStraw

The Afterdeath EP from Noctorum is available until October 31st @

https://www.gofundme.com/f/noctorum

https://noctorum.band/   https://www.facebook.com/Noctorum   https://twitter.com/noctorumband

Pete RingMaster 17/10/2019

Copyright RingMaster: MyFreeCopyright