Lady Lynch – Self Titled

Haunting to the point of being disturbing, sombrely magnetic to the edge of invasive seduction, the self-titled debut album from Austria quartet, Lady Lynch, is quite simply one of the year’s essential explorations especially if your appetite has a hunger for shadow fuelled, dangerously elegant post punk/no wave woven temptation.

Vienna hailing, Lady Lynch consists of Theresa Adamski, Philipp Forthuber, Lina Gaertner, and Christian Sundl. There is little more background wise we can tell you about the band but musically and especially with their new album, a flood of praise carrying words is unstoppable. Individual in character and imagination, their music is something akin to a fusion of The Passions, Au-Pairs, and Lydia Lunch trapped within the band’s own unique web of post punk/no wave taking in further new wave and punk hues. Across ten tracks it provides an inescapably hypnotic lure of brooding intimation and gloom cast atmospherics around riveting vocals as tendrils of sound unite their skilled monotony to seduce ears and imagination. With every listen it has become more impressive and irresistible, addiction rising by their side.

The album opens with Fundamental Friend Dependability. Rising from a sonic squall, the track swiftly drops into an espionage coated stroll, firm rhythms almost taunting ears as vocals and a cold melody entice. It took barely a rush of seconds before the song got under the skin, its sober hooks and participation inciting chorus welcome trespasses alongside the great vocals. A superb start, the track as many across the album suddenly comes to an end, almost as if the release has got bored waiting to uncage its next thrilling incitement but a conclusion which only adds to the drama and tension.

The following Cymbals initially chips away at the senses before sauntering through ears with a gnarly bordering on predatory bassline alongside steady but imposing beats. Tenebrific in many ways, darkly radiant in plenty more, the song matched its predecessor in rapacious persuasion before Schatten Island casts its black and white hued intimation. Drums again provide a bold and influential backdrop, the bass the dark drama while guitar and vocals spring cinematic adventure; it all uniting in a Gang Of Four meets Bauhaus like compulsion.

Through the metronomic swing of Ranciere, a hip manipulator with moments of corroded discord, and the chilling melodic twilight of Noon, captivation only tightened its hold though both songs are soon rivalled in magnificence by the Crispy Ambulance-esque City Falls and all are in turn eclipsed by the Athletico Spizz 80/Pylon flavoured Actors and Networks where rhythms again play the body like a puppeteer as voice and guitar toy with the imagination; it all manna for ears and appetite.

A whiff of Cauldronated accompanies the mechanised corruption that is Tiny Machine while Stairs carrying a similar scent is an escalator of passing shadows and dark contemplation. Both tracks just enthralled as too did closing track Hommage. It is the darkest moment on the album and it’s most beguiling, beauty soaking every unsettled silhouette and slim but richly evocative contour.

Within one listen we were fully ensnared by the album’s caliginous temptation and devious enterprise, its seductive disquiet just as irresistible as its invasion of the senses and thoughts. One word sums it all up, Stunning!

The Lady Lynch album is out now via Cut Surface digitally and on Ltd Ed vinyl @

Pete RingMaster 01/11/2018

Copyright RingMaster: MyFreeCopyright

Bloody Knives – I Will Cut Your Heart Out For This


The tone of its title, I Will Cut Your Heart Out For This, pretty much sets you up for the emotional trespass and sonic attitude of the new album from Texan trio Bloody Knives. It is a dark invasive suggestion echoed throughout the eight tracks’ scarred nihilistic hearts and a sound which crawls over and smothers the senses. Equally, it comes fuelled by melancholy thicker than Victorian London fog which at times is just as oppressive and invasively enveloping as the caustically natured sounds and as compelling as the raw beauty also invading ear and imagination.

Consisting of Preston Maddox (bass, voice, keyboards, samples, programming), Jake McCown (drums, noise, programming, art), and Jack O’Hara Harris (guitars, noise), Bloody Knives creates soundscapes which immerses the imagination in the darkest corners of life and emotion, into the harshest shadows within fiercest betrayals and deeds. Trying to accurately pin down their sound, lyrically and emotionally, is like trying to grab air, music and album simply a dense kaleidoscope of flavours and thought grasping dramas. The trio certainly find the coldest and rawest aspects of styles like dream pop, shoegaze, and psych pop to weave into intoxicating tempests also shaped by essences of post punk and industrially honed ethereal droning. It is a mesmeric and disturbing mix stealing attention instantly within the opener of the Maddox and Ian Rundell (Dead Space, Ghetto Ghouls, Xetas) recorded and Adam Stilson (New Canyons, Airiel, The March Violets) mixed and mastered I Will Cut Your Heart Out For This.

The album opens with Cystic, an instantly blistering nagging on the senses as guitars and keys sizzle venomously around the infectious stroll of the bass and Maddox’s morosely inviting and solemnly mellow vocals. Like a mix of My Bloody Valentine, The Jesus and Mary Chain, and Crispy Ambulance yet, as all tracks, something uniquely Bloody Knives, the song bites, grumbles, and entices with an inescapable virulence before it evolves into the following Blood Turns Cold. There is an even darker, almost desperation hued emotion and air to the second track, its character uncompromising and ravenous as icy melodies and melancholic vocals lace the transfixing drone of the encounter.

art_RingMasterReviewA bolder, antagonistic post punk undercurrent runs through the next up Reflection Lies, the bass leading those magnetic textures within another imagination sparking smog of sonic and melodic dissonance cast by guitar and synth, while Black Hole swings and rumbles with celestial and almost carnivorous washes of sound and emotion, each evolving and expanding in the ears with every passing minute. Both tracks majorly beguile and intimidate in varying ways and each ignites the senses, but the second of the two with its punk growl and techno flirtation within ravenous atmospheric explorations is especially irresistible.

Through the plaintive tone and sonic trespass of Static, where a great catchy Leitmotive like nagging emerges, and the dark, deranged almost funereal waltz of the instrumental —-, ears and thoughts continue to be potently challenged and eagerly involved whilst Poison Halo offers an even fiercer  wall of aural and emotional density. As ever the raw and suffocating hues of sound are expertly tempered by the coldly engaging delivery of Maddox and the often seemingly toxic melodies, the bass again sparking the contagiousness underpinning every song in one way or another.

Finishing with Buried Alive, a captivating assault of sonic and emotional discordance equipped with keenly edged scythes of guitars, psyche invading keys, and that ever successful rousing bass tenacity not forgetting the fiercely persuasive vocals, I Will Cut Your Heart Out For This is a thrilling confrontation and adventure. It takes the listener to new, invasive places in body and emotion yet rewards with spirit arousing challenges. With only the drums having their bite dulled by the swamp of sound around them as a minute niggle, I Will Cut Your Heart Out For This is simply one easy recommendation.

I Will Cut Your Heart Out For This is out now via Saint Marie Records @ available digitally and on Vinyl limited to 500 (200 Black and 300 Ox blood / Electric Blue)

Pete Ringmaster 16/05/2016

Copyright RingMaster: MyFreeCopyright

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Slow Riot – Cathedral


artwork_RingMaster Review

Eighties inspired post punk is seemingly on a surge right now, its seeds being blossomed into varied but distinctive incitements of sound and imagination echoing the genre’s origins. One such band making one of the most compelling persuasions is Irish band Slow Riot, a trio from Limerick who recently released an irresistible dark beauty in the shape of the Cathedral EP. The four track release is an evocation of shadows and solemn emotions cast in a creative calling on the imagination, but one equally bred with epic overtones and an emotive intimacy reflective of something found within its title’s landscape.

Formed in 2013, the threesome of vocalist/bassist Niall Clancy, drummer Paul Cosgrave, and guitarist Aaron Duff recorded Cathedral with producer Kevin Vanbergen (The Pixies, The Maccabees, Dinosaur Pile-Up, The La’s, Biffy Clyro) at the Manic Street Preachers’ Faster studio in Cardiff; additional assistance coming from in-house engineer Loz Williams and the Manics’ James Dean Bradfield through the offering of use of equipment and instruments. From the off the release stirs the senses and imagination but equally the physical body is also gripped by the forcibly rousing prowess and thick insistence of sound.

SR_RingMaster Review   The EP opens with the band’s new single Demons, the lone beats of Cosgrave luring in attention and appetite with an anthemic coaxing. The melancholic charm of Duff’s guitar is soon involving an emotive melody too, it laying evocatively over the persistent arousal of rhythms now also equipped with the solemn resonance of Clancy’s bass. His dour yet alluring vocals are close behind as the song brews more of a Joy Division meets Interpol like croon for a formidable captivation only enhanced by a more fiery nature emerging in the guitar and a flowing crystalline elegance spread by keys. Each element evolves new hues to the slim but varied layers as the track continues, it all building up into a strongly potent beginning to Cathedral.

It is a start for personal tastes quickly eclipsed by the next pair of songs though, City Of Culture the first up. A great scuzzy mix of guitar and bass aligned to boisterous beats sets song and ears off in eager union, a sparkling melody soon adding to the enticement as Clancy’s vocals’ twist around on the riveting web spun by all the already contagious elements. There is a touch of The Sound to the song but more so bands like Scars and Crispy Ambulance with the discordant clang of The Fire Engines in there for good measure. Ultimately though, these are spices only bolstering a virulent tempting unique to Slow Riot.

Just as stunning is the following Adele, a transfixing slice of dark balladry becoming increasingly infectious and addictive as sonic seduction merges with repetitious mastery around the thick potency of the vocals. A revolving incitement set somewhere between My Bloody Valentine, The Slow Readers Club, and Artery, the glorious track reveals not only more of the craft in songwriting and delivery of the band but also the depth of their sound’s imagination and diversity.

Cooper’s Dream brews a character more similar to the Joy Division-esque embrace of Demons, but again outshines the excellent start to the EP with its individual weave of sonic expression, haunting lingering hooks, and a just as enjoyably galvanic rhythmic recruitment of eager involvement. As the EP, the track worms under the skin, infects the psych leaving ingrained lures and rapture in its wake to ensure a perpetual return to its nest of climatic builds and roaring crescendos bound in melancholy entwined restraints is always a lively intent.

The track provides a superb end to a superb release, a full introduction to Slow Riot sowing the seeds to thick anticipation of their next move and lusty enjoyment in their first.

The Cathedral EP is out now via Straight Lines Are Fine @

Pete RingMaster 25/11/2015

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Dollhouse – Dawning and Rolling Around/Laudanum

Dollhouse_RingMaster Review

Allow us to introduce you to UK band Dollhouse, a quartet from Stroud with a sound that whilst still brewing and evolving is already showing the potential of becoming something special. To be fair, as the pair of newer songs we are looking at show, there is a compelling imagination and potency to the band’s music already. It is a sound bred from potent essences from Krautrock and garage rock but again on the evidence of Dawning and Rolling Around and Laudanum alone, the prime heart of their creativity is post punk.

There is little background we can offer about Dollhouse, except that the band consists of vocalist Zak Thomas-Akoo, guitarist/backing vocalist Will Ainsley, bassist Nick Browning, and drummer Tom Stevens. Inspirations to the band include the likes of Massive Attack, Groove Armada, Portishead, Can, Hot Chip, and Joy Division, the latter and similar genre influences the most open flavouring to certainly this riveting pair of songs, though a look at the band’s SoundCloud account sees those other spices woven into a handful of diversely sounding songs.

   Dawning and Rolling Around quickly grips ears and our ever ready appetite for post punk with its opening resonance of beats aligned to a brooding bass lure. As a slim and potent sonic lure of guitar joins the plain but effective vocals, there is no escaping the feel of Ian Curtis and co, a swiftly enjoyable haunting which only increases its grip as rhythms twist and the guitar moves through its shades of melodic colour and emotive expression. At the same time an infectious swing grows, emerging halfway with an Artery meets Crispy Ambulance like temptation, hooks and bass bait still undeterred in their creation of aural addiction. The track is outstanding, the recommended doorway into the emerging adventure of Dollhouse, though Laudanum is strong on the art of tempting too.

Again beats and guitar make an early beckoning but with them comes a slightly warmer and alluring air which further opens up as a catchy hook lined stroll breaks out along with a less intensive, compared to the other track, flow and tone of the vocals. Keys suggest as they caress the imagination with mellow vocals and restrained but potent rhythms fuelling the sonic web increasingly wrapping ears and appetite. Like a chilled mix of Modern Eon, The Associates, and OMD, the song enthrals and intrigues, and though it takes longer to ignite the same level of greed in body and thoughts as Dawning and Rolling Around, it too becomes a lingering slice of thorough enjoyment.

It is only the beginning for Dollhouse, and as their SoundCloud shows there is plenty of experimentation going on as the band develops into their own sound. With more propositions like this pair of tracks though, they are certainly heading towards stirring up strong attention with a following to match, for sure amongst post punk fans.

Explore the Dollhouse sound @

Pete RingMaster 11/11/2015

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Jubilee Courts – Go From the Blue Light into the Moonlight


As shoegaze seems to be pushing its boundaries in sound and intensity, UK band Jubilee Courts add their own striking and tantalising slice of sonic climate with the Go From the Blue Light into the Moonlight EP. Holding five tracks which are as sultry as they are invasively seductive, the release brings a delicious merger of eighties post punk and psychedelically fuelled shoegaze with an incendiary and modern sonic rapacity. It makes for a proposition which carries a potently inciting familiarity but equally a uniquely fresh and provocative enticement.

Hailing from Northampton, Jubilee Courts was formed in 2011 by vocalist/guitarist Josh Falconer, guitarist Matt Bradstreet, and bassist/vocalist Harry Boyde. Soon building up a potent reputation with their live presence around their hometown and surrounding areas, the current line-up was completed with the addition of drummer Frank Robertson-Marriott. Drawing on inspirations from the likes of My Bloody Valentine, The Jesus and Mary Chain, Bauhaus, and Joy Division musically, T S Elliott and Delmore Schwartz lyrically, the band laid down a wider stretching lure with the Stalkers Records released single Room with a View at the end of 2013. Mixed by Temples frontman James Bagshaw, the track pushed the band into a fuller spotlight which Go From the Blue Light into the Moonlight is sure to intensify. The band’s first EP is a thick and hazy adventure in breath and sound yet one which infuses at times a minimalistic intimacy and seductive romance to its ambient and melodic explorations, turning the imagination on its head whilst nagging with a monotone and humdrum persistence. Each song is an interpretation of life, an emotional and mental flirtation from which thoughts and senses find healthy inspiration.

City Flow brings the release to life, its initial sonic wind an attention taking intro from which a lone guitar begins teasing thoughts. Its melodic lead is swiftly accompanied by the dark shadows of the bass and the discord kissed vocals of Jubilee-Courts1-450x450Falconer. It is a raw and haunted enticement which instantly brings thoughts of The Jesus and Mary Chain and early Cure as the song wraps its evocative texture and sonic suggestion around the senses. Eventually the air and turbulence of the scenery increases, guitars creating a tension soaked flaming across bolder and broader rhythmic rumblings. It is a glorious start matched by the cacophonous beauty of Something Different. The again discord fuelled tempest which brings the song into view enslaves attention and appetite but soon makes way for a melody closely related to that within its predecessor, its niggling beckoning rich and irresistible. It too is only a moment in the journey of the track, a surf rock like stream of warmth and sonic acidity immersing ears in a sultry blaze. The instrumental is pure mesmerism, an inescapable soundscape through which the compelling dark bass lure of Boyde coldly tempers an escalating aural sunspot.

The startling entrance of the album is just as impressively continued by Outside Your House, its opening bait a heavy footed and slightly fuzzy bass prowl which is soon aligned to a percussive stomp and a ridiculously addictive guitar hook. A disorientating dance breaks out within the rhythms soon after, not for the first or last time Jubilee Courts binding a melodic elegance and smoothness with a seemingly disorganised and agitated but skilfully crafted contrast of ideation. There is always a rich essence of My Bloody Valentine to songs but here hints of bands like Birdland and Wire similarly add their suggestive whispers. The track continues to lay tender yet imposing melodic and sonic tendrils around the ears as the bass finds its darkest side yet to spark another wave of hunger for the EP which is matched to a lesser but still rich degree by Under the Sand Again. The song is the cloudiest of all on the release, its smoky air and turbulent weave of sonic trespass an insatiable pressure. Throughout though melodic veining shines pleadingly from within the thick atmosphere whilst vocally Falconer resonates and smoulders with his great unpolished tones. It is a heady mix but eventually clarity does free itself as the song builds to a fiery climax. The song is also one which misses that final spark which brings other tracks to bear so addictively on the passions.

The release saves its best proposal till the end, in the riveting and scintillating shape of Sunday Shift. A surf bred line of sonic irresistibility entwines itself around ears and imagination from its first breath, taking the initial lead as suggestive rhythms and a second strand of melodic toxicity rapidly add their spice. There is also fullness to the still minimalistic intent of the track which bounds across the senses but this time with every aspect finding its own clear voice in the entrancing weave. Providing an enthralling and nostalgic post punk temptation in its chilled hooks and rhythms as well as vocally, the track unveils an aural alchemy which even with its rich eighties flavouring and inspiration is innovative and virulently addictive.

To describe the music of Jubilee Courts thoughts of My Bloody Valentine and The Jesus and Mary Chain, as well as Joy Division are unavoidable but to that essences of The Horrors, Wire, Crispy Ambulance, and Artery come into the mix. The band has though forged a sound and release in Go From the Blue Light into the Moonlight which stands alone in presence as it gives an impressive and thrilling twist to shoegaze.

The Go From the Blue Light into the Moonlight EP is available now.


RingMaster 04/08/22014

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Šut / Big Charmin’ Men: Hladna Soba / Birthday 31 split cd

33. ŠUT - BIG CHARMIN_ MEN split cd ( Hladna Soba - Birthday 31 )  T2, 2012, front

    A release all fans of garage punk/ punk will find more than a fleeting interest in is the split album from two raw and intriguing Serbian bands, Šut and Big Charmin’ Men. The album is a retrospective release from the pair of Svilajnac bands in that it brings together potent moments from their undiscovered careers, beyond their borders anyway. 2000 album Hladna Soba (Cold Room) from Šut (an album from what we can tell was unreleased), consisting of 13 tracks makes up half the release along with an additional three songs from 1998 and is matched in the number of tracks by the 2006 mini album Birthday 31 and an additional eight songs which include covers of tracks from legendary bands from the former Yugoslavia by their compatriots. Released on underground label  T2 (Torpedo Boom), it is a raw and honest collection of sounds and tracks which from start to finish are compelling and enlightening.

Šut was formed in 1993 by Mouse and Pop alongside Voja (bass). Their sound from accounts evolved over the years until 2002 with the band building a strong reputation and fan base for their fiery sounds. A demo was released in 1997 to be followed by the recording of Vetar (The Wind), an also unpublished album from which the three additional songs on this album come from. With a line-up of Mouse (guitar/lead vocals), Voja (guitar/vocals), Darius (bass/vocals), and Dreja (drums/backing vocals) for Hladna Soba, the band has brewed up a tasty mix of garage and post punk for songs which capture the imagination constantly.

The quartet open up the album with an excellent instrumental simply called Intro, a piece of rock n roll fused from punk, garage rock, and a loud whisper of rockabilly neatly moulded into a brief and infectious invitation.  The following Ovih Dana is a boisterous fusion of old school punk and garage punk abrasion which hits the spot with its heavy bass breath and riotous energy and attitude and as with the majority of the songs on the album and all from Šut the lyrics are sung in Serbian but ensure it is not an issue by raising a passion and energy which triggers the primal instincts only punk of any form can touch. The first full song is seeded in punk but from the following Pesak U Satua a post punk vein begins to make its voice heard especially within the best tracks from the band in the magnetic form of Pad, Pucaj, and Predsoblje. The first is a mesh of blustery sonics, harsh snapping drums, and a cold yet incendiary groove. There is an underlying drone to it which is irresistible and within the melodic sonic flames it tempers and compliments the heat of the instrumental elsewhere. Pucaj immediately from its discord dripping groove and scathing riffs reminds of bands like Artery and Crispy Ambulance and offers a cold contagion impossible not to devour eagerly. It is the best track on the whole release though easily equalled by Predsoblje, the song a Joy Division meets Thee Headcoats which again just enthrals and leads limbs in to a chaotic response as does the band for most of their presence on the album.

Big Charmin’ Men sound like their influences are similar to their conspirators but offer a more blues and sixties punk breath to their garage furnace of noise. Consisting of Mihajlo Belolule, and Andreja Vlajic the band began in 2005, recording the eight track mini album which makes up half their contribution here the following year. Their first CD New Life appeared in 2010 to good responses to be followed by Born (Down Somewhere) a year later with the band apparently calling it a day the same year.

The duo start off their part of the release with the challenging attitude of Iskovan Od Bola, a slab of provocative rock n roll which stamps and stomps like a belligerent teenager. Next up the Ramones veined I Dalje Tu is an excellent piece of punk rock whilst the blues fire raging within Ja Sanjam shows the diversity of the band and their open sound. Elevated highlights from the band come through the punk grazing of Jedva Čekas Da Odeš with a great guitar blaze for is climax and the muscular intimidating Dobro Sam, again the songs bringing an accomplished variety from the band. The band take influences from the likes of Majke, Pokvarena Masta, Machine Gun, and Kaoticne Duse, and contribute a few very decent covers including one of the Pokvarena Mašta song Ne Budi Divlja and the Majke track Loš Život featuring the harmonica skills of Sarma. They end their participation on the record with the wonderful Rođen Negde Dole, a blues driven romp of total pleasure with more mesmeric harmonica craft this time from the soulful skills of Knucklehead. It is a delicious brawl of rock n roll and the perfect way to end a fine release.

If punk, garage, and to some extent blues raises strong flickers of passion within than checking out this thoroughly enjoyable release could just make your day.

To find out more about the album and how to get it


RingMaster 08/02/2013

Copyright RingMaster: MyFreeCopyright

Interview with Paile from Beastmilk

A release which ‘…swamps the ear and senses with an unrelenting intensity, a shadowed energetic breath and doom coloured melodic mesmerism’ was how we described the excellent Use Your Deluge EP from Finnish post punk band Beastmilk . The four track release is an outstanding feast of self proclaimed apocalyptic post punk which unrelentingly grabs hold from the very beginning and grips and twists tighter as it consumes the ear persistently. With pleasure we had the chance to find out more about the band and release thanks to bassist Paile taking time out to answer a few questions.

Hi Paile and welcome to The Ringmaster Review

Firstly for those new to the band could you simply introduce yourselves?

Hello, and thank you. If fluids in general feel intriguing to you, our music should be to your liking. Please have a sip and a listen!

We have to ask about the band name, Beastmilk. It inspires many thoughts and images not all healthy haha but what are its seeds?

The contaminated seed is of our fathers and other homosexual men. And one should never belittle the value of taste. All beasts produce liquid substances of varying density and color.

Tell us about the beginning of the band and how you all met?

It was cold, very cold. Much snow. And very dark. Paile wanted to play drums in a band, so Goatspeed invited him to a cellar to play some songs he’d written. They needed a bottom end to it all and called bassist Arino, asking if he’d like to come and play some punk music. Arino showed up, and on that instant, White Stains on Black Tape was recorded. Goatspeed knew Kvohst from before, and the vocals were recorded later that same night when the quartet met each other for the first time.

There is already a strong history musically to the members of the band I believe?

We must all be winners then.

How would you describe your music from the inside?

Inside it’s always throbbing, between the gushes. We try not to get stuck in there too long, one tends to lose perspective that way.

The press release to your new release states the intent of the band was to bring forth music that was a mixture of various acts like The Cure, Misfits, and Dead Kennedys. Listening to your music though one feels there are many more influences and inspirations which have spiced your style and music?

In a clever way we copy other people’s music and disguise it as our own original creation. We are also inspired by female sweat. Licking armpits can be very educating.

Maybe it was our ears but we heard a definite eighties UK post punk flavouring reminding of the likes of Joy Division, Leitmotiv and Crispy Ambulance. Coincidence or do you have a heart for those sounds too?

Our sound is calculated and constructed artificially using advanced machinery. We’ve all stepped outside our comfort zones for this band, and that’s where all the tension and the flavours are coming from.

The release we mentioned is your stunning Use Your Deluge EP, four songs which for us swamps the ear and senses with an unrelenting intensity and doom coloured melodic mesmerism for the fullest aural addiction.

Thank you kindly! We trust in the vibe that seems to arise by itself when the four of us are put in a tiny space for a limited time. There is always present a balance of sceptical curiosity for what the guys will play, and yet the outcome always sounds smashing.

Tell us about the songs on the EP, what inspired them and were they written specifically for the release?

The songs are always written quite quickly, and specifically for the upcoming release. At least Ms. Chapman and A.O. Spare should feel particularly honoured this time.

Do songs emerge in the songwriting from one person or is a full band contribution throughout?

It’s always interesting to listen back to the original demos and drafts of Goatspeed after a song has been recorded in the studio. They appear to go through a natural metamorphosis. The demos usually get their specific feel and direction once Kvohst has written the vocals. Then everything crystallizes when Paile and Arino build up the backbeat.

When reviewing the EP, we talked about the track Children of the Atom Bomb which we loved by the way, as the perfect example of ‘repetition when used right and with thought is irresistible,’ In hindsight though we still know it to be true, we were wondering how you guys think about the repetition comment, if you see the song using that too quite as much as our ears do?

Never thought of it that way. Repetition in thought and in practice is a fine thing.

Use Your Deluge was only released as a 7” vinyl. An old school return we love and endorse but do you think you are restricting yourselves in the spreading of your sounds and presence by no CD release?

We love the sound of vinyl (and cassette). Do people still buy CD’s?

Was this always the intention to do a vinyl physical release?

The vinyl comes with a download code as well. But somehow things tend to exist a little more when they take physical shape, like seed and eggs.

In the studio did the way you were releasing the material make any impact on how you recorded the songs?

Not so much. Red Majesty is quite long in comparison, so it had to be paired with a shorter one.

The songs on the EP have a delicious and powerful raw edge to them leading us to wonder if you recorded them like a live cut.

We’re very quick in the studio. It all comes down to the communication between Goatspeed and Paile. They look each other passionately in the eyes until the tension gets unbearable. That’s when the main arrangements just seem to appear. Then we add the bass and the vocals and some additional overdubs. It’s not live, but we leave a lot of room for spontaneous solutions and unobstructed expression.

Is the release just a teaser for something more substantial in the near future or is there going to be a wait ahead for our impatient ears


I believe you have ‘real’ lives alongside Beastmilk, how does this impact on the band if at all?

Unfortunately you are mistaken, we do not have ‘real’ lives alongside Beastmilk. Beastmilk is everywhere

Is there a live side to Beastmilk, I ask as it was hard to find any dates upcoming or recent for you.

We are currently in the process of booking festival gigs for summer 2013. So dig out your aprons and buckets and get ready for some milking!

What does come next for you and as a band?

What does come next for us and as a band?

Thank you for sparing time to talk with us.

Thank you for showing interest and for the nice compliments!

Would you like to end with a final thought?

We hope not to have any final thoughts yet.

Read the review of Use Your Deluge EP

The Ringmaster Review 03/08/2012

Copyright RingMaster: MyFreeCopyright

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