We recently had the pleasure to be introduced to US rock band Dark Rain and now, through guitarist/vocalist Dudley Leavitt and drummer Devin Mallard, them to you in interview with us….
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?
Hi we are Dark Rain, we hail from Brunswick, Maine. We are a five piece sonically charged melodic rock band. We originally formed back in 2000but broke up a short time later. We reconnected in 2011 and have been going strong since.
Have you been involved in other bands before? If so did they have any influence on what you are doing now?
Devin: Yes in a couple that were very heavy or industrial but this is more like my goal sound here in dark rain
Dudley: Yes was in a couple bands Dark Rain marked a move to the sound I was looking for.
What inspired the band name?
It’s also the name of a song we play and it’s about nuclear fallout.
Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?
We were friends just wanting to play music, and it turned into a lifelong bond like family, we wanted our sound to have no limits, no boundaries.
Has that core intention evolved over time?
Dudley: Obviously as we’ve aged time becomes more pressing; we still want to be a touring band, and expand our base.
Since your early days, how would you say your sound has evolved?
Devin: A lot cleaner less sloppy, more precise.
Dudley: I think it’s a lot more complex and has better written parts; the lyrics are more mature subject matter.
Have changes been more of an organic seeding or more the band going out to try new things?
Definitely organic, we have no preconceived notions of what we’re going to write stylistically or lyrically.
Presumably across the band 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?
Devin: Not necessarily, I have some small style traits I picked up from several drummers like Vinnie Paul, Joey Jorganson, the guy from Five Finger Death Punch. My musical influences, like bands RATM, Pantera Tool, give me the vibe that influences how I play I’d say
Dudley: Some of my influences bleed through in my songs I write. I have little flairs of some of the 80’s players, and some of the classic rock; my most peculiar influence is surf music that I didn’t even know I had but can be heard in solos on Burn and The Cage.
Is there a particular process to the songwriting in the band?
Dudley: There never was before but if started musically and not lyrically, it’s usually the guitar and drums writing riffs similar to Metallica in the old days, then fleshing it out.
How about the lyrical side of your songs; predominate inspiration?
Dudley: Usually it’s about life relationships, loss or in rare occasions, world events. Sometimes it’s just a story like 40 oz.
Can you give us some background to your latest release?
Devin: Our 3rd CD, my first with the band is called The Illusion Fades which will be out this year…the songs are deep
How about some insight to the themes and premise behind it and its songs?
Dudley: The Illusion Fades is a personal meaning for the band; our first never released CD Illusions In The Clouds, our unrealized dream of making a CD. Illusion refers to a person who is gone from our lives and the subject of many songs on the cd
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?
Devin: We have been writing some as we go because we have the luxury of our own studio we’re building.
Tell us about the live side to the band, presumably a favourite aspect of the band?
Dudley: We do love playing live; I love traveling to new places meeting new people and showing our songs.
It is not easy for any new band to make an impact locally let alone nationally and further afield. How have you found it? Do you think the opportunities to make a mark are still there if the drive is there for bands?
Devin: Yes drive is essential to being able to make a mark
Dudley: I think making a big start out of the gate helps for newer bands, and building from there.
How has the internet and social media impacted on the band to date?
Devin: I think it’s all about what you put for time and effort
Dudley: I think for us we’re always looking for new ways to blend social media into our promoting arm.
Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?
US outfit, Backblast, create a heavy metal roar embracing the flames of other styles and flavours. It is a proposition which is constantly growing and evolving as well as building on the success of the Manassas, VA hailing band’s well received debut EP, of 2015, The Area is Clear. We recently had the chance to get to the heart of the band with drummer Chris Tamberella, exploring its origins, growth, the band’s latest attention drawing release and more….
Can you first introduce the band and give us some background to how it all started?
We are a five piece metal band consisting of Dan Cunningham on vocals, Jake Ford on lead guitar, Adam Pritcher on rhythm guitar and backup vocals, Wilsen Rivera on bass and myself, Chris Tamberella on drums. In 2015 Dan and I, along with original guitarist Marcos Eguia, began recording tracks in Dan’s basement. After 6 months of writing and recording, we decided to bring the studio to the stage.
Had you been involved in other bands before?
Wilsen has been in a number of projects including Kaemon, Bourne of Ash, Greythor, Pandora’s Box, Sanguinus and some solo work on Wilsen’s Sessions. Dan was is a heavy metal band in Newport News, VA called Kaivol Motak who enjoyed local success. Jake was in a band for a few years in high school and since has filled in periodically for the Miami based band Inferion.
What inspired the band name?
The majority of our band members are military veterans and have experienced the back blast of an RPG before.
Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?
There was no specific sound that we targeted at first. We played what came naturally which was best described as rock. After recording The Area is Clear, we wanted to add more to our sound but didn’t know exactly what we were looking for. Enter Adam Pritcher and his heavy riffs and we were on our way to making metal songs. Since then we added Wilsen on bass which opened the doors for another evolution in the band with his ability and experience. The final piece to our sound is the addition of Jake Ford. Adding a lead guitar to our sound has provided more opportunities for growth and another evolution in our sound. With the addition of Jake we are steering in somewhat of a power and progressive metal sound. Who knows what we will create in the future.
Do the same things still drive the band when it was fresh-faced or have they evolved over time?
Our band has evolved in all aspects including what drives us now. As a band we want to push ourselves and churn out the best sound possible. That can only occur if we are all driven individually and as a unit. When we started in Dan’s basement we were messing around and seeing what came out. Right now we feel like the sky is the limit between the five of us and are excited for our next release and to continue bringing our brand of metal live on the east coast.
Has it been organic, especially the movement of sound or more the band deliberately wanting to try new things?
Everything that happens with our sound is organic and nothing is forced. We certainly want to try new things but we haven’t limited ourselves into what we are trying. If it feels right we move forward. If it’s clunky or not smooth than we move on to something else.
Presumably across the band 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?
With five guys in the band there are many different inspirations. We all share some of the same likes such as Black Sabbath, Dio, Lamb of God, Iced Earth but some of us like reggae, jazz, classical music, electronic music and more. For myself as a drummer I am inspired by Chris Adler of Lamb of God and Jimmy “The Rev” Sullivan of Avenged Sevenfold.
Is there a general process to the band’s songwriting?
Most of our songs are based off guitar riffs. Sometimes that riff is structured before it comes into the band room or it may just be a small riff that starts with a jam session and grows into a full track.
And lyrically, where do you draw the inspirations?
Past experience, current political climate and what happens inside Dan’s head (which could be scary).
Would you give us some background to your latest release?
Our latest release is a four song concept EP, The Ringmaster. It revolves around an evil entity “The Ringmaster” who has pulled in all the outsiders of society and placed them under his spell. He lures with them with the promise of hope and acceptance but his true motive is to create an army of minions. After realizing their fate those who have come under his power rise up to fight back. In this story the good guys just might not win.
Give us some insight to the premise behind its songs.
The first song, The Ringmaster, tells the story of our protagonist and gives the listener a hint of his plan. Next is To the Grave which lets the newly acquired minions understand what is actually in store for them under the big top. The third track Uprising is when the battle begins. The minions have come together to throw down with “The Ringmaster” for an epic battle of good and evil. Our battle finally comes to a bloody finish with Bend the Knee. Who will be left standing?
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?
We are 100% ready to record each track when entering the studio. Studio time is a pricey endeavour and we don’t like to burn money. The blade is sharpened before we hit record.
Tell us about the live side to the band, presumably a favourite aspect of the band?
Our live shows are our bread and butter. I promise you will not be bored. At one point you could be two feet away from a slinging guitar or about have Dan singing in your face. Our shows require audience participation and I promise you won’t be able to resist joining in.
It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods?
Our region has had a recent bump in the past year but it is an uphill battle. The underground metal scene has some very strong bands and personalities but the only way we grow is standing side by side. We are doing our part to make sure the scene keeps pushing.
How has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success?
At this point social media is crucial for BackBlast and for all underground bands in any genre. On one hand social media gives any band exposure that would typically cost a ton of cash for free. On the other hand our music is free. There seems to be some formula for success through social media and we are still doing the math.
Our big thanks for sharing time with us; anything you would like to add or reveal for the readers?
Right now you can grab a free copy of our EP, The Ringmaster, by going to our Facebook page. Give it a like, and shoot us a message to get your free download code!
The release of a new EP suggests 2018 is set to be a potent and busy year for Brighton, UK based Oceans. It is a multi-flavoured, ear grabbing incitement of the band’s post hardcore and alternative rock blended sound building on their previous encounters whilst venturing into new imagination. We recently had the pleasure to dive into Oceans and their new offering with guitarist Tom Hollands, exploring their beginnings, fresh endeavour and more….
Can you first introduce the band and give us some background to how it all started?
Much like the actual Oceans, we are a band made up of 5 mostly water based entities: Zach Silver – vocals, Conor Hyde & Tom Hollands – guitars, Jack Warren – bass and James Gillingham – drums. We all either lived, partied or performed alongside each other before the current line-up was formed, that and our shared desire to create made Oceans happen!
Have 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?
Collectively we’ve all played in bands or made music of many different genres. Perhaps without being fully aware of it we draw on this when writing – We’re all quite different as musicians too so I think we’re bound to end up with quite an eclectic sound.
What inspired the band name?
We came to Brighton and based it on things we saw – So it was either something to do with seagulls, falafel (love it), or the ocean… No unfortunately that’s not true; our guitarist Conor got it from a Mallory Knox song!
Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?
The idea has always been to try to make music that we love and hopefully others do too, and to do this as a career – We always strive to be somewhat original yet familiar enough to still fit into a scene.
Do the same things still drive the band when it was fresh-faced or have they evolved over time?
Most of us didn’t have any real direction until we decided to pursue music. We also love playing live and like most bands can’t wait to hopefully play to bigger crowds and do more tours!
Since your early days, how would you say your sound has evolved?
We’re evermore critical with our songwriting and I’d say we’re starting to really refine our sound – The music has grown darker sonically and thematically and we’ve tried to strike a balance between more poppy hooks and heavier riffs.
This has been more of an organic movement of sound or more the band deliberately trying new things?
Although it’s felt like a natural progression, we’re actively trying to make the best songs we can and sometimes that means tearing apart or scrapping ideas we’ve worked on for ages and doing something completely new instead.
Presumably across the band 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?
We all have rather different tastes in music; artists that have had a considerable impact on us are Incubus, Don Broco, Black Peaks, Deftones, Marmozets… There’s so many. We’ve heard of some bands that will try dozens of different melodies or ideas before settling so we’re just trying to be as critical as possible!
Is there a regular process to the band’s songwriting?
We don’t have a set method, however it usually starts with guitar riffs written at home and then built upon bit by bit in rehearsals. We all have a say in every part of the process so it really is a collective effort. Now we do demos and backing tracks to try out synths and things like that.
Where, more often than not, do inspirations to the lyrical side of your songs come from?
Our singer Zach writes the lyrics – Subject matter is usually based on personal struggles or stories relative to what’s happening in our lives (get over ourselves, right?) – We try to leave things open to interpretation, we want our audience to be able to relate.
Could you give us some background to your latest release?
Our new EP, Far From Composure dropped on March 13th. It’s available on practically all platforms and we see it as a big milestone for Oceans.
How about some insight into the themes and premise behind it and its songs?
Thematically the EP spans elements of coping with mental instability and it’s causation due to physical condition, relationships with yourself/others, escapism… The premise of this EP was to really capture our progression as a band from previous works and most importantly create something very emotive that connects with listeners. We also wanted to write big riffs, hit stuff and make loud noises.
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?
Our intention has always been to enter the studio with finished songs, however we always end up adding bits and pieces and coming up with extra ideas – We actually recorded a whole extra song last time!
Tell us about the live side to the band?
We play with a lot of energy and really like to throw ourselves about, I’d like to think if you don’t enjoy our recorded music at first our live set would… Captivate you… (Pun FFO Marmozets…)
It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods? Are there the opportunities to make a mark if the drive is there for new bands?
It can be tough for any new band to branch out from their hometown and it certainly hasn’t been any different for us. It helps being driven for sure – We lost count long ago of the amount of gigs we’ve played around trying to make a name for ourselves. We’ve had our fair share of bad luck but we’ve found that the harder you work the more chance of creating positive opportunities you have – Though there are many other factors to consider!
How has the internet and social media impacted on the band to date? Do 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?
Social media has played a big part in enabling us to reach people we otherwise wouldn’t have been able to. However, working round changing algorithms and the like can be difficult when trying to connect with fans (Or gain new ones). It’s a big discussion, though now it’s pretty much a necessity for new artists to engage in social media. Like with anything, it’s really about figuring out how to utilize it most effectively for your band, we’re definitely still learning! I’d say do what you can without losing sight of what’s important, the rock and/ or roll (or whatever genre you play). Cliché I know…
There have already been some truly striking releases in 2018 and maybe no more so than the new album from Norwegian metallers In Vain. Currents is a progressive metal adventure which surprises at every twist and enthrals at every turn. With big thanks to him, we recently had the pleasure to explore the album closely with guitarist/songwriter Johnar Håland and the band, getting to its heart, its journey to release and much more….
Hi Guys, many thanks for sparring your time to talk with us.
It is fair to say that it is a busy time for the band with the recent release of your new album, Currents. Have you had time to sit back and reflect on its initial success and plaudits yet?
Hi! Thanks for your review and for taking the time to do this interview. Things are quieting down a bit now and as you say, the feedback has been really good. However, I am not really a person who looks back. My thoughts are more focused on the next album.
It seems that you have spent a long time in its creation, that time certainly reflected and heard in all its honed intricacies and bold adventures. What is the time scale for its creation?
Our previous album, Ænigma, was released in 2013 and there seems to be people who think we spent five years writing this album. That is not the case. There are several reasons for why this album was delayed. Personal issues forced me to put composing on halt for almost a year, and with me being the only songwriter in the band that forced the whole process to a standstill. In addition, I was working on the debut album of my other band, From Strength to Strength, which is a hardcore band that will release its debut album some time during 2018. On top of that I spent the majority of my spare time reading for the CFA (Chartered Financial Analyst), which is a self-study in finance I have been doing the last three years besides my full-time job. The album was actually finished in June 2017, but we could not set a release date until we had a proper tour booked to support the release. So there are many reasons for this long delay. Hopefully it will not take five years until the next album!
I am sure you will not disagree with us when we say it is your biggest, boldest, and most imaginative release. Did you have any specific aims when writing and creating Currents or it just organically evolved into what we hear?
I am not really sure to be honest. Our debut album The Latter Rain (2007) was also quite bold. Back then we were a totally new and unknown band who released an album of one hour with grandiose and complex music supported by 20 guest musicians. So that was definitely a brave musical undertaking.
In all aspects, we feel Currents eclipses its acclaimed and also richly enjoyable predecessor, Ænigma. Where do you see the biggest evolution?
To be honest, I am not a fan of comparing music. In my opinion, Currents is another strong album in our catalogue. It is a very diverse album full of contrasts and has high-quality music with longevity. I take it as a sign of quality that there are different opinions with regards to which of our albums people enjoy the most. I do not believe Currents is that much different from our previous work, but there are some changes. The production is more organic, there are some shorter songs and it is less black metal compared with our previous releases.
Currents embraces the widest array of flavours and styles in your sound yet, a truly expansive landscape weaved around bold yet often delicate contrasts but it still has that signature In Vain breath. Did you have to concentrate on keeping that character or it again just naturally evolved as indeed that broad tapestry of sound?
I think it is just a natural evolution to be honest. I do not really think that the music is that much different from our previous releases, however there are some new elements. For instance we have one song, Soul Adventurer, with mainly clean vocals. We also have a song with acapella choirs, Blood We Shed, and that is something we have not done before.
You linked up, as for the previous album, with producer Jens Bogren. It is fair to say he gets your sound and imagination but what does he especially bring to the mix which you feel adds to the realisation of your ideas?
We were very pleased with Jens’ work on Ænigma. We did not really have any other alternatives at hand and decided to go back to him. We wanted a much more organic sound this time around though, and I think we achieved that. Jens usually knows what we want and I think we have the same views on what sounds good and not.
Give us some insight into the recording of the album.
All the guitars and bass were recorded in my home studio, except for some lead guitar solos that Kjetil recorded at his home. Vocals and other instruments were recorded in Strand Studio in Oslo. Everything was re-amped by Jens Bogren and he also did the whole mixing and mastering of the album. However, we were never present in his studio and only communicated with him via email and phone.
We have had the real pleasure of having an insight into the lyrical side of the album ahead of its emergence. Can you share some of the themes and inspirations to the songs?
Currents is not a concept album in the traditional sense, however there is a topic and a red line in the music, lyrics and artwork. Currents, reflects on the colossal shifts and changes of our time. The present world is characterized by continental flows of people, traditions and cultures. Migration of people across continents and borders…Cultures merging. Dramatic shifts in lifestyle from one generation to the next. This topic exists in both the lyrics and the music however we only touch upon it in an abstract way with a top-down view. It is important for me to clarify that we do not have any direct political views on this matter reflected in our lyrics. Besides that, the lyrical themes are varied, ranging from personal experiences and struggles, to contemplations on nature, philosophy and the historical and political development of this twisted world we´re living in.
Was there a particular process to the writing of songs for Currents?
The process was the same as previously. I write the songs alone and present complete compositions to the rest of the band. Later on I involve Sindre in the preproduction, as he also lives in Oslo. All members are free to add their personal touch to the songs and to give suggestions, but as the songwriter I have the final word.
It also sees a few guests such as drummer Baard Kolstad (Leprous, Borknagar), vocalist and former band member Kristian Wikstøl (From Strength to Strength), and vocalist Matthew Kiichi Heafy (Trivium). Were these happy happenings or thought of early on in the album’s creation?
This was something we decided on during the preproduction process. All the guests added their personal touch to the album and we are very pleased with their performance.
I know as for so many bands finances make a major part in decisions and possibilities in keeping going let alone forging ahead with releases, tours etc. for In Vain. How did this put restraints on Currents and do you see crowd funding as a feasible way forward?
We are fortunate to be able to record albums of the quality we prefer. The total budget for this album is around 50 000 EUR I guess, so hopefully people understand that they need to support us financially if they want to hear more In Vain albums in the future. We have not paid anything out of our own pockets. The label pays and we are also fortunate to get some financial support from various grants in Norway. However, the label obviously needs to get in break-even before we will get any part of the potential profit. Touring is more challenging and a tour costs a lot of money. Financing definitely puts a limit on how many tours we are able to do.
As with your previous albums, Currents is available through Indie Recordings. How have they helped, apart from the obvious, in bringing the album to our ears?
We have been with Indie Recordings since 2005 and we are actually the first band they ever signed. We have a good relationship with them. Obviously there are things that could be better, but that is always the case.
For those new to In Vain can you tell them about the beginnings of the band…the early days?
In Vain is a Norwegian band that plays progressive extreme metal and was formed in 2003. Andreas (vocals), Sindre (vocals) and myself (guitar) are the founding members, while Kjetil (guitar) joined the band in 2009 during the recording of our second album Mantra. Our bassist Alex has been around since 2013 and our drummer Tobias joined us recently. So far we have released four albums and two EPs, and we signed with Indie Recordings after releasing our second EP Wounds in 2005. Our latest album Currents was released on 26 January 2018 and we just came back from a European tour with Orphaned Land, Subterranean Masquerade and Aevum.
What is next for In Vain, shows etc. and once the dust of its triumph settles ahead?
We just came back from a European tour with Orphaned Land, Subterranean Masquerade and Aevum. We covered London, France, Spain, Arnhem and Essen. Our hope is to do another tour later in the year where we cover the countries we did not have the chance to go to on this tour. Besides that we will play some shows in Norway and some festivals.
Once again big thanks for giving us your time. Any last words you would like to share?
Thank you very much for your support, we appreciate it! To the readers; keep supporting great music, have a go at our new album Currents, and stop by our FB page at https://www.facebook.com/InVainOfficial/ for news, music, tour dates and other stuff.
Calling All Astronauts have been no strangers to attention and acclaim for their multi-flavoured and adventurously eclectic electro punk nurtured sound; albums and singles sparking eager ears and support with persistent success. They have inflamed the senses and zealous praise yet again with new EP, Influences; the London trio sharing some of their keenest inspirations in their own inimitable way. Thinking it was high time we caught back up with the band to talk about the EP, a new album and plenty more, we had the pleasure of grabbing some of vocalist David Bury’s time….
Hi and welcome back to The RingMaster Review.
It has been almost two years since we last talked with you, around the release of your album Anti-Social Network. Could you bring us up to date with all things CAA?
We released loads of singles from Anti-Social Network, all of them were really well received, as per usually we did loads of remixes and our ubiquitous low budget videos. We actually wanted to release every track as a single, but in the end didn’t want to be accused of flogging a dead horse, so there are still some absolute gems, that only people who bought the album will know
You have just released the Influences EP made up of a quartet of covers. What was the spark to its idea?
We started writing our next album early last year, however, my wife and I (David) had our first baby in August, so time was kind of against me, but we really wanted to release something new, so we thought it would be a good idea to record versions of four tracks, this then evolved into the idea that we’d make it a “Quadruple A-Sided” single, so we made videos for all four tracks, and had them staggered two weeks apart on the streaming sites and YouTube, having to send promo out on four releases two weeks apart has been crazy, and really not something I would recommend to anyone J
Would you talk a little about each track for those yet to hear the release?
First of all is a drum and bass meets metal version of Gary Numan’s (Tubeway Army) Are ‘Friends’ Electric?, we managed to get synth sounds that are quite similar to the original, but it’s now at 176PBM, with noisy guitars all over it, next is a stripped down version of T-Rex’s Metal Guru, we’ve really slowed it down, to an atmospheric post-industrial type sound, thirdly we’ve taken on the legend that is David Bowie, and put own stamp on his song Scary Monsters; far be it from me to say our version rocks more than the maestro’s original, but you can if you want J, and last but definitely not least, we’ve absolutely brought Deep Purple’s Smoke On The Water screaming into the 21st Century, it’s like Skinny Puppy, Rammstein, Ministry all rolled into one, according to the reviews; I’m not sure it is, but I’m happy if that’s what people are saying.
Many bands play covers but most just seem to approach them in the same way the original artists did and maybe hope their own sound comes across. You seem to have gone far deeper into the songs and taken the CAA imagination to certain aspects; the result tracks which are as much yours as their creators. How did you approach each track and decide what way to go with them?
We approached them exactly like we do when we are writing our songs; we kind of got an idea of how we wanted to do them, started off with drum patterns and then layered everything on top of the drums, we didn’t really have any trouble with any of them, the fill before the verse on Scary Monsters was a bit of a challenge, but I came up with that kind of dubstep drop and it all came together nicely.
Obviously the theme to the EP is in its title but in its case is it the songs which were primarily the influences or the artists, and if the latter why these particular tracks from their arsenal of persuasion?
I think it was a bit of both; they are four artists that we liked as kids, and still as adults, in fact Gary Numan’s two most recent albums are awesome, I can’t recommend them strongly enough. I was a big T-Rex fan as a kid and regularly drive past the spot where Marc died; there are so many of his songs to choose from, we wanted to pick songs that we liked but were not too obscure, you know. If we’d done Fad Gadget, Cabaret Voltaire, Japan and Psychedelic Furs tunes, they would still have sounded like us, but only people of a certain age would know the originals, so we picked four tunes, we felt had been significant to us that other people would know.
For us it was a brave move to take on four not only well-known but legendary tracks which virtually everybody knows and so many reveres. It has obviously proved a great move as fan and critical praise has quickly gathered but did you have any doubts at any point in taking on such classics?
We did obviously worry that we could face a backlash, or just get dismissed as, “another rock band doing covers” but after finishing them, we felt that we had, as they say on TV talent shows, made them our own, however unlike TV talent shows, I don’t think we have ruined any of them, I hope we have given a modern flavour to them, that will hopefully make some of our listeners revisit or even visit for the first time the artists that original wrote and recorded these songs.
Has the buzz, support, and acclaim for the EP surprised you in its swiftness and richness?
It’s truly been astonishing, we have honestly never done so many interviews before on any release, I’m feeling there isn’t the stigma associated with covers that there used to be (The Dickies excepted); people seem to have embraced it in the spirit that it’s intended, and for that we are very grateful.
Was there any specific intent in unveiling the four tracks within Influences one by one over a handful of weeks rather than as a single entity?
The original idea was to just release it as an EP, but when we got them back from Max, our mastering engineer, we were like, these are just too good to promo as a group; tracks are going to get lost. We thought it would be a shame if that happened, so we came up with the idea of 5 different release dates, 1 for each single and a final one for the EP as a whole, I’m glad we did it this way, because different DJs have had different favourites, so we’ve ended up getting an amazing amount of radio play
Tell us about the videos accompanying each song.
Here we are, confession time, as you know we have very small budgets, so we commissioned two of the video’s on Fiverr, the Scary Monsters lyric one and the Smoke On The Water one; for Scary Monsters, we just sent her the lyrics, told her we’d like it to be scary, paid her $12 and that’s what she came up with. The SOTW one, cost a little more, $30 I think, we gave the director carte blanche to do what he wanted and what he came back with, though quite surreal, works perfectly. Are ‘Friends’ Electric? was a little different. We have a friend called Stevie Mac, he makes animations for video games. He had a short story of around 90 seconds that he’d done, that wasn’t owned by any of his employers. He kindly said we could use it, so I cut it together with royalty free footage that Paul found online. Metal Guru is a whole other story. A Twitter friend of ours in Texas offered to make us one for Metal Guru, he was making a stop animation video for us but as release date loomed it became obvious he wasn’t going to get it done in time, so he came up with this one. He did go back and re-edit it as there where a few scenes towards the end that were quite disturbing, but all in all to come up with four videos for less than fifty quid, is a right result J
Was there anything about recording the EP which was more difficult than creating your own music?
I wish I could say there was something, but Paul and J are such accomplished musicians, they got their parts down really quickly and everything just fit into place. The mixing is always the hardest part for us, because we always have bass, kick drum, sub bass and bass synth sitting in the same part of the audio spectrum, so a lot of use of lo-pass and hi-pass filters is always needed.
Is there a possibility of an Influences Part 2 in the future?
Without a shred of a doubt, we will revisit this; we’ve just had so much fun with it. Don’t ask me when, there’s album three to finish first
Any hints to songs or bands which might be considered, I know you guys have eclectic tastes and inspirations.
We have tried a lot of other songs; we did Adele’s Someone Like You [but] my vocal was so out of tune, I cried with laughter’ I’d like to cover some things that nobody would ever expect us to, maybe The Shirelles’ Will You Still Love Me Tomorrow? or The MVPs Turning Your Heartbeat Up. Who knows, we will just have to wait and see.
As you mentioned, the band is working on their third album. How is that actually coming along and have you a timescale to its release?
We have 16 songs so far in various stages. It’s sounding enormous, and as eclectic as you would expect from us; it goes from drop D metal circa Lamb Of God to expensive anthems almost reminiscent of early Simple Minds. The 16 songs we have so far will probably not all end up on the album; we will undoubtedly write some more, amalgamate some of them, and probably save some for singles B-Sides
I also heard there could be a release for a previously unreleased album from J’s previous band Caffeine on your label, Supersonic Media; could you tell us more?
They had a couple of albums which are now on Supersonic from when they were touring with the likes of The Offspring, AFI, New Found Glory etc. Alain their original single left and the recruited Scott who is now in the Candle Thieves, they recorded an album with Andy Hawkins from Midget producing. It’s a fantastic album that never got released; it’s quite reminiscent of Jimmy Eat World or Alkaline Trio. For fear of sounding like Trump, it really is fantastic, super, terrific, maybe it’ll do well in Mexico J
Our big thanks David for taking time out to come chat with us; anything you would like to add?
Having been hooked on The Hellfreaks and their horror punk/psychobilly bred sound way there was certain sadness when the band split up four years ago. Thankfully it was a short lived demise but their return brought an evolution in sound and new excitement and intrigue towards the quartet. We had the pleasure of catching up with the band recently so they can tell us more about times past and present, and all things Hellfreaks.
Hi all and thanks for taking time out to talk with us.
Hell there, thank you for having us!
Can you first introduce the band and give us some background to how it all started and how you all came together?
We are The Hellfreaks, a 4-piece punk-rock band from Hungary, Budapest, which is quite in the middle of nowhere in the international rock world. But somehow, with a bit of luck and hell lot of work we managed to play way more shows over the border, than in Hungary. Since the foundation in 2009 we have played over 200 gigs across Europe and also made it over the big pond and toured in the US.
In 2014 the original band split up for a while. But it looked like Sue’s (our singer) destiny did not agree with that decision, as one of her biggest dreams just arrived via email right when she started to accept the situation: an invitation to play in the USA. At that time she decided to stitch up the wounds from the past and to restart the band with a new direction and new band members. This is how the new generation Hellfreaks, the one you have right here, were born. Our bass player, Gabi, and our guitar player, Tomi, had known each other before they joined the band, but in the end it was the band itself which brought all of us together.
Have you been involved in other bands before? If so has that had any impact on what you are doing now?
All of us played in different bands before, and all of these bands have been very different – but also, all of them have been rock bands. So we’re all true to our roots and just do what we love at the same time. However, none of us had ever had a band like The Hellfreaks, as this 4-piece-group never played together before. It’s a combination you couldn’t duplicate.
What inspired the band name?
To be honest, the birth of the band name did not happen yesterday. Sue was more or less a kid when she formed the band. The only thing she can clearly remember is that she came up with the idea when she was working at one of her very first working places, at a rockabilly bar, where she didn’t even earn 2$ / hour, so far from home that it was almost impossible to get back late at night. So the birthplace of the band was quite a hopeless place and compared to that we’re very happy about how far it went!
Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?
Our founding band member, Sue, literally grew up with this band. She never expected to tour regularly across Europe, to have a video clip with over 4 million views or to have this as her main life-project for the last 10 years. It all started in an old, dirty, wet cellar as a rehearsal room without even having a window – so we guess a band couldn’t get started more underground. There wasn’t even a goal, we didn’t even have proper equipment; it started just as a hobby thing without any plan.
That might be the reason why this band has changed so much from the start in absolutely every aspect. Our musical style has changed a lot – from a horror-punk billy influenced band, we turned into a punk-rock band, our sound developed a lot, we even changed the upright bass to a normal bass, had many line-up changes …so it has become something more, from starting without a plan to having plans and a goal.
But anyway we think that “change” in general is a good thing, nothing to be afraid of, because only change can bring development: and we’re just not the kind of people who can stand still, we love to work hard on our skills, we love to see how we’re able to make one step after the other, even when it comes by way more effort than most of you could imagine.
Do the same things still drive the band when it was fresh-faced or have they evolved over time?
We grew up, we have changed and our goals have changed with us. Especially as we collected our little “rewards” step by step over the years: touring first abroad, touring regularly, playing with some bigger bands, touring over the big pond, recording album, getting signed by labels etc. So it’s a natural process, that our goals have changed, otherwise nothing would push us forward.
But it’s important, that the main point – the fun and exciting process of writing songs, the feeling of getting on stage and playing for those who came there only to see you… that is the best thing ever! All that never changed, and all that make it worthy. Fun and happiness is the core of passion, and nothing could ever change that.
Since your early days, how would you say your sound has evolved?
We would compare our sound at the beginning to a stinky, forever-alone, home sitting, but totally lovely daydreaming teenager who with the years turned into a no-risk-no-fun adventurous world traveller who is a bit better-dressed. Our sound has changed so much! In the early years we were so much focused on playing billy influenced music, belonging to that genre and that subculture, which we loved by the way. But after a while it was not satisfying anymore. The limits of the genre totally killed our creativity, it was more or less impossible to do something new, because that genre was more about being stuck with those musical roots and in the past. Which has its own magic as well – but as an artist, it wasn’t “giving” anymore, it was more a ‘taking” thing.
So in 2014, after a short break and reorganisation of the line-up we just decided to do whatever we want, which turned out to be more punk rock than expected, but it was like taking a huge breath after being way too long under the water. Luckily it turned out that our fan base was still with us, and became even bigger after we decided to walk our own path. And as we are already working on our new album, we can promise, that this road we started to walk has still not come to an end.
How much of that step towards more punk nurtured adventure was just organic and how much the band deliberately trying new things?
It comes with a lot of work, but it is also a natural process, that we hate to repeat ourselves. We like change, we like to work hard to get better, we like to see things developing, and we definitely don’t like to run the same rounds again and again. It’s a good thing when you know that you are able to push your limits, it makes you feel alive and strong.
Presumably across the band 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?
There are no influences on purpose, so of course we all had and still have influences but we try to use them as inspiration and try to find the sweet spot of our common musical taste. If we had to list what kind of music we listened to during the writing and recording process of our last album, you would get a list from A to Z. We think that is one of the key features that makes us able to create something unique in the end. We don’t want to walk along a well-trodden path, we don’t like being someone else – which is only possible if your creating process is not lead by someone else.
Is there a particular process to the band’s songwriting?
All of our albums had a totally different writing process. Just to have a few words about our last release Astoria: Absolutely everything was different and new. New people, looking for a new sound. So there is nothing we could compare to the past. Besides that, these songs were more like written outside the rehearsal room: we made many many demos at home and some of the lyrics were not even written in the same country as in which we wrote the music! At that time, Sue was moving back from Berlin to Budapest, but she had to go back to Berlin for some weeks in the middle of the writing process. For example, the lyrics of our song Why Do You Talk was written while she was working.
Where do you, more often than not, draw the inspirations to the lyrical side of your songs?
Sue writes all the lyrics of the songs, and it’s hard to summarize what they are about. At the very beginning, the lyrics were more tale-like, not selling her sorrows, more like kind of entertaining ones. But as time passed, Sue grew up and realized that she was heard by way more people than she had expected, so she decided it was better to be brave than to be nothing: so right now she is really going naked in her lyrics – you find and read a lot about her thoughts and feelings in and between the lines.
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?
We don’t want to kill the magic of music for the outsider, but the truth is, that recording an album is an extremely expensive process. It always takes us a longer time till we have the necessary financial background to start recording, and we have to spend every cent of it wisely, to make sure to bring out the best of it.
It would be a dream for us to have the possibility to work in a professional studio from ground zero. But right now recording-wise we need to have a 100% finished plan and concept before we even step into a studio.
Tell us about the live side to the band, presumably the favourite aspect of the band?
We are a very honest, loud power package on stage … this kind of music is just made to be spread by huge boxes, so it’s just where it naturally belongs.
It is not easy for any new band to make an impact regionally let alone nationally and beyond. How have you found and achieved it?
And again we might destroy some illusions, but the only thing we truly believe in is hard work. And that’s all that any new band can do to get wherever they want – to work your a** off and – it’s the worst cliché ever, but it’s just so right – not to give up. There is an endless number of people out there who are telling you to do it, but just don’t listen to them, go on and stay on your ground.
There are sooo many great musicians and singers out there – the only way to be better than the rest is to work more and to believe that one day it will be worth it.
How has the internet and social media impacted on the band to date? Do 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?
We have seen both. Personally we have grown out of the MySpace times. Our first concert invitation from abroad came via a MySpace message: so we were there when MySpace was the-place-to-be for a band, we were there when Facebook became the big thing, and we will be there and prepare for the next step as well.
For us personally, it’s a wave that we like to ride, but only because our singer is working as an online marketer as well, and she is really much into all these devices. So we accepted and also learned a lot about the platforms we can have as a band. But we see many many other bands who are struggling, because they are not into social media, they have no sense of marketing, and if they don’t find help from the outside, they are getting lost pretty quick.
But it definitely has its problematic side – if you want to be a musician, it’s not enough anymore to be a musician. In one person, you have to be your own CEO, your own sales department, your marketing department, your web designer, your graphic department, and of course, while you are all of that in one person, you still have the struggle not to lose your artist in yourself – and the artist is exactly the opposite of all of that I have listed before and that makes it quite hard.
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, hope to see you at one of our upcoming shows!
Singer, songwriter, artist; Krista D is an emerging talent beginning to lure keen attention especially with her multi-flavoured rock bred sounds. For our introduction to the Canadian’s music we had the pleasure of talking with Krista about her sounds, songwriting, other projects and much more…
Hello and thanks for taking time out to talk with us.
Thank you for this opportunity!
Can you first introduce yourself and tell us how you began making music?
My name is Krista Acheson and I’m a singer-songwriter, with no official live line-up right now. I record with the help of session musicians and I’m mainly a studio project. I started writing quite young, around 14, and completed my first full length album at around 16. I was moderately active up until 2008 then I took a 7 year break. It’s been awhile since I’ve officially released anything.
Have you been involved in bands or projects outside of your solo work and if so how has those experiences affected your own creativity?
One other band I sang with a long time ago was called A Beautiful Disaster from Moncton, NB. They were a wonderful, talented group of guys. We weren’t really similar in style preference, but what I did learn from that experience is that music can be fun. Not that I never have fun with my own music, but when I write something it begets the process of tracking down session players and doling out money. It was just nice to play for the joy of it and get paid opposed to always being the one who is paying.
For the sake of style variety and a different direction, I actually have two other projects I’m doing right now, but they are also governed by me. Hooha and the Peter Guns is a project I will be releasing experimental rock music under and I have a soft rock project called Molly Grue. I intend to release EPs for each of those this year.
Any particular story behind the name Krista D?
I was young when I started in music so I just based it on my name, Krista Doucet. I was also recording in the Christian music genre at that time but as I got older I disconnected from that lifestyle. I decided to keep the name but ,in order to indicate the life shift, I visually branded myself to allude to the character Sandra Dee from the 70’s movie Grease; who also underwent a bit of a life transition in the film. The band logo, the name of the EP, the pitiful accordion bit I play at the very end of You & Me, are all references to the movie/musical. There’s also a snippet of the movies’ audio hidden somewhere on the EP.
Was there any specific idea behind your music and songwriting when starting out in what you wanted it to offer?
Forming my project was mostly initiated by the discovery that I had a knack for singing and songwriting in my early teens and I have carried on with it because it’s another branch of creative expression; aside from the visual art I create.
Intent-wise, I like there to be levels of meaning. For example: I would want people to listen to a track like Run Jane Run and catch that the title, and writing format, is alluding to the old Dick and Jane phonics’ books. There’s also no chorus in the song; and that kind of forces people to have to listen to the lyrics. It’s a simplified story about a mother who experienced trauma and refused to deal with her subsequent coping behaviors which then resulted in the same behavior pattern being replicated by her daughter. So it’s a song written in a basic teaching format about a topic I feel is very important.
Sonically, I choose genre to direct mood. I pick elements from various genres that I feel make a song sound happy and then contrast it with some punk rock elements because then the tone goes from happy to snarky. I also think applying perkier genre elements make lyrical content dealing with rape or domestic abuse more emotionally palatable.
How has your writing and music evolved over time?
I have to say that I didn’t evolve on this project, at all, especially as a few tracks are re-mastered re-releases from a previous album. I chose to give a few tracks a second chance because I’m very eclectic and I tend to bounce between different genres a lot. The last album was a bit of a marketing nightmare as a result of being so mixed and it didn’t do any of the tracks any favors. That’s why I’ve decided to divide my songwriting efforts into 3 projects. This project is the one I’ll release any tracks that are a hybridization of punk rock, ska, 50’s style, 3 part harmony and doo-wop. Once I complete the other two EPs and I step back and look at all of the material as a whole, it might be clearer if I’ve evolved as a writer.
It evolves a little depending on what musicians are brought in to play the project; mostly because their taste and style is automatically imprinted onto the song by the way they approach it. Where I don’t have a consistent band line-up the only thing that is left to truly evolve is me and I don’t feel I ever change very much. Overall, I feel I have a distinct pattern or rut, depending on how you view it.
So anything you try or new hues you bring in to your music is organic or more deliberate?
When I try something new it’s usually through introducing a different instrument and it’s stemming from the desire to enhance a mood; at least in my mind. I’m not sure it translates to anyone else. Like for Simple Social Tragedy, I decided to write a tuba part because I wanted to communicate a lumbering drunk feeling… like the soundtrack in an old cartoon. I’m probably a nightmare for the session musicians because my main directions are mostly “can you make your instrument sound drunk? Or can you make your trumpet sound slutty? I have a new track I’m working on that I want to hire a harmonica player for. Getting to incorporate a new instrument is always super exciting!
Are there any particular inspirations which have impacted on your music and how you approach and think about creating and playing?
When I was young, I was not really allowed to listen to music that wasn’t religious but I was sometimes able to listen to an oldies radio program called Finkleman’s 45s. I loved it. I attribute a lot of the genre elements I mix into this project to listening to that program.
Tell us about your songwriting, the processes you go through etc.
I think it’s one of those things that processes on a subconscious level and then, once it knits itself into a song, it floats to the surface and I hear it in my mind, sometimes completely formed as if it’s a song that already exists. The emergence is either triggered by a chord progression or sometimes nothing at all. Recently I had a melody repeating in my head but I was going to bed and too lazy to write it out, but when I woke up in the morning, it was still there… like it insisted on wanting to exist. So I’ve written it out and now it’s in queue to be recorded. A frustrating element to my songwriting is that I don’t even play the instruments I hear parts for. I’m sure other songwriters experience it too, but most writers I assume are at least good at one instrument. I think that’ll be my next focus; learning to play at least one instrument well, opposed to being able to clumsily half-ass several.
Where do you draw inspirations to the lyrical side from?
From the people I meet and the things that I’ve experienced. For example: Penny for your Thoughts is about the life of a woman I used to work with named Penny and likewise Black Eyed Susan is about a woman I knew named Susan. Sometimes the songs are about my own experiences; Land Mine is about the emotional process of trying to deal with a bad relationship by starting a new one that promised to be just as tumultuous. My life was a big mess when I wrote Land Mine, so the concept of dancing through volatile, unseen explosives was an apt allusion.
Could you give us some background to your latest release?
This is my first release after dividing my music efforts into three. I’ve already divided my visual art, and now I’m re-launching my music career as a trimorphic singer-songwriter. The Krista D project is the one with the most experience behind it, so I’ve started with this one.
Give us some insight to the themes and premise behind its songs.
The general theme is it all stems from life events. When songs are borne out of an actual experience, or emotion, I think it’s easier for listeners to automatically relate to.
For example: Simple Social Tragedy is about a guy who relentlessly harassed me in a bar; with such a bizarre intensity it had to have been a bet. I’m sure the track is relatable for any person who has encountered the feeling of being reduced to a sexual conquest. That feeling where the person approaching you seems to have zero awareness that you have any thoughts or feelings; you are merely a thing they want to use for their own pleasure.
Do you enter the studio with songs pretty much in their final state or prefer to develop them as you record?
I’ve been told I do things oddly, but this is my general process for anyone that is curious. First, I make a painfully rough demo. If I have no guitar player to help me do that, I’ll just record myself singing the melody and lyrics in the structure I want. The demo goes to a session musician who plays guitar and bass to a click or programmed drums. I then do scratch vocals. Then I hire a drummer. I listen to the track and decide if I like how things are feeling and if not I’ll bring in an additional guitar player whose musical background is a different genre to try to manipulate the track to the feel I’m looking for. If I decide I want to add an instrument, such as a trumpet, I work something out on a keyboard. I take the part to an engineer to help me patch the midi to its desired instruments sample so I can hear the part in context to the song. If the part I wrote works, then I hire someone to write it as sheet music- which I then give to a session player. Then after I have all the additional instruments parts in, I clean up my main vocals and do background vocals and harmonies. That’s basically the convoluted process of how a song comes about.
Is there a live side to Krista D?
You know…I’d have to say playing live is currently my least favorite thing about music, but that’s because I’m fairly reclusive personality-wise and it’s expensive to hire live session musicians. If I ever find a nice group of people to play with regularly, I’m sure it would be a lot more fun.
It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it? Are there still the opportunities to make a mark if the drive is there?
You know…I’m not quite sure yet. Locally I’ve had a difficult time connecting with live musicians so it’s been a challenge for me to get out and play. I’ve been told it’s a great community though. Other musicians I meet seem to be very embraced by it. I, however, will be playing my first show in this city next month, karaoke style, with mannequins as my band. I do have a band to back me if I play in the Maritimes or in Calgary, if I travel west. So, as soon as I finish up some visual art projects for local gallery shows, I may just plan to tour outside my city.
How has the internet and social media impacted on the band to date?
I actually have very little social media presence right now, and that’s a combination of my being terrible at it and the fact that my online social media efforts are divided into 6 projects. But the internet, in regards to connecting me to places I can’t physically travel to, and making my music accessible worldwide, is an extremely positive and vital thing.
Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?
Have changes been more of an organic seeding or more the band going out to try new things?
Has it been organic, especially the movement of sound or more the band deliberately wanting to try new things?
What inspired the band name?
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?
Currents embraces the widest array of flavours and styles in your sound yet, a truly expansive landscape weaved around bold yet often delicate contrasts but it still has that signature In Vain breath. Did you have to concentrate on keeping that character or it again just naturally evolved as indeed that broad tapestry of sound?
Obviously the theme to the EP is in its title but in its case is it the songs which were primarily the influences or the artists, and if the latter why these particular tracks from their arsenal of persuasion?
Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?
How has the internet and social media impacted on the band to date? Do 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?
How has your writing and music evolved over time?
