The Tuesday Club – Lady Gargar EP

TTC_RingMaster Review

After a summer taking their notorious concert party around the UK to the usual heavy dosage of acclaim and noise complaints by the neighbours, The Tuesday Club are breaking out the tea and tunes with the release of new EP Lady Gargar. The third in of a set of 4 EPs eventually uniting for the band’s next 4 x EP Box Set album, the ‘Body’ section of the eventual full-length brings three songs drenched in the recognisable Tuesday Club sound and devilry but as is always the way finding just that little more mischievous invention to refresh and excite.

Still looking and endearing like rejects from the Home Guard, men and woman who most likely would have been thrown out for goosing the vicar and flattening haystacks in the arms of land girls, The Tuesday Club just get more essential and addictive with every release, Lady Gargar as an EP and new single no exception. The successor to the My Consciousness EP out last October and the Forbidden Kiss EP of June this year, Lady Gargar romps and stomps like a Canadian/US soldier providing illicit booty in the Blitz, seducing and swaying with virulent punk ‘n’ roll pop temptation.

ep cover_RingMaster Review   The EP opens with its title track, the Walmington-on-Sea septet bringing Lady Gargar into view on a lone scrub of guitar and soon after, the distinctive vocal devilment of Andreas Vanderbraindrain and The Minx. Like Dirk Wears White Sox Adam and The Ants colluding with Oingo Boingo era Danny Elfman, the track slips through ears with thick flirtatious hooks and a broadly smiling swagger. Within this festivity, the keys of Rogerio Marauder bloom with melodic warmth as the beats of Titti Bartelski jab and lead an inescapable incitement on feet and hips. Everything about the song is magnetic, the guitars of Dave Worm and J Rod spewing catchy riffs and grooves as freely as the bass of The Beautiful Wolf wanders through it all in its own individual way.

Scars are Superstars steps up next, straight away laying down bait of jagged riffs and punchy beats as the rest of the band add their infectious spices with increasingly riveting success. Weaving in new wave and power pop enterprise into its relentlessly keen energy and gait, the song bounds along like a teenager in the heat of summer and puberty; grinning with sparkling hooks and the ever becoming vocal union of Vanderbraindrain’s spiv like devilment and The Minx’s Amazonian lure.

     Resistance (Makes the Heart Grown Fonder) completes the line-up upon the EP, its personal instant magnetism the perfect coaxing into an even stronger contagion of inimitable temptation. More a canter than its predecessors, the song ambles along with a Radio Stars meets Wreckless Eric enticing, at times a whiff of Ten Pole Tudor also showing its scent, simply bewitching at all times as it incites the body to use every angle at the hips disposal for a gentle but determined swing.

Recent releases have shown The Tuesday Club on a trend of being more and more creatively captivating with the Lady Gargar EP their new pinnacle in the defence of our pleasures and souls. Roll on EP 4 is all that is left to say.

The Lady Gargar EP is released on October 19th wit pre-orders available now @ http://thetuesdayclub.tmstor.es/cart/product.php?id=26399

https://www.facebook.com/thisisthetuesdayclub   http://thisisthetuesdayclub.co.uk/

Upcoming Live shows:

Oct 19 8:00pm     The Horns     Watford, UK (EP Launch Show)

Oct 23 8:00pm     PDM At Harveys     Luton, UK

Oct 24 7:00pm     Cockfest! at The Town Hall     St. Albans, UK

Oct 31 7:30pm     Trestle Arts Centre     St. Albans, UK

Nov 01 6:00pm     Lower Red Lion     St. Albans, UK

Nov 08 8:00pm     The Garage     London, UK (supporting Toyah)

Pete RingMaster 14/10/2105

Copyright RingMaster: MyFreeCopyright

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

Follow the rabbit into the weird: an interview with Mr. Strange

Mr. Strange

Fans of UK musical mutants The Shanklin Freak Show have already been touched, inspired, and seduced by the creativity and psyche teasing craft of the band’s former frontman Mr. Strange whilst his solo work has equally gripped the imagination of a great many. Now though the songwriter/producer/vocalist/musician has taken it all to a new level with the release of this exceptional new album The Wonderful World Of Weird. A release walking the realms of insanity and artistic rapaciousness, it is a diverse and riveting exploration of sounds, invention, and dice into the weird persona that is Mr. Strange. Greedily wanting to find out more we had the joy and adventure to talk to the man himself with the adding pleasure of his artistic cohort Stench on top also sharing thoughts and time with us. Investigating The Wonderful World Of Weird, we talked origins, The Shanklin Freak Show, Marilyn Manson, the bright lights and much more…

Greetings Mr. Strange and thank you for taking time out to let us delve into your world of weird.

Mr. Strange: Greetings! Thank you, sir, I’m glad to be here. Smells funny though!

You are well known amongst fans for your founding and leading of The Shanklin Freak Show (TSFS) until recently but maybe less know about your solo exploits before and running alongside the band; could you give some background to those?

Mr. Strange: Before I started The Shanklin Freak Show in March 2003, I began learning my craft as a programmer / producer way back in 1998. I bought a basic music creation game for the original PlayStation simply called ‘Music’ and became completely obsessed with it! As laughable as it sounds, it was actually quite a competent music tool, and a great introduction to music programming. Before I made the upgrade to professional (real) music software, I made a whole album using just this game and my PlayStation. This album was completed in February 2003, although I did add some vocals and guitars to the final version of the album using my current studio set-up. The final version of the album was eventually released in late 2011 as Sounds From The Asylum, which is an apt title methinks! Anyway, back to 2003. As soon as Sounds From The Asylum was finished I went full-throttle into The Shanklin Freak Show project, greatly helped by the fact I could finally record guitars and vocals with my swanky new production software – which I could not do before 2003. The Shanklin Freak Show project pretty much had my full attention until late 2011. The only exceptions to this were my collaborations with Global Citizen acting as co-producer on two albums – those being Master Stroke and Nil By Mouth – as well as the Mr. Strange album The Fall which I made in late 2007.. But for the most part, my solo exploits only resumed once I stepped down from the forefront of The Shanklin Freak Show in November 2011. Now my Mr. Strange projects are my primary focus… and my cats.

From all the music and projects you have been involved with it is clear to see that your sounds and tastes are rather eclectic, what are some of the major inspirations which have spiced your own ideas over the years?

Mr. Strange: Well, being a rather flamboyant chap, nearly all of my musical influences fall in to the “theatrical” category. Bands and artists who present themselves in a very theatrical way tend to make more outlandish music, and that’s definitely what floats my boat, as it were! I’ll try to keep it snappy, so here’s a shortlist of some of my most influential artists: Danny Elfman, David Bowie, Mushroomhead, Dr. Steel, The Sisters Of Mercy,  Alice Cooper, Mortiis (only the ‘Smell Of Rain’ album), Krizz Kaliko, The Duke Of Stratosphere, Twiztid, Marilyn Manson, The Prodigy, ICP, Mr. Bungle (or almost anything from the mind of Mike Patton), Gary Numan, Tech N9ne, White Zombie / Rob Zombie, and Babylon Zoo. That last one’s not a joke by the way! Stop laughing.

Tell us about creating TSFS and its own unique and dark world?TSFS with Mr. Strange

Mr. Strange: I started The Shanklin Freak Show in early 2003, the first ever Freak Show song was written and recorded in March I believe, a little random fact for those who may be interested. The whole concept was meant as a home, a form of escapism, for those who felt rejected by the world. Basically the kind of outlandish, Tim Burton-esque world I wanted to escape to myself at that time. My failure at finding a place to belong in the world led me to try and make my own, both for myself and others who felt the same. The basic concept is articulated best in the song ‘Twisted Family,’ check it out if you want to get your noggin around what the whole Freak Show thang is about. Musically, it was born out of my love of some of the earlier Insane Clown Posse records and my disappointment with (the then newly released) Marilyn Manson album The Golden Age Of Grotesque – I was expecting a deeply engrossing, dark, twisted, circus-style cabaret show of an album, my dream record, but what arrived was an album of fairly standard industrial pop songs. I imagined it to sound far more intriguing and I found the idea behind the record a lot better than the end product, so I went about trying to create the album I imagined. That’s it really. It seemed like a good idea at the time…

Before we concentrate on your new album, you are still involved with TSFS but just not as the vocalist now? Why the decision to step down from that role?

Mr. Strange: Indeed, I’m still involved with the band, but just on the side-lines at the moment. I have to admit that my input has been very minimal since my departure, although that was not a conscious decision, that’s just how it’s played out up until this point. I may play a more active role in the band next year, songwriting and maybe doing the odd live shows here and there, but that’s all dependant on working it around what I’ll be doing with my own projects. There were many different factors contributing to me stepping down as the vocalist and retreating from the forefront of the Shanklin Freak Show, although the main factor was simply that I find performing live extremely nerve-wracking and didn’t want to do it anymore, at least not for a few years. I suppose the other main factor was that I was feeling burnt out with the project and my heart wasn’t really in it, at least not enough to knuckle down, overcome my nerves and keep playing live shows. I started the Freak Show in 2003, so I spent a full 8 years solely focused on that one project and to be honest, I think I just wanted to try new things, things that might not have worked within the context of The Shanklin Freak Show, if that makes sense?

You have just released the brilliant album The Wonderful World Of Weird, our favourite and one of the best if not THE best album this year, how long has it been in the making?

Mr. Strange: Firstly, thank you very much! Secondly, too damn long! I started the album in October 2011 and finished it in October 2013. The reason for this overly long development process was due to uncertainty as to where I wanted to go after the Shanklin Freak Show. I had loads of ideas, but for my first release after TSFS I wanted to make a record that would be fresh and also slightly familiar, that’s a very specific sound to try and go for, and one that was tricky to find balance for. I’d write a few songs, then over analyse them and come to the conclusion that I wasn’t heading in the right direction, so they’d gather dust for a few months while I procrastinate, then I’d become enthused with the Wonderful World of Weird project again and get a couple of more songs done, then doubt myself again. This process happened a few times, probably half of the two year development cycle was either spent doing nothing or writing material separate from the WWoW project! I’m currently working on developing and finishing those other ideas for my next record, needless to say it already sounds incredibly different to the Wonderful World of Weird and is even more of a departure from The Shanklin Freak Show sound.

StenchYou co-wrote many of the tracks and recorded it with TSFS’s guitarist Stench (Gary Mason to his mum); how easy was it to fit this in as I know the band is recording their own album too; are you to blame for the delay in the finishing of their album??? 😉

Mr. Strange: Having Stench work on the album with me has had no bearing on the speed of The Shanklin Freak Show’s musical output, don’t blame me! Haha.

STENCH:  I don’t think Mr Strange is to blame in the slightest. The delay has been down to a few factors. The Last Show mixing process has been troublesome and we were never completely happy with it and didn’t want to release something that would make us cringe, knowing that we could’ve done better. Obviously, we had the addition of Kronik on Bass, rehearsals, gigs, festivals and the continual cycle of writing and recording. Plus, we’ve had the steep learning curve of being responsible for our own production. We have lots of songs that we’re working on and which are at various states of creation/completion. Plus, very recently, Mr Foul became a Daddy again. All in all, I think we’ve done pretty well, considering.

Mr. Strange: Thanks for backing me up there, Master Stench! I’ll slip you a fiver later.

How did the song writing work for the album and at what point did Stench get to add his explorations to your ideas?

Mr. Strange: We began working together full-time in late 2012 (we’d done bits and bobs together for the album before then, but it was an intermittent thing) almost exactly a year after I began work on the record. At that time I probably had roughly half the album that you can hear today, albeit in a very rough state and with very little guitar work on it. I think ‘White Rabbit’ is the only song that I play all of the guitars on, the rest of the album is pure Stench! With regards to songwriting, it kind of varies as to the approach we took. A lot of the songs were already half written, so Stench worked his magic over what was already there, but a few songs were written in a much more free-form manner. The songs Psycho Surfing A Go-Go‘ and Metropolis 2984 were the result of me and Stench just jamming and coming up with crazy stuff, which I’d never done before, so that was a great experience! Sadly a lot of our random jam songs didn’t make the cut for the album, but they’ll appear eventually. A lot of the tracks we wrote were simply too damn off the wall for the Wonderful World of Weird!

How much did Stench evolve and twist your ideas into new sparks within songs or did you go all dictator on him in this area? 😉 (We at The RR know he likes to be dominated…)

Mr. Strange: While there was indeed a fair bit of dictating going on, Stench’s guitar wizardry certainly evolved a lot of songs in many ways. Even songs which were mostly finished by my lonesome have changed in tone and texture considerably since Stench shot his load over them! Songs which may have been dead ends from my point of view (as in not worth finishing) were saved by Stench taking the tune in a new direction with his magical, distorted, electrically-powered stringed instrument. The addition of guitar solos to a few songs has also altered the structure of some of the arrangements, giving the whole album a more free-flowing and natural feel, a definite departure to the more rigid electro-industrial pounding of some of my earlier songs with TSFS.

The guitar work provides a bait of hooks and grooves across the release which seems to breed from the other exotic or should that be erotic melodies and lures at large; did these come after the heart of the songs were exposed or in their initial breeding?

Mr. Strange: Wow, that’s one very eloquently worded question! I want some of what you’re smoking, sir! Haha. Methinks I’ll pass this one over to Stench.

STENCH:  I have to say, Mr Strange is always a pleasure to work with and we seem to be able to communicate very easily musically. So, I suppose that both cases are true as regards to the creation of the tunes. Sometimes, Mr Strange will have an idea of what he wants beforehand and I’ll just add my guitar parts under his strict instruction. Thankfully, I no longer have to wear the gimp mask. Other times, we start completely from scratch. Either way, it’s always fun and inspiring.

The Wonderful World Of Weird is a roller coaster of styles and flavours including industrial, steampunk, surf rock, 555928_584429381594861_1695733989_npsychedelic and gothic rock and much more all merged into the narrative of the album. This is a true reflection of both your musical tastes and the way your creative imaginations works, or predominantly Mr S’s (Saul); the album truly a landscape of your ideas and musical psyche?

STENCH:  I think we both have very eclectic musical influences and appreciate each other’s tastes. This makes it much easier to work together and helps with communicating ideas. But, yes, the album is predominantly Saul’s genius and I add either the cherry on top or the fly in the ointment, whichever is required at the time.

It is fair Mr. Strange to say the album is very different from your earlier songs as on The Fall and those written across all your projects as collated in the Freakshow album, both of 2011. I will admit this was a little bit of a surprise considering your major input and dramatic style within TSFS, so has this been a natural progression or have you had to consciously veer away from anything sounding like the band?

Mr. Strange: Yes, it was definitely a conscious decision to try and move away from the sound of the Shanklin Freak Show. The more complex song arrangements, featuring less prominent/heavy guitars, changing the tone and pitch of my vocals somewhat, being more daring with mixing varying genres on one album, all of it was done with the sole intention of trying to not sound like a new Freak Show album. I’d done 8 years of the Freak Show; I wanted to see if I could create something a little different. With all that said, I also tried to not move too far away from the Freak Show sound as to completely alienate people who may be following me after hearing the Freak Show. You can hear echoes of TSFS on songs like ‘Fire’, ‘White Rabbit’ and on ‘Exile’.

As the album is lyrically and musically a journey through the mind of Mr. Strange did you have a definite step by step guide to the order of songs and their effect on the album in mind before everything was recorded etc.?

Mr. Strange: I did indeed! However, what I planned out and what ended up being the Wonderful World of Weird album are two very different things. The narrative you hear on the finished record was re-written to fit the finished songs only a few months before the album’s release. I originally planned something far grander and more complex, but it was sounding so overblown, silly and pretentious that the scope for the record was scaled back considerably. It’s far more personal now; I think that works in its favour.

We described the opening title track to The Wonderful World Of Weird as Dr. Jekyll meets ICP as early Marilyn Mansion helps Victor Frankenstein create aural life for them to toy with upon a set designed by Willy Wonka, a description which in varying ways applies to the whole album; how would you describe the album to newcomers?

Mr. Strange: Tim Burton and Danny Elfman taking an absinth-fuelled journey through a variety of pop and rock’s more outlandish genres.

I imagine this album might appeal to people who like quirky / alternative pop. I was inspired by lots of the 80’s goth bands and loads of steampunk artists while making this record, so perhaps folks with similar tastes would enjoy it, too.

Tell us about our favourite track out of a great many on the album, Psycho Surfing-A-Go-Go.

STENCH:  Now this song is an example of how suddenly things happen organically. I think this was the fastest tune that we’ve ever written together. The major bones came together in an evening and the riffs were written on an old 1960’s Burns bass. Suddenly, it began writing itself. It was great fun to play as it has a tongue in cheek feel to the guitar lines. Also, it was nice to get outside of the box and let rip on some retro sounds. Mr. Strange knew from the off what he wanted to do vocal-wise and before we knew it, job done.

Mr. Strange 4Can we get a brief glimpse of the man behind Mr. Strange, we get the impression he is a shy retiring type… a tea drinker 😉

Mr. Strange: Of course I like tea, and no, you can’t get a glimpse! Aha! Although your impression could be considered strangely accurate…

You both hail from The Isle Of Wight which seems like a small hotbed of talent right now, covering numerous styles?

STENCH:  Absolutely, the music scene here is great and vast. It would take up another couple of pages to name every great musician or band based here. Of course, we have our favourites and it would be rude not to give them a shout. *Deep breath* Pleasurade, Hentai Babies, When Prophecy Fails, Becoming The Leviathan, Born Ina Barn, Silencing The Voiceless, Puritan Slain, Kingz Of Vocals, Counsil Estate Supermodels, The Ohmz, Hollowdrone and Nately’s Whore to name but a few. So you have your Alt-Pop, Progressive Metal, Hip-Hop, Reggae, Grunge and Punk. But, as with any music scene, anywhere, it needs support.

You have not been tempted by the bright lights of the mainland for musical reasons?

Mr. Strange: Career wise? Yes, but many factors prevented that from happening. I haven’t thought about it for years. I’m happy where I am right now, so I have no plans to move closer to the action, there’s more than enough in my trousers to keep me entertained, although the career opportunities are limited.

What is next for Mr. Strange, you do not seem like an artist to sit back and take a rest.

Mr. Strange: Indeed, you know me too well, sir! Were we lovers at some point? I have two projects / albums planned for next year. The first album (which I’m writing at this very moment) is progressing extremely fast, possibly dropping in April 2014. I’d wager no one will see this one coming; it’s so completely different to anything I’ve done before. Once that album is out and people adjust to the new strangeness, I’ll begin work on the next album, the one that will usher in my return to live music and my inevitable conquest of planet Earth! I hope to have that second record ready by the end of 2014, possibly with live touring to follow in 2015. Don’t hold me to those dates though, I’m just speculating at this point. Both albums will have completely different musical styles and theatrical imagery to match, but I shall say no more.

Where can people treat themselves to all things Mr. Strange and especially The Wonderful World Of Weird?

Mr. Strange: I think it would be very spiritually rewarding for people to go to my website and gasp in ecstasy at pictures of my devilishly handsome face! Links to all of my music and whatnot are located there, but my sexy pictures are where it’s at.

www.mrstrangemedia.comMr. Strange 3

If folks are into the social media thang, I’m on most of the popular sites, too:

www.facebook.com/Official.Mr.Strange

www.youtube.com/user/MrStrangeMedia

www.twitter.com/MrStrangeMedia

Once more thank you and of course to Stench for leaving your bedlam to talk with us, any thoughts to leave us with?

Mr. Strange: Expect the unexpected!

…and lastly please give us five records which shaped Mr. Strange.

1. Marilyn Manson – Portrait Of An American Family

2. Dukes Of Stratosphere – Chips From The Chocolate Fireball

3. Insane Clown Posse – The Great Milenko

4. Dr. Steel – Read-Along Album

5. Danny Elfman – Nightmare Before Christmas OST

Read The Wonderful World Of Weird review @ https://ringmasterreviewintroduces.wordpress.com/2013/11/28/mr-strange-the-wonderful-world-of-weird/

Pete RingMaster

The RingMaster Review 23/12/2013

Copyright RingMaster: MyFreeCopyright

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

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Mr. Strange – The Wonderful World Of Weird

Mr. Strange promo

Just to prove that insanity can be the sweetest potent seduction The Wonderful World Of Weird is here to exploit and uncover the darkest secrets of your mind whilst travelling the exotic and dangerous mental halls of its creator Mr. Strange. The former frontman of the UK’s greatest still to be truly discovered musical mutants The Shanklin Freak Show, though he is still healthily involved in the band, Mr. Strange voraciously stalks the senses and emotions with his fourth album. It is a release which soundtracks a bedlam of sound and adventure from a quite maniacal imagination.

The Isle Of Wight hailing songwriter/producer/vocalist/musician began his musical exploration as ‘The Mad DJ’ in 1998 before emerging as Mr. Strange in 2006. He founded circus rock/steampunk band The Shanklin Freak Show in 2003, guiding the band as songwriter and vocalist up until starting an extended break from performing live at the end of 2011. Alongside The Shanklin Freak Show albums including Act II – The Light Fantastic of 2009 and Welcome To The Show of 2011, a few other projects, and producing a couple of albums by Global Citizen, Mr. Strange unleashed his solo musical rapaciousness. Sounds From The Asylum came first to be followed in 2011 by the releases of The Fall and Freakshow, the last a 38 track retrospective album chronicling the songs that he wrote under the Shanklin Freak Show name  which included new, unreleased, and re-recorded or re-mixed tracks. Now the sanity puppeteer steps forward again with the magnificent temptation of The Wonderful World Of Weird, the finest Mr. Strange musical and mental examination yet.

With more flavours than a giant box of Jelly Bellies, the album is a dramatic and exhilarating flight through the darkest yet 555928_584429381594861_1695733989_nmagnetically and vibrantly compelling mind of the fictional character of its creator, employing everything and anything from industrial and steampunk to gothic rock and progressive metal, and that is just scratching the surface. With many of the tracks co-written with Gary ‘Stench’ Mason, The Shanklin Freak Show guitarist and provider of the majority of the guitar invention across the release, the album immediately lures in senses and imagination with the opening spoken narrative leading in the title track. It instantly intrigues as the scene setting premise strolls into the irresistible stomp of the song. Rhythms bounce around with a heavy mischievous gait matched by the electro and bass taunting whilst the guitar casts lines of sonic and melodic bait which is pure infectious toxicity. Best described as Dr. Jekyll meets ICP as early Marilyn Mansion helps Victor Frankenstein create aural life for them to toy with upon a set designed by Willy Wonka, the track is a delicious fascination and the first irresistible hint of the lunacy to come.

Creating the World is an expansion to the landscape previously crafted with a gentle psychedelic ambience washing the dawning scenery. It is a mesmeric, almost meditative soaring of harmonies and guitar elegance with rubs of dub and scratching teasing the riveting flight. The seducing continues right up to the doorway into the Psycho Surfing-A-Go-Go, one of the major pinnacles upon the album. Again as between numerous songs, the narrator lays down an invitation before the surf rock contagion drops its shoulders and swerves through the ear with irrepressible virulence. The grooves enslave the passions within seconds whilst the rhythmic dance only builds a cage for rapture to breed within as fire kissed keys add smouldering lures to the hot and epidemically addictive romp of sonic lava. The song is one of the best heard anywhere this year; a beach party in the mind of Hunter S. Thompson hosted by The Cramps and The Bomboras with Two Wounded Birds, B52s, and The Revillos adding extra entertainment.

From the dark sinister realm of The World’s Dark Heart, Mr. Strange lurks in the steampunk/industrial graced world of Metropolis 2984, a track which equally extends some classic metal and psyche sculpted imagination to its captivating persuasion. There is a swing and energy to the track which infects feet and emotions but equally an underlying dark tone beneath the celestially soaring harmonies which suggest more 1984 than Fritz Lang. Again the album and artist has the listener in a tight grip of pleasure and suasion, though it never slipped from the first breath of the album to be fair, which tightens with firstly Clockwork Man and explodes through Fire. The first of the two stalks the ears with the drama and theatre of a Tim Burton vision sculpted by the melodic ingenuity of Danny Elfman, though it has to be noted that every song despite the references sound like no one but Mr. Strange. This masterful manipulation of the senses and passions is soon left in the shade by its successor, the track another major peak in nothing but highs. The song is the closest to a Shanklin Freak Show tune that the album gets, its sexy tango pulsating mouth-watering foreplay for the beats and funk bred keys to add intoxicating spice to. There is something familiar to the hooks and stomp of the song aside from the earlier comparison, but it is indefinable and wholly galvanic.

Through the noir shadows of Don’t Stay (Where the Dead Ones Lay) with its jazz smooching funk lined temptation and the excellent gothic majesty of White Rabbit, the song reminding of The Damned at times, The Wonderful World Of Weird intensifies its resistance free toxin whilst the electro swing heart of Exile and the psychedelia soaked gothic tempting of Anti-Christ only spark further flames of lustful submission to the call of the release and its psychotic beauty. Every song is a wanton temptress in whatever guise and sonic clothing they frequent, and though admittedly hopes and expectations were of big things from Mr. Strange on past successes, the album left those assumptions insultingly short of the brilliant reality.

Completed by the classically crafted Journeys End, an enchanting epilogue if not to the levels of what came before, The Wonderful World Of Weird is pure certifiable aural manna. The CD version also has a track exclusive to its version, a very enjoyable cover of the Dr. Steel track We Decide. The able shows that there is only one Mr. Strange and his form of weird, one you can charter a sensational cruise through via our favourite album of the year, The Wonderful World Of Weird, that is if you are brave or eccentric enough.

http://www.mrstrangemedia.com/

10/10

RingMaster 28/11/2013

Copyright RingMaster: MyFreeCopyright

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

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Blazes and passion: an interview with Black Belt KARATE

bbk

If pinned down and made to name one band this year which has most explosively leapt into view, US rockers Black Belt KARATE not only has to be high in contention but in all honesty probably steals the accolade. With an introduction which has been as musically fiery as it is creative and as insatiably passionate as it is absurdly addictive, the quartet from Los Angeles has awakened a greedy appetite in a swelling legion of fans on both sides of the pond. From a blaze of refreshing indie punk, garage rock, and blues seduction, provided by debut EP Volume 1 and first single Camouflage (Man On Fire) as well as a devastatingly impressive live show, this quartet is a potent force on a very steep ascent. Greedy to dig deeper into the band we had the pleasure of talking with three quarters of BBK, vocalist Ryan Hanifl, bassist Harry Ostrem, and guitarist Jason Achilles Mezilis (drummer Ryan Brown unavailable as he is currently out on tour with Dweezil Zappa). Touching on the band and its member’s backgrounds, LA, songwriting through to Oingo Boingo, and Wild Sex, this is what BBK revealed…

Hi Guys and many thanks for taking time to talk with us.

First up for all readers this side of the Atlantic and maybe a couple in the US still unaware of Black Belt KARATE tell us about the band, its members and what brought you all together?

Ryan (Hanifl – vocals):  Jason & I’s innate disgust in one another’s personal taste in music.  It was really more on a dare than anything else. “Hey I dare you to write a song with me that we’ll like”.   I still hate everything he likes

Harry (Ostrem – bass):  Basically, all of us have played in numerous bands and to some degree, gotten our asses kicked by pouring our hearts and hopes into groups that succumb to premature dissolution.  At the end of the day, despite previous heartache, we are rock musicians born and bred to play in a band.  Our desire to create and perform great rock and roll is what brought us together and has sustained us thus far.  I think our past hardships have helped us approach this band with a certain sense of maturity.  Jason and I have never argued.

Jason (Mezilis – guitar / producer): This is true; yes…Harry and I get along famously.  And yes, Ryan has terrible taste in music.  We’ve actually tortured him on long road trips with Iron Maiden on endless loop…a tactic similar to the Bush-era practice of interrogation with Guantanamo Bay prisoners.  But at the end of the day Ryan Brown (drums) gets one up on us all with his pathological love of old Zappa records

You have been/are involved in other bands before BBK, tell us about your backgrounds and was there something lacking in those sounds bbk 2which you all wanted to explore in BBK?

Jason:  A big part of the sound of this band has been in my head for years, as a production aspect in terms of the stripped-down approach, and BBK came from finally finding the right talent to make that happen.  These guys are inspiring to work with, and in terms of filling a ‘hole’ yeah I think with any artistic venture you have to believe that you’re contributing something that is needed, that isn’t represented in the current mix of things.

Harry:  I put all of my rock and roll eggs in one basket for years, which led to an awesome band and an album that I am very proud of.  But like the old story goes, it takes much more than great music and players to keep a band together.  I vowed to never again put myself in a musical corner.  Black Belt Karate has supplied a platform where I can play my heart out, invest my time in music I truly believe in, and have the freedom to pursue individual artistic ventures.  One of the key ingredients in making Black Belt Karate work is that everyone is supportive of everyone’s entire artistic career.

Jason:  Harry moves around a lot on stage

Your debut EP Volume 1, which was released earlier this year in the US has just had its UK unleashing, how has the responses here to it been in comparison to back home?

Harry: People in LA don’t listen to music; they just listen to themselves 😉

Jason:  The UK audience has been incredibly receptive…it’s been fantastic.  Radio and press have responded very warmly, and we’ve been getting letters and messages from new fans that are discovering us through that support.  It’s pretty damn cool…and exactly what we hoped for, when we made the initial push to reach across the pond.  UK fans have traditionally had an understanding of the energy of honest rock n roll, dating back for decades, that is as true and relevant today as ever, it seems.

We called the EP a blaze of refreshing indie punk, garage rock, and a spatter of blues devilry with a healthy brew of funk; it is a riot of multi-coloured flames and fiery spices suggesting a wealth of inspirations. What and who are the more impacting inspirations to your creativity with BBK?

Ryan:  I find creativity in the moment.  If the vibe ain’t right, the shoe won’t fit

Jason:  You did say all those very kind things, and I think we owe you five bucks now for it.  Yeah I would agree with Ryan, for us inspiration is very abstract…it comes much more from the energy of a new riff, or a rhythm, or a vocal. Sometimes a great tune can be inspired by something as basic as the rhythm of your footsteps, when you’re in the right mood to find a groove on it.  We draw much more on the immediacy of a feeling / vibe than we do off specifics.  On the production side of things, the basic approach is to keep it as raw and honest as possible, and still sound good coming out of the speakers…there’s always the notion of “if this came on the radio right now, how would it make you feel” – and then dial that in so it’s where you want it, in terms of not only energy but also relevance.  There’s a certain way to mix familiar elements into a new, exciting delivery.  Bands like Muse, The White Stripes, even Radiohead…all the music that you hear and love contains elements of what’s come before…but stirred in a new pot, or with a different spice.

Harry: “Multi-coloured flames and fiery spices”…I think the same description can be applied to Gandalf’s urine…

You are often tagged as a super group because of your other bands and projects, not a term we like in any respect, how do you feel about that labelling of you? Is it a compliment or more of a burden?

Ryan:  We’re a super group?

Harry:  It’s a burden!  I am so tired of being compared to Cream, Bad Company, Asia, and Atoms for Peace.  Can’t the public just let us be!

Jason:  You forgot Toto…

bbk 3Tell us about the band name and did you consider how hard it would be to find you in a Google search 😉

Ryan:  There was no thought whatsoever in the band name.  It was a throw-a-way lyric in one of our first songs.  Maybe that will come back to haunt us.  Hopefully it will

Jason:  The name came up randomly, yeah…but there’s something about the energy of it that just made immediate sense.  One of those ‘light switch’ moments, and a quick “Google” search and iTunes check later, it was ours!  Far as the rest…we own the goddamn internet.  Go ahead, Google it…see what happens

Your songs on the evidence of the EP and the single Camouflage (Man On Fire) are raucously energetic and ridiculously infectious but come with a wonderfully textured sound and structure which suggests your music is an organic creature but carefully sculpted. Is this the reality?

Harry:  I think that is a good way to put it.  There is a song-writing process in place, but despite this structure, there is plenty of room for inspiration and collaboration.

How does the songwriting work within the band?

Ryan:  Jason comes up with a bunch of meandering chords.  Ryan (myself) writes a bunch of meandering melodies.  Harry grows out his moustache and tells us about his day.  Ryan (Brown – drums) does Chewbacca noises the whole time

Jason:  That’s actually a surprisingly accurate summation of it

Harry:  Jason and Hanifl are the main song writers in the band.  They make pretty tasty demos and send them out to Brown (drums) and myself.  Once we have learned the material as it is on the demos, we get into the studio and jam out the tunes.  This is where each individual member gets to put their stamp on the song.  Jason and Hanifl are both very open to the rhythm section’s ideas, which is a sign of respect and trust.  No one is told what to play, but we all give suggestions.  I also have some of my own demos I am preparing for the band; but don’t tell Jason.

Jason:  Shit…

It is quite a democratic process then or are there moments of more volatile debate when it comes to creating songs? 😉

Ryan:  I would say any debate ever is not about the songs, it’s about other stuff…

Harry:  We don’t debate on songs very much.  The Ryan’s often debate turnip and radish prices and how this will affect the global market and the value of the Euro.  I spend most of my time debating with myself how well Larry Bird’s game would translate in today’s NBA.  Jason doesn’t debate so much as masturbate during rehearsal.

Jason:  (strange gurgling sound)

You have obviously brought the EP to stages in the States but any plans to treat us in the UK and Europe to it live?

Jason:  Yes!  We actually have a few smaller festivals locked in for late June 2014, in England and Scotland…we’re working with local booking agents to secure a good run through – ideally would be at least a few weeks, perhaps even a month or so, as far throughout Europe / UK as we can make happen.  Lot of time between now and then, we’ll see what opportunities present themselves…but yes certainly hope to bring the band overseas next year.

The EP has a strong live feel to its presence and energy, how was it recorded?

Harry:  We record on to tape, which is a first for me.  Instead of being singularly focused on precision by watching a wave form and playing to click, we play our parts, listen to each other live, and evaluate whole takes.  I have really enjoyed this process.  It has helped me think of how the bass-lines play off of the other instruments in the band, as opposed to just trying to play the part “right”.

How much would you say of your previous projects and the way you have worked in studios with them helped or added to the experiencebbk vid shot Directed by Tyler Jackson of recording Volume 1?

Jason:  Ryan (Hanifl) and I had a band previous a number of years ago called ‘Your Horrible Smile’…some of the elements of this band can be traced back to that sound we initially crafted back when.  But as far as overall experience, everything do you professionally affects your next move, so for myself working with a group of guys this professional and experienced in the recording world definitely makes me step up my production skills.  It’s a great challenge

You come from LA but listening to the EP I would not say it had that typical or recognisable feel of other artists and sounds from the city. How do you fit in with the local scene do you think?

Harry:  We don’t.

Jason:  There’s not much a local scene here…not sure when that last was, but yeah we don’t sound much like other bands on the local level.  There’s some obvious lines to draw to some of the more successful locally-spawned bands, like the ‘desert-rock’ vibe and whatnot…but in terms of bands that we play with that are friends of ours, yeah everything is pretty different.  It’s not Seattle, that’s for sure

Has the city impacted on the band musically in any way or as an inspiration?

Jason:  Not musically, not so much…our music isn’t about LA necessarily, I think everyone in the band draws their own inspiration from a more personal headspace…but it is an inspiring place to be in terms of having everything you need here to get a great band going, in terms of industry and so forth.  Kind of like being in a giant “band boot camp” or something….it’s a working city, and inspires you to do the same.  One of the things that’s ironically great about Los Angeles is you don’t fall in love with the city for what it is, but rather what it gives you…so it’s easy to leave for work (i.e. touring) on extended periods without getting terribly homesick, ha!

Your next single is a cover of an Oingo Boingo song, a band we adore. Tell us about that and why you chose this song out of all their great tracks to cover?

Jason:  We actually learned the song initially at the request of our drummer, it was a song his wife really dug and always wanted to hear him play in one band or another.  It turned out surprisingly good, and we put it to tape at the suggestion of a good friend of ours, who saw us perform the tune live.

You have re-invented the song, Wild Sex (In the Working Class), made it your own without losing its creators essence, how did you 249044_580506948651976_1384913559_napproach recording the song without just doing a bland copy like so many other bands do with cover songs?

Jason:  Well thanks man.  Yeah I personally have always loved doing cover tunes; it’s a great “bridge” for new fans to get an idea of your overall vibe, by connecting the dots in their head to something they may already be familiar with.  Ryan (Hanifl) in particular did a really good job making this tune all his own, and the whole band stepped up in a great way.  It was definitely interesting trying to rework Xylophone and full horn arrangements (along with layered guitar tracks) down to a single pass on the instrument.  But that’s a big staple of our sound, that what you hear on our recordings is how the band pulls it off live, so it was fun to make it work.  Also, we had no idea our singer played harmonica so well until we did this tune…that was a fun surprise.

What is it about Oingo Boingo which gives you thrills and as also an LA band it is safe to assume they were a big inspiration on you as musicians?

Jason:  I wouldn’t say a “big inspiration” as much as just a really fun one.  The music is fucking great, anytime they come on the radio it gets turned up!  And of course Danny Elfman is a monster, so anything that can contribute to touching his legacy is pretty damn cool

Tell us about the great video for Building Walls, a track off of the EP.

Jason:  That video was directed by our very talented friend Tyler Jackson, who has done all our videos previous.  We were fortunate  to be able to get [actor] James Duval on board, which was fantastic, and so wanted to construct a concept that could revolve around him – basically Tyler and myself sat down together and watched old ‘The Twilight Zone’ episodes until something good hit, and then he ran with it like a champ.  The domestic-couple nature of it was pretty much at my urging, and Tyler pushed hard for the supernatural / otherworldly elements of it.  It was definitely an ambitious shoot, 4 days of full-shooting with a 20+ crew for band and background footage.  Tyler’s looking to produce a short film from what we shot, not sure when that will be released…but he got 40 pages worth of script out of the whole thing.  It was a lot of work!

What comes next apart from the new single for BBK?

Harry: Christmas special, 2014 college tour, European tour next summer, and Volume II.

Jason:  We’ll have some more singles out, possibly sneaks from the new record next year as well

Will there be gaps of silence from the band due to your other commitments or is this a ride which will be pretty much continuous?

Jason:  We try and time everything so there’s a continuous flow…if we can’t be playing / touring momentarily due to other commitments, then we’ll still use that time for video releases, new singles.  Or reworking the website for better merch, or whatever can be done.  Playing with talented (and busy) guys like this takes a lot of planning ahead…but it’s worth it

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

Harry: We’re really young and largely successful, so if this band doesn’t work out, that’s cool.

Jason:  Nice 🙂

Photos, artwork, and video still courtesy of and copyrighted to Carl Mahoney / Studio Mahoney, David Urbanic, and Tyler Jackson

Read the review of the Volume 1 EP @  https://ringmasterreviewintroduces.wordpress.com/2013/08/19/black-belt-karate-volume-1/

Pete RingMaster

The RingMaster Review 05/11/2013

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

Unleashing truths: an interview with Merc from The Karma Party

Merc

With a snarl and biting attitude which is spawn by and reflects the state of broken Britain, UK band The Karma Party has emerged as a compelling and inventive force with a musical craft and imagination as potent as the uncompromising yet thoughtful lyrical thoughts and often venom they wield. The quartet brews up a unique and irresistible fusion of hardcore, punk and dub-step with flames of electronica which come together for a fiery storm of thrilling and explosive invention. Their recently released Dark Matters EP has caused a fury of acclaim and attention their way and not wanted to be left in the wake we had the pleasure of talking to vocalist Merc about the outstanding release, the band itself, and what inspires the rage and enterprise which drives them.

Hi Merc, many thanks for taking time out to talk with us here.

No problem, thanks for having us!

For all those new to The Karma Party please introduce the band.

Hello! We are The Karma Party from the derelict holiday resort of Blackpool, nice to make your acquaintance.

How did you all meet and how did the band begin?

Me (Merc) and Luke used to be in another band with James who is now in Sonic Boom Six.

For one reason or another that band fell to pieces, after which James helped me formulate ideas and then bit by bit we assembled what is now The Karma Party.

You hail from Blackpool; is the place as run down and far from its former glory as the media portrays?

It’s worse! I mean, I watched 999 What’s Your Emergency? They went easy on the place. A lot of people come to Blackpool as tourists, which is mind boggling enough. They come to see the lights and drive down the prom unaware that one street away people are living in abject poverty. You can see the weight of the place in people’s faces as you walk around. There is a massive problem with violence and drugs and the only the thing the local authorities want to do is to make it more attractive to the booze tourists and hen nights to bring more revenue into the area, which only perpetuates the substance abuse issues.  Most people in Blackpool don’t care about anything anymore; they have become resigned to that lifestyle and believe it is the norm everywhere. I don’t think there is anywhere else in the country like it. Maybe Morecambe…

…And a place to inspire dissent, anger, and lyrical potency for songs?

It’s impossible not to be inspired in a place like that as there is so much material on your doorstep.

I think Blackpool is like a microcosm for the whole country containing every issue the country has, so definitely a main source for the lyrics.

You create a striking and passion inciting sound from blending punk, dubstep, hardcore, electronica, and more. A fascinatingly eclectic brew brought with passion and attitude I think it is fair to say. How would you describe your sound and what are the major influences musically which have had an effect on your ideas and music?

Thank you! We’re not very good with labels but we’ve been called Punk Step and Punk n Bass which kind of sums up a lot of what we do. There is such a massive eclectic taste amongst the band which allows us to see the similarities between the genres. I don’t think it would work as well if we were all into the same music. We love to watch bands utilising electronics properly as it brings another dynamic to the show. It would be impossible for us not to cite Enter Shikari as an influence and one of our favourite bands. Other artists would include: Bad Brains, Gallows, Mike Patton, Squarepusher, Venetian Snares, Reprazent, The King Blues, Sonic Boom Six, Mouthwash, Skindred, London Electricity, Nero, Rusko, Eminem, Lowkey, Clint Mansell, Danny Elfman, Capdown, NOFX and Chris Murray….I could carry on.

Do you see yourselves as a political band using anthemic music for weaponry or a band creating individual and stirring music which just happens to be inspired lyrically by the injustices of the day?Karma Party

One of the main things we agreed on when we started this project was to keep it as real and true as possible. The public have a way of sniffing out lies and if you pretend to be something you’re not, I believe that they can tell. Although I can’t speak for the rest of the band (as it’s not something we talk about) I’ve never been to a protest or voted, I doubt I ever will as I don’t think either makes a difference as all aspects of the game are rigged. I do want to spend the rest of my life trying to make a difference but I think change has to come from the people. They are the ones who are keeping this system in place. We are a tiny part of a massive universe, there is  no past or future, no good or bad and we could change the world in a heartbeat if we so wished. I want people to know they are not insignificant and they are loved…..including politicians.

If everything was perfect, yes a far-fetched possibility ha-ha, would The Karma Party exist?

If everything was perfect I don’t think I would have ever picked up an instrument or have the mind-set that I do now. The famous quote by Victor Hugo springs to mind; Adversity makes men, and prosperity makes monsters. It’s so true in my case.

You have just released your debut EP, the excellent Dark Matters EP. It is for us a five track eclectic feast of sound and invention not forgetting being greedily infectious. I imagine the songs on the release all find an enthusiastic reaction in your live shows such the impact they make on the EP.

Again thanks for your nice words. We’ve just finished the Dark Matters Tour which was our first time on the road and the response has been overwhelming. The shows have been mental, something we didn’t expect first time out. We’ve put a lot of work in making the live show stand up to the recording and from the reaction it seems to have worked. It was crazy to have people singing the words back at us on our first tour something we didn’t see coming and I’ve been humbled by almost everyone we’ve met.

How has Dark Matters been received so far, especially critically?

From our perspective it was such a personal recording that we couldn’t tell if it was good or bad anymore. We were so involved in it that we’d lost all perspective. It has been received better than we ever expected with mainstream press like Kerrang! and Rock Sound giving us great reviews and blogs and websites all over picking it up.

In all honesty we couldn’t have hoped for a better reaction.

You have released it as a free download opportunity for fans, any particular reason for that?

We want everyone to be able to listen to our music whether you can afford a CD or not. In the band we are shameless streamers, torrenters and file sharers, so for us to be precious over our record when we have “stolen” so many other peoples music would be very hypocritical.

How do songs emerge within the band generally?

It’s a varied process, usually we demo and produce a lot of stuff in our bedrooms and over the internet and then take the ideas into the practice room for fine tuning.

Do lyrics spark songs or musical ideas, or is it a mix?

Tricky question…Musical ideas definitely inspire the lyrics in the demo process and then later the track is re-worked around the lyrics. So I guess it would be a mix.

1616807321-1The release contains your two singles Collapse and This Is Britain, both seemingly gained the tag infamous from a great many. Tell us about both of the powerful and lyrically volatile songs.

This is Britain – You’ve got to laugh at what Britain has become. I find it almost impossible to relate to any facet of mainstream culture. So this is our way of poking fun at what seems to be a ridiculous way of life. From the Royal Family to Ant and Dec, from our drinking culture to gossip magazines and from politicians and police to orange girls with Sharpie eyebrows, I don’t fit in anywhere. I didn’t want to whinge about all this so I tried to put myself in the mind-set of someone who loves modern Britain. It’s so sarcastic we were worried people might take it literally.

Collapse – Collapse is almost like the serious brother of This Is Britain. We wanted to talk about the poverty we see in the country. This recession and depression has been brought on by the government and they continue to shift the blame and show us statistics that say everything is ok but you only need to go out in the street to see how bad it’s getting. We want people to know they are the real power in this country and globally and politicians are counting on you to do nothing about it. Your country needs you and it needs you now.

Would you say This Is Britain has become already your musical calling card, the song people instantly refer to in relation to the band?

I really hope so, I think it’s a fine example of what we want to say and do musically. I think we’ll be playing that track for years to come.

Both songs have impressive videos, with the one for This is Britain like the song especially potent. Who did you record them with?

Thanks! Videos are a massive part of what we want to do. James Kennedy from Trifecta Films in Manchester did the This Is Britain video. We brought him to Blackpool for two days. We shot in our local and took him and his team on a sightseeing tour of the grimiest places in town. We had really good fun.

Some bands find it hard to create contagious songs without diluting the message or impact of the lyrics whilst others just concuss with noise to empower their impacting words. On the evidence of Dark Matters you have found the perfect balance. How much effort goes into your balance of both aspects or is it something which is just instinctive for you?

The rest of the band act as editors for the lyrics so when I’m pushing a point too much or what I’m doing lyrically is impacting on the aesthetics of the track they let me know. It’s sometimes hard for me to hear anything but the lyrics so it helps to have a team who know a good track when they hear it. There is definitely a group editing process.

How much impact do you believe artists and music can truly make on people in regard to social and world issues?

Art in general has the ability to change the world forever; it connects more people than Facebook and brings us together in ways we still don’t properly understand. A lot of people would call me naïve but I think doing nothing, putting your faith in political systems and hoping for the best is naïve.

What is next for The Karma Party?KP

Touring in April, May and June with Random Hand and Anti Vigilante. Playing Rebellion festival in August and we will have more new material / videos out later in the year!

Once more big thanks for chatting with us, any last thoughts for the readers and fans?

No worries thanks for the great questions. The only thing we want to say is a massive thanks to anyone who has given us a listen or come to show you are the reason we do this.

Grab the Dark Matters EP for free @ http://thekarmaparty.co.uk

Read the Dark Matters EP review @ https://ringmasterreviewintroduces.wordpress.com/2013/03/05/the-karma-party-dark-matters-ep/

The RingMaster Review 28/03/2013

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

Destroy The Evidence – Phantasm

Writing about and reviewing different releases and bands offers up many treats but it is always special when something unexpected and startlingly different comes into view. Such is the case with Phantasm from Destroy The Evidence, a release that offers something new, slightly unexpected and is just wonderfully different from the bulk of things that grace and at times accost the ear.

Destroy the Evidence is the solo project of US experimental electronic gothic rock band Dimension Zero frontman Monty Singleton. The band found success and acclaim with singles ‘Live In Excess (Excess Is Best)’ and ‘RePLiCa’, their 2007 album Scythe, plus remixes of artists such as Public Enemy and Nine Inch Nails. Singleton started up Destroy The Evidence as a project to focus on writing music for film, TV, and video games or as the official website states music that is “Industrial rock dressed in tuxedos attending the symphony while the world is being invaded by Martians. Somewhere between Nine Inch Nails, Hans Zimmer, Danny Elfman, and mid-1900s SciFi.” That just about sums it up; it just forgets to say how vibrant and refreshing it is.

Phantasm is the follow up to Genesis from 2009 and is a dazzling array of striking sounds. Whether staying around for mere seconds or multiple minutes each track leaves a mark and inspires images and emotions which is one of the impressive things about the album. Opening track ‘Elite’ strikes for eighteen seconds whilst its successor ‘Wildcat’ a scant seven  but both grab attention to announce the album’s intent, to trigger a sense of drama, and lead into the brilliant hustling theatre of ‘Renegade’. Like a rampant beast rampaging along scorched paths it is a predatory impending force that even with its moments of quiet beauty has full control and intimidating strength. To bring in a film reference it bristles with the independent thought and determination of a Mad Max or Logan’s Run

The pieces are clear and definite compositions that would work cinematically or within games but also as distinct tracks as the album shows. They are wonderfully varied, well crafted and without exception the inspiration for emotions and provoked visual thoughts. Many instrumental albums weave soundscapes and aural worlds from their creations but Singleton’s compositions work with emotions and feelings, touching upon and provoking responses and ideas individual to the listener but within his intended theme.

The dazzling and unsteadying ‘ACiD’ with crystalline melodies and sinister menace, the edgy and intense fusion of beauty and dark energy of ‘Oblivion2’, plus the complexities and senses stretching provocative flow of ‘Vision-X’, and the cold and over bearing walled stark mystery of ‘Citadel’, all impress deeply and engage the senses long after they depart the ear. It is the stunning ‘USSR’ that takes top acclaim though on the album. It’s incessant repetition of keys, bass, rhythms and vox is a completely hypnotic and irresistible manipulation and pleasuring of the listener. The song offers siren like melodies and an insistent charge that is fuelled by a combative and militant might.

Phantasm is an excellent release that offers siren like sounds, delicious ideas and inspiring imagery that makes frequent returns a different experience each time, though always a thoroughly pleasurable one. Whether Destroy The Evidence’s creations will find their way onto soundtracks time will tell but as an addition to anyone’s personal soundtrack they are a definite success and joy.

Grab your free copy of the album @ http://www.destroytheevidence.com/

RingMaster 03/02/2012

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