Buzzkillz – Scum Of The Earth

There is always great enjoyment in the snowball effect of discovering one new band which in turns leads to another and so on. Checking out the new album from Finnish band Wanton on Undead Artists inspired the thought of what other psychobilly bands were hidden in the underground of their homeland. Quickly standing out amongst a potent many was Helsinki quartet Buzzkillz for which a like on their Facebook profile was inevitable. This in turn sparked the band to get in touch with their latest album Scum Of The Earth and now an eager recommendation of its contagious punkabilly.

Buzzkillz was formed in 2011 by vocalist/guitarist Ultima Foole and double bassist Jybe, the pair after playing for many years in their own respective bands “decided to do better music together”. A few personnel changes led to the current and potent line-up of guitarist Antti and drummer Joiku alongside the founding pair stepping forward in 2015 with an arsenal of punk/rockabilly bred tracks. The following year saw the band record their debut album with the uncaging of Scum Of The Earth coming in its fall and still luring a host of new hungry appetites for their sound week by week,.

Scum Of The Earth opens up with Sick Of It All, enticing with a Clash like beckoning before stomping through ears with psychobilly muscle and virulence. Rhythms take no prisoners, beats a thumping trespass backed by the delicious resonating bait that only a double bass can offer. The vocal growl of Ultima is quickly in the bullying mix, his grouchy tones backed potently across the band as the song cantankerously bounds across the senses. With wiry melodies adding to the pleasure, it is a great start swiftly backed up by the addictive punk ‘n’ roll shuffle of Deepest Pockets. Like a mix of Russian punks Biting Elbows and the Danes Grumpynators, the track soon has body and spirit locked in its grip and with consummate ease.

I’m Not The One comes next, its cowpunk flavouring another easy to embrace temptation and the spicy lining to the track’s contagious swing before the album’s title track brings a dirtier, grittier slab of rock ‘n’ roll to the party. Both tracks hit the spot dead centre, the second with a tone reminding of The Peacocks but equally each is overshadowed by the rousing rumble and incitement of Losing The Fight. With anthemic rhythms alone stoking up feverish fires, the song ensnares eager ears and appetite, treating both to a mesh of sultry melodies over relentlessly catchy rhythms.

Through the punk ‘n’ roll intimidation of Outside, Jybe unleashing another simply irresistible infection of bass, and the sinister rockabilly seduction of Fear Of The Unknown, band and album further share rich variety and salacious flirtation while Roll The Dice delves into some ska punk seeded devilment to stretch that diversity within those three songs alone.

Psychobilly drives the irritable charge of Monsters next, the track a rapacious trespass of ears and pleasure simultaneously infesting and captivating the imagination. Its melodies entice with zeal as riffs and rhythms badger and trap an instinctive appetite for their source genre; a psychobilly flavouring just as eagerly fuelling the carnivorous exploits of Some Scars, a track something akin to The Meteors in league with Nekromantix.

There is a whiff of Tiger Army to the smouldering seduction of Sleepwalking but at times even more so of Th’ Legendary Shack Shakers with its dark off-kilter invention. Persistently, the song unveils a fresh twist and hue to its rock ‘n’ roll, emerging the most unique and thrilling proposal in a horde of only striking encounters.

The album ends with the muscular rock ‘n’ roll of Cross To Bare, a slab of punk rock putting a feisty cap on one rousing and thoroughly enjoyable release. There are plenty of familiar hues to the album but with a freshness and inventive prowess which employs rather than relies on them. Buzzkillz is a band ready to embrace attention far beyond their homeland, they have done their part in that aim with Scum Of The Earth; the rest is down to you. Now the question is from their discovery where will we be next led…

Scum Of The Earth is available now @ https://buzzkillzband.bandcamp.com/releases

https://www.facebook.com/Buzzkillzband/

Pete RingMaster 18/04/2017

Copyright RingMaster: MyFreeCopyright

Parachute For Gordo – Possibility of Not

Three years ago, British post rock trio Parachute For Gordo impressed with their mini album Ten Metres Per Second Per Second; its instrumental adventures increasingly captivating vehicles for the imaginations of band and listener alike. Now they have returned with its successor Possibility of Not and an evolution in songwriting and composing which had bred the band’s boldest, most bracing yet creatively composed escapades yet.

With new drummer Mark Glaister alongside original members in guitarist Laura Lee and bassist John Harvey, Aldershot hailing Parachute For Gordo escaped to the mountains of Austria for a weekend last year to record Possibility of Not. Whether the assumed isolation their DIY pop-up studio was set up in has been part of the incitement breeding the outfit’s most intimate and refined yet instinctively raw exploration yet only the band can say but certainly there seems a richer and thicker atmospheric depth and boldness going hand in hand with the threesome’s pushing of their creative boundaries.  Where Ten Metres Per Second Per Second was a leap on from debut EP Eight Minutes Of Weightlessness of 2012, Possibility of Not enjoys another step forward in all aspects without losing that organic brashness almost punk bred cacophonous heart which has already set their music out from the post rock incubated crowd.

Jellied Eels opens things up, its initial melodic shimmer a crystaline enticement like a window on a warm and inviting yet stark landscape. Whether it is the pre-knowledge of where the band recorded the album or the track itself, its post rock investigation only sparks thoughts of beauty strapped isolation and the intimacy of thought and emotion such surroundings can inspire. It is a mesmeric piece, that raw essence of the band’s music invasive to temper but equally compliment the sweeping grace of the melodic exploration being woven within it.

The following Anemone to Manatee has a more volatile and intrusive presence from its first breath but equally greater flirtation of joyful revelry in its energetic shuffle further accentuated by infrequent but welcome bursts of vocal incitement. With Lee’s guitar almost carving out its melodic portrait like a post punk steeled knife on canvas and Harvey’s bass going on a throaty groove lined dance as Glaister’s swings with each passing minute take greater relish in their jabs, the outstanding track tantalises from beginning to end; an emerging Fire Engines like discordance only adding to its might.

A mellower tone frequents next up Wallet Moth, every trait strolling with a lighter air as flames of melodic dexterity leave suggestive trails like reflection sharing comets. That previously mentioned intimacy is no more powerful than on the third track, it’s weaves of sound and textures magnetic glimpses into the song’s emotive heart before Gopher the Throat floats across the senses being driven by tribal beats and aboriginal like bass textures. Instantly absorbing ears and thoughts, the track is another dance of intimation and enterprise, the trio conjuring a piece of intrigue and adventure sure to be different for each individual but a creative emprise for all.

There is no escaping the fun and demanding stimulation of Cornholio Slaps the Goose, the track a funk assed, indie pop infused romp of swinging beats and infection spewing grooves unbridled in its hunger to have feet and hips indulging in its primal catchiness. Dips into dub spawned tenacity only adds to the virulent exploits toying and seducing the senses as the track grabs best track status though it is continually challenged with every listen of Possibility of Not.

The album is brought to an equally fine end by Put your hands up if you like Sloths, an eight minute plus saunter into imagined mysterious deeds inspired by its cosmic radiance and cinematic hooks. They grab ears and the imagination like a sticky web of lures rather than making a more imposingly direct attack but with the same inescapable outcome, the listener trapped and basking in its highly suggestive soundscape.

With their music Parachute For Gordo find a more insular terrain to explore than other post rock flights of imagination though certainly Possibility of Not breaks into broader challenges too but it is that more intimate feel which sets the band apart from most, that and their undoubted craft and maybe slightly deranged imagination. Accompanied by a video for each song which together provides a visual experience as potent as the aural one, Possibility of Not deserves plenty of your attention especially if post rock and bands like The Mars Volta and The Fall Of Troy are to your taste.

Possibility of Not is out now through Rose Coloured Records @ https://parachuteforgordo.bandcamp.com/album/possibility-of-not and http://www.rosecoloured.com/parachute-for-gordo

http://www.parachuteforgordo.com/    https://www.facebook.com/ParachuteForGordo/    https://twitter.com/parachutefgordo

Pete RingMaster 18/04/2017

Copyright RingMaster: MyFreeCopyright

ANEWRAGE – Life-Related Symptoms

Described as alternative metal but just as much grunge and melodic rock hued in its ear pleasing design, the ANEWRAGE sound makes for a swiftly appetising proposition as proven by the Italian outfit’s new album, Life-Related Symptoms. A blend of the familiar with openly fresh imagination and adventure, something akin to a fusion of Sick Puppies and Three Days Grace, the release has ears hooked and pleasure stoked from its first seconds; holding both with ease across its thirteen infection loaded proposals.

Hailing from Milan, ANEWRAGE began in 2009; its members friends since kids. Soon they found local success and with the release of debut album ANR in 2014, were keenly touring across their homeland and Switzerland, playing with the likes of Gamma Ray, Freak Kitchen, Dreamshade, and Destrage along the way. Last year saw the band writing and working on sophomore album Life-Related Symptoms, a release which should take the ANEWRAGE name and sound to a far broader and attentive landscape.

Produced by Matteo Magni (Rhyme, Audrey, Mellowtoy), Life-Related Symptoms makes a potent and highly satisfying impression straight away but it is fair to say that it is with subsequent listens that it comes into its own; increasingly grabbing attention with its imaginative twists and web of virulent hooks. It all begins with Upside Down, a song opening with pure rock ‘n’ roll bait quickly joined by the strong tones of vocalist Axel Capurro and the rhythmic grumble of bassist Simone Martin and drummer Alessandro Ferrarese. The groaning grooves and spiky riffs of guitarist Manuel Sanfilippo are as eagerly tempting, his backing vocals providing rich backing to Capurro’s quickly impressing lead. With shimmering sonic flirtation breaking through across the catchy introduction, the album makes a strong and contagious start.

It is a powerful beginning quickly backed up by My Worst Friend, a more laid back track but with a just as healthy catchiness and bite in its rhythms and lyrical voice. With electronic essences even more prominent, the boisterous croon quickly has body and appetite in its hands before Dancefloor has both engaged with its senses clipping riffs and dark shuffle of emotive shadows. With matching suggestiveness to its melodic enterprise, the song prowls more than romps with the listener but leaves thick satisfaction in its wake which Tomorrow further inflames with its atmospheric caress around a melody spun jangle. With a more volatile edge to its rhythms and heart, things only becomes more intriguing as a jazz kissed bassline and fiery swipes of guitar bring greater depth to the textures entangling within the song.

A thicker metal sourced growl provides the backbone to next up Evolution Circle, riffs bringing an instinctive snarl emulated in some of the great variety making up the song’s vocal enterprise while Floating Man and The 21st Century respectively cast a progressively hued, melody woven adventure and a rhythmically excitable and boisterous escapade. The first of the pair especially bewitches, its body the most unique so far in the first handful of songs revealing greater imagination and boldness in the band’s songwriting but pretty much matched by the flirtatious design and ingredients of its successor.

The short almost haunting serenade of Life Is You is a tender caress of melodic and harmonic beauty perfectly setting up the darker air and character of Outside. The firmly captivating track is a brooding slightly intimidating proposal coloured with more of the band’s excellent vocal prowess and emotively honed melodies.

All The Way has its own strongly enjoyable time with ears next, if without quite matching up to numerous peaks in the landscape of the album before it with Insight hitting another peak straight after in that success with its emotional and sonic discord kissed grumble though it too is eclipsed by the irresistible Clockwork Therapy where ANEWRAGE simply uncages its boldest flight of creative adventure. The song is glorious, clicking along like a mechanical toy in the hands of its creative puppeteers to steal best song honours.

The heart and melodically fuelled Wolves And Sirens completes Life-Related Symptoms, providing a fine end to a release which has no trouble drawing repeated listens in quick time. It might not be thick on major surprises but certainly has plenty of unpredictability to keep ears and expectations guessing and the craft and imagination to spark real enjoyment and we suspect a whole new ball-game of attention the way of ANEWRAGE.

Life-Related Symptoms is out now through Scarlet Records @ https://scarletrecords.bandcamp.com/album/life-related-symptoms and numerous online stores.

http://www.anewrage.com/    https://www.facebook.com/ANEWRAGE/    https://twitter.com/anewrage

Pete RingMaster 18/04/2017

Copyright RingMaster: MyFreeCopyright

Little Lapin – Wake Up With The Sun

There are many obvious things which are evidence of being in the throes of a seductive summer, most you will need no reminding of but there is something else which equally has emotions wrapped up in the beauty of its warmth and that is a new release from British singer-songwriter Little Lapin. Just short of two years ago, the Cornwall based songstress entranced and impressed with debut album Remember The Highs, repeating the event a year later with its even more striking successor Holding Out For The Kicks. Their collection of heart bred, spirit stroking songs firmly imprinted their creator on the indie folk/ alt country scene. Now third album, Wake Up With The Sun, is a day or so away from living up to its title and sparking a new melodic summer for the senses and imagination to bask in.

Quite simply Wake Up With The Sun puts its predecessors in the shade; easily eclipsing both impressing releases as Little Lapin’s (Lucy Hill) reveals her most potent, accomplished, and creatively imaginative and elegant songs yet. She is no stranger to acclaim, those releases and surrounding singles as well as her live performances drawing eager praise and attention. From radio shows to the scribbles of music blogs and magazines, plaudits have gathered as too a worldwide fan base through her shows and tours across Britain and New Zealand as well as New York. Wake Up With The Sun is also the call to the rest of the world to take notice with its season of melodic seduction.

Initially and no doubt continued to be inspired by the likes of Regina Spektor, The Cranberries, Florence & The Machine, Laura Marling, PJ Harvey, The Cure, and The Pixies, Little Lapin has persistently nurtured her own character of sound and songwriting; its current pinnacle and uniqueness coming within Wake Up With The Sun. From its first breath, the album smiles and kisses ears; opener and album title track stroking ears with the tender touch of acoustic guitar. That in turn sparks a skip of eager guitar and bass, their perky stroll wrapped in the warm caress of LL’s ever captivating voice.  A slice of pop folk, the song proceeds to radiate like its namesake; rays of energy and senses inciting warmth infusing body and spirit.

My Complexion follows, swiftly sharing its own infectious gait and nature as LL courts ears and thoughts with her evocative words and enticing voice. Its unique spice adds a delicious tang to her melodic prowess, essences emulated in the blend of jaunty guitar and jazzy bass alongside.  An eruption of fiercely fragrant guitar only adds to the temptation, a one off moment not to be repeated but lingering as long as the song’s general spring and beam.

Just as potent in its reluctance to leave ears and thoughts is the delicious animated serenade of Isn’t Life for Living, a blossom of beauty simultaneously sharing a smouldering flame and frisky waltz as it ignites feet and hips as easily as a lustful appetite for its virulent pop.  As throughout the album, there is a sixties/seventies scent, a whisper but giving the song another endearing hue to get hooked on as it sublimely captivates with its keen and poetic vivacity before latest single Narrabeen adds its own catchy enterprise and bold imagination to the release. With the haze of harmonica and a suggestive rumble interrupting its tenacious country spiced swing, the track is a sultry and dusty Kiwi hued adventure and, as its predecessor, just riveting.

Through the delicate melancholy lit Luna and the reflective hug of A Song for Alex, the album lures the listener deeper into its majestic yet intimate arms while Need a Change of Scene has the body on its feet again shuffling round with tenacious versatility to the song’s wonderfully unpredictable invention and evolving landscape. Like a mix of Laura Marling and Imelda May, LL has ears and imagination enslaved whilst revealing another aspect to the diversity shaping Wake Up With The Sun.

LL simply bewitches once more within Radio Nocebo, her tang lined voice an appetite inflaming siren and storyteller within the sparkle of hearty and innocence spun melodies. Captivation is swift and inescapable as the song provides another peak to the loft range of the album; its triumph followed by the final wash of warmth and melodic intimacy provided by closing song I Told You So. It is a last kiss on the lips of pleasure as Wake Up With The Sun leaves the listener wistfully bound in the hug of creative grace.

It is probably fair to say that Little Lapin has yet to ignite the biggest spotlights so far but it is easy to suspect that global attention will be stirred, as the sun, by her new and quite simply gorgeous album.

Wake Up With The Sun is released April 14th across most online stores.

http://www.littlelapinmusic.com/    https://www.facebook.com/littlelapin/    https://twitter.com/1littlelapin   https://littlelapin.bandcamp.com

Pete RingMaster 13/04/2017

Copyright RingMaster: MyFreeCopyright

Bear – ///

As the list of essential 2017 releases already looks like it has the potential of being a substantial one establishing itself at the head is the third album from Belgian metallers Bear. Primarily tagged as math/technical metal, the Antwerp based quartet swiftly show within their new intrusive roar that their sound is a kaleidoscope of imposing flavours. Within the release hefty strains of everything from progressive and heavy metal to nu-metal , hardcore, and metalcore accost the imagination It is a ravenous web aligned to more voracious grooves than found within most lifetimes of similar genre participants and one hellacious treat of a trespass for ears, senses, and pleasure.

Formed in 2010, Bear awoke attention with their self-released 5 track EP Abstractions; its initial success continued through a digital release with Conspiracy Records and a full re-release via Let It Burn Records who followed that up by uncaging debut album Doradus in 2011. At the same time, the band was invading the UK with their raw sound, touring there with While She Sleeps while headlining their local festivals while the year after the album’s release they went on to support the likes of Periphery and entice major plaudits with appearances at  festivals such as Euroblast and Groezrock. Signing with Basick Records in 2013 brought second album Noumenon into greater acclaim whilst live a trio of UK tours with The Colour Line, Black Dogs and Carcer City and further festival triumphs only helped to firmly establish the outfit within the European metal scene.

The biggest spotlight is now sure to be tempted with the release of ///, from its claw slashed title to its ursine assault of sound, the album is an inescapable beast of character, aggression, and invention mauling the listener from its first breath with opener Blackpool. Its first gasp brings a senses eroding surge of guitar and Maarten Albrechts’ furious vocals, a colossal onslaught weighted further by the lethal swings of drummer Serch Carriere and the grievous tone of Dries Verhaert’s bass. As the corrosive tide continues scything riffs and squalling grooves escape the already impressing exploits of guitarist Leander Tsjakalov, his creative weave in turn sparking greater variety in the vocal roar of Albrechts and band. Like a blend of Meshuggah, Slipknot, and Society 1, the song bullies and seduces, opening up more unpredictable twists and compelling exploits with every passing wave of imagination.

The tremendous start continues with Hounds, its primal and rhythmically dynamic entrance enough alone to grip ears, the subsequent net of grooves and technical espionage as well as continuing vocal variety an ever tightening vice of creative temptation. With lighter but just as dirty heavy rock hues adding to the raw infectiousness, the track snarls and ferociously dances with the senses; bruising and teasing them before the band’s latest single Masks emerges from its own dusty smog with a Rob Zombie-esque stomp soon sharing invasive grooves amidst a dissonant cauldron of technical and off-kilter ingenuity. Whereas its predecessors pretty much tore at the senses, Masks taunts and flirts, if with instinctive rapacity and ruthless persistence. Every second is a tempest of intrigue and adventure, each moment a ravishment of ears leaving sheer greed for more in its wake.

It is a hunger swiftly fed and further provoked by Childbreaker, the song initially a blaze of intensity with waspish grooves buzzing around brawly rhythms but soon exploding into an invasive tempest of attitude and barbarous sound though still a storm bound in a virulent infectiousness as devious as the ferocity around it. Predatory in every aspect, the track devours with every breath, a quality no less forceful within next up Knives Are Easy and its maelstrom of technical and instinctively quarrelsome enterprise. The combined creative voracity of Tsjakalov and Verhaert is seemingly encouraged by the irritable jabs of Carriere and Albrechts’ grizzly tones and just as intrusive when the charge turns into a prowling examination of the listener. It is a stalking which cannot sustain its lust for long, the song ending on the same assertive thrust it began with.

The Oath entangles the senses in its own agitated and kinetic almost gladiatorial frenzy next, harmonies and melodic seduction enticing from within the cyclonic ambush and having their own moment of inescapable persuasion like a warm oasis at the eye of an increasingly psychotic storm. With every element combined, it is a fearsome bewitchment with the animalistic growl of bass irresistible, delicious bait continuing as 7 strolls into view carrying a maze of meandering anxious grooves and sonic psychosis. Becoming more brutal and intense with each passing moment, it equally breeds a captivation of harmonic and melodic seduction, the union of extremes as catchy as it is wanton. The song is a helter-skelter of invention and craft, fiercely glorious leaving exhausted ears in bliss and easy prey for the slow menacing prowl of instrumental Klank before Raw has them consumed in another eddy of feverish craft and unbridled discord abound with swirling contrasts and volatile textures all woven into one mouth-watering dispute.

The album is completed by the just as argumentative and creatively pugnacious Construct.Constrict and finally the physically and emotionally subversive Adjust.Adapt. As distinct in nature and body as they are united in bristling attitude and laying a sanguinary touch upon the senses, the pair stretch and open up new realms in the Bear sound; the closing song especially charming in its harmonious siren-esque heart within another truculent body.

There is simply no weak spot within ///, not even a moment when the album slips a foot let alone falls from of very early established pedestal. Quite simply the album and indeed Bear for newcomers is a must!!

/// is out now through Basick Records across most online stores.

http://www.bearpropaganda.com/band/   https://www.facebook.com/bearpropaganda    https://twitter.com/bearpropaganda

Pete RingMaster 12/04/2017

Copyright RingMaster: MyFreeCopyright

The sparks of change: exploring the adventure that is Nocean

Last year saw a change of line-up spark a new evolution in the sound of emerging and exciting rockers Nocean. It was as if everything fell into place for the Swedish quartet, evidence coming with their subsequent single. Time to find out more we thought when the chance to talk with Nocean arose. So with thanks to vocalist Hanna, we peer into the origins of Nocean, those changes and a new direction in sound and much more…

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

Nocean is a rock band from Sweden (Stockholm) that plays alternative rock with metal influences and electronic elements. We are four members: Hanna (vocals), Patrick (drums), Ozzy (guitar), and Sara (bass). The band started back in 2013 as a classic hard rock band, but has switched some members and developed the sound towards alternative rock. Me (Hanna) and Ozzy has brought the band forward since some members quit last summer and so we found Patrick through a Swedish site called “band finder”. We knew Sara a bit from before and she joined the band last fall. They both saved us back then, and we started something fresh and great.

Have you been involved in other bands before? If so has that had any impact on that change of style or direction within the band?

We have all been in other bands before, in different genres from hard rock to extreme metal. It can of course have an impact on what we are writing now, we blend our references together. It’s important for us to have the same musical taste in rock/metal.

What inspired the band name?

Nocean is a play with words – Notion – Nocean!

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

When I first started a band called Lobos Libre (before Nocean), I was very inspired by The Runaways and the spirit of pure rock n roll. But that has changed over time; when we wrote our debut album we played around a bit in the rock/metal genre and we found out more about which direction we wanted to go – more towards a modern, alternative rock sound in the style of Thirty Seconds To Mars, Muse, and Paramore.

Are you still driven by those same core aims or have broadened them as Nocean has grown?

We have come to a new level and with each level you get your motivations from different things of course. In the beginning our main goal was to play as much live as possible, in any venues. Now our goal is to focus on the recordings, social media and to play at larger stages. This summer we are playing at Sweden Rock Festival!

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

It started as a classic hard rock band, blending in some metal and our debut album is a mix of different kind of rock/metal styles. So during this past year we have developed and streamlined our sound to alternative, modern rock and we also added some backing tracks/synthesizers and electronic elements to create a heavier, more massive sound.

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

I would say both. Since some members quit and left me and Ozzy alone with this ship last summer, our new sound is now based on me and Ozzy’s personal musical taste of course. And it’s based on what we like nowadays of course, since I was more of a classic hard rock girl before and Ozzy was only listening to metal core for some years ago. As Patrick and Sara joined the band, they were all in for this sound and we even found out that we have a heavier reference as well in common – Devin Townsend. And so Sara and Patrick also add their influences to our new sound and that becomes what Nocean is today.

As you have suggested there is a wide range of inspirations across the band; 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?

In the start it was The Runaways/Joan Jett (for me) and Halestorm. Halestorm is still there as I found Lizzy Hale being a great inspiration and their music is also still quite similar to ours. Then a year ago me and Ozzy found Thirty Seconds To Mars and smaller bands in the same genre and got amazed. Muse has always been one of my favorite band, but it wasn’t obvious to have a band inspired by them because I wasn’t sure of what I could or could not sing. Straight forward hard rock is for me an “easier” genre; both in the writing sometimes and with the vocals since it suits me well and I know how to master it. What we are doing now is more challenging in some ways and for me that is awesome.

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

We put together the songs in the rehearsal room. But me and Ozzy often write some foundations to the songs that we bring to our rehearsal. Patrick adds his cool rhythms and details to the songs and Sara adds her dynamic thinking. I write the lyrics and Ozzy produces and writes the songs at home in his home studio.

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

I write what is true for me right now and I often describe my lyrics as letters to people who need to hear them. It’s very often about change and going in a positive direction with yourself.

Can you give us some background to your latest release?

We have released two songs since the new line up was formed and with our new sound. The first one – The Change – was released in October last year along with Sweden’s first rock video filmed in 360 degrees. It went viral and we gained many new followers from Mexico and Brazil, where we think our music is much appreciated. In March this year we released a second single – This Must Be – with a music video which included some live clips from a great big venue outside Stockholm.

How about some insight to the themes and premise behind them?

I try to always be positive and encouraging in my lyrics. I want it to be somehow poetic more than straight in your face, and I want it to be subtle, in that way a song about love can as well mean something else for someone else. Feelings are the same sometimes, like whether it’s about losing someone to death or separating from someone you have a strong relationship to.

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?

Since Ozzy is the master of the sound (recording for us), he likes to build a song step by step. So it’s a constant process!

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

We have a lot of energy on stage and we love to interact with our audience, and to be on stage together! You can see clearly that we all love to be on stage. We want to tour abroad as often as we can, it makes us stoked and it’s so great to combine your passion for music with traveling around the world, meeting different kind of people.

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

Yes of course. Our answer is quite obvious: social media. Using Facebook ads and targeting the right audience, knowing your audience, posting the right content on the right time, making YouTube covers to let new people find your music… the list goes on. There are lots of opportunities for bands to go on their own today.

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

Yes, I think that I’ve found a way to make it a positive way for success and that other bands should discover this and have a lot of patience too. It takes much time to learn all about it, to find your target audience and how to reach them. But it’s all worth it when you see results.

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

We are coming to England on tour again in May! Playing in London, Tamworth and Birmingham… It’s gonna be a blast, we came last year for the first time and played with the London based metal band Evyltyde. Thanks to them we found some contacts and are now able to go on our headline mini tour. To smaller bands that want to tour abroad: make gig swaps. Let a band come to your home town and book them on some gigs and let them do the same for you. Share lodging, transport costs and voila! You’re on tour abroad without any expensive booking agency. Don’t be afraid to Do It Yourself! Big thank you for reading all of this and thanks for the interview!

http://www.noceantheband.com/    https://www.facebook.com/noceantheband/   https://twitter.com/noceantheband/

Pete RingMaster

The RingMaster Review 12/04/2017

Copyright RingMaster: MyFreeCopyright

Ninjaspy – Spüken

It is fair to say that Spüken, the new album from Canadian metallers Ninjaspy has been a long time in the making. With its ten tracks spanning a decade and its recording beginning late 2014, the band’s second full-length has had time and attention given its creation and character; it all reflected and more in its thoroughly enjoyable and imaginatively dynamic adventure.

Consisting of a trio of blood brothers in vocalist/guitarist Joel, bassist Tim, and drummer Adam Parent, Ninjaspy has honed a fusion of groove infested metal, reggae, and other heavy natured flavours which now roar mightily within Spüken. It is a web of sound which grabbed attention in the Vancouver threesome’s 2007 debut album Pi Nature and even more so in the following EP, No Kata six years later. Their new offering is the natural and lofty evolution of these earlier successes; a release weaving occasionally familiar but always unpredictable proposals which tease, flirt with, and persistently arouse the senses and imagination.

Linking up once more with producers GGGarth Richardson (Rage Against the Machine, Red Hot Chili Peppers, Mudvayne, Gallows) and Ben Kaplan (Biffy Clyro, Atreyu, Haste the Day), Ninjaspy gets the album under way with the single Speak, a track certainly sparking anticipation of Spüken with its release last August. Its relatively low key Australasian entrance cored by an emerging bait loaded groove soon leaps into a smouldering swinging stroll with more than an air of Dog Fashion Disco meets Faith No More to it. Subsequent raw outbursts come loaded with ferocity and zeal, trespassing with the same catchiness as the song’s mellower teasing where rhythms dance and the bass grumbles.

It is a stirring start swiftly eclipsed by Shuriken Dance. It too shows restraint in its initial coaxing, melodic twang and rumbling rhythms colluding in an understated but bold tempting before a web of sonic and creative espionage binds ears and appetite. A punk roar escapes the throat of Joel, his aggression matched by the punching beats of Adam and both tempered by the melodic exploits of guitar. Their calm is as deceptive as the raw touch they temper, each beckoning ears into a waiting System Of A Down-esque bedlam of psychotic sound and invention. The track is pure virulent infectiousness, drawing body and voice into union with its own twisted exploits.

The following Brother Man warmly grabs ears next like a collusion of Ruts and 12 Stone Toddler; its stalking groove and melodic coaxing a delicious mix soon embracing a reggae and metal induced tempest in turn proceeding to entangle all earlier aspects within its similarly and seriously catchy landscape. The further into its depths the more deranged twists show their voracious enticements as too mellower melodic but no less certifiable essences. Thorough captivation, it is more than matched in aberrant adventure by Dead Duck Dock. The song also follows those before it by making a relatively gentle melody woven entrance but also one soon showing argumentative discord in sound and intensity as its groove metal instincts rise. With hues of Slipknot and Society 1 to its growl, the song is a roar of creative irritability and intrigue never resting for long in one flavour or mood.

The outstanding Become Nothing is a loco romp revelling in a sound and imagination something akin to again SOAD  this time in league with Kontrust while What!! infests ears and satisfaction with a Skindred/American Head Charge scented escapade though as every reference used as a hint, it is a potent hue in a Ninjaspy bred roar.

The sweltering infection fuelled funk of Jump Ya Bones soon spins its own particular tapestry of rich flavours and various styles as it flirtatiously bounds through ears before Grip the Cage provides a more even tempered shuffle though it too expels moments of incendiary emotion and energy. They both equally push the diversity of the album and songs, that ten years of writing and maturing giving birth to Spüken skilfully shaping their varied designs.

The melody rich and increasingly agitated Azaria stretches that variety yet again, the song deceptively straight forward initially, luring ears into its own expectation defeating maze before Slave Vehemence brings it all to a thrilling close with a cauldron of capricious invention and impulsive ideation wrong-footing and exciting ears at every turn.

It is a fine end to an increasingly pleasing album unveiling new nuances and moments with every listen even after double figure plays. It is a release sure to harass global attention the way of Ninjaspy but more so leave new legion of fans lusting for their sound and presence.

Spüken is released April 14th

http://www.ninjaspy.net/    https://www.facebook.com/ninjaspy/    https://twitter.com/ninjaspy

Pete RingMaster 12/04/2017

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