Aren Drift Interview

For those who may not know who you are, introduce yourselves quickly.

Radka Nemcova – Vocals, Rhythm Guitar

Matt Plumley – Lead Guitar

Dominic Cahillane – Drums

Theo Corcoran – Bass

Describe your sound in as few words as possible.

RN: Progressive rock, international vibes, heavy melodic riffs, contralto vocals, cinematic sound.

DC: Vibrations

MP: Female fronted prog rock

TC: I’d say our sound is best described as heavy progressive rock with international influences, I’ve heard the word melodic chucked around a bit as well.

Who are your three biggest influences as a band?

RN: It’s hard to name just three bands as there are many bands we love but I would definitely mention Perfect Circle, In This Moment, Queen of the Damned soundtracks. (The first choice I would choose for the technical side and second two choices I love for the production side.)

What’s the meaning behind your band name?

RN: AREN is made of my initials (‘RN’ = phonetically ‘aren’) I used Aren D. as my artistic / musical pseudonym as no one was able to remember or pronounce my name haha. I chose the second word ‘drift’ because I like to drift and our music should make you drift too.

We came up with lots of different names but everyone liked Aren Drift so we kept it as a band name.

How did you approach our latest release in terms of writing and recording?

RN: Writing is my favourite part so it was just a fun bit for me. I love it. Recording was good but mixing was the difficult part of the whole process.

I am very creative person and I have very strong visions in music and art and I imagine things how they look and sound before they are actually written or filmed. Mixing itself is very creative process and we struggled to get the sound we wanted. However, it was a great learning curve and I’m already excited to apply everything we learnt into our next recordings.

MP: In terms of the recording, we were on a budget, four days in total for five songs, some unreleased at this moment in time. We pretty much had the parts written before we recorded, but somehow ended up re-recording most of the guitar parts at my home studio. When you are on the clock you don’t have time to mull that sound over and try different amps, settings, different guitars, you literally stick a mic in front of your amp and off you go. So that meant we weren’t quite happy with the sound we had. It was a big learning curve for us; we have plans to do things differently next time.

Do you have any personal favourite songs on the release?

RN: Snow Queen. I think the song determines Aren Drift’s unique style.

DC: Light Hole

MP: Sun Goes Down for me.

TC: I’d say my favourite song of the new EP is light hole, it’s one of my favourites to play live as well, but I do also really like “snow queen”.

Explain the meaning behind the album title.

RN: ‘Beneath The Surface’ – We want the listener to go deeper at all the levels while listening our music. Some of the reviews we received say that you need to listen the songs a few times until it fully reveals their potential. I was actually very glad to read that because that’s what I love about music.

The artwork represents what’s beneath your skin, inside of the Earth’s core, inside of you.

Tell us about the video for Snow Queen and its concept.

RN: Snow Queen music video was partly filmed in Czech mountains and partly in England. I wanted to produce something powerful and arty. A music video which captures a story as well as the feelings.

Sun Goes Down music video is solely my arty outlet.

I don’t want to say anything else. Just watch it J

Do they tie in with the themes around the song? If yes, why? If not, why not?

RN: It does. I don’t want to reveal everything. Let’s say you need to listen to the lyrics and watch the video.

Were they fun to shoot or proved to be quite a challenge?

RN: When we were shooting Snow Queen, I was two days in the mountains in -20°C wearing a dress. It was snowing and I thought my hands and nose will fall off so yeah… it was fun haha.

I believe everyone enjoys shooting the music videos. But post production is proper hard work. I believe the devil is in the details and I have very strong visions so I usually spend long time working on the post productions. I produced both videos myself in co-production with Ollie Dolling. It was great working with him. I’m already excited to work on our future videos.

MP: Definitely one of my bands highlights and the results were way beyond what I expected.

Do you have any live shows lined up at present?

RN: Follow us on Facebook. We are planning 2020 UK tour! All the dates will be there.

We were also booked at Concorde 2 in Brighton in June 2020 which will be an epic show.

In regards to the closer dates I would recommend you a gig at Black Heart in Camden, London on 20th September. We are supporting Esoterica. But if you want a ticket, be quick as the show might be sold out soon 😉

What are your favourite songs to perform live?

MP: Our new song Sirens, I love it and the response we had to it at the EP launch which was the first time we played it live, was very moving, loved it.

RN: I really enjoy playing Sirens. It is our new song and by my opinion it is musically the best piece which I’m very proud of. At the moment I’m playing with a thought to write trilogy for Sirens. I have whole concept in my head + the ideas for the video so let’s see if we can do something about that.

DC: Porcelain Dolls has a nice few changes where I can bring a few different styles in the song. For all out energy, Passion Kills is always the track I’m scanning the set list for.

TC: As I said, light hole is one of my favourite songs to play live, as well as one of our new songs called Delirious.

What are the best and worst shows you’ve played to date?

DC: I think it varies for each of us; I’ll leave it down to the fans

TC: I’d say the worst show I’ve played with Aren Drift was my first one with the band, I was slightly nervous, which is odd for me, and I just didn’t quite gel with the music! But our best show in my opinion was our EP release, the sound was great, the crowd was amazing and we were all playing at the top of our game!

If you could open for anyone, who would it be?

DC: Tool would be immense

RN: Deftones, Korn, Marilyn Manson, Perfect Circle, Alice in Chains, In This Moment

MP: Wolf Alice, lead singer is a girl and they rock, great live band from what I can tell on YouTube, I’d then get a chance to watch them in the flesh every night J

Oh yeah and Faith No More, they are still rocking, check out SuperHero from the Radio 1 sessions on YouTube.

Any comical stories from your time as a band you can share with us?

DC: Now that would be telling, shame on you. 🙂

Any closing comments?

Thank you for your support. We appreciate every single person who goes to the live gigs and support the local music in general. Thank you.

Check Aren Drift out further @…

https://www.arendrift.com/    https://www.facebook.com/arendrift/    https://www.instagram.com/aren_drift/

RingMaster Review 06/11/2019

Copyright RingMaster: MyFreeCopyright

NoYz? – Tinnitus

Ever since being introduced to Noyz? years back through their ear grabbing track Happy Hour In A Junkyard, a song persistently played upon the internet shows we were involved with, The RR has been patiently waiting for the first album from the Serbian band. Finally it is here and there is no let down for hopes and anticipation by Tinnitus and its collection of multi-flavoured rock bred tracks.

Formed in 2004, the Belgrade outfit lacked a truly stable period line-up wise and went on a hiatus in 2012. Three years later founder and vocalist/guitarist/songwriter Stevan ‘Sharkey’ Radoičić brought the band back and set about creating that long promised first album. Their sound is a fusion of grunge, hard rock, metal, and punk; a mix embracing unpredictability and prone to ear grabbing hooks and bold enterprise. Inspirations to the band include the likes of Nirvana, Alice In Chains, Soundgarden, Metallica, Megadeth, System Of A Down, The Offspring, and Bad Religion; a list giving a good hint to that blend in their music.

Tinnitus opens with Introbytes, a slice of metal infused punk nurtured rock immediately presenting the type of ear catching hooks the band specialises in. Despite its title it is far more than an intro, the predominately instrumental encounter a stomping invitation into the weave of sound, design, and textures shaping the album ahead with the following Pure Fucking Metal Pwnage skilfully exploiting all. The second track’s first breath is thrash like, its second a thicker mix of metallic flavouring before the band’s rock ‘n’ roll instincts emerge in the blossoming song. Sharkey’s vocals are as keen as the sounds around them, the rhythms of drummer Milan Jejina Yeqy a swinging and rousing trespass while the bass of Anja Tvrtković is a heavy throaty lure with the song itself not holding back on the imaginative twists which again provide persistent temptation across the release.

Blow Joe is next up and straight away drums tease and tempt, their beats an infectious coaxing matched by the glorious lure of the bass. Swiftly the guitar casts melodic strokes across their irresistible dark bait before the track opens up a web of hooks and grooves, a hard rock infusion erupting upon the compelling landscape.

Similarly Cold Turkey enters on appetite pleasing bait, bass and guitar entangling around vocals before the track exposes its dirtier grunge nurtured side. Grooves soon expose greater lures in the track as vocals reflect with irritability and angst. Magnetic from start to finish, the track easily hit the spot before Ein Neues Leid steps forward with its classic punk breeding. That in turn gives birth to a broader punk ‘n’’ roll roar lined with grunge and melodic rock enterprise.

The senses became entwined by guitar wires as What You May Call It rises up straight after, infectious dexterity a rich wash in its imaginative tapestry of sound and invention. Again manipulative hooks are freely sprung and greedily devoured, Noyz? sharing their dextrous conjuring of such tempting with ears grabbing unpredictability and keenly echoed in Diarrhea and in turn Dream. The first of the pair is a catchy and swiftly satisfying offering if not quite matching up to those before it for personal tastes whilst its bolder successor bears its Nirvana inspirations proudly before immersing them in Noyz? individuality, one drawing on a palette of rock.

The melodic caresses of Cherished Leader easily seduced, the relatively calm yet fiery song casting its own uncomplicated but potent hooks within melodic metal scenery, while Happy Hour In A Junkyard once more simply hit the spot with greedy accuracy. Once its familiar opening hook leaps forward there was no denying its command, bass and guitar making a potent force within the lively swings of Milan, and once that effortlessly persuasive chorus erupted , old instincts flared. Every band has a moment or a few which is their calling card and this is still easily the one for the Serbian outfit.

With the final trio of the feral punk ‘n’ roll driven, diversely flavoured and sculpted Boy/Girl, the equally untamed hard rock reared Pissoff and another host of an inimitable Noyz? hook in The Gootch leaving ears bursting with satisfaction, Tinnitus is easy to fully recommend.

There are moments which simply stole the passions and others which had us boisterously bouncing so fair to say that from start to finish the long awaited Tinnitus hit the spot.

Wrapped in the great artwork of Anja Tvrtković, Tinnitus is out now and available @ https://noyzband.bandcamp.com/album/tinnitus

https://www.facebook.com/noyzgrunge

Pete RingMaster 07/09/2019

Copyright RingMaster: MyFreeCopyright

Stolen Dead Music – Penny Drop

UK based ScreamLite Records is one of those labels which you just have to keep a close ear on. Their hunger for fresh and exciting new music is the match to that of a fan meaning attention for their releases is certainly a given here. This month sees the label release the new EP from Newcastle outfit Stolen Dead Music which ScreamLite announced was “the first band to really get our feet tapping in 2019” though what the rest of their bodies were up to we don’t know because the three tracks making up the Penny Drop EP just had us bouncing from head to toe.

Formed in 2017, Stolen Dead Music take the inspiration of bands such as Nirvana, Alice in Chains, Smashing Pumpkins, Weezer, Black Flag, Pixies, QOTSA, and NiN into a sound which stands distinctly aside of what expectations assume going by that list. It is a blend of alternative and noise rock with numerous other flavours involved sitting uniquely amongst the equally striking enterprise of bands like Japanese Fighting Fish, Houdini, Damn Vandals, and Max Raptor and providing so much to get excited over.

The EP opens up with its title track, Penny Drop initially stroking ears with fuzz loaded riffs before the same guitar begins deviously scything across the senses as the tones of vocalist/guitarist Jimi Trimmer break. Simultaneously the tenaciously strolling beats of drummer Aidan McGill erupt alongside the just as sturdy bassline of Lewis Patterson, guitarist Issak Patternson continuing to tease and tempt alongside the lures of Trimmer. Just as you think you have a handle on the song, it twists into a whole new channel of virulence to manipulate and seduce, never once taking its foot off its imagination and feverish enterprise.

It is an outstanding track and start to the release more than matched by next up Shunt. Rhythms straight away toy with ears and appetite, the guitars getting in on the act with their web of teasing melodic wires. Loaded with hooks and grooves, the band’s rock ‘n’ roll is a devious persuasion and in full lustfulness within the second song. There is a great Pere Ubu-esque whiff to the track at times too which only escalates its call on instincts and sure allegiance to its feral like energy and imagination.

Gallows Humour completes the release, the instrumental simply an irresistible shuffle of salacious melodic hooks and boisterous rhythms casting intimation and addiction with ease.

The Penny Drop EP is in many ways just a teaser to the Stolen Dead Music songbook, the three tracks picked out from their repertoire to mark their link up with ScreamLite Records but a wake up to all of us previously unaware of their potential and thrilling adventure. Anticipation for more is already drooling here.

The Penny Drop EP is out now on ScreamLite Records across numerous stores and @ https://screamliterecords.bandcamp.com/album/stolen-dead-music-penny-drop

https://www.facebook.com/StolenDeadMusic/   https://twitter.com/StolenDeadMusic   https://stolendeadmusic.bandcamp.com

Pete RingMaster 13/06/2019

Copyright RingMaster: MyFreeCopyright

Puppet Kings – The Mountain

Praise and enjoyment came rather easily a couple of years back for the Very Cool and Groovy EP from UK rockers Puppet Kings and both have bubbled up just as keenly again as the duo release its successor in the shape of The Mountain. Offering four tracks revelling in the hard/classic rock bred, broadly flavoured sound which has already marked the band out, the new EP equally hit the spot very nicely.

Originally formed in Brighton but Clapham based for the past few years, Puppet Kings consists of Tomas Cochrane (guitars, bass and vocals) and Harry Lehane (drums and vocals). It is a pairing which swiftly sparked and has increasingly earned a potent reputation and eager following through their rousing live presence and just as stirring releases starting with debut EP Timebomb of 2015 and Very Cool and Groovy two years later. With each release, the band’s sound has grown in adventurous maturity and bolder imagination; a blossoming still on going with The Mountain.

The band’s sound is a mix of the familiar and individually fresh which has already produced songs which boisterously leap from the speakers with open dexterity and instinctive energy. The last EP offered up tracks which grabbed appetite and memory with ease but none as masterfully and tenaciously as The Mountain opener, The Message. The track teased and tempted the passions from its first breath, a throbbing bassline the main culprit but soon joined by the equally captivating throes of guitar and vocals alongside the skittish beats of Lehane. Their lure only escalates by note and riff, exploding in a manipulative roar within a chorus which just commands participation. Everything about the track is a rousing incitement, from its devious stroll and virulent bounce to the vocal prowess and lead of both men, the song pure rock ‘n’ roll motivation.

Such its mighty roar and success, the following three tracks sit in its shadow but fair to say there is little about each which fails to bring added pleasure to the EP. Mountain Song is the following encounter, a blues tinged groove emerging from sonic air to spark another body trespassing, keenly infectious canter. Again the vocals play a big part in any tempting but similarly guitar and rhythms imaginatively shape a song which settles rather enjoyably in the ears.

Age Of Austerity is next up, a coaxing melodic tendril luring the listener into a shadowy but just as inviting embrace of inventive infectiousness. At various times, Puppet Kings has been compared to bands such as Foo Fighters, Guns N Roses, Alice in Chains, and Royal Blood some of which echo the spicing within another compelling track but as it and the EP overall confirms, the band’s sound is becoming more individual to the pairing by the release.

Fellow UK duo, The Sea does come to mind at times across The Mountain, they another outfit unleashing honest and passionate rock ‘n’ roll and the closing roar of Bag Of Bones epitomises the power of those traits. Slowly but firmly rising to its feet with melodic and emotive intensity wrapped in blues rock nurtured grooves, that passion fuels every syllable and seductive fiery chord which erupts, charging up the track’s animated fervour and fire.

It is a fine end to another inescapably enjoyable outing with Puppet Kings, a band which just gets more compelling by the record.

The Mountain is out now.

https://www.facebook.com/puppetkings   https://twitter.com/puppetkings

Pete RingMaster 06/03/2019

Copyright RingMaster: MyFreeCopyright

Returning to the garden with Leaving Eden

Two years on we have linked back up with Leaving Eden songwriter/multi-instrumentalist Eric Gynan to catch up with the band. Already renowned for their ear grabbing, imagination stoking rock sound, the band is poised to release its new album this month. One highly anticipated release we join Eric to look into its body and character with more besides…

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

Howdy Eric Gynan here from the band Leaving Eden, Boston Mass area USA. It’s great to talk with you again. I think it was a couple years ago when we chatted last.

To remind people can you first introduce the band and give us some background to how it all?

Myself and Eve are the co-founders of Leaving Eden We had some songs; I’ve always been recording so we wanted to play some of these live. I think one must make a choice as to what they want to do with their life. It takes sacrifice, let downs and one must have a thick skin. Let’s face it most artists are different than others, so not only is there issues with all the variables outside the band, but from within too. I think the current line-up is great where everyone sees the bigger picture.

What are the musical backgrounds to you all; previous bands, projects etc…

Yes myself and Eve were in a band before leaving Eden. The band was regionally successful, but it usually comes down to the members. I remember for instance the drummer wanted no part of having a female in the band. He just hated it. Well, I saw the bigger picture, and after the first 100 people came up to me and told me how great Eve was, I knew I had to really do something about it…Shortly after we formed Leaving Eden.

Tell us about the band name?

We thought that this planet being the entire Garden of Eden has become corrupt full of Deceit and Hate so we thought wouldn’t it be nice to go somewhere else that’s the name leaving Eden.

Did you have a particular aim for the band initially and also in what you wanted it and your sound to offer?

Originally we wanted two female singers that never seemed to work out. Eve was really 2nd to none when it came to a front person, so anyone else up there trying to almost compete was pretty much a ridiculous situation. Now we do have another female, but she plays keys and sings backup vocals so it’s different now. I can’t stress enough how important it is to have not only the right people for the right sound, but the right personalities for perseverance.

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

I think so. I think we are a little more reality oriented and understand more the barriers and pitfalls associated with the business. I think more so now we’re happy doing what we’re doing instead of being unhappy about not achieving our goals to the fullest.

How do you see the evolution of the band’s sound since starting out?

I think first and foremost you must always be listening to what’s out there what’s current what’s new and changing with the times. Also, one must try and be a trendsetter. It’s the new artists that forge the future, the ones out there in the gutters so to speak who are really at the pinnacle. As I said, for me I listen and get these songs kind of fully produced in my mind’s eye and I just go with the flow.

So it is a more organic movement of sound than deliberately wanting to try new things or an equally sided process?

Good question maybe both. We always want to try new things but also I think organically speaking the band naturally moves in a particular direction.

You said you eagerly listen to the sounds out there; are particular inspirations which have impacted not only on the band’s music but your personal approach and ideas to creating music?

I think playing I’m sharing the stage with many of the best bands in the world has definitely been a great influence on us. Leaving Eden has toured the USA, UK and Canada sharing the stage with hundreds of the biggest national bands in the world including; Lacuna Coil, In This Moment, Black Sabbath (Heaven & Hell), Ronnie James Dio, Rob Zombie, 5 Finger DeathPunch, Disturbed, Marilyn Manson, Alice Cooper, Lynyrd Skynyrd, ZZTop, Puddle of Mudd, Korn, Killswitch Engage, Buckcherry (Jefferson Starship, Big Brother and The Holding Company, Country Joe, 10 Years After, 40th Anniversary Woodstock) Shinedown, Dropkick Murphy’s, Alice in Chains, Papa Roach, Bret Michaels, Halestorm,Theory of a Deadman, Avenged Sevenfold, Seether, Hell Yeah, Trapt, Dope, Soil, Fuel, Queensryche, Saving Abel, Hinder, Damage Plan, 7Dust, Sebastian Bach, SoulFly, Days of the New, NonPoint, DrowningPool, The Misfits, The Butcher Babies, Collective Soul, MushroomHead, Mudvayne, Chevelle, Godsmack, Powerman 5000, 10Years, Taproot, Gin Blossoms, Michael Schenker (UFO, MSG & The Scorpions) Herman Rarebell (The Scorpions), Nicko McBrain (Iron Maiden), Kittie, One eyed doll, Uncle Kracker, Tremonti (Creed/Alterbridge) Lamb of god, Slayer, Stone Sour, Motorhead, Blackstone Cherry, HOOKERS & BLOW Featuring GUNS N’ ROSES, QUIET RIOT, W.A.S.P. Members, Steven Tyler, Ted Nugent, Lita Ford, LA Guns, Trixter, Warrant, Apocalyptic Review (featuring members of Godsmack) Adelitas Way, Scott Stapp (The voice of Creed), Gemini Syndrome, Pop Evil, Ratt, Anthrax, Testament, Napalm Death & many more..

How does the songwriting work within the band; is there a particular process?

Yes I think it’s best for me as the songwriter to make a connection with the universe and listen because there’s always songs out there trying to come in; it depends if they come while I’m sleeping and I have the ability to wake up from that and go record something or if it comes while just almost meditating and communicating again with the universe and just listening.

How about the sparks to the lyrical side of your songs?

It’s definitely drawn from reality; all the lyrics are based on what’s happening at the time. Good, bad or indifferent I’m constantly writing lyrics so it’s going back to those and using them for music that I may already have written or writing the music around those lyrics. The skies aren’t always blue, thus our song Skies of Grey. “It’s not too late to open your eyes and sail through skies of grey”. “We’ve been screwed overcharged underpaid and abused, we’ve been exploited avoided and falsely accused, we’ve been cut down let down fucked around, tied and bound but NOTHING could take the music away”. From our Tied and Bound album.

Tell us about the band’s latest release?

Our latest release would be our last album Out of the Ashes (Recorded/mixed By Johnny K. (Disturbed, Pop Evil, Staind, 3 Doors Down,) Mastered by Brad Blackwood (Sevendust, Dave Mathews, Adelitas way, Korn) and produced by myself reinterpreted by Leaving Eden.) We also released a single, Jailbreak and it is going to be on our new album to be released October 19th 2018 called Descending again through Dark Star Records/Sony Music worldwide.

Our new album to be released, Descending, I’m excited about this album because it was recorded at Leaving Eden Studios. We were able to take all the time we needed and really craft this album to exactly what we wanted it to be. I did a premix on it and sent it off to Bob St John for the Final Mix and Mastering. Bob is a Grammy award-winning engineer and has done bands like Duran Duran, Extreme, Collective Soul, Steven Tyler…Such a great guy to work with too.

Can you give us some insight to the themes and premise behind Descending and its songs.

The title Descending, is taken from a song off the album called Shallow Waters. Shallow Waters is very cool because it’s one of those songs where I woke up from a dream and the song was playing in my head; this happens a lot most of the time I can’t pull myself out but this time I was able to. It’s great when you can hear songs already produced in your dreams, takes a lot of work out of it. It definitely comes from somewhere else. We wanted to have different genres such as heavy, acoustic, different key changes and tempos, really trying to have such diversity. We even got some songs you can dance to the beat.

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?

Yes because studio time is so expensive it’s really best to have it all complete so we have typically recorded the entire album in our studio first working out all the bugs and adding everything we want to add so that when it comes time in the studio we know exactly what we’re doing because there’s usually not as much time as you need, so you try to prepare for that. In the case of our Descending album soon-to-be-released we actually recorded this completely in our studio so we had the time to really craft what we believe is a great album.

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

Yes when I have always said that Leaving Eden is best seen and heard live. There’s a lot of energy sharing that goes on with the crowd. We don’t look at it like hey man look at me I’m a rock star check me out I’m too cool man, rather quite the opposite. It’s like hey we’re all here together all night to have a good time so let’s party together and let’s have some fun together. We are all involved in this.

You obviously know how hard it is for any new band to make an impact regionally let alone nationally and further afield. How have you found it with Leaving Eden?

Really I think with the onslaught of the internet anywhere you are you can really make a mark. I get it that making a mark by playing the venues that’s in your own region could make a difference. The reality is that if you’re good, fresh, have really put some time into the band look and made a great recording then it doesn’t really matter where you are. You can get it out there with a good publicist, good radio guy, good record label and good distribution also good management. We’ve pretty much always taken care of all of this on our own and hiring certain people and companies. I think it all works together. The most important thing for us is we will play anywhere anyhow anyway, so long as we can because this is what we love to do

You mentioned the internet. How do you work and weave your social media sites to use them most effectively?

The internet is very important to any band because that’s where people are getting most of their information now from and you can do it for free and make an impact on different social media platforms for sure. At the end of the day it comes down to a song, is the song good; is it one somebody wants to listen to? Our song Out Of The Ashes says digging deeper underground faster than the speed of sound. What that means is I feel we’ve always been an underground type band, you know really building its base of friends organically so an underground band able to, with the click of a mouse be in China for instance so that is faster than the speed of sound. It’s definitely referencing the internet and for that you can’t even quantify how important it is when talking about streaming on Spotify, iTunes, Amazon. You know that’s the way people are listening to the music they’re not going out and spending money to pay for music when they can listen to it for free or maybe $10 a month. Now this doesn’t really pay the artist much but if your song caught on and you had millions of listeners every day well then you would be making a lot of money so it’s really the same, only different is the means. People will still buy CDs more at a gig than anywhere else.

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

Well, without our friends, we got nothing so we hope to make new friends here and hope they enjoy learning more about Leaving Eden. We definitely want to say Thanx Much and Peace!!

https://www.leavingeden.com/   https://www.facebook.com/bandleavingeden   https://www.instagram.com/leavingedenofficial/   https://twitter.com/Leavingeden   https://www.youtube.com/user/leavingedenband

Pete RingMaster 02/10/2018

Copyright RingMaster: MyFreeCopyright

 

Perfect Line – Seeds

As a rule we never finalise any opinion on a release until multiple plays have passed by. It is something we learnt with the first System Of A Down album, not being taken by it on the first listen but returning to it weeks after and with increasing rigour it became one of our all-time favourite encounters. The debut album from French trio Perfect Line was a similar proposition; not that we did not enjoy its offerings on first listen but it was through numerous outings and the nagging quality and imagination the songs within Seeds revealed that it really grabbed our attention.

Paris hailing Perfect Line pretty much began in 2011 with the creative union of lead vocalist/bassist Thomas d’Arbigny and guitarist/vocalist Paul Pavillon. Inspired by an array of styles, many nineties bred, the duo’s alternative rock is a multi-flavoured proposition which commands attention. 2012 saw drummer Julien Audigier brought into the line-up and the release of a self-titled debut EP. Gaetan Allard replaced Audiger soon after and the current line-up was in place, a trio now knocking on bigger doors with Seeds.

The album opens with Everything; a slice of melodic rock with a grunge lining which coaxes and lures ears rather than grabs but soon has them attentive with its infectious exploits and accomplished air. It never makes any demands but from rhythms and enterprise to energy and aggression only entices and increasingly so as its adventurous body twists and turns. In many ways it plays like an old friend, familiar essences at play but has a freshness which urges another listen and another, much as the album.

The following Wywd opens with rhythmic bait and sonic teasing which just gets under the skin, it a prelude to a rapacious wave of inventive sound. It is a superb start which is followed by a bit of an anti-climax as the song then slips into a mellow caress though it is soon bubbling with suggestion and unpredictability which surges in varying states of eagerness. The song is a fascinating proposition; one which for personal tastes maybe promises more than it delivers yet never has a moment when you are looking for something else to explore.

Be My Guest follows, a great dark grumble courting its croon before it roars with gusto and power, d’Arbigny’s fine vocals to the fore. His bass is a pulsating throb in its midst, the biting beats of Allard swinging with relish as Pavillon’s guitar weaves a melodic and sonic tapestry, the track as much a seduction as a trespass. With a rousing blues rock lining, the song is a tenacious pleasure quickly matched in enjoyment by the contagious shuffle of Red Coach. Its gentle emotive beginning does not give a clue to the energetic dance to follow, alternative and grunge tinged rock colouring its subsequent magnetic rock ‘n’ roll. Feet and hips were soon involved once it did hit its stride, the song one of many casting persistently nagging hooks.

The imagination within the band’s songs is a rich essence to the album, Free epitomising the quality with its melancholic yet seductive strings provided by Arnaud Affolter and a tapestry of sounds and ideas which all give expectations a wide berth. Again Perfect Line entangle many styles in their aural weave and once more has attention firmly enticed as the track smoulders, saunters ,and erupts.

Through the adventurous almost loco web of Bad Boy, a song with a great Alice In Chains hue to it and the emotive balladry of Afraid the album accentuates its growing persuasion with the first of the two especially compelling though its successor has a firm grip too with its drama and emotional volatility. Even so they are still eclipsed by the virulent rock ‘n’ roll of Get Out, the track further evidence that Seeds was blossoming and getting better song by song for these ears. The track is another which seemed familiar in some way but it only added to its rousing holler and catchy prowess on the way to becoming our favourite song.

The animated escapade of Tired quickly gave it a run for its money though, the track a fusion of brooding mischief and melodic temptation around rhythms which just land with glee. It is fair to say that a grunge scent is never far away from a Perfect Line song, this embracing a Stone Temple Pilots meets Alice In Chains spicing in its increasingly hypnotic stroll.

Seeds is not an album of two halves but for us its latter tracks really hit the spot and with increasing persuasion, Space Race proof with its glorious stomp of infection loaded rock ‘n’ roll. Remember that favourite song moment, as this track plays in the background of tapping keys we might have a change of mind or at the very least a major rival. The track is glorious, a roar to ignite any day with its Foo Fighters-esque blaze.

Slow Down and At Last complete the album, the first another slice of magnetism with a joyful swagger and emotive flames around a devilish core of hooks and lures while the second is a fire of sound rising and simmering along a deviously alluring length.

Seeds might very well grab ears with a firm hand from its first listen but given time it really will take off making it a release which is very difficult to leave it alone, something we can certainly testify to.

Seeds is out now; available @ https://dooweet.bandcamp.com/album/seeds

http://www.perfectlinemusic.com/   https://www.facebook.com/perfectlinemusic   https://twitter.com/perfectline4

Pete RingMaster 22/05/2018

Copyright RingMaster: MyFreeCopyright

Mammoth Temple – We’re Not Extinct

Having just been introduced to former Thirteen Shots frontman Johnny Rose’s new project in Blast Bomb we now have the new endeavour from its guitarist Lewis Manchip for you. That proposition is Mammoth Temple and they have just released their rather appetising debut EP, We’re Not Extinct. Echoing the band’s name in many ways, it is a lure of heavy boned rock ‘n’ roll worshipping the seduction of the groove and the growl of the riff, a fuzz rich proposal caked in the dirt of grunge and veined by stoner bred tendrils of melodic suggestion. It is also a potent introduction to the band and one which gets more compelling by the second.

Formed by Lewis and vocalist/bassist Dave, Midlands hailing Mammoth Temple is completed by the thunderous swings of drummer Ben. Initially taking their time to hone their sound, the trio have emerged with a live presence which is swiftly luring keen attention and plaudits, and now with a first release which is as thick in potential as it is already flourishing prowess and enterprise.

It opens up with Meat Promotion and instantly entangles ears in a flavoursome groove. With robust rhythms and throbbing bass that beginning is a sign of things to come in song and release. The blend of mellow vocals adds to a Queens Of The Stone Age like hue to the grunge meets heavy rock stroll of the track, the guitar continuing to cast wiry grooves and melodically sharp bait for ears and appetite to get hooked up on. It is a seriously infectious and captivating start which is more than matched by next up Wiping Out. Its psych rock kissed entrance is pure temptation, the skirting shadows intrigue against the vocal prowess of Dave and Lewis’ expressive melodies. With fiery flames igniting across its catchy gait and imaginative body, the song continues to blossom in imagination and craft. It might not be boldly unique but the song as the EP has a freshness and adventure to it which hints of such success ahead.

The mellower caress of Reflections is courted by the great dark shadowed throb of bass and volatility in Ben’s beats which never erupts but magnetically stalks the melancholic beauty of the song’s heart and touch. A song which just grows over time and listens, it brings another enticing aspect to the Mammoth Temple sound which only grows when the track does uncage its muscle.

The EP is concluded by firstly Promises, a distant rumble increasingly consuming ears as it looms closer and incites the imagination as blues rock ivy clings to its tenacious body and scuzzy skin. Another grower, it does not quite match up to those before it yet lingers in the memory with ease through its Jesus and Mary Chain meets Alice In Chains glaze alone.

How We Are completes the pleasure, it needing mere seconds to hook the appetite with its initial Soundgarden-esque melodic coaxing. From there, its simmering fire grows and intensifies with psych and stoner rock winds blowing across its rhythmic kindling and harmonic haze. As ever, there is a darker hue to its depths and emotion contrasting superbly with its brighter easily invited trespasses. The song is superb, a big end to a fine first union with Mammoth Temple.

It is early days but the signs are already hinting at a potent future for the band and rich adventures for us all alongside.

We’re Not Extinct is out now and available@ https://mammothtemple.bandcamp.com/album/were-not-extinct

https://www.facebook.com/MammothTemple/    https://twitter.com/MammothTemple

Pete RingMaster 05/12/2017

Copyright RingMaster: MyFreeCopyright