Hedfuzy – Self-Titled

Catching up on another release appearing towards the rear of 2015, we offer up the self-titled album from Hedfuzy as a proposition to seriously consider investigating, especially if progressive rock gets the juices flowing.

Hedfuzy is the solo project of Irish multi-instrumentalist Pat Byrne and its debut album a captivating progressive adventure of melody thick and magnetically tenacious rock ‘n’ roll with a rousing contagion to it. The musical history of the Limerick musician includes touring at the age of 17 with Celtic Fusion, followed by experience building exploits touring and recording with bands such as rockers Kraven and reggae outfit Jeffonesta as well as playing bass on some of Delorean Suite’s current release Two Lives. Now Byrne is ready to ignite attention and ears with his own solo proposal, recruiting additional talent from Shardborne’s Ben Wanders, Delorean Suite keyboardist Graham Conway, guitarist Graham Keane of The Vicious Head Society, and guitarists Mike Moriarty and Cameron Allen to bring his seriously engaging songs to life.

Mixed and mastered by Chris Collier (Prong, Lynch Mob, KXM), the Byrne produced album opens with Sing which quickly coaxes ears with an enticing lure of guitar. Settling into an energetic stroll as Byrne’s potent vocals sit invitingly upon his blend of melody fuelled guitar and keys, the song soon begins to swing with a gripping catchiness aligned to a darker shade of similarly lively and eager bass led rhythms. With eighties seeded air reminding nostalgically of Modern English and currently David J Caron veined by fiery progressive enterprise, the track is a rousing start to the album quickly backed by the muscular persuasion of Snakes. Melancholic keys offer the first suggestive caress, Byrne’s vocals swiftly adding to the alluring start and in turn followed by a thicker smothering of riffs and rhythmic theatre. It is a potent collusion of textures which again has infectiousness running through it as heavier and darker shadows envelop the senses.

Hedfuzy - Self-Titled_RingMaster ReviewThe creative and physical skills of the artist persistently ignites ears in the song and album but always without offering any indulgence to temper their strength or the organic creativity impresses in the likes of How To Tear Your World From My Head. As the third song begins to flows through ears, initially bass pulses the lone dark protagonist in a misty glaze of harmonic and melodic tempting, things quickly come to boil as rugged rhythms and gravelly riffs collude with wistful keys, provocative guitar, and jazzy bass. The result is an eventful and at times volatile landscape of stirring invention and compelling craft keeping the imagination as busy as ears whilst pushing the already impressing stature of the album to new heights.

Mine brightly shimmers with melodic and vocal expression next, it an alluring serenade of melodic rock with the flavoursome essence of UK band The Inner Road to it as it settles enjoyable between the more raucous and dynamic exploits of the previous roar and The Death which follows. Not as dark as expected, the new track is another beacon of resourceful composing and boisterous musicianship lined with a craft and imagination which has body and emotions eagerly engaged.

The emotive croon of When I Come Back Down is open evidence of that core prowess in songwriting and emotion, and diversity as with This Broken Throne, a grouchy but again wholly virulent roar of aggressive rhythms and sonic adventure laced with the impressing vocal tones of Byrne. A thrilling and fluid mix of Squidhead like cantankerous metal soaked in a warmly reflective exploration of melody and voice, the track is as absorbing as it is anthemic before a mellower proposition in Name comes in. With winy melodies and atmospheric drama within again an intensive proposal of bass and rhythmic confrontation, the song carries a touch of Johnny Wore Black to it, captivating and stirring the senses from start to finish before leaving the album’s outstanding title track to bring things to a ferociously dynamic close. The instrumental is glorious, a brawling seducing collage of sound and textures woven into an anthemically fiery and exhaustingly exhilarating tempest as virulently incendiary as it is dramatically provocative.

Hedfuzy is an album to light up any day and the band a project which, even with Byrne seemingly perpetually in demand, the man soon appearing on the debut album from Irish progressive metal band The Vicious Head Society alongside keyboardist Derek Sherinian (Dream Theater, Black Country Communion) and drummer Kevin Talley (Chimaira, Suffocation), we can only hope to hear a lot more from.

The self-released Hedfuzy is out now via Amazon.


Pete RingMaster 13/01/2016

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b.d. Gottfried – Motion Fever

motion-fever_RingMaster Review

Motion Fever is the new and seventh album from Canadian singer, songwriter, and musician b.d Gottfried, and a release which simply grabs the imagination alongside ears. A body of eleven progressive/classic melodic rocks songs which embrace nostalgic tones as openly and resourcefully as modern day invention, the release is a flirtation of familiarity drenched in fresh and original enterprise. This gives it the presence of a friend even before its first temptation is over with the lure of unpredictable imagination, a mix which only leaves full satisfaction behind.

Over the years Bill Gottfried has tasted an array of experiences and successes as touring musician and session player; playing with an array of artists from rock royalty and established musicians to budding talent and from empty bars to crowds of 50,000. From within his own Ontario studio, Gottfried has released six albums which have caught attention and support across a dozen plus countries, though such the fun inspired by Motion Fever you suspect bigger spotlights are now awaiting its emerging worldly presence. Recorded with renowned producer, engineer, musician and Juno winner Siegfried Meier and mastered by Howie Weinberg (Nirvana, Smashing Pumpkins), Motion Fever is an encounter which finds a way to tap into instinctive tastes in varying ways, an ability sparking a readymade friendship with the listener.

It begins with the excellent Between The Blades and a rousing proposition which from its first seconds builds an anthemic bellow of keys, riffs, and smoothly melodic and harmonious vocals. From the off it is stirring stuff which straight away involves body and imagination, they awash with eighties hues within the tide of flavoursome and rousing melodies and rhythms lapping the senses. There is an essence to the mix of classic and modern rock which reminds of Irish musician/songwriter David J. Caron, but as a whole everything has a character distinct to Gottfried.

From the potent roar of the opener, recent single Sociopathic Traffic takes over with its flirtatious drama and bouncy ear enticing energy. As sultry grooves join the already dancey keys and Gottfried’s vocals once more caress with expression and quality, the song gets funkier and more enterprising. A blues spicing also invests its potency into the infection of a track whose departure leaves behind exhausted feet and voices which Shudder brings some respite to with its mellower but no less magnetic adventure. Across the album an array of guests aid Gottfried in his endeavours, here guitarist Mike Whaling, as in the previous song, sending spirals of melodic flames across the progressively seeded landscape of the song. Though there is not the virulence of the first two in its body, the track is a fascinating and increasingly persuasive proposal providing new texture and imagination to the album.

The pair of The Charlatan’s Whisper and Vanishing Point create new pinnacles for Motion Fever to rival its start. The first of the two is an emotive serenade with thick keys and a similarly vocal bass prowl provided by Meier. The track is compelling but blossoms another breed of temptation when its muscular tendencies incites all aspects to become hungrier and more forceful without defusing the continual poetic eloquence of the encounter. It is a mouth-watering spark for ears which in its own way is emulated by its successor. The new song stomps in with a hefty but respectfully commanding stride, rhythms a contagious tonic around which vocals and keys spin their own gripping web. Already within the album, Gottfried shows he is a master at creating choruses which never cheat in their casting of truly anthemic temptation hard to resist getting involved in, and here one of his most successful yet is unleashed with invention in one irresistible song.

Reckless Little Wonder is a low key encounter in comparison to its predecessor, though it too has a creative theatre and emotional fuel which richly captivates through the imagination of Gottfried and friends. It is a quality given extra drive and muscle by Purgatory, another musically scenic encounter bursting with alluring imagination around the vocals of this time Aaron Gottfried. Both tracks impress if without finding the same trigger to earlier lusty reactions, though Superior Ease with its smoky air and evocative breath and the climactic Quietus featuring the mesmeric voice of Andrea Wingelaar, are soon stirring up more boisterous desire.

Fair to say that Untraceable is another which fully satisfies without getting reactions over excited though its melancholic drenched keys just hold attention throughout until the closing might of Waste And Want takes over for another bracing escapade. The song pretty much sums up the album; choice melodies and bulging rhythms uniting their charmed drama and feisty sinews in a tempest of infectiousness and energetically incendiary rock ‘n’ roll.

   Motion Fever is likely to be one of those albums which never quite get to the fore of best of lists, though it has as much right as any, but you know will be in the mix for one of the most enjoyable and perpetually played this year, so adding it to your rock playlist is definitely recommended.

Motion Fever is out now through iTunes.


Pete RingMaster 28/09/2015

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B.D. Gottfried – Sociopathic Traffic

b.d Gottfried - Sociopathic Traffic artwork_RingMaster Review

Hailing from Canada and creating bright flames of sound from within his Ontario studio, BD Gottfried has just released his seventh album MotionFever and as a rather tasty little teaser for it, also new single Sociopathic Traffic. The song is a vibrant wind of melodic rock with one foot in the eighties and another in something refreshingly individual to the artist himself. It is one of those songs which almost creeps up on emotions in its depth of quality whilst being an easily accessible and enjoyable introduction on first contact.

B.D. Gottfried has been a touring musician and session player for many years, before and alongside his solo endeavours. He has worked with the likes of Pino Palladino (Pete Townsend, John Mayer Trio), Breen Laboeuf (Celinebio, and April’ Greg Dec ert (Bad Company, and David Gilmour) to just scratch the surface of his CV and played within a dozen plus countries. Latest album MotionFever, as mentioned, is his latest acclaim gathering album, a release produced by Seigfried Meier (Kittie) and mastered by Howie Weinberg (Nirvana, Smashing Pumpkins).

Taken from it, Sociopathic Traffic offers a “humorous look at a self-indulgent artist looking to get her claws into a non-confrontational guy and how he tries to escape!” It also provides a quickly persuasive blend of melodic keys and guitars which soon embrace the alluring vocals of Gottfried. It is a swift enticement which only grows as progressive tenacity and at times funk lined grooves broaden the song’s creative landscape. That earlier suggested eighties feel is an open colour which dances with thoughts though Gottfried equally explores varied sonic enterprise and melodic imagination to entangle ears.

The track potently reminds of Irish/Italian musician David J Caron, both artists managing to create eighties hued accessible flights of bold sound which easily grab attention. As increasingly enjoyable as it is, Sociopathic Traffic might not quite be the song to set your year and personal playlists alight, though of course it might, but it is one to persistently enjoy as it leads intrigue into potentially as rich and possibly richer exploits within Gottfried’s new album.

Sociopathic Traffic is out now!

Pete RingMaster 03/09/2015

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David J Caron – 9 Singles


Making a dramatic mark with his 2012 debut album, not only in size but its quality and infectious presence, multi-instrumentalist/ producer/composer David J Caron returns with new release 9 Singles, a release which as the name suggests is a collection of singles. Consisting of singles taken from not only the previous release but also his forth coming full-length, the album is obviously a leaner and most direct encounter compared to his twenty eight track epic Thru Ever Ending Black but also a magnetic entrance into and bridge between his past and future creativity. It also arguably makes for a more tempting lure with its more traditional size and that has to be a good thing as to miss out on the persistently compelling and thoroughly enjoyable eighties bred melodic rock from the man would be criminal.

A resident of Ireland, Caron merges a wealth of enticing flavours to his instinctive merger of classic and melodic rock. It makes his music as evidenced by the last album, a tasty proposition which appeals to fans of everything from those already mentioned styles to those of melodic metal, hard rock, classic metal, progressive rock, and more. There is certainly eighties power/pop metal feel to the songs which against our personal preferences makes for a very surprising but highly pleasing and appetite sparking pleasure. What the toxin is which makes us enthusiastically head its way is hard to say but like for so many others it is there and is virulently successful. Caron creates music which is simply contagious as well as impressively crafted and presented, but it is that infectiousness which steals thoughts and emotions where other similarly fuelled artists fall by the wayside. 9 Singles has all the proof needed to prove that point, each song an infestation of ears which in their varying degrees easily light senses and emotions.

The release starts with one of the new songs from Caron and it takes mere seconds for Claim Your Victory to lay down a tasty teaser for 9 singlesthe new album. Opening on a sonically shimmering glaze of keys with stabs of guitars and bass joining its coaxing, the song embraces ears with melodic ease as the vocals of Caron soon add to the warmth of its touch. It is rapidly into an eager catchy stride, resonating and pulsating with a masterful blend of sinewed rock and electro tempting recalling the success of the last album whilst offering something fresh. It is fair to say there is not a massive leap between the new tracks and the older ones but certainly a fuller and broader smile wraps every note and melody which engages the senses.

The following Sometimes Never Comes Soon is also a new encounter and immediately has ears soaked in a crystalline electronic breeze ridden by the ever appealing voice of its creator alongside a throaty bass enticement. The song is a less urgent incitement but as the first brings a blaze with golden winds of electronic suasion and entrancing melodies within a sturdy frame of rhythms and that appealing dark bass. There is also an anthemic potency to Caron’s songs which means this one alone is an easy capture of voice and feet just like Time Machine, which originated on Thru Ever Ending Black. The track brings a mellower though no less attention grabbing enticement which oozes infection from its opening canter to the developing rock pop evocation which brews its irresistible persuasion throughout. For all the great melodic and skilled craft Caron permeates every track with, the dark voice of the bass again brings that extra tinge of pleasure, its shadowed tones the perfect temper to the glowing melodies enveloping everything in sight.

The other new songs come next, the tantalising Do You Remember with its mesmeric casting of aural light and then the excellent Omniscient Flames. The first of the two is a radiant gallop of colour bred melodies and spatial hues which absorbs attention like a sponge whilst its successor shows a new twist of invention within the release and the evolving writing of Caron. Once again it is the bass which steals the passions first as it initially takes centre stage with its almost bestial call and invitation into the new encounter. Its industrial twang is pure magnetism providing an irresistible canvas for the flowing beauty of the keys and sonic colouring to bring to life. Those keys weave and swoon around the imagination like an innocent temptress, embracing the darker riches veining the now fully unveiled proposition. It is a show stealing moment which breeds certain anticipation for the new album.

Both the more intensively sinewed sculpted Comin’ to get you and the electronically woven Unbreakable take the listener on a soaring progressive flight of eighties rock induced melodic endeavour in their particular different but similarly engrossing ways whilst the closing pair of Escapin’ Back and This is Now, without inspiring the same levels of rapture, ensure the album signs off its impossibly alluring success with vivaciously pleasing and lingering propositions.

There is little which can be offered against 9 Singles to suggest any restraint in checking it out. Certainly if eighties melodic rock does not appeal then the album might not be an unqualified success but then that era was a dead end for us but Caron provides a new potent take on the scene with his music and definitely this ‘greatest hits’ like triumph that we cannot stay away from. There are no brand new courses for rock being sculpted by the release but for unbridled thrills and enjoyment this is a definite whole hearted recommendation.

9 Singles is available now @ http://davidjcaron.bandcamp.com/album/9-singles



RingMaster 07/05/2014

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Eutopia – Satellite of Love EP


The Satellite of Love EP is the debut EP from the London based power-pop/electro-rock band Eutopia, a release which toys with the senses and thoughts to emerge as one vibrant and intriguing encounter. It is a proposition which does not exactly ignite raging fires within the passions but certainly one which keeps them entranced and riveted to its enterprising persuasion from start to finish.

Eutopia consists of Alexander Kotziamanis (music/lyrics /guitars/vocals) and Leah Lennick (keys/synths/vocals), the pair forming the band in 2011. Their first EP is a blend of classic and electro rock with plenty of pop and dance spawned tantalising. It offers a collection of four tracks which are individual in presence and in success but combined make for a magnetically calling piece of energetic revelry. The opening title track immediately tells you what Eutopia is all about, bold electro weaves flirting wantonly with the ear whilst guitars add a raw glaze to the atmosphere above snappy beats. It is an instantly intriguing premise given an extra drenching of tempting by the Russell Mael like vocals, their expressive devilry evolving into a more classic rock delivery further into its energetic flame the song ventures. There is a certain familiarity to the song which has an essence of the eighties in its classic rock and metal fusion and reminding of David J Caron at times, but equally there is a sizzling imagination which sets it in its own limelight.

The following City Lights continues the strong start arguably elevating its introduction to another step of satisfaction. The song again 294920_416945564989548_1720032215_nemploys the same essences but has a broader snarl to its presence which adds a pleasing shadow and texture to the contagious exploits of song and sound. As with the first there is plenty of invention and energetic ideas going on within the electro classic rock bred conjuring which brings enough for those without an appetite for old school eighties rock and pop rock to chew over and contemplate.

Wave Goodbye and Life complete the EP, the first an emotively sculpted pacey ballad with a great guitar enticements and an almost folky whisper to the keys and melodies. At times the song feels like the band is merging two different songs into one landscape, the at times awkward union of electro and melodic rock seemingly coming from individual direction but then when the excellent chorus harmonies wash over the senses it is all forgotten and rich satisfaction sets its claws in. The closing track also takes a slower classic rock gait as its core wrapping it in electro beats and melancholic keys whilst shard of crystalline sonics tenderly shine upon the expressive narrative.

It is a strong end to Satellite Of Love, a release which leaves a healthy appetite for it and the band in its wake. The electro beats for personal tastes do not do some of the songs any favours, their mechanical touch too regimented for the flowing melodies elsewhere, and as mentioned you need a strong taste for eighties classic rock to fully appreciate the release one suspects, but for those of us without that palate Eutopia and Satellite Of Love are still a meeting you cannot pull away from and the promise they show very tempting.



Ring Master 18/09/2013

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Interview with David J. Caron

When a debut album comes in the form of a 28 track well presented CD curiosity is piqued if maybe intimidated at the size of the introduction. When the quality of music, imagination, and invention is so impressive and high it can only be talked of as one of the best debuts from a rock solo artist in recent years. Thru Eever-Ending Black from composer, writer, and producer David J Caron is quite simply outstanding, a wonderfully infectious and persistently compelling slice of creativity. With great pleasure we had the chance to find out much more about the album and music by asking the man himself to take us into his musical world.

Hi David, thank you for letting us spy into the world of David J. Caron

Hi Pete, Thanks for the curiosity and thanks for the great album review. 🙂

Firstly tell us about the man.

I was born in Italy and lived there until I was five, Irish Mother, Italian Father, one brother. I was fortunate to grow up and go to school in England, where my extra-curricular musical schooling and development took place, in terms of musical Influences through friends, going to gigs, listening to many albums etc. My family moved back to Ireland some years later and County Donegal became my main home ever since. All that, doesn’t really answer your first request, I know, but hopefully  the following answers will help to slightly unravel its complexity .. possibly 🙂

What was the trigger or inspiration which led you into music, performing and songwriting?

One day when walking to school football practice with some friends, I heard “Let’s get it up” by AC/DC on the radio and was totally transfixed by this sound as the song played. I had never heard anything like it before that point. It changed me at that moment and knocked me onto a different path, with new desires and aspirations. I wanted to find out more about this kind of music, I wanted to play guitar, without realising immediately that I would have to spend years learning of course, but I soon worked that out!

Music has always been a part of or in your life from a child?

Before that day at school, I was always aware of and listened intently to music and lyrics. My Father would play tapes in the car a lot and records in the house as I grew up. The Shadows, Elvis, Johnny Cash for example, even Classical and Country!  My Mother had a Piano and I would mess about on it. I even had to go to guitar lessons at school with the typical high-action, finger-hurting, anti-progress, classical guitar, but I had no Interest then. I would hear pop music on radio and TV, some of it was attractive and was a way of socialising with friends, and getting to know cute girls..but it wasn’t  life changing! That all changed when I discovered the deep magical well of fantastic Rock music, classic and current at the time, that I immersed myself in and searched for from that moment on. Growing up near London was also a definite musical personality shaping bonus, with all the great Rock bands you could jump on the train and tube to go and see for the evening at Hammersmith Odeon or Wembley Arena, every weekend.  I was fortunate to be bought a decent electric guitar and amplifier by my Mum and Dad, and I spent all my time learning every riff and solo I liked, until I could play them note perfect. I’m still learning..that’s the never ending beauty of it. I do remember starting to compose riffs, ideas and lyrics, very early on, as well as recording them in simple form on a basic 4-track machine.. I still have all the tapes !  Some riffs of which can be heard on many tracks on this album.

You have just released your excellent debut album Thru Ever-Ending Black but what is your musical history up to this point?

Thank you very much.  I am very proud of every compositional aspect of my album, which is the culmination of many years of song-writing work. Some tracks have been around in some form, recorded many times in different formats, changing slightly each time and hanging around in various versions, while some tracks were written during the recording of the album.  My musical history has really been waiting to burst into life, in a decent, professional , noteworthy fashion, in a way that I can be completely satisfied with, in control of and proud of, as it has now. This album is really the big bang of my musical Universe and all else that I hope and plan to follow it with, starts from now. To me, in this case, the previous to it doesn’t matter . I have played in various bands obviously, but nothing that has any real relevance or affect on the songs that make up this album. Many artists may have a history playing with this band or that one, whether good or bad, and include it in their bio, maybe to embellish their product a little, but I don’t think that would necessarily guarantee or have any bearing on the quality of the album you release at some later point in your life. It certainly doesn’t for me. I know precisely what kind of songs I wanted to create, I know what I am capable of, I know exactly what I like to hear , and I have done exactly that, irrespective of any previous endeavours or associations.  I do hope to let the songs on this album create a musical history from this moment on though, and hopefully some meaningful bonds and collaborations with others, in terms of building a band around it. That’s the way I’ve ended up doing things anyway! 🙂

How long was the album in the making?

I decided at the start of 2010, that I needed to record all the tracks that I had hanging around for years, properly, once and for all,. I always thought they were great songs with such a unique style, that I had to record them and see if anybody would like them as much as I did, and as much as I thought they could be. I think they have great potential. Recording started in June 2010 and finished, 28 tracks later, in December 2012, so about 18 months, including many returns to the studio to re-arrange little bits here and there, until I was completely satisfied with everything

Was it a project with tracks being written and composed simultaneously or was it a one song at a time process?

I started off the recording process with no real expectations of it even being an album. I just wanted to record the music to all my songs as professionally as I could with the facilities and finances available to me. I initially planned to put vocals down purely as a lyrical and melody guide for a decent, better singer to come along later on and have a complete song to learn from. But as the vocals started to come into shape, they started to sound not so bad, so I just left them on, for the time being anyway. With the help of co-producer Rob Mancini  I somehow  managed to bring out the best in myself vocally, from somewhere I never expected.

I started with about 12 tracks to record. I then resurrected 7 un-finished instrumentals during recording, writing lyrics for them, and while this was going on I kept waking up in the early hours of the morning, with new riffs and melodies going around in my head, that I had to get out of bed, half asleep, in order to work out what I was dreaming, musically. I could actually hear them while asleep, which never happened to me before. These ended up being  9 new songs, totalling 28 in all. In the end there was only enough room, annoyingly, for 27 and a half, on two CD’s. (“Final Bell” is only available as a free download if you buy the CD, or included in the digital download).  So I was forced to omit 1 track and I chose this one purely because it had seemingly the darkest subject theme, although in fact the song is about something entirely different.

Which of the songs were the initial dozen written before the album?

The first 12 songs were :  Memory Magnetic, Feels of Fire, Frozen Ice, Dark of Night, Too Much Little Time, The Knights, Who are you, Wall of Life, Beam the Ray, In me,  One by One, Irreplaceable.      The 7 Instrumentals resurrected with new lyrics were: Still Just One Moon,  Escapin’ Back, Unlock it Apart, Final Bell, Has to be, I am your Shadow, The Tree that waits…The rest  were the new ones that woke me up !

How do you bring songs into life from their first seed?

It always starts with the music for me. Either on guitar or sometimes with layers of synth  composition, that I leave room for guitar parts to drive. The initial idea and everything that attaches to it has to be catchy musically, to me at least, with harmony and melodic hooks that you want to hear repeat. If it isn’t then there is no point in me continuing with it. It has to interest, grab and move me and be at its best at every moment of the song from start to finish., as well as being stylistically unique to how I compose.  It has to be musically purposeful with a style and attitude that transcends genre requirements and makes it ever-lasting. It  can be made up of many layers and components that combine in a way that results in it being different to how any other piece of music has existed before, in quite the same mixture, to make it unique. On top of all of this there has to be as catchy and perfect an original vocal melody as I want to hear. But with all these elements, the underlying philosophy is never to take the obvious, expected, overused,  clichéd Rock path. I like to mix in some random, quirky unconventional aspects to both music and lyrics. Any part I may come up with that doesn’t  satisfy all these conditions, has to be rejected and replaced with something that does. The lyrics always come last, and have to also follow my rules, of timing, rhythm and sometimes multiple rhymes and double meanings. It has to all fit into a secret stubborn musical mathematical formula, that only I know, when I hear it.. Occasionally in fact Rob would turn to me in the studio and say “ What the **** are you on about”? lyrically, or “ Are you sure you really wanna do that”?  musically.. which is often exactly what I like to hear.

The album as you said is a 28 track epic which obviously was not your intention initially when starting out on the album.

I didn’t plan 28 tracks anyway. The word “Epic” conjures up images of an enduring, impressive, meaningful voyage full of great achievements and courageous heroic events. I think there is a note-able lack of meaning and integrity in a lot of current music, the lack of which is so easy to accomplish. Whereas it is a definite requirement in my style of writing, so I would have to say that to have my album described as being epic is both a welcome complement and an intention achieved. So thank you.

Did you have any qualms about putting out such a large release?

Not really. I know it’s unheard of to have a 28 track debut double album, but following convention is not my style in anything I do, just  as it isn’t in my music. The only thing that came into my head was people thinking ”Who does this guy think he is”? But if the songs are all good, and it costs much the same as a single album, then a double album to me is a bonus and tells a bigger picture, leaving a bigger impression, especially for a debut.  I had a few reasons. Firstly I had all these songs recorded at the same time as a project that seemed to belong together. I didn’t want to separate them from each other. I thought they were all equally good enough to belong as a collective. In fact they seem to follow on from each other on the discs as you listen, like pages in a book, as if destined to co-exist. I also wanted to be rid of them and release them all from me, to go out into the world and be finally heard, since some had been with me for a long time. I also wanted to be able to start totally afresh with new ideas for my next album, without re-visiting old tracks yet again. And on top of all this, I like to do things a little different to the standard. I thought that if it’s too much for someone to listen to, then they can just listen to half of it if they want..(if they can )! 😉

The tracks seem quite personal is that the case?

Yes, a song has to have some personal element or connection with me, although it is often disguised in a way that could be interpreted in many different ways with no direct obvious meaning. Some tracks that seem to mean one simple thing in fact mean something more intricate and some tracks that seem to be un-decipherable are actually about very simple, obvious themes.  I like to keep the listeners thinking and guessing about Lyrics. I don’t see the point of writing about anything that has no personal attachment what-so-ever or that is void of any significant meaning. I think an audience can connect better to that which comes from inside, rather than hearing repeated, the same thing they’ve heard a thousand times before. There’s a lot of blandness inherent in popular music lyrics that has no purpose. Maybe I’m too much of a thinker, but the intrigue-less and un-imaginative has no stimulation for me and it doesn’t suit my style.

Is there an element of releasing demons or the songs bringing a kind of closure to things?

I never seem to write a song about just one idea. It’s always a collection of thoughts from many different experiences and fantasies that relate and connect with each other to mix and form into a particular theme of a song. These can often include demons that we all have and a certain closure to some un-resolved, un-explained occurrences and personal experiences.   Lyrically it’s essentially a way to express my  feelings , thoughts and observations in a way that paints images into the mind of the listener in order to get them to try and figure out what meanings my particular combination of words visually suggest to them.  That makes it a more personal experience for them too. But I have referenced certain of my own demons in this album, in places, as a way to release them from me in a positive way, to empty myself for future chapters to fill me. The title of the album is also purposely misleading. It is actually an optimistic collection of very confident, positive and logical thoughts.

Musical though the album is melodic metal it does have a wonderful diversity to it taking flavours from varied subgenres, what are your biggest influences which impacted on your songwriting the most?

I grew up listening to many Heavy Rock and Metal Bands, as well as many other bands and so-called genres, but I wouldn’t call anything on this album Metal.  It always amuses me slightly how some people, especially some dj’s, reviewers and music connoisseurs often can get into a slightly confused and unresolved state trying to work out what genre to place it into, because it seems many people have become obsessed with trying to categorise every artist they hear into a particular pre-named type, era and direction of music. I have always either liked a song, or I haven’t. To me it’s as simple as that and that’s all that should matter. It doesn’t matter to me what “genre” it’s told to be. When I started writing the album people asked me, “Oh, so what kind of music is it that you write”? I replied “It’s just my own music.. The only way to describe it, is to listen to it”. I have never tried or been interested in wanting to try and sound like any other band or type of music, even though there are many bands that I admire. Too many great bands to even attempt to try and copy.  Usually when artists are asked who their influences are, they recite a long list of artists that affected them or that they listened to or aspired to be. I could have a very long list too, but I believe that everything you ever hear, good and bad, influences your musical mind and creative work. It certainly does to me. If I listed 100 influences here I would be omitting 100 more. All the best bands that have ever been just sound like them-selves and no-one else sounds like them. They are instantly recognisable. Then there are all the rest, who start out by trying to sound like their favourite band. It just doesn’t interest me. Only I can write exactly as I write, and I am proud of that. Nobody but oneself can write their own original style of songs, but anyone can copy someone else’s songs as their style.  It’s easy to get a big bowl and throw in a certain combination of a little of some of your favourite bands, like mixing up a recipe, and then calling it your own. It’s a lot harder and more rewarding to just invent something that doesn’t sound like anything else. That’s what I like doing. I don’t care if it fits into what is supposed to be current. I am glad of it. To get on the radio, or to get promotion, or to submit a track for a TV/movie licensing deal, it seems the industry is programmed to search for artists that sound like other artists all the time. ”Who do you sound like” is a question I am constantly asked and not able to answer because I don’t sound like anyone.. This seems to be a problem to some, but I am proud of it. It’s the way I am designed and the way I’ll always be.

Every aspect of the album is you except bringing in Robert Mancini to co-produce. How much frustration and emotional intensity did this bring upon you whilst creating it?

Rob had the studio facilities, and engineering knowledge to produce all  the technical engineering side while I was free to concentrate and produce the writing, performing, arranging and deciding how I wanted everything to sound and come across, with his suggestions. Every creative and compositional decision on the album was my own, so there was no frustration at all brought on by working together. In fact it was  the opposite. Rob is a very patient, talented and enjoyable to work with Engineer/producer without which I would not have ended up with quite the same finished album. He would ask me what I wanted to do, and he would work with me until everything was exactly as I envisaged and wanted, however fussy I was for however long it took. We are both perfectionists in slightly different ways, so between the two of us I think we managed to make sure nothing would slip past our high standards of technical, performance and compositional quality control.  I think we both learnt a lot in the process as well as having a lot of laughs a lot of the time.

How did you link up with Robert?

Rob is a good friend and in 2010 he offered to record some songs with me in his studio, although neither of us knew then it would turn out to be 28 tracks over 18 months.

He was the objective ear which all music needs to some degree?

It was great to have his musical background and knowledge to consult with throughout the production. Rob like myself has an un-biased professional approach that always has the best interest of the song at heart and of the production quality in mind, regardless of his own personal preferences or style.

Tell us about the elemental and space type themes you brought the emotion and songs hearts through.

Well it’s mostly all inventive symbolism, disguising simpler basic emotions and everyday feelings through the use of more fascinating and perplexing imagery.  I have an interest in all things that are mesmerising and interesting, but anyone who thinks I am actually writing about meteorites in “Look Out” for example, is not reading the clues and missing the point entirely. Nearly every sentence of every song is disguised as something to decipher and discover.  Writing blatantly obvious lyrics is not only too common, but also far too easy, un-challenging and un-rewarding.  I am as proud of my lyrics as I am of my music. The whole package is important and it keeps me entertained.  There are some recurring  motifs that pop up now and then throughout all songs, which connects them.  Dark and Light, Time, Integrity, Wisdom, Wit, Strength, Love, Truth, Courage, Pain, Reason… amongst others…basically most of the important elements in Life.

When you write a song what is the predominate spine of intent you try to bring forth?

To create what satisfies my own standards of compositional perfection, so that I love every part of the song and wouldn’t want to change any part of it in any way, when it’s completed. Also to make the listener not only enjoy it but take notice and listen as opposed to just hearing. To create something unique in style that connects with you, moves you, leaves you fascinated and intrigued, has attitude, purpose and meaning, as well as remaining in your memory as something you have gotten to know well, are fond of and that gets even better with each listen. That’s what I strive for and work on until I feel I achieve it.

Tell us about the videos which accompany some of the songs on the album.

What videos ? 😉 I don’t have any official music videos available as yet apart from the moving graphic lyrical videos for a few of the tracks(what we meant 🙂). I do plan to shoot some professional music videos at some point, although with me they will have to be something fairly unique also. I would love to have full length digital animations to interpret all the symbolism in the songs but that takes a lot of time and money.  (If anyone is interested please let me know through my website)!. I do believe there is a very devoted fan somewhere who edits some pretty interesting and visually fascinating movie clips to the audio tracks of some of my songs, which gives another dimension to the music. They’re quite entertaining actually. I like the fact that often the chosen edited images don’t attempt to have absolutely anything to do with the theme of the song. Sometimes this can work quite well instead of trying to recreate the lyrics with images. There is no need obviously since the music speaks for itself and is perfectly capable of planting images in the listeners mind, as it is. But it’s something cool to look at while listening to add associated impact.

Have you or will you be presenting the album live at any point?

At some point in the future, I plan to get a band together with individuals who would be as committed to the philosophy the music is built on, as I am myself.  I would love to take it live, in the right environment and I believe the songs have great potential for a bigger live setting at some time, with many elements that could be incorporated resulting possibly in a spectacular production show, not only as a live gig.  The possibilities and potential are limited only to a lack of imagination, which thankfully I don’t have. I need to recruit the right team of talented and like-minded people around me I think.

What is next for you?

I am working hard promoting my album. It’s getting good reviews and airplay in different countries. It’s getting featured with exposure in different magazines. There will be a couple of tracks issued on 10,000 sampler CD’S each in UK and Italy next month. I am currently looking into licensing opportunities for Film and TV.  The music business has changed dramatically with the digital revolution creating so many new possible directions and I intend to pursue and take advantage of as many of them as I can for the time being to get my album around the world to as many ears as will be interested in it. I am gaining fans daily and have many elaborate plans for the future including a live show, new music,  music videos, animated feature films, even ideas for computer games based around my music. ” Beyond the realms of possibilities we’d be arrivin’”! as someone once said… 😉

Once more thanks for chatting with us David.

Your welcome and Thank You, Pete.

Find out more about David J. Caron @ http://www.davidjcaron.com/

Read the Thru Ever-Ending Black @ https://ringmasterreviewintroduces.wordpress.com/2012/06/09/david-j-caron-thru-never-ending-black/

The RingMaster Review 28/06/2012

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David J Caron : Thru Ever-Ending Black

In already a year of some great unexpected treats the newest one to come this way is arguably the most exciting and pleasurable. Thru Ever-Ending Black the debut album from composer, writer, and producer David J Caron, is nothing short of being wonderfully infectious and persistently compelling, its creativity and compulsive sounds  the most satisfying and thrilling experience.

      David J Caron is an Irish/Italian musician, who grew up in England but now resides in Ireland. He has marked his first steps into melodic metal/rock with a twenty eight track double album. When it first came through the size of it and memories of other large albums led to a slight lack of enthusiasm, with its old school classic rock impression slightly off putting. What emerged to please the ear and heart though was a release which captivates with every minute and takes one on an enthralling and inspired melodic journey. Caron crosses many genres with his album to ensure it does not easily sit in any which is glorious and frustrating for those that need to label. Weaving meshes of melodic metal, hard rock, classic metal, progressive rock…the list goes on; he has created an album of majestic and contagious rock n roll. The tracks are straight forward and simple yet carefully crafted and much more involved than initially assumed. There are also no excesses anywhere on the album, every element and sound as essential as the next and when a solo lights up the senses for example it is to add a depth and bring a fuller heart to a song, not merely to show off his skills and become an indulgent add-on.

Thru Ever-Ending Black took eighteen months to record and it is easy to hear where the time and attention went in making a release which engages on every level from the impressive lyrical content, irresistible sounds, and the seamless and organic merger every aspect of the songs. Every instrument played, note expressed, and word brought to life is the sole work of Caron with only Rob Mancini brought in to co-produce the album. The songs carry an elemental or celestial face to portray and bring forth the expressive emotions, personal devils and thoughts, either dark or light. Each track is varied like a star but part of and at one with an overall universal energy and sound, this makes for a release which is constantly mesmeric and openly accessible whilst perpetually intriguing and unpredictable. Musically Caron is as impressive as any new artist to appear in recent years, his imaginative guitar play and keyboard ingenuity siren like and the wonderful gravelly bass invention he adds as viral as the striking and ever evolving rhythms.

The album opens with a bang and a quartet of songs which alone tell you all you need to know about the invention and songwriting craft of Caron. It Gathers starts things off with a gentle but insistent beckoning before finding an eager pace to stomp through the ear with. First notable thing is the fine vocals of the artist. As the album consumes the senses with its overall quest one finds he does not diverse his delivery too much but with his great control and ability as well as superbly imagined harmonies there is never anything less than satisfaction from his style. The song romps with a sure belief and addictive imagination, the keys and guitars lighting up the emotions as much as the stylish lyrics.

Look Out picks up from the excellent opening with a feast of insurgent niggling riffs and growling darkened bass lines. There is a throbbing essence which fuels the song beneath infectious hooks and another vocal display carrying more potency than any fiery attack. Caron brings an anthemic essence to songs as much with his voice as musically which offers a seduction which is impossible not to join.

The absorbing Time Machine and hypnotic Coming To Get You continue the breathtaking start and together they already convince one of the special talent at work. The four songs so far bring a great mix of melodic rock with irrepressible pop elements but plenty of firm muscular energy too. As the release progresses the tracks offer diverse and equally irresistible imagination and sounds. There are the mellower AOR toned songs like Memory Magnetic, the solidly fuelled eighties melodic rock found in Beam The Ray or the power ballad The Tree That Waits to name a few all bringing a strong and varied breath to what is a multi faceted and flavoured release.

Further fires on a consistently impressive release include the twin shadowed gems Dark Of Night and The Knights as well as the magnetic Irreplaceable and the steely rippled So Let There Be Light. The last of these is probably the current favourite song but with each track so fulfilling and inspiring that choice changes persistently.

    David J Caron with Thru Ever-Ending Black has ignited the year for melodic rock with less than a handful of other releases so far able to match or even come close to what is an unexpected and completely rewarding let alone enjoyable feast of an album. The only thought is hopefully it is not another eighteen months before we get the next pleasure from him.

RingMaster 09/06/12

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