Black Space Riders – Amoretum Vol. 2

Though Black Space Riders teased us with the news that the successor to the outstanding Amoretum Vol. 1, released this past January, would also be uncaged this year maybe few expected it to swing into view within six months of its acclaimed sibling. But indeed it has and we for one could not be any more pleased because it is one stunning slab of what the German outfit does best and which is individual to anything else.

As Vol. 1 took the listener into the dark depths and thickly shadowed corners of the modern world with intimations of hope and resolution its successor “explores the tension between darkness (fear, hate, rejection) and light (empathy, love, acceptance).” Their title is a fusion of the words Amor and Arboretum, the band’s symbolic reference to the sanctuary of nature and love. The creative and musical link between the two is strong and open; no surprise with the tracks from both albums written at the same time in 2017 and recorded together, yet Vol. 2 has a devilment in its imagination and body which makes it an even more unpredictable and at times bewildering experience. The second book in the concept flourishes whether standing alone or as a continuation of the first. Its press release asks, “Is Vol. 2 the rebellious older sister of Vol. 1, or the young, untamed brother?” Often it seems like an alter-ego, a kind of Riddler to the first’s Edward Nygma or indeed both making up a sonic Magneto where light and dark entangle for varied shades of captivating character.

The quintet of JE (lead vocals, guitars, keys, electronics), SEB (lead vocals, keys, percussion, electronics), C.RIP (drums, percussion, digeridoo), SLI (guitars), and MEI (bass) have also conjured the most eclectic flavours within their sound across the fourteen tracks of Vol. 2; at times it blazes with punk like ferocity, in other moments trespasses with metal bred inclinations before seducing with pop rock irresistibility and psych rock magnetism with plenty more in store along the way.

Set over six chapters, it opens up with Before my eyes, percussion luring ears into the snarling jaws of the track. Punk, metal, and rock all collude in its grizzled climate, grooves aligning to crisp rhythms as vocals growl. In no time it had the body bouncing and vocal chords gurning, contagion soaking every second of its forcefully magnetic enterprise. The clang of post punk guitars only adds to the irresistibility before LoveLoveLoveLoveLoveLoveLoveLove Love (Break the pattern of fear) slips in on a dark saunter. Initially it shares a Bauhaus like breath before breaking into a garage punk meets alternative rock stroll though, as becomes the norm in songs, it begins evolving by the minute if not the second. If the opener was bliss to the ears, its successor was pure rock ‘n’ roll manna and it proved just the beginning of one exhilarating ride with Black Space Riders.

Next up is Walls away, a far calmer affair with a melodic temperament which captivated from its initial lure. It has a raw undercurrent though which accentuates its elegance breeding, that aforementioned unpredictability lurking at every corner while Slaínte (Salud, dinero, amor) has a Celtic lining to its infectious festivities; an Irish Gaelic inspiration which again had the body bouncing across its primarily instrumental canter sharing “good health”.

Assimilating love leaps in straight after, its punk ‘n’ roll grumble a collision with grungier textures and space rock dynamics as it harasses ears with rousing irritability before In our garden serenades the senses with its melancholic caress. Something akin to the dark rock of Dommin in an embrace with the neo folk of Death in June within an indie sunset, the song is as enthralling as it is sombrely radiant as too the following track, Leaves of life (Falling down). For us the song is part of the pinnacle of Amoretum Vol. 2, though such its lofty heights we continue to debate that point as thoughts change by the listen. It has an energy which infests body and spirit but equally a dark glow which draws attention and the imagination like a moth to flame, and there is a definite heat to the track as its intensity and contagion rises.

Its glory is then more than matched by Body move, a quite magnificent and addictive slice of creative manipulation which has the body swinging to its funkiness and vocal chords clinging to its virulent delivery. Pop, funk, trip hop, and infection do not come any better and wonderfully invasive than this; the imagination as firmly locked into its growing web of drama.

The dub lit and outstanding Take me to the stars had hips swaying without thought within moments next, the song another weave of individual flavours in a wholly unique yet strangely familiar bold croon while Ch Ch Ch Ch pt. I (The ugly corruptor) emerges from a sonic mist to cast psychedelic hues and intimation before Ch Ch Ch Ch pt. II (Living in my dream) draws ears through the former’s growing raw volatility into its own tempestuous heavy rock envelopment, those already in place psych flames and sighs cascading off its feral storm.

The album’s final and sixth chapter is made up of firstly the melodically wired but still gnarly Chain reaction which is followed by the devilish rock pop bred No way. The first of the two did not grab us as its companions but still leaves most tracks heard this year chasing its wake while the rousing second has a whiff of pop, psych rock, and death metal to its inimitably catchy almost fearsome clamour.

Finally The wait is never over concludes the release, the track another kaleidoscope of flavours with echoes of Ruts DC in its dub shimmers and Helldorado in its swarthy atmospherics. It is an initially low key close, a kind of epilogue but one which just transfixes from its irradiant start to its ravenously tempestuous middle on to its apocalyptic climax.

Well Black Space Riders has done it again, had us drooling at their ever startling endeavours. Quite simply Amoretum Vol. 2 is immense in every aspect. It is a treat from first to last wave of imagination and creative devilment but we suggest listening to both Volumes of Amoretum as one for a complete rush of inspiration and pleasure.

Amoretum Vol. 2 is released July 27th through Black Space Records / Cargo Records on double vinyl (w/ CD), digipack CD and digital formats; available @ https://blackspaceriders.bandcamp.com/album/amoretum-vol-2

 

http://www.blackspaceriders.com/    https://www.facebook.com/BlackSpaceRiders     https://twitter.com/BlackSpaceRider

Pete RingMaster 26/07/2018

Copyright RingMaster: MyFreeCopyright

Black Space Riders – Amoretum Vol. 1

It has been well over two years since German heavy rockers Black Space Riders gripped the imagination with the acclaimed Refugeeum, just short of a couple from the release of its even more experimental and equally striking extension, the Beyond Refugeeum EP. Now the Münster hailing outfit has unveiled a new quest in their atmospheric space rock adventure through Amoretum Vol. 1, a release as mesmeric and seductive as it is invasively provocative and emotionally raw.

Since the release of their self-titled debut album in 2010, Black Space Riders has persistently pushed and evolved their sound hitting an attention grabbing plateau with third album D​:​REI four years after the first. With Refugeeum the following year, Black Space Riders exposed new boldness and imagination in their enterprise, a more atmospherically evocative and fascinating tapestry of sound and craft which took their creativity towards a whole new landscape of exploration and suggestion. Amoretum Vol. 1, with Vol. 2 marked for release later this year, entangles all the attributes of the band’s already individual sound with a fresh breath of imagination. It is often startling, insistently captivating, and occasionally physically ravenous but throughout perpetually compelling.

Consisting of JE (lead vocals, guitars, keys, piano, electronics), SEB (lead vocals, keys, percussion, electronics), C.RIP (drums, percussion), SLI (guitars), and bassists SAQ (until Sept 2017)and MEI (since June 2017), Black Space Riders walks a world where “War, terror, displacement, destruction, rejection and nationalism dominate the headlines” with Amoretum Vol. 1, taking the listener into their darkest corners whilst enveloping them with the thickest trespass of shadows. The melancholy that lines each song is so thick you can almost peal it like skin but everything in word and sound comes wrapped in degrees of hope and solution, their suggested resolutions of compassion and peace as rich and inescapable as the dark they counter; the album’s made up title symbolizing “a protective garden and a germ seed of love.”

It opens up with Lovely lovelie, raw riffs and imposing rhythms in league from the first second surrounding the subsequent vocal agitation. Acidic melodies emerge to line the intensive trespass, a rhythmically driven groove invading body and appetite in no time too as the song stands over ears with almost bearish provocation while undulating spirals of cosmic light simmer and burn. There is a primal edge and urgency to the encounter too, a waking up of the senses and thoughts which by its final repetitive shimmer has attention firmly hooked.

The song slips into the waiting embrace of Another sort of homecoming, a calmer but no less dramatic climate of enterprise and adventure with its own undercurrent of volatility. As melodies soar and the song’s instinctive rock ‘n’ roll rumbles with ear gripping hooks embroiled in the theatre, vocals match their stirring unpredictability and adventure. Again ears and attention was baited and trapped, a hold soon intensified by the outstanding Soul shelter (Inside of me).With its post punk nurtured heart, like a mix of Joy Division and The Sound encased in the dark throes of the rhythms, the song is sheer captivation. Its air and touch is low-key but with that ever present tempestuousness which subsequently boils up into a blaze of emotion, intensity, and creative drama.

Its rich triumph is soon matched by the hypnotic lure and magnetism of Movements. With ripples of crystaline beauty in a well of melancholy, the song glistens in its dark; vocals again managing to echo the musical web. Menacingly meditative with a dark brooding to its rumination, the atmospheric tone of the encounter builds and builds until escaping in a composed avalanche of intensity and virulently catchy urgency. The track is superb and with its predecessor the pinnacle of Amoretum.

Not that the dramatic and volatile squall of Come and follow lingers in their shadow, the track a cyclone of rock ‘n’ roll which ebbs and flows through dissident calms and corrosive quakes within a brew of caustic punk, voracious rock, and searing psych rabidity. It all colludes in another lofty peak before Friends are falling creates its own tempest of dirty riffs, corruptive rhythms, and psyche infesting grooves. It maybe misses the spark of the previous trio for personal tastes yet nagged and insisted on greedy attention willingly given to its almost convulsive saunter.

Fire! Fire! (death of a giant) surrounds ears with psychedelic temptation within a funk kissed stroll next, an infestation of hips and feet as inevitable as that of ears and imagination as it builds up into fiery crescendos and combative expulsions of defiance. As throughout the release, the guitars cast a web of threat and seductive temptation while rhythms prowl and launch with inventively infectious antipathy; traits similarly involved in the great vocal union and balance of JE and SEB.

The album closes with Fellow peacemakers, a song which we will admit slowly burned in the psyche and passions compared to its companions but seeded real temptation from its first journey from a shadow bound reflective croon to a ferocious deluge of energy and attitude. Melancholy bred keys and vocals initially lure ears and thoughts, lively rhythms courting their company until a whisper of peace seeds an impending tempestuous stomp of incendiary rock ‘n’ roll as addictive as it is acerbic. As mentioned it took time to get under the skin but that it did with real voracity to match every other moment of potency in the exceptional encounter.

Amoretum Vol. 1 leaves a real hunger for more and an impatient anticipation for its successor whilst Black Space Riders once again leaves ears and imagination basking in adventure which just gets bolder, bigger, and better.

Amoretum Vol. 1 is out now @ http://www.blackspaceriders.com/shop or https://blackspaceriders.bandcamp.com/album/amoretum-vol-1

http://www.blackspaceriders.com/    https://www.facebook.com/BlackSpaceRiders     https://twitter.com/BlackSpaceRider

Pete RingMaster 08/03/2018

Copyright RingMaster: MyFreeCopyright

Black Space Riders – Beyond Refugeeum

Pressefoto BEYOND REFUGEEUM EP_RingMasterReview

It is hard to say whether Beyond Refugeeum, the new EP from space rockers Black Space Riders, is an epilogue, continuation, or parallel entity to the band’s acclaimed fourth album, Refugeeum of 2015. In varying ways it is all of those identities whilst providing a mouth-watering and spirit rousing proposal from the ever captivating imagination of the German outfit offering four new tracks to tempt with a couple of remixes.

The quartet of original recordings making their first appearance upon Beyond Refugeeum, are songs which the band deliberately kept back from Refugeeum to release separately; tracks which according to vocalist/guitarist/keyboardist JE, are “unlike what you might expect from this band. But you can still tell that it comes logically and quite unmistakably from the Black Space Riders. The songs are exalted, sometimes overwrought, vivid, and yet accessible. Much has happened in Europe and in the world since these songs were written at the end of 2014 and recorded in early 2015, but they seem to be even more contemporary and necessary than ever.

As soon as first track Willkommen engages and embraces ears, it is easy to understand his suggestion. The EP is straight away recognisably Black Space Riders invention but moving in different circles of ideas and fresh directions, and increasingly so across the release. The opener is an instrumental which starts with a gentle intent and touch, guitars coming in one by one with bass and percussion close behind. Each element has a melodic and rhythmic restraint but a provocative essence which brews and grows across the six minute encounter. Spatial yet increasingly aggressive and intimate, the track is like a psychedelic nebula, drawing in denser sounds and energy until creating its own dramatic world, or in this case an intensity fuelled sonic climax.

16_01_04 ep_beyond_refugeeum_cd-digisleeve_RingMasterReviewThe following Freedom At First Sight sees the band venture into a more nostalgic field of inspiration, post and gothic punk with new wave hues enthrallingly flavouring its magnetic presence. The vocals have a dour tone and melodies a colder air to match the ambience of the otherwise rousing roar of the song. In many ways like a mix of Sisters Of Mercy, Killing Joke, and Joy Division, it is glorious with a closing crescendo of voice and sound to get lustful for. Across their releases, Black Space Riders have created some memorable and irresistible proposals but this track might just eclipse them all.

Droneland grumbles into view next, its sonic breath a grouchy nagging which is soon accompanied and overwhelmed by the magnetic light of synths, though an underlying shadow still lingers as the track blossoms a mesmeric flight over shamanic rhythms.  The attitude loaded lure of bass adds another irresistible hue, as too the grainy vocals which soon breed great spirit-raising harmonies. Once hitting its full height, weight, and stride, the track is a forcibly rousing incitement again revealing new shades of colour and imagination to the creative palette of the band.

Just as fascinating and thrilling is Starglue Sniffer, a pulsating slice of funk rock with spatters of excitable melodic and sonic temptation across a flirtatious bass lure and exotic rhythms. The falsetto hue of the vocals catch ears by surprise whilst only pleasing though it is the thumping dynamics and almost rebellious textures of the song, as well as sultry grooves, which steal the passions most. Becoming more irritable and volatile with every passing breath, the track snarls and flirts with sublime effect, to join its predecessors in leaving ears and appetite greedy for more.

Completed by VRTX RMX, an atmospherically invasive yet alluringly droning remix of their last album’s opener Vortex Sun, and finally Gravitation, the electro club remix of the band’s Give Gravitation to the People, a song on D:REI the band’s debut album, Beyond Refugeeum is an unmissable treat for fans and newcomers. The final two tracks make great listening but it is the new songs which grab all the eager plaudits whilst revealing an array of new pastures we can only hope the band explore further. We loved the previous Black Space Riders releases, but Beyond Refugeeum might just be our favourite moment yet.

The Beyond Refugeeum EP is out now via Black Space Records on 12” vinyl, CD, and digitally@ https://blackspaceriders.bandcamp.com/

http://www.blackspaceriders.com   https://www.facebook.com/BlackSpaceRiders

Pete RingMaster 16/05/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Black Space Riders – Refugeeum

Black Space Riders official 2015_RingMaster Review

With their previous album D:REI, it is fair to say that German space rockers Black Space Riders not only set a new benchmark for themselves but ignited a whole new host of appetites and acclaiming attention. Now the Muenster sextet return with its successor Refugeeum; an intensive and expansive exploration which may or may not quite surpass its exceptional predecessor, but is an equal as it reinforces the band’s stature as one of the most fascinating and gripping propositions in heavy rock.

This time around the band has dropped from spatial explorations and focused on earthbound issues and tempestuous times. Musically the band has found an earthier and more organically trespassing, as well as more intimate, depth and invention to their ever diverse, flavour embracing sound. Certainly there are moments which soar and take flight through rich and broad landscapes but always they lead to the turbulence and raw canvas of emotional and physical migrancy, to simplify the album’s theme. There is also a new and open maturity to the songwriting and its realisation in Refugeeum, a quality taking the already recognised and rewarding potency in all aspects of band and sound that had already powerfully blossomed within D:REI, to new pastures.

A spatial shimmer grows around ears initially as album opener Vortex Sun starts things off, its distant twinkle soon joined by a lone melody and vocal harmonies. Everything has a shadowy glaze to it but equally a magnetism which within seconds draws ears and imagination right into the brewing soundscape of the song. Once the drums begin rolling with increasing resonance and hunger, the track is on the lip of a thickly atmospheric and energetically contagious proposal, guitars casting a cascade of sonic enterprise around nagging riffs whilst the vocals add further descriptive drama and texture. The threat of a full explosion of sound and turbulence is constantly there but never really realised, the song moving through constantly shifting rock scenery with exotic mystique and sultry Eastern whispers a regular and inventive lining.

Frontcover Refugeeum Vinyl _RingMaster Review   The track is a glorious start to the album and swiftly matched by Universal Bloodlines, who wins its persuasive argument from the opening bait of throaty riffs and crispy beats alone. They come with an irresistible hook, one which only persists as the band develops and slips into a Life of Agony like emotive croon within rousing rhythmic and dirtily aggressive temptation. It is a fiery and intimidating fusion and ridiculously irresistible, even when the sonic craft of the guitarists SLI and JE add searing sonic flames to the raw alchemy.

Born a Lion (Homeless) comes next, opening with its own compelling coaxing. The scuzzy tone of bass from SAQ is a thick menacing hook all on its own whilst just as quickly, fuzzy guitars and slithers of keys align with its enthralling call to accentuate and colour the tribal call of the song. The vocals are shared around the album by Seb and JE, and here offer maybe their most rapacious and fiercely captivating delivery yet. The song itself continues to grow into a brute of a proposition, a treat lying somewhere between Killing Joke, Rammstein, and David Bowie.

There is a post punk edge to the following The Lure (Come with us), especially in its opening stalking of ears. Four songs in and each has provided the most individual and passion enslaving openings, entrances backed by ever evolving and twisting adventures, and here the fourth song goes on to explore a filth toned embrace of snarling vocals, evocative guitar caresses, and one hypnotically tenacious doomy prowl.

A mellower lure escapes Run to the Plains next, gentle vocal persuasion luring in attention as a darker groan of bass from SAQ or HEVO, who also features upon Refugeeum, courts its invitation. It is a tempting increasing as both vocalists unite with their unique and complementary tones. There is a touch of post rock to the track and a Palms like alternative rock smoulder to the stoner-esque ripeness colouring the mesmeric encounter. At over ten minutes the track is a maelstrom in waiting too, expelling thick tendrils of intensity and heavy grooves as well as tempestuous riffs across its constantly resonating sonic glow.

The pair of Curtains of Death, another with a start which just seems to know how to flick the switch of lust, and Melek’s Lament (Yazidi Tears) just seduce and engross with constant imagination. The outstanding first of the two follows up its tasty start with a spiral of tangy grooves, feisty riffs, and grouchy vocals, all honed into an intimidating and again wonderfully fuzzy yet boisterous shuffle before drifting off into reflective and haunting, almost cavernous exploration. It is a riot for the ears and feast for the imagination whilst its successor is a mist of worldly whispers, flirtatious textures, and emotional intensity, and in a completely different way just as fascinating and infectious, especially as it brews up its own seventies rock tinged roar of a climax which in turn descends into a sonic escape.

Such his skilled rhythmic jungle of beats and resourcefulness C.RIP has an easy time winning these ears over from start to finish within Refugeeum, and again ensures Walking Shades has its hooks into the psyche straight away with another almost meditatively inviting dance of beats. Subsequent melodies and vocals pursue another Life of Agony like toning in their catchy and provocative body, it all colluding for one tantalising offering before Ritual of Inner Strength brings the album to an epic close. The track in many ways is like a musical epilogue to Refugeeum, all the richest and most potent elements creating the hearts of the album’s songs converging together in a gentle but intensifying tempest. It is creative theatre, one igniting thoughts and emotions as strongly as its infectious lures grip the body, and though it does not take personal emotions quite to the heights sparked by other songs, its impacting croon is a fine end to a mighty release.

The band’s previous album had great ruggedness to it which has been rounded off for Refugeeum but in its place the band has honed a more intricate blend of slimmer tempests, thicker explorations, and a perpetual unpredictable invention. The album is Black Space Riders’ boldest and farthest reaching creative offering yet and after many more listens whilst composing this, decidedly their most thrilling exploit yet.

Refugeeum is available now digitally, on Cd, and on double vinyl (2x180G, incl. CD & lyric-insert) @ https://blackspaceriders.bandcamp.com/album/refugeeum

https://www.facebook.com/BlackSpaceRiders

http://www.blackspaceriders.com/

RingMaster 24/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Tracings of time and reflections: an interview with Black Space Riders

Black Space Riders 1

German heavy rockers Black Space Riders is a band which has persistently drawn acclaim and attention with their unique and ravenously adventurous sounds but it is fair to say that new album D:REI is their finest moment. A journey of progressively sculpted metal and psychedelically forged rock through a dramatic narrative, the bands third full-length is a compelling incitement for the imaginations and passions. We grabbed the chance to find out more with JE and Seb from the band, touching on origins, albums, and much more…

Hello and thanks for talking with us.

Hello and thank YOU, here are JE (vocals, guitars) and SEB (vocals) from Black Space Riders

For newcomers to the band, please tell us about its beginnings.

JE: Black Space Riders were born in the deepest winter of 2008/09. C.RIP (drums) and I wanted to play Heavy Rock again after some years of making decent songwriter-stuff. I contacted SLI (guitar), an old friend from the schoolyard, we had been doing a NWOBHM-fanzine together when we were teens around 79/80. He brought in SAQ (bass) and we started jamming in an old mouldered bowling alley. It was great from the start. Fantastic musical and social chemistry! We created 4 songs in 2 rehearsals. We recorded our debut in 2010 and played shows while writing material for album No.2, “Light is the new black”, which was released in 2012.

SEB: In 2012 I came across and joined Black Space Riders first as an additional and background singer, then as the 5th member. But I already had known these guys years before.

JE: Now there are 5 Riders, 5 friends, just been releasing album No.3 called D:REI.

What are the musical histories of the band members before Black Space Riders?

JE: All of us have been playing in many bands or projects before. SLI played in Heavy-, Punk- and Indie-Bands since the Eighties. SAQ had a couple of Punk Rock bands before but also played in Indie-Rock-Bands, SEB used to sing in Metal bands but also has a great experience in playing accordion and singing weird, folkloristic Chanson-Stuff together with C.RIP who played and plays every imaginable musical style from Jazz over Metal to Ska. I also played in a lot of bands since 1980. Metal, Rock, Wave, Punk, Indie, Folk, Jazz … I played and sung for a long time in a Crossover band with C.RIP, which gained a decent regional/national awareness in the Nineties.

What was the spark or initial intent within the band when you started out?Black Space Riders 3

JE: As said, to create something loud and wild after years of “decent” music and to take up the Heavy stuff that we all are loving since our youth. The idea was to jam around and to create a hypnotic wall of sound … there were no ideas of releasing albums in the beginning

The band’s name stands out and suggests a space ranger like almost comic book appeal. What inspired the band name?

JE: Exactly what you have read in the name. 60ies and 70ies Sci-Fi had a very strong influence on me. I read a lot of those books when I was a child, my uncle had hundreds of them. We were looking for a name which can instantly create cartoonish, dark, hypnotic, psychedelic and cool images.

How would you say your sound has evolved since the early days and your self-titled debut album to what we thrillingly hear on new release D:REI?

JE: This time when we entered the recording studio we knew even better what we wanted and what we did NOT want. As for the sound of the recording itself: we wanted to retain the warmth, the organic live-feeling and the bottom of the first two albums but wanted to add additional freshness, transparency and openness to our existing drive. So – for example – we have been discussing a lot about the amount of “attack” in the drum sound or about guitar amps  and how to record the guitars with our friend and engineer Role (“die Tonmeisterei”) before entering the studio. Stylistically we allowed ourselves to integrate more elements and accepted the eclectic result of our songwriting without sorting out parts, grooves or ideas that sounded a little bit far out in the beginning.

As you said earlier D:REI is your third album; for us an exceptional progressively sculpted metal and rock adventure which can seduce and prey on the senses at any given moment. Did the album end up exactly how you envisaged it or did it have some surprises in store for even you guys as it evolved and emerged?

SEB: There are, in fact, some positive surprises for us. Partial tiny, audiophile little things – but also relevant structural changes we have made during the recordings.

JE: There are always surprises in the studio. The songs and arrangements are final before entering the studio, but then you begin experimenting with sounds or somebody within the band or let´s say our engineer Role has a charming “new” idea and – oooops –you find yourself changing the master plan. We are a live-recording band, old-school, five friends and all their instruments and amps in ONE room … but sometimes  we are adding some decent flavours later … experimenting with dozens of effect-pedals and creating some “space” can be so inspiring almost addictive! We are also experimenting with our vocal expression while recording, encouraging and coaching each other.

1545083_10151894936042963_1727001018_nThe album is split into ‘chapters’ exploring a…actually could you tell and expand on the theme behind the album for us please?

SEB: A new life in a new world? The depths and abysses of the human soul? Find out for yourself !

JE: On the first look a post-apocalyptic plot of destruction, escape, voyage and looking back. But maybe it´s all just in your head and it´s all about inner liberation and freedom?! The listener is defining the meaning of the story. My advice: Take a look at the story and the lyrics (you will find them here: www.blackspaceriders.com/d-rei), then put on your headphones, lights out, volume up and find it out!

Did the lyrical aspect or idea of the album come first or the music?

SEB: We had framework for about the half of the songs when JE delighted us with his concept of “Total destruction as the root of a new beginning and the Journey as a transformation”. From this point concept and music were evolved in parallel.

JE: Music first, basic concept next, lyrics last.

How does the writing process work within Black Space Riders?

SEB: On the way from our debut album Black Space Riders to D:REI we have expanded  the common songwriting.

JE: The process of songwriting has changed over the years. In the beginning I brought in almost finished songs and structures. Today it´s “just“ a riff or some harmonies, somebody picks it up, we start jamming and then we love it or we don´t. At one point SEB and me are starting to hum or sing. We are recording every rehearsal, every jam and are listening to it before the next rehearsal. We then discuss about it and try out different grooves, tempi, atmospheres, sounds. Our drummer C.RIP is playing a big part in arranging songs and developing structures…So the “song” as you know it from the album, is a common work of several band members.

Being a concept album did you approach the writing of D:REI any differently to say previous album Light Is The New Black?

JE: Not really. Light is the new black was considered by many to be a concept album as well. But D:REI seems to be so perfectly balanced and cohering, both musically and lyrically. To be honest: that is a happy ending and not a result of a worked out master plan. We have changed the sequence of the songs several times to find the perfect flow through the whole album … so we had to fiddle around with song titles and lyrics in the last moment during the recordings.

What did you take into the recording of D:REI in particular which you learnt on previous releases to enhance or ease its emergence in the studio?

JE: As said above … a clearer vision about the desired sound, recording techniques, approach and modus operandi. Additionally a greater open-mindedness, a grown faith, trust and friendship within the band and with our engineer/producer … relaxation and a strong belief that this album was going to become something special.

With a concept album is there a more demanding and intensive focus needed to link music and the expanding lyrical story of the narrative or does it pretty much come together as any other album?

SEB: I find it even a little easier because I had a specific movie in my head since the said date.

And is another concept album a possibility for future releases or maybe with the next will you return to individual standalone songs?

SEB: Anything can be, nothing must be.

JE: … all is possible. No plans, no expectations, no disappointments 😉

Have you shows/tour in the works to support D:REI, and if so will you be rampaging around Europe, the UK maybe?Black Space Riders 2

JE: Yes we have played some release-shows in some of the bigger German cities and are working on more shows and festival-slots in 2014. We are doing all this on our own. We have a distro and some professional help in the background, but in order to keep our independency and all rights… no label-contract! So most of the work, organization and booking is up to us. Additionally we all have families and jobs. It seems as though our new album, D:REI, will be received very well, so with that kind of “tailwind” we are starting now to book more shows for 2014 and will hopefully be able to play some festivals in the summer as well. Would love to play some shows in the UK, but we don´t have an “official” distro or label in the UK … so I guess we have to wait for some nice offers to play the UK.

Rightly or wrongly I have the assumption that you are a band which never stops writing or working on ideas, if correct how far are you into writing album 4? 😉

SEB: Honestly we have just a few ideas or fragments, because we were very busy with the preparation of our release-shows. But the prickling is already there and I’m looking forward to the upcoming rehearsals.

 Once again many thanks for sharing time with us, any last thoughts to leave us with?

JE: If you like what we are doing … tell the world about it! Spread the word! May the force be with you!

And lastly what are our biggest inspirations not so much for Black Space Riders but just as musicians?

JE: Of course each of us has different inspirations that is why we sound like we sound. On the other hand we have a lot of common preferences – and again – that is why we sound like we sound. Band-favourites are e.g. Black Sabbath, Deep Purple, NWOBHM, The Chameleons, Motorhead, Monster Magnet, Alice in Chains, Massive Attack … many more. For me personally on top of those: Psychedelia like on the early Pink Floyd –Albums. 80ies Dark Wave like Bauhaus or Joy Division and the BIG three: David Bowie, Tom Waits and Johnny Cash.

Read the D:REI review @ https://ringmasterreviewintroduces.wordpress.com/2014/01/23/black-space-riders-drei/

http://www.blackspaceriders.com

Pete RingMaster

The RingMaster Review 12/02/2014

Copyright RingMaster: MyFreeCopyright

 

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

Black Space Riders – D:REI

 

 Black Space Riders official 2014

   A spatial exploration of progressively sculpted metal and psychedelically forged rock merged with varied additives into thirteen rugged landscapes, D:REI is a compelling incitement for the imagination and fuel for the passions. Consisting of strikingly varied and ravenously adventurous tracks, the third album from German heavy rockers Black Space Riders is one of those treats you just cannot exhaust your hunger for. Our first encounter with the band, D:REI is an exceptional triumph sure to also invite an intensive retrospective investigation of the band.

     Formed in 2008, the Münster hailing band immediately triggered acclaim and attention with their self-titled album two years later. A quartet consisting of JE (lead vocals, guitars), SLI (guitars), SAQ (bass), and CRIP (drums, vocals), Black Space Riders hit European stages to reinforce their presence and rising stature in support of their feverishly received record. 2012 saw second album Light Is The New Black unleashed, again with strong support and praise soaking the even more adventurous and sound diverse release. As the year merged into the next, a second lead vocalist, SEB who had already provided additional background-vocals on the album was recruited into the band. Now Black Space Riders look poised to thrust themselves further into the devouring passions of the wider metal and heavy rock world with D:REI. It is an encounter which is impressive with either predatory aggressiveness or wanton seduction, merging both more often than not; the ignition to a greedy appetite for the invigorating and scintillatingly unique provocation.

     The album is a concept styled encounter: a journey from impending doom through devastation on to a voyage to a new 13_10_17 lp_sleeve.inddunknown adventure though that is simplifying it. The tracks are split into chapters within the exploration starting with D – Defiance moving on to R – Ruins and E – Escape through to I – Beyond. It is an encounter which sparks the imagination and the inventiveness of thoughts as well as providing a musical soundscape which evokes the passions. From the opening track Stare at the Water the album simply captivates with an unrelenting but continually riveting tempest of sound and sonic design. A slowly unveiling landscape is revealed by the start of the first song initially, an entrancing ambience aided by a singular guitar. Two minutes in it is dispersed by a stormy cloud of rigorous riffs and muscle clad rhythms soon joined by vocals and flames of inventive guitar. A mix of heavy metal and stoner dressed endeavour, the track stomps with intensity and formidable craft to lure and intimidate in equal measure. It is a potent opening to the album though not quite lighting the fuse to the passions.

    That match is lit by the following sizeable triumphs starting with Bang Boom War (Outside my Head). A sonic hostility opens up the gateway to a carnivorously toned bassline and rapacious rhythms within a whining acidic grazing of guitar. It is tremendous bait enhanced by the excellent dual vocal attack and an industrial seeded yawn of guitars and predatory stalking, a presence which merges essences of Fear Factory and Marilyn Mansion with a Sabbathesque doom bred intensity. As the album shows across its length, the song is an evolving and unpredictable beast of an incitement, a spine of rhythms the only constant to which ravenous yet seducing weaves of imagination and sound avail their temptation.

    Rising from the Ashes of our World comes next and compared to other songs takes longer to fully persuade though as soon as its stalking rhythms and heavily laden riffs seize the ears, attention and appetite are certainly heading in only one direction. Thoughts of Prong enter the mind initially but the track is soon going deeper and into darker places with its intensive weight and abrasively toned riff rabidity. The slower dare one say mellower moments of the song surprise and intrigue if without raising the same appetite as the voraciousness around them but it just accentuates the power of the sinews driving the song and the irresistible climax, a pestilential finale which savages and thrills insatiably.

    Both Give Gravitation to the People and Way to Me take the album to another level, the first a festering scourge of caustic metal with an agitated rhythmic teasing. Primarily invasive heavy unrelenting metal with a touch of early Therapy? seemingly thrown in, it is a hypnotic scourge on the senses with a melodic mystique whispering in its atmosphere whilst its successor is a dance of groove metal and grunge sculpted by again contagious rhythms and that continually irresistible snarling bass. The track swings its muscular hips and heavy handed rhythmic infectiousness with a swagger which only recruits the fullest allegiance to its call. With a progressive flair and imagination to the guitars and their melodic weaves, the song is pure magnetism.

     Through the insistent fire bred stoner heat of Temper is Rising, the classically cast heavy metal suasion of The GOD-survivor, and the smouldering I see the album continues to draw the emotions in deeper even though the last two of the trio simply please rather than fire up any intense reactions. That is left to the exceptional Leave to produce, its opening Middle Eastern kissed flavouring the coaxing leading into an ever expanding flight through incendiary climes and melodic ingenuity. It is a masterful evocation of sound and emotional narrative not forgetting pungent adventure.

    From here on in the album provides more taxing moments, infection wise if still ones making the strongest persuasion. Space Angel (Memitim) is a ten minute musical painting which is excellently crafted and imaginatively coloured but arguably over long whilst Major Tom Waits, with its great gravel clad vocals strikes a union with thoughts but misses out on sparking up the passions. The final pair of offerings though from the almost punk swung rocker Letter to a Young One and the doom flavoured furnace of stoner tempting and heavy riffery, The Everlasting Circle of Infinity provide an addictively exciting conclusion to the release.

    With just a couple of lulls come sparkless moments, D:REI is a richly rewarding, ear feasting slab of metallically framed space/melodic rock with plenty more besides, and Black Space Riders a new pleasure, certainly for us, to greedily indulge in.

http://www.blackspaceriders.com

9/10

RingMaster 23/01/2014

 Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com