Living in the flames of Vaya

“Her spirit is screaming and blowing on the stage. She is the drums and her soul rises up through the sacred fire of music.”

This is a line from the Vaya biography on social media which sums up the creative and instinctive roar of the Canadian singer and band, and reason enough to find out more which we recently did with great thanks to the trio…

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

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

Victoria VAYA: Actual VAYA’s members Raphael, Philippe and me have met through this project step by step. First I met “by hazard” Raphaël through a “next door” music shop, when I had just moved into this area. The people talked about him, he is a good drummer so I contacted him. And Philippe joined us when the album was recorded and when we need to build a team for the live shows. I think he just answered to the music call. It was written. Then we are managing the stage from one year sharing the same powerful feeling for the rock music and eclectic colours if it.

RAPHAEL: Hi RingMaster, Victoria VAYA learned that I played the drums from a music store in Gland (CH). One day, she called me to record the first drums of VAYA. I never left since!

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

Victoria VAYA: Yes I was. It was totally different. It was interesting but I was always feeling that is not my all expression in it. It was good experiences for the studio record part than the stage but I felt not complete. Now with VAYA, I really have so much pleasure to express all that animal and mystical energy through sounds and rhythms: it’s magic!

Philippe: Yes, actually I’m involved in 4 different bands: 1 funk, jazz, fusion band, 1 country blues folk band, of course Vaya and I’m starting a new jazz, salsa, samba band with another guitar player and we’re looking for other musicians too. 4 years ago, I played in a Celtic rock band and a blues rock band too. It’s very different than what I played in my former bands and in my actual bands but it’s interesting to combine those different styles and I always try to adapt myself in every situations.

RAPHAEL: I have been involved in many bands before. Now, I mainly focus on VAYA. Meeting other musicians with influences from all over the world has always been a positive and constructive impact on my drums’ play.

What inspired the band name?

Victoria VAYA:  AHAHAH I like this question. GOD? Or the Blow of it. As artists we just receive the flow of ideas around and translating it. So VAYA is the Legend of The White Wolf blowing on Earth. Ameridian people know more than us about the spirit of it but for sure it’s guiding and inspiring VAYA step by step. Something spiritual and for sure human.

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

Victoria VAYA: Specific Idea? I don’t know. We are guided between intuition, talent combined and lot of passion and work time. So our sound is colourful and the most important, authentic.

Do the same things still drive the band when it was fresh-faced and how would you say your sound has evolved over time?

Victoria VAYA: We are “Evolution” by defining human being. We are simply always bounded by sharing our musician souls everywhere in the world.

Philippe: Yes we evolved a lot, first we were more like a metal band, than we changed the style, we use more percussions and now we start by using keyboard and it brings a new sound of the band!

Victoria VAYA: OH VAYA has an interesting evolution and it’s probably why I’m stoked with it. 😀 The first step of the album was done with a French composer, then he has to quit and I have to continue. So arrived a Hungarian composer with a real good classical background and a good rocky spirit and he gave a lot of keys for the arrangements of VAYA tracks album. Then for the next step VAYA needed to find a powerful evolution to go on stage and it’s when VAYA met the volcanic Chilean blood of Sebastian, also with a real good academic background. So I mean VAYA is rich of differences and musicians souls

Philippe: When I was young, I was more inspired by hard-rock, heavy-metal, then I changed, I started listening, studying and playing jazz, after played more blues and now, I play so many kinds of music and I’m back to rock.

RAPHAEL: My drums are now stronger into the groove. I am happy about this, it is really for VAYA!

I have a nice memory of the recording of the first studio album. There was someone who directed the arrangements and told what I had to play. Sometimes, I had no idea what would be the final results! When I listened to this album, I was well surprised!

The live album is more representative of my own sound.

And that movement in sound and anything else has been more organic or deliberate?

Victoria VAYA: We still experienced things. No limits for music, it’s a big playground!

Philippe: Yeah, we always try to experiment new things, new sounds, new songs, new ideas, it depends in what mood we are!

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

Victoria VAYA: Poetry of Jim Morrison, visionary as David Bowie, psyche as Jimmy Hendrix, sensitive as Bjork.

Philippe: I always try to adapt myself, to play and compose songs depending of the different styles I play in every band.

Is there a process which generally guides the writing of songs?

Victoria VAYA: So I am actually on the composing roots. Could be change never know, I always send ideas and people catch it for developing it, that’s the sharing part. No process. Sometimes it’s a drum that will be the first step, sometimes lyrics or a guitar riff or a keyboard song. I am receiving it and managing it to put all together.

Philippe: I think when someone has an idea for a new song, he or she brings it to the band, then we listen to it, we talk about it and then we try to play it together the best we can and everybody’s free to give his own opinion to change something, or to improve it.

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

Victoria VAYA: Everywhere.

Philippe: Sometimes when I’m home and I try to find something good, or when I’m outside, in the street, in the train or wherever, it can happen anytime in any places

Give us some background to your latest release.

Victoria VAYA: WOW, it will take too much time, just listen and discover our double album it will connect you to your deepest part.

How about some insight to the themes and premise behind it and its songs.

Victoria VAYA: Oh my Dear. So the biggest thing who’s giving to you power what is it? The law of Nature :)))))) Then second is: Human experiences/observations. And you do a bridge between them.

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?

Victoria VAYA: Both of it. For sample Biscuit and Friends are born on studio record. The arrangement of My little curl too…So a mix of it.

Philippe: Actually, we went once to a studio to record altogether and now, we’re working on new songs for the next album, so right now if we have ideas for new songs, we record it on our own on the computer.

RAPHAEL: I’d rather prefer to go into the studio prepared to win some time (and some money). Sometimes it could be interesting to develop a song in the studio. The song BLOW is a nice example.

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

Victoria VAYA: Absolutely: it’s being true and powerful for giving a real good travel to you guys! 😉

Philippe: The favourite aspect is when we’re on stage, with a good sound and with an enthusiastic audience, when we all have so much fun!

RAPHAEL: a live show that you will remember. The voice is so powerful, and without any light shows. I am always surprised that the audience is thankful and go back home with a smile.

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

Victoria VAYA: I am always surprised people liked our live show. First in Switzerland where we met each other; the public there is really difficult to “ seduce” with a new way of expressing music; but they liked the spirit of the sacred fire. And such a lovely warm welcome into our last East of Europe tour. It’s growing step by step but because public is really welcome and is clearly a part of our music, VAYA is continuing with them. I would like to take that opportunity to say again thank you for all your encouragements everywhere we have played.

Philippe: It’s really hard for every new band to get known! You have to keep playing as often as possible in many different places. And Yes everything can happen, if you work very hard, if you focus and believe in yourself and the band, great things can happen!

RAPHAEL: I have worked for years in order to meet the good people in the music business to get the trust in my projects. This is paying now.

How has the internet and social media impacted on the band to date? Do you see it ultimately as a negative or positive?

Victoria VAYA: So Raphael is probably the right person to answer to that question

Philippe: Sometimes things go right and sometimes wrong, it’s not easy!

RAPHAEL: One day, I put the band on Instagram and someone discovered us from Canada. Zolla Productions is now in charge of our booking in Canada. It takes a lot of time to manage the social media, but I think this is essential nowadays to show people the development of VAYA.

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

Victoria VAYA: Come and share the sacred fire with us. VAYA VAYA.

Thank you Ringmaster!

Vaya are:

Victoria VAYA: songs writer, singer, drums and keyboard

Philippe: guitar and bass

Raphaël: Drums &Percussions

https://www.facebook.com/VAYA.Official/   https://www.vaya-official.com https://twitter.com/VAYA_official

Pete RingMaster 07/12/2018

Copyright RingMaster: MyFreeCopyright

The Great Sabatini – Goodbye Audio

Pic by DAVE LEVITT

Four years on from their psyche ravaging third album, Dog Years, Canadian noise sludgers The Great Sabatini return with another maelstrom of noise bred dissonance which, to continue a trend set from their first releases, is their most irresistible trespass to date. Goodbye Audio is around thirty five minutes of sonic abrasion as unpredictable creatively as it is expectantly striking; an invasion of raw and toxic noise intent on caustic seduction.

The Montreal quartet of Steve, Sean , Rob, and Joey Sabatini have in many ways continued exploring the less destructive but deviously manipulative essences of its predecessor with Goodbye Audio but equally the new encounter again openly embraces the ravenously raw ferocity and bedlamic seeds of their sound exposed from day one. It makes for a release which tempts, seduces, and flirts with the senses and imagination as at the same time it marauds, pillages, and corrodes them.

The album opens up with recent single Still Life With Maggots, instantly descending on ears with a sonic and rhythmic harassment before taking a momentary breath and repeating the assault with the causticity of raw throated vocals enrolled. Melodic taunts and imposing tenacity also add to the short but evolving landscape of the song, that unpredictability swiftly fingering the imagination and igniting an admittedly already in place appetite for The Great Sabatini adventure set through previous escapades.

As next track, Dog Years quickly confirms this is a new psyche twisting caper with the band though but an exploration unafraid to hint at possible inspirations as the likes of Melvins, Unsane, and Sofy Major come to mind at certain moments across the whole of Goodbye Audio. The second song is an immediate bestial infringement, its carnal instincts fuelling sound and voice alongside intent as it crawls over the senses. Sludge metal and noise punk provide smog of irritability and raw tension but again if with less openness there is an underlying incalculable adventure which teases before exposing its majesty in the outstanding Strip Mall or, The Pursuit Of Crappiness Parts 1-4. The track is superb, from its initial hip manipulating flirtation breaking open a fissure of thick prowling malevolence veined with toxic grooving, that in turn twisting into corruptive punk ‘n’ roll rebellion before finding a quickly corrupted paradise.

You’re Gonna Die (Unsatisfied) stalks years and thoughts next, the guitar again inviting and taunting with its riffs as rhythms stroll and fly through the skulking throaty bass and swinging sticks. It is a maelstrom of threat and ferocity with the most frenetic prowl while Tax Season In Dreamland provides a feral punk tango exposing scars and lust with equal creative savagery. Its moments of emotionally hazed tranquillity are just as imposing stirring up emotive reflections as potent as the physical reactions its uproar provokes.

Through the shadow draped increasingly contaminated celestial breath of Brute Cortege and the intimidatingly mercurial fourteen minute emotional wilderness of Hand Of Unmaking, the album is brought to a mighty close; both tracks a provocation of body, spirit and thought with the latter a complete trial and adventure of its very own to hungrily immerse in.

We are not afraid to say that The Great Sabatini has been one of our favourite bands for a long time but even that usual readymade submission to their adventures was taken aback by the thrills and spills of Goodbye Audio. If noise annoys run for cover as the Canadians have it down to a fine raw art.

Goodbye Audio is out now on vinyl from No List Records, Ancient Temple Records and No Why Records with a cassette version featuring exclusive bonus track Drain The Swamp available from Pink Lemonade. Head over to https://thegreatsabatini.bandcamp.com/album/goodbye-audio for digital release and more…

 http://thegreatsabatini.com   https://facebook.com/thegreatsabatini   https://twitter.com/greatsabatini

Pete RingMaster 01/12/2018

Copyright RingMaster: MyFreeCopyright

The Classy Wrecks – Bedrocksteady

 

If you are looking to get the feel good factor whilst giving body, spirit and soul a good work out then we suggest the debut album from Canadian outfit The Classy Wrecks. A collection of ska/rocksteady bred tracks, Bedrocksteady effortlessly had the body swinging and pleasure flowing from its energising first listen proving itself a tonic for any dull day.

Hailing from Toronto, The Classy Wrecks was formed in 2016 and quickly had ears and attention on board with the release of their first EP, Songs for the Extinct, the release seeing some of its tracks featured on radio stations around the globe. This led to the quintet of Daniel Mager, Bobby Shaw, Ian Herold, Roy Zada, and Alex Rodriguez signing with Trouble Town Records last year who released the Sociopath EP earlier this year and now the rousing Bedrocksteady.

A boisterous blend of ska, rocksteady, and reggae, the band’s sound makes for a proposition both familiar and fresh, an incitement persistently leading hips and feet astray with lusty endeavour as proven within an album which swiftly got under the skin and into the bones. Bedrocksteady opens with In the Evening and instantly the party is in full swing, the song a quickstep of ska flirtation and rhythmic temptation. Featuring the guest vocals of Cassondra Marie, the track strolls along with a pop fuelled swagger wrapped in a whiff of The Toasters. Vocally magnetic and musically manipulative, the track kicks the album off to a great start but within moments gets eclipsed.

The following One Drop Blues teases with its initial jangle, brass flames swiftly warming its lure as a Specials like hue breezes through ears. Its own lively sway soon seduced the same from the body, the track one of those where instincts to move take over, inclinations on constant alert across the album and especially next up If I Were to Tell You. The best track on the album, it has an eighties indie pop colouring entangled in its modern ska punk antics; a collusion of flavours which caught the imagination and appetite full-on with increasing tenacity.

Across the boozy pop romping of Superman (Is Going to Hell) and Keep Your Head Up Girl with its sultry saunter, album and captivation became further entangled; guitar jangles and brass flames alongside pulsating rhythms seductive enterprise so easy to succumb to with pleasure and eager motion and in full swing again with the rockier Time Moves On.

Across the release there is a hint of old school rockabilly to the fun, the last track teasing as too its successor, Little Baby Blues, especially when making its entrance. Again there is no escaping the almost devious wiles of its swing and sounds, the body naturally swinging to its canter before Northern Reggae springs its ska and melodic fervour from the speakers to induce a zestfully bouncing body.

Bedrocksteady finishes with firstly the Hub City Stompers like Sociopath, another of the album’s major highlights, and lastly the unscrupulous instrumental carnival that is Does Anyone Have a Patch Chord where even a graveyard would be pulsating to its kinetic alchemy.

They provide a fine end to a release which seems to become more tempting and enslaving by the listen. The Classy Wrecks have already made a potent mark across Ontario and beyond, more treats like this and a far broader landscape will soon be swinging to their musical manoeuvres.

Bedrocksteady is out now via Trouble Town Records across most stores and @ https://theclassywrecks.bandcamp.com/

https://www.facebook.com/TheClassyWrecks/  https://twitter.com/theclassywrecks

Pete RingMaster 15/11/2018

Copyright RingMaster: MyFreeCopyright

Hitman – The Offering: Side 1

With their sights unerringly on giving heavy rock and metal fans a rousing sound to erupt with, Canada’s Hitman release their third EP in the shape of The Offering: Side 1. With Side 2 scheduled for release next year, the first four track encounter is an attention grabbing slab of stoner metal ferocity blended with classic and fresh essences of rock and metal. It is a mixture which has a familiarity as potent as the individuality it breeds and most of all a concoction which incites thick enjoyment as neck muscles keeps busy and the body bounces.

Hailing out of Halifax, Nova Scotia, Hitman emerged in 2011 and has earned a fine reputation for their sound, releases, and a voracious live presence.  The band was the brainchild of drummer Sylvain Coderre who linked up with long-time friend and vocalist Jordan Rose initially before the duo were joined by bassist Andrew Coutts. Subsequently the line-up was completed by guitarist Corey Norman. 2013 saw the release of debut EP, Whiskey Downfall; its successor, The Preacher, dropping the following year and sparking even greater awareness and praise of the band with a re-release in 2015. All the while gigs and festival appearances escalated their reputation; headlining the Maritime Metal and Hard Rock Fest in Nova Scotia and playing the Warped Tour in New York in 2016 major highlights. Now the band is aiming for broader attention with The Offering; intent easy to see breeding success.

 Their inspirations are said to include the likes of Black Sabbath, Corrosion of Conformity, Clutch, Pantera, and Down; influences you could maybe guess listening to the new EP. They are spices though which adds to its potency rather than defusing its individuality. You can debate whether it makes for a sound which is unique enough to make a truly major impact but as release opener Curtain Call proves it all makes for one seriously appetising proposal commanding attention. The first track initially unleashes a defined rally of beats which swiftly sparks grooved tendrils and rapacious riffs aligned to a great bass grumble. There is equally a grainy growl to the vocals of Rose which in turn ignites an even more potent snarl to the already captivating proposition. Short but a sweet snare of rock ‘’n’ roll with a sludge hued spicing to its stoner liquor, the track quickly and increasingly had ears and appetite gripped

There is no dismissing those Pantera/Down essences to the track though in some ways its heavy rock drawl reminds of now demised Northern Irish band Triggerman while the following Under The Weight openly wears its Sabbath influence especially when it makes its punchy entrance, rich riffs to the fore. Intoxicating grooves are swiftly woven as beats land with creative zeal, the track a magnetic web of enterprise where maybe surprises are understated but the freshness of sonic and melodic endeavour is all 80% proof fresh.

Next up, Nero is grooved entangled rock ‘n’ roll also proving very easy to be hooked upon, the track an inescapable lure of flaming guitar, bass predation, and vocal enticement. Its blues lining and sonic sighs add sonic firewater to magnetic rhythmic temptation, tempting escalated by the smouldering grizzled grouch of the bass and Coderre’s irrepressible exploits.

Enchanted Wizard/ Hail The Outro bring things to a close, its wiry tendrils leading to a hellacious outcry before once more grooves simply entwine and seduce ears. Classic metal instincts dance on the senses before the band springs a stoner bred canter, all the while embracing and evolving things with those initial essences and perpetually lighting up the imagination and the intensity of the pleasure found in the exhilarating tapestry.

It maybe only four tracks but side 1 of The Offering is a rich and thick morsel of rock ‘n’ roll. It may not be overtly unique but it is mightily damn good and we for one always have a hankering for that kind of sonic intoxicant.

The Offering: Side 1 is out now, available @ https://hitmanhalifax.bandcamp.com/

https://www.facebook.com/Hitmantheband   http://www.twitter.com/hitmanhalifax

 Pete RingMaster 24/09/2018

Copyright RingMaster: MyFreeCopyright

K-Man & The 45s – Self Titled

Pic DannyDonnovan @bucketlistmr

This month sees the new romping stomping album from Canadian outfit K-Man & The 45s uncaged, a release which had the body bouncing and spirit roaring like a teenage boy after his first sexual adventure. The band creates a contagious proposition from a fusion of ska and rockabilly spiced classic rock ‘n’ roll with plenty more involved, a recipe providing their finest feast of sound yet within their self-titled full-length.

Hailing from Montreal, K-Man & The 45s has been a constant and acclaimed presence on the Canadian music scene; their records luring keen praise and support and live presence just as rich plaudits and a matching reputation. The band has shared stages with the likes of The Slackers, Big D and The Kids Table, The Satellites, The Original Wailers , The Planet Smashers, The Brains and so many more as well as graced and ignite a host of festivals across their homeland over the years. It is easy to suggest that their new album is their greatest moment yet and even easier to eagerly push it towards the attention of ska, punk and rock ‘n’ roll fans alike with the band embracing the inspirations of bands such as The Specials, The Beat, The Ramones, and The Cramps among their influences though it is fair to say K-Man and co have successfully nurtured their own individual character of sound as in thick evidence across the new record now getting its deserved push via Stomp Records.

Opener They Gotta Know had us hooked with its first breath, a classic rock ‘n roll guitar lure entangling ears and appetite before the song leaps into its punk rock swing. The jangle of Kman’s guitar flirts as the beats of Brian Smith arouse against the melodic dance of an organ; a potent enticement only enhanced by the dancing flames of Josh Michaud’s trombone and the trumpet of Seb Fournier. Bouncing along to the track’s body and stroll is inevitable, we can testify to that, as the song gets the album off to a rousing start.

The following Poppy’s Back In Town is just as manipulative, its rowdier rock colluding with the animated canter of keys and guitar with, as in its predecessor and every song, Kman’s vocal mischief leading the fun. Lively melodies and lustful hooks line its boisterous stroll before I Don’t Mind wheels in with an instantly appealing breeze easily reminding of The Beat. The band soon adds its own distinct colour to the song, adding a vocal backing in which participation is simply unavoidable. Smith’s clipping beats just get under the skin too, the brass n turn into the passions as the track lustily manipulates body and spirit.

Rudy Don’t Smoke equally had the body dangling from its virulent strands of sound and enterprise; its ska and punk collusion a devilish puppeteer with a glint in the eye of its imagination before Piece Of The Action bursts in with drama and intrigue which would not be out of place in the theme to a sixties TV spy/private detective show. With a Department S-esque hue to its theatre, the song is more than a match for the lofty heights of its predecessors as too the cosmic adventure of Space Thriller. Bringing the atmospheric prowess of The Specials into a surf rock spiced ska saunter the track has the same level of drama and intimation as the last song, its story a sultry seduction of lust and danger descriptively shaped by brass led enterprise.

Through the punk ‘n’ roll/ska bred stomp of Road Rage Randy and the fifties rock ‘n’ roll seeded ska spin of This Moment, pleasure only escalates with the album, each adding a new shade of sound and mischief to its party before a great cover of The Kingpins’ Party in Ja joins the fun. Giving its reggae nurtured catchiness a Ruts like dub makeover the track pulsates on the senses as again the body is lost to an instinctive bounce.

Next up is Johnny Thumbs a track which maybe did not inflame the passions as others around it but still made for the most enjoyable playmate before the outstanding Far Away Eyes Come Home simply became a love affair with ears. From its revolving hooks and melodic enticement to vocal and rhythmic invitation, the song devoured inhibitions.

The album finishes with another gem in What’s Inside A Girl, a glorious garage punk and rockabilly spun tease with a healthy psychobilly and surf rock glaze led by yet another delicious bassline among so many across the album from Frankie amidst the perpetual rhythmic incitement of Smith. The song epitomises the craft, sound, and contagious exploits of K-Man & The 45s perfectly whilst at the same time sealing its best track moment though that is debated with each and every listen.

K-Man & The 45s is a band which deserves the biggest attention within the ska, punk, and simply great rock ‘n’ roll world; all the reasons are in their new album so no hanging around go have fun.

Recently the sad news that drummer Brian Smith has terminal pancreatic cancer was announced and a Go Fund Me page set up to support him and his family. To help out this great musician and friend to so many go to https://gofundme.com/support-brian-our-brother

The K-Man & The 45s album is out digitally and on vinyl now @ https://k-manthe45s.bandcamp.com/album/k-man-the-45s

 https://www.facebook.com/kman45/   https://twitter.com/kmanandthe45s

Pete RingMaster 14/08/2018

Copyright RingMaster: MyFreeCopyright

Infrared – Saviours

Pic By Gord Weber

Recent times have seen a growing wealth of eighties bred metal bands rising from their assumed demise or slumber. Thrash metal especially seems to have that power of resurrection. Some of those bands are venturing into new areas, some simply continuing what they did best back in the day which lured potent attention, success and reputation. Infrared sits in the second camp, their love and hunger for classic thrash openly inspired by contemporarys like the Big 4 as well as the influence of Sabbath, Maiden and the likes. As old school thrash never dates or tires in our ears, a resourcefully woven and imaginatively delivered encounter of said genre has a welcoming place and the new album from the Canadians is that and more.

Hailing from Ottawa, Infrared grew from local legends to stirring real attention within the national metal scene. Their sound was and is rooted in 70s and early 80s metal, bands such as Accept, Scorpions, and Judas Priest alongside those already mentioned inspirations on the quartet. Their rise came to a halt as life took members down different paths until 2014 saw three of the original four reuniting; vocalist/guitarist Armin Kamal, guitarist Kirk Gidley, and drummer Alain Groulx coming together again. Original bassist Shawn Thompson had since relocated to Miami so Mike Forbes was brought in to complete the line-up. The foursome then released debut album No Peace which featured songs written all those years ago. Now successor Saviours brings eight brand new tracks to ears, songs which swiftly grabbed ours as themes of “demagogues, dictators, and religious leaders professing to be the saviours of the world but instead inflict the most brutal attacks on humanity imaginable” roared.

Saviours erupts into life with Project Karma its opening magnetic yet portentous lure, one becoming even predacious as it prowls the senses. A delicious groove spears it’s stalking, a swinging proposal aflame with sonic enterprise and rhythmic incitement. Its initial lengthy instrumental is irresistible and only accentuated once the warrior tones of Kamal backed by the band head the song’s even fuller assault. Familiar and fresh hues collude in its web, imagination blossoming across its fiery body as a tremendous start to Saviours is set.

That predatory air retains its presence within The Demagogue, the following song also a court of threat and contagion which almost swaggers around ears as the guitars spin their sonic threads and rhythms pounce. Like a fusion of bands like Testament and Slayer, it hits the spot; increasing its temptation as calmer climes are ventured and melodic intimation embraced. It’s subsequent rising heat and intensity brings it back to its original sonic inference before Saviour explores an even darker trespass of menace and seduction. As we suggested, Infrared is not set on reinventing the wheel of thrash metal or even their core sound but there is a bold lining of adventure and imagination which makes their music and especially this track stand out.

Through the melodic and melancholic elegance to tempestuous roar of The Fallen and the voracious charge of All In Favour the album just hit the spot. Across both tracks the vocals of Kamal added more incitement to an appetite already happily feasting on the individual prowess and enterprise of the band, Forbes’ bass especially dark liquor stirring our taste buds. They are all attributes just as persuasive within the predatory They Kill For Gods and Father of Lies with its intensive atmosphere over increasingly manic and ferocious entrapment around demonic character. The most adventurous of all the tracks it simply enthralled.

The album finishes off with Genocide Convention, a trash dervish of sound and aggression with spiralling sonic wires and senses blistering turbulence. Our favourite track it brings the thoroughly and increasingly enjoyable release to a mighty close.

Uniqueness might be a rarity compared to familiarity within Saviours but from an already established base it breeds fresh adventure and captivation. The album lit our pleasure from start to finish and Infrared is further proof that very good things can only get better with age.

Saviours is out now through iTunes and other stores as well as @ https://infraredmetal.bandcamp.com

http://infraredmetal.ca   https://www.facebook.com/infraredmetal   https://twitter.com/infraredmetal

Pete RingMaster 27/05/2018

Copyright RingMaster: MyFreeCopyright

The Written Years – Lost In You Now

It has been a month or two short of four years since we checked out the self-titled debut album from Canadian band The Written Years.  It was a masterful persuasion of open and smouldering temptation cast from an original blend of post and alternative rock with folk and melodic inspirations, what the band called “Winter Music”. At the time we were very confidence that the world would be hearing a great deal of the band over coming years. Since then they have been conspicuous by their silence, literally in the case of one of their members. Now they are back with new single Lost In You Now, a song which shows the years have been well spent on further honing the band’s sound and its compelling melodic temptation.

After the acclaim luring release of their album, the Vancouver based quartet were soon working on new songs for its successor. It was a creative fire and eagerness though soon halted when vocalist/ guitarist and primary songwriter Wade Ouellet experienced a sudden and unexplained speech loss. It caused him “to refrain from speaking in near-isolation for months “ and the band to go on hold; a hiatus compounded by guitarist Alex Richardson and drummer Kane Enders both independently experiencing sudden and dramatic losses of immediate family members. As people and band recovered, a re-assessment of those already written tracks saw songs originally centred on “coming-of-age stories” became darker more intimate explorations of “suburbia, infatuation, and forbidden love.” The Written Years now have their second album poised for a Spring release in 2018 and you can anticipate that it will be richly hued with the trauma of the past years; indeed its opening two lines echo that time…”I wish I could find life inside the fire / I wish I could sing, though my voice has died.

New single Lost In You Now is a potent teaser for the album, the song as the full-length produced by Ryan Worsley (Dear Rouge, Said The Whale) with the band. It opens with the tender caress of a synth, its melancholic grace soon nurturing a melodic stroll with darker rhythms. Ouellet’s voice similarly has a low-spirited breath, his tones as impressive and potent as ever with harmonies just as elegant around his open heart. The song continues to saunter with an infectious energy and character, its air carrying a great eighties new wave/pop breeze which colludes sublimely with the track’s fresh indie enterprise cast by the imagination of the foursome.

It may have been a time which you can imagined seriously threatened the future of the band but The Written Years has come back, going by Lost In You Now, even stronger and with a new aspect to their creativity which makes it very easy to eagerly anticipate their forthcoming album.

Also keep your eyes peeled for a great video accompanying Lost In You Now featuring Kevin, a guy the band met at East Vancouver’s Waldorf Hotel after being captivated by the individual passion and energy in his dancing.

Lost In You Now is out now through all online retailers and streaming services and @ http://spoti.fi/2AZA7e9

https://www.facebook.com/writtenyears    https://twitter.com/writtenyears    https://writtenyears.bandcamp.com/

Pete RingMaster 13/12/2017

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