The Replicate – A Selfish Dream

artwork_RingMasterReview

A riveting mix of progressive and technical death metal, A Selfish Dream is one of those releases which may not have you falling back in love with the genres breeding it but certainly inspires a new appetite to go exploring them and the inspirations to the project such as Death, Cynic, Atheist, and Carcass. The new EP from LA based band The Replicate, it is a brief imagination stroking, ear striking proposal as unpredictable as it is highly enjoyable.

The Replicate is the brainchild of Sandesh Nagaraj whose CV includes being part of nineties Indian death metallers Myndsnare, Extinct Reflections, and Stranglehold. Uniting with a host of friends for his project, guitarist/bassist Nagaraj needs little time to grab the imagination and keen attention with A Selfish Dream, its opening track casting a web of sonic and technical temptation.

thereplicate-artwork_RingMasterReviewChainsaw Of God instantly wraps a spicy groove around ears, a persistent lure soon joined by a canter of robust rhythms and the raw throated rasps of guest vocalist/lyricist Morgan Wells. His irritable yet compelling tones stand astride the driving beats of Ray Rojo and Nagaraj’s nagging riffs. It is a tenaciously magnetic affair especially when grooves with clinging spice entwine the impassioned ire of the track and a solo from William Von Arx which brings an almost sinister cosmic shade to the outstanding track.

The following Eugenicide has its own suggestive drama in sound and presence, grooves again evocatively wrapping the senses with an almost picturesque quality as the predacious gravelly tones of vocalist Jordan Nalley trespass ears with his rich words. Also featuring the dark alluring basslines of Kaitie Sly, the track is an absorbing, haunting assault as different in nature and captivating enterprise to its predecessor as it is similar in compelling invention.

A rawer edge and climate descends through The Saline next, its initial sonic intrusion the spark to another virulent canter twisted into a passage of varying energies and unpredictable imagination. Arun Natrajan takes on vocals and lyrics for the EP’s third song; he also providing a rapacious growl within a controlled yet tempestuous surge of enmity and corrosive yet inviting sound.

Completed by the short instrumental of its title track, a shimmering piece of emotional starkness, A Selfish Dream is as gripping as it is imposingly intrusive. Its briefness of length is the only niggle, each song successfully never pushing its stay but combined providing a mere ten minutes of excellence; a moment in time admittedly very easy to replay and en joy time and time again.

A Selfish Dream is out now @ https://thereplicate.bandcamp.com/releases

https://www.facebook.com/thereplicateband

Pete RingMaster 18/01/2017

Copyright RingMaster: MyFreeCopyright

Milk White Throat – Under Duress

Under Duress_RingMaster Review

Creating a heavy rock tapestry of sound as progressive as it is emotionally turbulent, and as creatively aggressive as it is melodically colourful, Milk White Throat unveil their new single Under Duress to again captivate attention. Hailing from Brighton, the quartet of Tom Bates, Guillaume Croizon, Tom Humphrey, and Brian Thomas follow up their acclaimed debut album Death of Beauty of 2014 with another song which is big, intimate, and creatively dramatic.

A gentle and melancholic caress of melody wraps ears and imagination first, within an evocative ambience which suddenly sparks into inventive and impassioned life as guitars expel a web of colourful imagination backed by thicker and more volatile rhythms. This pungent tempting relaxes as the band’s excellent vocals dance on ears with emotion and broad expression but already the surrounding scenery is getting bolder and rowdier, especially around the eruption of the fiery chorus. It continues to maintain a keener and vigorous nature from hereon in too, the increasingly emotional intensity and dramatic energy fuelling the craft and invention of songwriting and its realisation expanding and igniting.

Such the depth and textures of the song, only numerous listens reveals all the clever textures and twists involved whilst essences of band such as Tool, Karnivool, and Cynic come to mind as the track breathes its fire, but spices only helping create a fresh sound predominantly individual to Milk White Throat. Fair to say Under Duress did not send personal tastes and reactions into overload but just as the band’s last album, it had body and thoughts firmly engaged and involved in another highly pleasing and satisfying proposition from the band.

Under Duress is available now @ https://itunes.apple.com/gb/album/under-duress-single/id1008779090

http://www.milkwhitethroat.com/     https://www.facebook.com/milkwhitethroat

RingMaster 10/07/2015

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

 

Acrania – Fearless

Acrania Color Publicity #1_Reputation Radio/RingMaster Review

You would imagine it hard to be thrown off kilter and truly surprised within the broad landscape of metal nowadays, even in the avant-garde and experimental realms which blossom and scintillate from the unique creative minds of bands like Trepalium, 6:33, Pryapisme, and Hardcore Anal Hydrogen to name a few. One band which has and continues to through new album Fearless is Mexican death metallers Acrania. The release is a psychotic fusion of extreme metal and lyrical confrontation with virulent Latin rhythms, celebratory melodic revelry, and schizophrenic imagination. You could call it death jazz or funk core to make up tags, we call it one of the most exhilarating encounters you will hear this year.

Mexico City based Acrania began in 2006, taking their time to unite and hone their blend of Latin Jazz and Metal before releasing their first encounter, the In Peaceful Chaos EP the following year. Three years later debut album Unbreakable Fury was unleashed, its well-received presence supported by the band playing a mini tour in Germany with the support of The Wacken Foundation. Its 2012 successor stirred up even more attention and acclaim, An Uncertain Collision named Best Album Of The Year in the Kalani Metal Awards. From there Acrania has extensively toured around Mexico and Europe sharing stages with bands such as Diablo Swing Orchestra, Death To All, Exodus, The Agonist, The Faceless, Legion Of The Damned, and Havok along the way. Now Fearless has all the qualities to thrust the quartet into the broadest keenest spotlight, and the presence to inspire listeners to salsa and bomba whilst head banging like a dervish.

Fearless explodes from its first breath through People of the Blaze, the opener a tidal wave of rigorous rhythms aligned to a hypnotic groove. Its air is instantly and furiously busy as a sonic aggression surrounds it all whilst percussion get rowdy and the vocals of rhythms guitarist Luis F. Oropeza growl and squall over the concussive web of sound. Predictability is as absent in the band’s sound and song as dullness, a quick step into a temptation of throaty bass and spicy jazz seducing from Alberto Morales G. and César A. Gallegos respectively, a trigger for hips and feet to heavily flirt with the floor. At the same time a trespass of bruising rhythms and metal bred antagonism becomes the spark to testing neck muscles. It is a fascinating and bewitching incitement which never settles in one form or moment for more than a clutch of body moves before twisting in on itself all over again for a breath-taking maelstrom of addictive flavours and incendiary intent.

Cover_Reputation Radio/RingMaster Review     The excellent start continues through Poverty Is in the Soul, the beats of drummer J.C. Chavez S. a swift protagonist rifling through ears and stirring up an eager appetite. Its lively start slips into a reflective few seconds before challenging and inviting the listener through a slim but intimidating lead into the relentless fierce shuffle of its body. The sturdiest rhythms throw themselves around like a mosh pit whilst the more traditional percussive tempting just lights ears with exotic persuasion. The scythes of melodic and sonic enterprise from lead guitarist Gallegos equally spark the imagination, especially when they evolve into acidic strands of incitement alongside the same musician’s sax exploits.

Undoubtedly Fearless is a proposition needing numerous plays to explore all of its involved and finely entwined textures and corners, but equally it is an immediately impacting adventure sparking ears and energies as proven again by I Was Never Dead. The track is a bracing and hostile fury, though as much as it is fearsome it is irresistibly tempting as rhythms and sax stir up a hornets nest of lustful responses reinforced by another lively bass line and the spiralling invention of the guitars. The great rabid tones of Oropeza are the least adventurous aspect, his delivery pretty much the same raw assault on every track and for personal tastes and to be fussy lack the desired diversity to match the sounds, though to be honest it has no negative impact on songs at all. The malicious jazz of the song makes way for the funkier caustic escapade of Blinded by Power, it as expected a constant evolution slipping through ravenously aggressive, sublimely beauteous, and melodically charming climes in creating its progressive tango. It is a glorious adventure, a roller coaster of turbulence and melodic radiance before the punkish festivity of Overflow rouses ears and appetite into another seriously wanton greed, after which a respite for the body comes through the brief and evocative instrumental En el Puerto. Its quaint and nostalgic air slips into Hypocritical Conflict, an instant thick embrace of discord and raw intensity which brews and grows into a hellacious swamp of sound and agitation, though in turn that spins into a transfixing blaze of jagged jangly riffs and bass bait. Everything gets fiery and intense again before…well the changes and turns are numerous and a treat for all to find out in another major pinnacle of the album.

Man’s Search for Meaning starts with a hypnotic cacophony of percussive beats and a roaming dark bass line aligned to the potent narrative and tones of Oropeza. From there the song’s every second heads towards another seamlessly aligned and mixed collective of sounds, styles, and ingenuous ideation. As the album, the track is ripe with Latin tradition and flavours bound in a death metal breeding and malevolence, though it has to be said at no time within Fearless is there ever a moment when the suffering and oppression lyrically portrayed is matched by a similarly destructive musical assault.

Fearless is completed by Point of Collision, a final riveting tapestry of deranged imagination and experimentation which just grips ears and pleasure like a mix of System Of A Down meets Cynic meets Pryapisme. It is a final treat to an outstanding release, a triumph for those prepared to be challenged, at times bewildered, and ultimately thrilled. Acrania should definitely be a recognised world-wide presence after this.

The self-released Fearless is out now @ https://acraniaofficial.bandcamp.com/album/fearless

http://www.acrania.net/   https://www.facebook.com/acraniaofficial

RingMaster 19/06/2015

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

 

The Contortionist – Language

THECONTORTIONIST_photo1

Formed in 2007, US progressive metallers The Contortionist have been no strangers to twisting the senses and psyche of fans with their unpredictable weaves and startling structures of sound and ideation. Previous albums in the shape of their startling 2010 debut Exoplanet and even more so the rigorously acclaimed Intrinsic two years later, took the metal scene by the scruff of the neck with their increasingly imposing and intricately technical tapestries. Now the Indianapolis sextet has unveiled their finest moment yet, the exhaustingly compelling Language.

The band’s first studio album with new vocalist Michael Lessard (Last Chance to Reason), who replaced Jonathan Carpenter when he left the band last year, Language spins a startling web which swiftly immerses ears and imagination from its opening seconds. Produced by Jamie King (Between the Buried and Me, He Is Legend, The Human Abstract), the album seduces from the first breath of The Source, Lessard instantly caressing the senses with his mesmeric tones as keys emerge elegantly around him. As the song grows, so does its captivation as impassioned melodies simultaneously soar across and intimately shape the aural narrative. It is a gorgeous seducing with Lessard exceptional, and right away matched by the distinctly different Language I: Intuition.

Guitars tenderly coax the imagination from the very start, their thought binding enterprise soon aided by flowing harmonies and subsequently an alluring throaty bass tone amidst a soak of expressive keys cast by Eric Guenther. Grumbles of raw vocals taunt in the background at times but the track ultimately glides imperiously over ears framed by the inventive beats of Joey Baca and resourcefully shadowed bass prowess of Jordan Eberhardt. The snarl and agitation within the song rises closer to the surface as the track moves towards Language II: Conspire, the guitars of Robby Baca and Cameron Maynard at times as predatory as they are enchanting. Its successor seamless steps from its embrace with a jagged bait of riffs and an increasingly predatory voice to the bass, coarse vocal growls also stepping forward from within the brewing maelstrom. The track proceeds to prowl and size up its recipient with death metal malevolence and caustically coated progressive imagination twisted into something uniquely exploratory and individual to the band.

Integration opens with a jazzy wind of keys which is emulated by the creative sculpting of guitar intrigue and swinging rhythmic temptation. As the mellow tones of Lessard flow there is a conflicting yet perfectly harmonious merger of LANGUAGE COVERantagonistic and entrancing climates, opposites uniting for a provocative emprise of sound and intent. Thoughts of Karnivool and Between The Buried And Me offer hints as does Cynic as the song twists and evolves with every incendiary note and impacting syllable but again it is merely spice to an ingenuity owned solely by the Indiana six-piece.

Both the spellbinding grace and beauty of Thrive and the following Primordial Sound enslave ears and thoughts, the first a scintillating journey through an evocative scenery of tenacious rhythms and smouldering drama crafted by a tempest of guitar invention and sonic passion. Basking in a simmering keys drawn atmosphere veined by vibrantly melodic flames, the track also involves a technically explosive turbulence which is as flirtatious as it is intimidating. It is the pinnacle of the album, a peak matched straight away by the second of the two songs. Primordial Sound opens on another exceptional vocal caress from Lessard, guitar and bass courting his radiant tones with their own dazzling voice and expression, all wrapped in a magnetic wash of keys. The song is sensational, another innovative and remarkably imaginative binding of light and shadows.

It is fair to say that Lessard brings a Deftones like air to parts of the album, and no more so than in Arise, his dulcet tones a smooth glaze over the song’s presence and theme. This is enhanced by the equally luscious sounds around him; that is until a bestial expulsion drives vocals into a rapacious metalcore like roar and riffs and hooks into a heavily barbed torrent of addictive persuasion. The track continues the established high plateau which is maintained by the cinematic theatre and haunting colour of Ebb & Flow. The keys of Guenther alone paint an engrossing canvas for the imagination to explore, one given richer impacting depth by the cinematic hues and shadows of guitar which in turn create a tempestuous threat of intensity and a temptation of skilled enterprise.

Its success is equalled by the spellbinding majesty of The Parable. The final song on the album is a thick blaze of sonic and technical ingenuity hugged by the ever refreshing vocal brilliance of Lessard and band. It is a swirling eddy of beauty, skill, and exploration within a kinetic incitement of rhythms and rousing intensity, a sensational flurry of invention which almost bewilders as it seduces.

With so much going on and to be explored, Language is not as instant a triumph as other releases but with focus and time emerges explosively rewarding and intensively exhilarating. As much as their previous albums were impressive, you can almost say that The Contortionist has come of age with their new offering, suggesting a new template for progressive metal to contemplate with its masterful presence.

Language is available from 16th September via eOne Music / Good Fight Music.

https://www.facebook.com/thecontortionist

RingMaster 16/09/2014

Copyright RingMaster: MyFreeCopyright

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

http://audioburger247.webs.com/

 

Chosen – Resolution

Chosen - Final Band Photos January 2013 - Band Photo 2 GRAYSCALE

    Resolution is one of this year’s most generous gifts to extreme and experimental metal, such the quality and stature of the debut album from Irish metallers Chosen. The release is sensational, a primal predator of scintillating imagination and exhaustingly pleasing invention. Having missed out on their earlier EPs, this is an introduction to the site which has left us open mouthed in awe and drooling in passion at the immense violation of extreme excellence.

Cast as for fans of the likes of Nevermore, Gojira, Cynic, and Death, the album shows the band pulls far beyond limitations with their sound and surely anyone with an adventure for stylish and senses stretching hunger in their music will find a feast with Resolution. Formed in 2005 by Paul Shields (vocals/guitars) and David McCann (drums/percussion) as teenagers, Chosen crafted a strong fanbase for their uniquely sculpted and intrusive sound with the metal community in their homeland. Releasing a number of independent and well-received demos as well as acclaimed live shows around Ireland, the band then went through a number of line-ups changes. In 2008 the founding pair relocated to Vancouver for a successful year which included a Canada-wide tour, as well as playing a unique tribute gig to the late Chuck Schuldiner, before returning home in 2009 to record their debut album. On their return the band was reduced to just the pair as members quit which led to the project taking an undefined hiatus.

Shields and McCann eventually came together to move forward by pushing on with the recording of the album and entered the Chosen Resolution Cover Art High Resstudio with producer Alwyn Walker to lay down the frame for the release whilst also looking for other musicians to bring in. Though successful on both counts the band was reduced to just the pair again, so the decision was made to complete the album just by themselves with Walker, Shields taking over vocal and bass duties too. From that journey what has emerged is an album which explores and ignites the senses and imagination for a furnace of blistering and uncompromising invention, a release which is like a sonic puppeteer leading thoughts and passions on a collision of riveting ingenuity, technical mastery, and unbridled confrontation.

The release opens on a jungle of rhythms from McCann, their lure irresistible as the guitar of Shields offers a veil of mystique to the start of Engines Of Belief. It is mere breaths lengths of time before the track ravages the ear with tumultuous rhythms and equally demanding riffs whilst further guitar manipulation skirts the senses and twists their thoughts with increasingly devilish designs. The harsh guttural squalls ride the intensity with gusto and venom whilst the clean vocals support their weight with magnetism as potent as the invention now rife within the fury of a track. It is a staggering start which claws at and gnaws upon the synapses with unexpected brilliance, a colossal fire of enterprise brought through greedy brutality.

Could the release from such a start prevent an antic-climax steeping forward next was the first thought but Defective Prospection and The Narcissism Epidemic both took no time in making the wonderment  moot such their oppressive and inventive confrontations. Certainly the first of the pair does not find the same plateau of brilliance as its predecessor but still delivers an expanse of provocative investigation whilst the second song from its delicious acoustic lined welcome and emotive ambience steps into a maelstrom of ferocious inventive charges and a scintillating merger of melodic beauty and carnal savagery. It is a brilliant track rivalling the starter and again sending creative shock waves across thoughts and sparking thick ardour for it and the album.

The outstanding Diminishment with its mesmeric melodic peace veined by raptorial rhythmic persistence and bestial admonishment of the senses exchanging and entwining their pure hearts, and the equally thrilling Instinct with its Meshuggah spiced rugged textures and rhythmic spite, both sear new heights upon passions and the release whilst Asch’s Paradigm is a song which initially inspires a bedlam bred sinister air before evolving into a tempest of corrosive beauty and seductive severity. The second of the three is a psyche twisted progressive intrigue with imagination to its cryptic fascination and a destructive onslaught vocally and musically unleashed whilst Asch’s Paradigm is a malevolent tight wrap of blood boiling intensity persuaded to share its time with melodic elegance and wanton temptation.

The closing pair of Metaphysical Contradiction and The Departure Lounge seals the branding deal upon the heart with in the case of the first a conflict of balance disrupting sonic dissidence and the closer through an irresistible initial death metal ravishing with djent punctuation moving on to open up arms of melodic acidity and warmth. As it began and admittedly continued through every moment, Resolution ends on the loftiest pinnacles. The album is pure ingenuity and raging inventive passion to inspire the same potency in the reactions and emotions of the listener. Chosen is a tsunami waiting to happen for European metal and their album not only one of the very best this year but of the past decade, and there is no reason to miss out either as the self-released album is available as a Name your own Price download and also in a Deluxe Special Edition or a Collector’s Edition CD.

www.chosenmetal.bandcamp.com

www.chosen.ie

10/10

RingMaster 23/04/2013

 

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

 

 

 

 

Thee Orakle: Smooth Comforts False

For all of the distinct positives and equally deep negatives the internet has had on music and bands, one of the greater goods to come from it is the accessibility of artists from countries and places far removed from the media given base and our own country borders. In recent months here alone we have come across stunning bands and releases from the likes of the United Arab Emirates, Russia, South America, and the Maldives to name just four. Bands and music that would have escaped attention before the internet grew its searching claws to go beyond the media force fed likes from the UK and the US. Though Portugal is not situated in the furthest reaches of the globe it is a place where music never really escaped far beyond its walls. So praise the internet for making that possible and for bringing the likes of Thee Orakle to the attention of a great many more, something the release of their excellent new album Smooth Comforts False should turn into an even greater and eager growing mass.

Formed in 2005, Thee Orakle soon built up a fine reputation in their homeland for their well crafted music. It was not long before their sounds made further marks with radio play overseas and a request to them to be part of a compilation release. 2007 saw their debut EP Secret released, more impressive live shows (over the years sharing stages with the likes of Bal-Sagoth, W.A.K.O., Heavenwood, Sirenia, Dark Tranquility, Cynic, Amon Amarth, Orphaned Land), and an increasing attention further afield with airing on further reaching radio shows and through other media vehicles but it was their heavily acclaimed debut album Metaphortime in 2009 that was the point they found themselves a bigger notable name on an ever swelling wave of enthused focus. Now following that up with Smooth Comforts False via Ethereal Sound Works, the band has returned with an even more majestic and stunning album. Their music is an inspiring and mesmeric blend of imaginative progressive metal laced and veined with heady jazz influences, Middle Eastern essences, and symphonic metal graces as well as senses riling metal, groove and tech metal intrusions. It is a mighty unpredictable feast that excites, intrigues, and consistently keeps one enthralled.

The album from the septet of vocalists Micaela Cardoso and Pedro Silva, guitarists J. Ricardo Pinheiro and Pedro Mendes, bassist Daniel Almeida, drummer Frederico Lopes, and Luís Teixeira on keys, is a release that bursts with ingenuity and imagination but weaves it all seamlessly into a musical maze for the deepest satisfaction. Where other bands experiment, many bring a disjointed or punchy intermittent mix which works for them but openly highlights each distinct diversion within the music. Thee Orakle bring all their ideas into a smooth and organic wave of aural beauty, and whether they go from beauteous flighted melodies into djented manipulations or from blood raging aggression into mesmeric ripples of smooth light, the result is always captivating and naturally flowing.

The album opens with Faraway Embrace and immediately it has the senses standing up and grinning with anticipation. The song paces with sturdy formidable riffs and commanding rhythms whilst the guitars entice with fleeting grooves. The keys expand and wrap themselves around the ear as the gruff growls of Silva rough up the edges of song and ear. The wonderful voice of Cardoso than enters to temper and compliment her harsher vocal companion and to walk hand in hand with the warm melodies. Midway the song steps to the side to enter an expressive progressive sound to gently coax and beckon one further inside the vibrant tech metal toned returning attack.
The excellent slightly schizophrenic Psi-drama enters next. The song begins with a sinister impressive tech metal/symphonic tone with again the mix between the two vocalists ideal and impressively worked out. The song along its length ventures into varied and always engaging asides, the song a maelstrom of intensity, surprising imagination and totally addictive, the jazz noir elements and lone soulful trumpet of Ricardo Formoso a pure joy.

Each and every song is masterful, the likes of the brilliantly enterprising and ear wrenching Evil Dreams, the gothic impassioned Winter Threat with the additional Type O Negative sounding male vocals of Marco Benevento (The Foreshadowing), and the irresistible The Bridge of the River Flowing with its ear whipping niggling metallic riffs and melodic caressing amongst the demanding aggressive intent, bringing complete pleasure.

The album produced by Daniel Cardoso, who is an impressive and emerging major force in metal, ends with its best track in Rescue of Mind. The track rampages and stomps from the off earning its right to full attention with an eager immediacy. As it pounds and explores the senses it ripples with skilled direction changes, gloriously crafted innovation , and striking invention, the dazzling mid jazz  off shoot soon merging wonderfully into the muscular mass, the song the proof of a band with the ability to create aural Masters.

Smooth Comforts False is one of the most striking and impressive albums this year, it provokes and thrills equally and is the most natural fit for the heart.

RingMaster 16/04/2012

MyFreeCopyright.com Registered & Protected

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.

Interview with Joey Eppard from 3

 This year has seen a strong amount of outstanding albums thrilling and deeply satisfying the ear, a feast of varied and imaginative creativity from a diverse array of flavoured metal releases. One of the most impressive and stunning albums was The Ghost You Gave Me from New York based quartet 3. Expressive and inspired with pulsating veins of intense sounds and glorious melodic progressive rock/metal tracks the album is one of the year’s biggest highlights. The Ringmaster Review had the pleasure to have time with vocalist/guitarist Joey Eppard to ask him about the album and 3 themselves.

Hello and welcome to The RingMaster Review, thank you for talking time to talk to us.

Would you like to introduce the band members and tell us about the origins of 3?

Joey Eppard: Lead Vocals, Guitar
Chris “Gartdrumm” Gartmann: Drums, Backing Vocals
Billy Riker: Guitar
Daniel Grimsland: Bass
I actually started this band as a sophomore in high-school. I wanted to start a band with no boundaries that was still song based yet experimental. I was mostly interested in doing something completely different than the death metal band I was in previous to 3. We have a long and storied history of near fame but never quite getting there. We played the main stage at Woodstock ’94 along with Metallica, Nine Inch Nails and King’s X just to name a few. We were managed by Michael Lang and were the sub-plot of a movie that was ultimately a bust. We were signed to Universal Records in ’98 but it didn’t work out. We finally started releasing albums at the turn of the century. 2004’s Wake Pig garnered the attention of Brian Slagel at Metal Blade and we’ve been there ever since.

What was the trigger to make you participate in a band rather than simply being a fan and listener?

I think it’s a genetic trigger, almost all the males in my family are performing musicians. I don’t remember making a conscious choice, performing music is just as natural as breathing to me. Of course I’m a big fan of a lot of different music, but the more I take in my output becomes that much more.

Since starting as a band has the influences and inspirations for your sound changed or been added to in any distinct way?

Our inspiration is always evolving, so we chase it and see where it goes. That’s all part of the fun and what keeps us coming back to make more records. That’s why each record is very unique and also why we’re harder to pin down stylistically than most other bands.

You have just released the deeply impression album The Ghost You Gave To Me, which element within it are you the most proud of? 

Probably the lyrics, they actually took the most time. I’m very particular about the language in our songs. The imagery has to really flow out of the soundscape.

This is your sixth album, how has the creating process of the album differed over the years from when you first venturing into studios?

Well it used to be we’d write and rehearse and then go in and record. But now we write, record, and rehearse as we go because we have our own gear for recording. We can actually demo everything first and it helps to evolve the production to higher levels. When we’re really ready, we’ll go into a nice room (like Applehead) and cut some drums there.

Could you tell us about the writing of the songs and the changes to them if any once recording started?

Songs happen in different ways. The first few seeds began as little riffs I recorded in my living room after returning home from Progressive Nation ’08.  We’d beat them into shape at rehearsals and really make compositions out of them. They eventually became “Sparrow” and “The Ghost You Gave To Me.” Some of the other tunes were truly group efforts.  When we were writing “Numbers,” Gartdrumm laid down the beat, I wrote a Primus-ish little groove to it (that seems to be mistaken for bass by a lot of people), Daniel wrote the Chorus riff and Billy came up with the ending. The working title was “oh shit” for the longest time because on the demo that’s what we all simultaneously shouted when the bass kicked in against the drumbeat. It remained instrumental until the final days of mixing when I was forced to come up with the lyrics and melody before we ran out of time.  It gives them a raw vitality that I really dig.  The intro, “Sirenum Scopuli,” was actually the first thing I recorded when the time came to really make the record. It led directly into “React” which was one of those songs that just appeared clear as day in my mind one evening as a complete verse and chorus. In that situation I usually just run with the inspiration and try to figure out what the vocal wants in terms of guitar, and other instrumentation. Other songs like “Only Child” were born out of hours of Gartdrumm and me jamming. I would then go through everything and sort of piece together a sketch of what the song could be and we’d relearn it like that. The rest of the instruments and vocals would follow after that.  On “One With the Sun” I had written and recorded the vocals and acoustic guitar first and then everything else followed. It was the same for “Afterglow” as well as “The Barrier.”

Things are constantly changing because we demo songs and sometimes demos evolve into keepers, sometimes they don’t.  For example Afterglow’s demo originally had mellower vocals up front, but I decided to throw more of a rock element in to the mix and add a higher octave full voice singing the first verse.

Do you have a tried and tested way to write your songs?

My attitude is to be open to all the possibilities of how a song can come into being. Essentially… Stay out of your own way. Sometimes its melody and lyrics first, sometimes they come last. The main thing is to really listen and let your heart tell you what to do.

Has The Ghost You Gave To Me exceeded your hopes and expectations going into the studio with its impressive depth and creative energy or ended up as your envisaged all along?

I’ve learned to expect the unexpected; you never know how things will turn out in the end. There are moments that exceeded expectations, and those were basically the songs that were left to be finished at the last minute vocally and lyrically. I guess I do some of my better work under pressure.

Is there a particular track on the album that you feel really has all the essences of the band shining brightest?

I think “Numbers” is a great example of a real balance of all our musical personalities. We each added vital elements to the music, and the end result is very exciting I think. Also “Only Child” is a great example of a song that is a journey in and of itself and shows many sides of our band.

You recorded the album at Applehead Studios, what is it that this place offers that suits the band most?

Applehead has a great live room for drums. My dad actually designed and built it, so that made it extra special to record there. The head engineer there is Chris Bittner, who is really great to work with. We were also really excited to have Chris and Mike Birnbaum to mix the record once we’d finished recording.

With each album bringing more acclaim and support your way do you find you put more pressure upon yourselves for the next?

To a certain degree. We always want to make a better record than the last. The main thing though is to make a record that reflects our passion for what we do and the spirit of musical exploration that drives us forward.

You have just started a tour with Cynic around North America, what can fans expect especially from 3 on stage?

We play our hearts out no matter what. “3” live is a pretty intense experience and we win a lot of our fans on the road because of it. Sometimes seeing the music being created right there in front of you can really take it to the next level and I feel that is especially true for us. We also work hard to write sets that are entertaining and dynamic.

Any plans beyond the tour for the band?

There are several irons in the fire but we’ll have to wait to make any official announcements. We expect to be on the road quite a bit once the snow subsides.

For more info on the album and the band check out http://www.theband3.com

Read album review @ https://ringmasterreviewintroduces.wordpress.com/2011/10/06/3-the-ghost-you-gave-me/

RingMaster 08/12/2011

MyFreeCopyright.com Registered & Protected

Photobucket

The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.