Providing a debut album easy to suspect most heavy metal fans will find plenty within to spark an eager appetite, Silver P is the solo project of guitarist Pugnale, alias Roberto Colombini. The self-titled release though also embraces a host of rock and metal flavours to its creative heart providing an even wider range of ears a rich and intriguing experience.
Creating Silver P early 2017, Pugnale approached drummer/sound engineer Antonio Inserillo with a clutch of songs a few months later, persuading him to get on board with the emerging project. Finding a singer was a more difficult issue but eventfully Alex Jarusso was enlisted to the Italian band’s line-up, in turn becoming a quartet for the album with bassist Alessandro Cola. Their sound takes inspiration from the likes of Airbourne, Dio, and Megadeth but finds its own if not unique certainly distinct voice within a first album released through Red Cat Records.
The Deep Breath Before The Plunge opens up the release, its dramatic instrumental landscape a firmly magnetic intro to the release. The imagination easily ran with its epic and growing theatre of intimation and sound before Fields Of War erupts from its portentous air with an armoury of infectious riffs and rhythmic confrontation. The classic/eighties metal influenced delivery of Jarusso soon erupts from the battlefield and though it is a general vocal flavouring which we generally find hard to embrace as a style, his presence and prowess only adds to the track’s heavy/classic metal nurtured appeal and enjoyment.
Pugnale’s guitar craft and enterprise is another potent feature and provides even more attention grabbing enticement within next up Road To Hell, his grooves wrapping round ears with infectious intent as the rhythms of Inserillo and Cola rap and throb with flirtatious aggression. Growing into a definite best track contender it is swiftly rivalled by the blues rock lined strum of Memories; a track with a whiff of stoner rock and grunge to its relatively calm but increasingly tempestuous climate
Thrash and alternative hues colour the metal heart of The Net, wiry grooves luring quick pleasure into a just as enjoyable web of heavy and classic metal smelted invention. It is a trap as unpredictable as it is familiar in certain ways and another song adding to the album’s best passage of tracks though A Shade In Light with its opening feral riffs and nagging grooves within predacious shadows is as attention enslaving as anything around it. It never relinquishes that hold either as its dark trespass and melody woven predation continues to captivate.
Out Of This World follows and also ensures a compelling engagement with ears and appetite. It too has a darkness to its body and air which is disrupted and seared by bewitching sonic flames and melody hot tendrils and it is maybe no coincidence that for us the truly standout tracks are those bred in the shadows.
The thrash poked chug of I8 is old school metal/hard rock at its most wild and frivolous but built on open craft and adventurous mischief which seems to get more daring by the twist while Straight At The Heart closes things up by uncaging a rock ‘n’ roll holler not too hard to have body and spirit bouncing with.
Generally classic/heavy metal is a flavour others will appreciate more than us here but we cannot deny that Silver P, band and album, pleasured and captivated before getting under the skin in many ways.
Silver P is out now via Red Cat Records across all worldwide digital stores.
US outfit, Backblast, create a heavy metal roar embracing the flames of other styles and flavours. It is a proposition which is constantly growing and evolving as well as building on the success of the Manassas, VA hailing band’s well received debut EP, of 2015, The Area is Clear. We recently had the chance to get to the heart of the band with drummer Chris Tamberella, exploring its origins, growth, the band’s latest attention drawing release and more….
Can you first introduce the band and give us some background to how it all started?
We are a five piece metal band consisting of Dan Cunningham on vocals, Jake Ford on lead guitar, Adam Pritcher on rhythm guitar and backup vocals, Wilsen Rivera on bass and myself, Chris Tamberella on drums. In 2015 Dan and I, along with original guitarist Marcos Eguia, began recording tracks in Dan’s basement. After 6 months of writing and recording, we decided to bring the studio to the stage.
Had you been involved in other bands before?
Wilsen has been in a number of projects including Kaemon, Bourne of Ash, Greythor, Pandora’s Box, Sanguinus and some solo work on Wilsen’s Sessions. Dan was is a heavy metal band in Newport News, VA called Kaivol Motak who enjoyed local success. Jake was in a band for a few years in high school and since has filled in periodically for the Miami based band Inferion.
What inspired the band name?
The majority of our band members are military veterans and have experienced the back blast of an RPG before.
Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?
There was no specific sound that we targeted at first. We played what came naturally which was best described as rock. After recording The Area is Clear, we wanted to add more to our sound but didn’t know exactly what we were looking for. Enter Adam Pritcher and his heavy riffs and we were on our way to making metal songs. Since then we added Wilsen on bass which opened the doors for another evolution in the band with his ability and experience. The final piece to our sound is the addition of Jake Ford. Adding a lead guitar to our sound has provided more opportunities for growth and another evolution in our sound. With the addition of Jake we are steering in somewhat of a power and progressive metal sound. Who knows what we will create in the future.
Do the same things still drive the band when it was fresh-faced or have they evolved over time?
Our band has evolved in all aspects including what drives us now. As a band we want to push ourselves and churn out the best sound possible. That can only occur if we are all driven individually and as a unit. When we started in Dan’s basement we were messing around and seeing what came out. Right now we feel like the sky is the limit between the five of us and are excited for our next release and to continue bringing our brand of metal live on the east coast.
Has it been organic, especially the movement of sound or more the band deliberately wanting to try new things?
Everything that happens with our sound is organic and nothing is forced. We certainly want to try new things but we haven’t limited ourselves into what we are trying. If it feels right we move forward. If it’s clunky or not smooth than we move on to something else.
Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?
With five guys in the band there are many different inspirations. We all share some of the same likes such as Black Sabbath, Dio, Lamb of God, Iced Earth but some of us like reggae, jazz, classical music, electronic music and more. For myself as a drummer I am inspired by Chris Adler of Lamb of God and Jimmy “The Rev” Sullivan of Avenged Sevenfold.
Is there a general process to the band’s songwriting?
Most of our songs are based off guitar riffs. Sometimes that riff is structured before it comes into the band room or it may just be a small riff that starts with a jam session and grows into a full track.
And lyrically, where do you draw the inspirations?
Past experience, current political climate and what happens inside Dan’s head (which could be scary).
Would you give us some background to your latest release?
Our latest release is a four song concept EP, The Ringmaster. It revolves around an evil entity “The Ringmaster” who has pulled in all the outsiders of society and placed them under his spell. He lures with them with the promise of hope and acceptance but his true motive is to create an army of minions. After realizing their fate those who have come under his power rise up to fight back. In this story the good guys just might not win.
Give us some insight to the premise behind its songs.
The first song, The Ringmaster, tells the story of our protagonist and gives the listener a hint of his plan. Next is To the Grave which lets the newly acquired minions understand what is actually in store for them under the big top. The third track Uprising is when the battle begins. The minions have come together to throw down with “The Ringmaster” for an epic battle of good and evil. Our battle finally comes to a bloody finish with Bend the Knee. Who will be left standing?
Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?
We are 100% ready to record each track when entering the studio. Studio time is a pricey endeavour and we don’t like to burn money. The blade is sharpened before we hit record.
Tell us about the live side to the band, presumably a favourite aspect of the band?
Our live shows are our bread and butter. I promise you will not be bored. At one point you could be two feet away from a slinging guitar or about have Dan singing in your face. Our shows require audience participation and I promise you won’t be able to resist joining in.
It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods?
Our region has had a recent bump in the past year but it is an uphill battle. The underground metal scene has some very strong bands and personalities but the only way we grow is standing side by side. We are doing our part to make sure the scene keeps pushing.
How has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success?
At this point social media is crucial for BackBlast and for all underground bands in any genre. On one hand social media gives any band exposure that would typically cost a ton of cash for free. On the other hand our music is free. There seems to be some formula for success through social media and we are still doing the math.
Our big thanks for sharing time with us; anything you would like to add or reveal for the readers?
Right now you can grab a free copy of our EP, The Ringmaster, by going to our Facebook page. Give it a like, and shoot us a message to get your free download code!
Since forming in 2011, US rockers Divided We Stand has persistently and increasingly grabbed ears and attention with their creative roar and adrenaline fuelled live presence. Quickly making a potent impact locally, they have continued to spread their heavy, rousing sound nationally while sharing stages with the likes of Hoobastank, Pop Evil, All That Remains, SOiL, Mushroomhead, Nonpoint, Papa Roach, and Three Days Grace along the way. As their latest single draws acclaim and appetites globally, we grabbed some of the band’s time to look at the track, the origins of Divided We Stand, what makes them, tick and much more….
Can you first introduce the band and give us some background to its beginnings?
Formed in December 2010, the Knoxville, TN based hard rock band Divided We Stand is a modern heavy rock band that combines haunting melodies, infectious grooves, tightly synched guitar riffs and clean, melodic vocals to create a crowd pleasing experience. Its line-up consists of Mike Russell (Drums), Randy Krouse (Bass), Jake Wilson (Guitars), Phil Zimny (Guitars/Vocals), and Joe Turner (Lead Vocals)
Have you been involved in other bands before? If so has that had any impact on what you are doing now, in maybe inspiring a change of style or direction?
We all have been in past bands with very different sounds. It makes it harder to write because of all the different viewpoints but we have very good songs to show for it. Randy was in a few really heavy metal bands prior to this. Phil and Mike started off playing for their churches and then found other projects later on as their talents grew. Joe started busking while he was in the military and then found some other artists and bands to perform with. Jake has played in various projects as well. We all grew up around music and it’s our life no matter what direction it takes us.
Is there a specific meaning behind the band name?
We have such different views and ideals. While we were in the first phases of our band we had so many different ideas of what direction to go in. Someone said don’t be so divided and it dawned on us “Divided We Stand”.
Was there a particular idea behind the forming of the band and also in what you wanted your sound to offer?
It started out with Mike Russell and Phil Zimny, they had written some songs together that had a heavy but melodic sound. After looking for musicians to fill in the roster they added Randy after a random try out. They liked his heavy edge and his unique double slap bass style. Joe Tuner was just hanging out with the band one night and asked to play a song for us. To our surprise he had a golden voice. We had a few rhythm guitar players leave to pursue other ventures. Jake Wilson had played in some of the bands we had shows with; his stage presence and clean guitar playing caught our attention and we knew he was a perfect fit for the role.
Do the same things still drive the band when it was fresh-faced or have they evolved over time?
We all came into this band with great talent but little knowledge of the music industry. You earn each step with your failures and your successes. It’s hard to go out on the road months on end and come up with five to ten thousand to record, publish, and distribute each year. But we have determination to make a way. Either you do it or you don’t.
Since your early days, how would you say your sound has evolved?
Well Phil and Mike had written a few songs. With the addition of Randy and Joe they quickly morphed into full songs. Some changes happen when you add or subtract a member. We started with second guitar player named Trevor Tucker for our first two EPs Civil Unrest and Deception. When Trevor left the band we added Chris Whitt for our newest single New Era and our sound changed. Some songs sounded better with him and some didn’t work out. Next we added Jake Wilson after Chris left and our sound is changing again. You always need to evolve as a musician.
Have changes been more an organic movement or more the band deliberately trying new things?
For us it was out of necessity. We started out writing, then playing local shows, then touring nationally as well as putting out our EPs and music videos out and it takes up a lot of you time and you have to work a job. Trevor moved on to pursue other ventures because of the hectic schedule. So we got a friend who is really good at guitar to try out. Chris was good and filled the role well and recorded with us and toured but he ended up getting really sick. He wasn’t able to play anymore so we had a few fill in guitar players help us out and went on tour dates for us until we found a replacement. We added Jake Wilson and he has got to play a few shows so far.
Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music?
We listen to music all day long but when we write we try to focus on where our emotions lead us instead of a specific sound or band. There are a lot of musicians we learn from as we grow as a musician. Some of our favorite bands our Stone Temple Pilots, Avenge Seven Fold, U2, Fear Factory, Dio….this list could go on forever.
Talking of songwriting, is there a particular process to it within the band?
We have tried many approaches to writing material for the band. We put everything under the microscope and only the best ideas pass. Recently we have all been writing and we have tons of ideas so we started recording our ideas and if everyone wants to put a layer on the track they do if not we move on to the next one.
Where do you, more often than not, draw the inspirations to the lyrical side of your songs?
Joe writes most of his own material. If he has trouble we give him our ideas for harmonies, patterns, poetry, or anything really. If he likes it he runs with it, if not he keeps moving forward until he finds something. A lot of times you can start with a basic idea and build on it.
Can you give us some background to your latest release?
We went to Spider Studios in Cleveland, Ohio for our single New Era. Tony Gammalo was our producer for the track. He has worked with artist like Chimera and Machine Gun Kelly. He even did the Freddy vs Jason soundtrack. It took us a few days to record but it takes a while to get the finished product. We shot a music video with Post Retro Productions. Then we released our single and video to I-tunes, Spotify, Fuse and a million other places. We feel the music industry is starting to gravitate towards singles instead of albums. No one buys physical copies anymore. They want the best songs for their playlist digitally so getting on as many sites as possible is key.
Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?
We usually have played our song live a thousand times before we record so it is well rehearsed before we go record. Sometimes your part changes in the studio for certain reasons like the producer wants you to do it a little different or you find a slight mistake.
Tell us about the live side to the band, presumably the favourite aspect of the band?
We have a high energy performance where we jump and throw our guitars around. Joe has such a great presence as a front man. We put our whole selves into the music and don’t hold back. Before and after we play we love to hang out with the crowd and other bands. We love to travel and perform at such different venues with different sounds and random stages.
It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods? Are there the opportunities to make a mark if the drive is there for new bands?
We live really close to Nashville the music city. There is music everywhere but for metal bands it can be a challenge to find a place to play. Times change and you have to adapt to the sound people want here while keeping your musical integrity. The internet is a big tool for success in the music industry. Getting published and distributed through online service is a must. Social media is another tool to get the word out about all your adventures. Share videos and picture as much as possible. You do have to spend a little money to move forward sometimes. Save up or maybe a loan.
Big thanks for sharing time with us guys; anything you would like to add or reveal for the readers?
We just wanna thank The Ringmaster Review for giving us and all the unsigned artists a shot. It is publications like this one that keeps music alive by giving young talent a voice.
Following up last year’s highly enjoyable album I Am God, Exorcism unleash new EP World In Sin, an encounter in similar vein to its predecessor and sure to excite fans of artists like Black Sabbath and Dio as well as those with the appetite for a more modern take on their heavy metal. Five richly flavoursome and inventive tracks make up its presence and prove that the quality and adventure of the last album was no flash in the pan, nor the success the band had with it you suspect.
Exorcism is primarily vocalist Csaba Zvekan, a Serbian multi-instrumentalist who has a long list of potent bands and releases under his belt (Sardonyx, Killing Machine amongst them with latterly Metal Machine and Raven Lord also on-going projects). Forming Exorcism in 2006, he has recruited a host of talented musicians to bring his songs and music to ears within the 2014 full-length and now World In Sin, the likes of guitarist Joe Stump (Raven Lord, Holy Hell, Reign Of Terror), drummer Garry King (Joe Lynn Turner, Jeff Beck, Achillea), bassist Lucio Manca (Raven Lord, Solid Vision), and keyboardist Alex Wind amongst many adding their talent on the new offering.
World In Sin opens with its title track and immediately encases ears in melodic keys and vivacious riffs courted by firm rhythms. It is not a dramatic start but a quickly engaging one, especially once the distinctive and powerful vocals of Zvekan begin the track’s narrative. A great throaty bassline from Logan Christopher adds to the building drama, its lurking presence resonating bait alongside the inventive enterprise of Stump, rhythm guitarist Andy Drake, and Zvekan. Though the song does not quite ignite ears and emotions as potently as subsequent songs, it makes for a solid and enticing entrance to the release.
The following Black Day In Paradise has a similarly potent template and presence to it but also an additional drama which flirts through bass and guitars as vocals and keys colour their predation with a warmer invitation and adventure. Its elevated energy, compared to that of its predecessor, also adds a more anthemic feel to the song, setting up ears and appetite nicely for the EP’s best two tracks which start with Virtual Freedom. Instantly there is a darker more intimidating edge to the song, riffs and rhythms aggressively alluring as slithers of sonic acidity spear the tempestuous character of the encounter. Zvekan prowls the song, roaring with full throated skill throughout whilst Stump once more uncages a fiery intrigue of imagination through one blazing solo and spiky melodic tempting. The track is outstanding, invention and anthem tattooed on its creative predation.
Next is Sahara a song just as impressive and thrilling as the last. Its initial breeze and Eastern suggestiveness has the imagination instantly lit, a tantalising mystique colouring the opening caress before bass and guitars create a tapestry of infectious and descriptive endeavour. That hue continues through bass and melodies whilst the song’s solo is a sultry spice winding around the dance of drum beats. Though, as no fan of fade outs, the ending niggles, the song takes the listener on a new adventure within familiar terrain, its scenery crafted with brand new detail and colour.
The closing Black Star also has a dark and enthralling theatre to its character and sound, leading ears through a shadowy and intensive landscape of creative and vocal drama. It has a hard task matching up to the last couple of songs but holds its own with a rhythmic contagion and guitar sculpted, almost sinister, sonic tale that grips attention. With the dynamic vocals of Zvekan guiding thoughts, it is a fine end to another resourceful and highly pleasing encounter with Exorcism
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Driven by an open creative passion and equally potent craft, World of Evil the recently released new album from US metallers Sinister Realm, emerged as one of the most refreshingly striking heavy metal genre releases of the year. Thrusting the listener into a world of muscular anthemic temptation and fiery melodic enterprise, the impressive confrontation from the Allentown, Pennsylvania quartet takes the bar for modern classically sculpted heavy metal up a few more levels. World of Evil certainly ignited a fire inside of The RR so we jumped at the chance to find out more about Sinister Realm and their Shadow Kingdom Records released album, as well as inspirations musically and lyrically, with the kind assistance of band founder and bass player John Gaffney.
Hi John and thank you for taking time out to chat with us here.
Thank you for the interview and for reviewing our CD!
Firstly could you give us some background to the members of Sinister Realm and what was the spark which brought the band to life?
Our singer Alex and drummer Chris used to be in a local original alternative metal band called Type 14. John Risko and John Kanter are local guitar heroes that have played in a bunch of metal cover bands; Risko at the moment is playing in a metal tribute band with James Rivera from Hellstar. I use to play in a doom band called Pale Divine.
The spark that brought the band to life was just a desire to make music influenced by the bands that really inspired us when we first discovered metal, like early Ozzy, Dio era Sabbath and Dio solo, Maiden, Priest, 1980-1984 classic metal basically.
How did the band founders originally meet?
Our original drummer Darin McCloskey and I use to play in the doom band Pale Divine. I played with them for a few years and played bass on the “Cemetery Earth” album. I landed up leaving due to some logistical issues and Darin called me up and suggested we work on some original ideas I had brought down to Pale Divine but never got to use.
What are the biggest inspirations to band and your personal musical creativity?
Classic early 80s metal like Judas Priest, Iron Maiden, Ozzy, Dio solo and with Sabbath, Mercyful Fate and Candlemass. Personally, outside of music I’m influenced by the bands mentioned above as well as 70s horror movies, art and photography.
Traditional 80’s metal seeds and cores your sound and intent, do you feel there is still a wide expanse for the genre to explore without losing its original identity or is more about improving and revitalising existing scenarios within the scene for new and established bands?
I think there is still plenty of room for people to interpret traditional metal in their own way and add some of their own stamp on it. With Sinister Realm we realise that we are not really inventing anything per say but just putting our own spin on it. We are not reinventing the wheel, we’re just blowing the dust off it a little and giving it our own spin.
I believe the band runs alongside real life for you all, does that bring the biggest obstacles to try and overcome, or is it a grounding for Sinister Realm which helps keeps the adventure fresh?
Sometimes real life can be very inspiring and depressing all at the same time. Even though our lyrics seem to have a lot of fantasy style subject matters, often the inspiration comes from real life experiences or observations I’ve made on the sometimes really messed up human race we belong to. I enjoy fantasy imagery so often I cloak the meanings inside the lyrics so they can be interpreted however the listeners want. Whenever I need some inspiration and need to keep things fresh, taking a look around at the world usually does the trick.
How easy is it to merge the live aspect and passion of the band into everyday life, especially one like yourselves which predominantly drives and works most of its own promotion?
The business end of the things can certainly wear you down, we have a lot of support from our record company Shadow Kingdom Records but we don’t have a manager or booking agent so we have to do a lot of that ourselves. Playing live and getting an immediate reaction from people can be very inspiring so that along with the emails we receive from fans is what keeps us going.
You have just released your third album World of Evil, a release which for us is “a world of muscular anthemic temptation and fiery melodic enterprise” offering a riotous fun and passion fuelled enterprise which arguably has been lacking in the majority of recent heavy metal releases. I am not expecting you to disagree, ha-ha, but what were your hopes for the album and its effect on fans whilst writing and recording it?
With everything that we do we always hope that it will be received well but when I’m writing the songs I try not to think about what other people would like, I try to just make sure it’s something that I like and in my gut feel is good. We always try to make the best record we can at that time. As for the effect on the fans, I hope that the music means something to them and bring a smile to their face and maybe a raised fist in the air.
How would you say your music and craft has evolved over the three albums to this point?
I’ve gotten better in the song writing and lyric department and the band has gotten better at playing together and bringing the songs to life. Just like anything else in life, the more you do it the better you get at it. I think in general the band has gotten better at bringing our vision to life.
Did you approach the writing and recording of the album any differently to your previous releases?
Not really but I always strive to get better and move forward. With “World of Evil” I wanted the lyrics to get better and explore some different themes and I wanted to add some more epic moments like the songs “Ghost of Nevermore” and “Four Black Witches”. As for the recording, we did it the same way as the first two albums; get the tracks down as quick as possible so we can spend as much time as we can on the mixing end.
The album and song titles seem bred from the shadows and less savoury aspects of this earth and its inhabitants. This is the main inspiration for your ideas and songs generally as you touched on earlier?
Yeah I would say so; you don’t have to look very far to see evil in our world.
How does the song writing work within the band, and is there plenty of room for band interpretation and progression of songs and ideas or is it a more singular approach that you all run with?
I write all the music and lyrics then I demo everything out for the other guys, they take a listen and add their own personality onto the songs. We bang them around in rehearsals until we feel comfortable with it and usually try to play the songs out live a few times as the final test.
Do you enter the studio with songs generally ‘finished’ or do you all like to stretch them further once in that environment?
Everything is completely worked out and basically finished before we get to the studio. Unfortunately we don’t have the budget to leave anything to chance. The only things that get added at the last moment in the studio tend to be keyboard overdubs and effects and things like that. Sometimes I might get inspired in the studio and add an extra vocal harmony or something but for the most part everything is worked out in advance.
Some bands like to write songs and introduce and test their appeal live before recording and others the other way round. What is the usual routine for songs with Sinister Realm?
Well, like I mentioned above, we start with a demo, work it out in the practice room and then take it to the stage for the final adjustments. In my opinion, playing live is how you really learn songs and make them your own, that’s why we always try to play new songs out live because you really learn them that way and they will sometimes take on a new life when you play them in front of a live audience.
Was there anything which emerged whilst bringing World of Evil to life which you intend to explore further in future releases?
The epic nature of songs like “Ghosts of Nevermore” and “Four Black Witches”; that is a direction I would like to continue in and explore more on the next record.
It is probably fair to say that you guys are more established in the US than in Europe, do you feel like us that World of Evil has the ammunition to remedy that?
I hope so; I would like the record to reach as many places as possible. Traditional metal is really strong in Europe so I would of course love it for us to make a strong mark there.
What comes next for Sinister Realm once the mighty World of Evil has stopped lighting up the world?
Playing live and some touring to support the new album. We also have an EP that we plan to release ourselves early next year then we will start working on the next record. I would like the next one to be out rather quickly, maybe late next year. Kind of like in the old days when bands were releasing albums once a year, I would like to be able to do that.
Once again big thanks for talking with us, anything else you would like to share with the readers?
Thanks a lot for the interview and for supporting Sinister Realm and heavy metal. Get the album at any of the Amazon stores, Shadow Kingdom Records or your preferred online metal distributor. For more info on the band go to www.sinisterrealm.net
Mary Jane the debut album from Dead White and Blue has in many ways been twelve years in the making though that is not quite the true story. The band/album is the invention of Arizona vocalist/guitarist Russell Workman, a musician who had previously played in various bands around Phoenix, artists who had supported the likes of Iron Maiden, Dio, and Korn. Laying down his self-penned tracks for the album at the Tim Rastas Studio in Tempe in 2001 everything was going to plan until Workman was arrested and sentenced to 6 years in prison for a minor drug charge. The experience brought his thoughts and determination into keen focus. In 2012, after trawling through vaults and closets for the raw master tapes of his unreleased album, Workman was ready to bring it fully to life, setting to work overdubbing and updating certain sections of songs, re-mixing and finally mastering his long overdue release. Bringing in long term friends bassist Mykel Sane (John Waite, Saigon Saloon, Faster Pussycat), guitarist Harry McCaleb, and drummer Rich Contadino to make a full line-up, Dead White and Blue emerged hungry to ravage the senses and the world of dirty unbridled rock ‘n’ roll.
Consisting of eleven raucous, riotous, and rapacious confrontations bringing the essences of bands such as Murderdolls, Motley Crue, and Sex Pistols into their own voracious adventure and spite, the album is not unearthing new ground but considering the songs were written and created well over a decade ago you feel at the time of its birth the it was ahead of the game at the time. As the lead off track and first single from the album Take launches caustically at the ear attention and senses are immediately awoken with a seed of good appetite also finding its bearings as the vocals of Workman and the great fiery riffs make their presence firmly known. Expecting the track to explode into a fury of energy it wrong foots with a lumbering almost doom lit twist before unleashing the full intensity of the track with rhythms and guitars offering a compelling abrasion and the bass prowling it all with saliva dripping malice. The song continues to bring an ever evolving unpredictable venture, a seamless flow of ideas and direction which makes captivation and hunger an easy response.
From the strong and riveting start the album continues to impress, the title track coming next to roughly dance with the senses whilst littering its antagonism with infectiousness and easily accessible pop rock hooks. Its successor Dragonhead steps up after equipped with a punk belligerence merged into a glam rock nearing wantonness. Though neither matches the opener they more than leave a satisfaction which is lingering and ripe for more.
The likes of the snarling California, a track with sultry climes designed by the excellent sonic flames of the guitars, and the magnetically jagged Hot Wheels add gripping highlights to the release but it is as Suitcase Punk steps up that the album really lights up thoughts and senses once more to new levels. Bursting from a sonic spiral riffs and rhythms charge rabidly through the ear whilst around them punk bred intensity coaxes adrenaline into rabidity. With Dead Kennedys like contagion and a Fuckshovel styled delivery, the track is a virulently addictive confrontation, its grooves and hooks magnetic lures alongside simply irresistible riffs. Easily the best track amongst it is fair to say nothing but well-crafted and enthralling brawls, the song leaves on a high which the following Soul Thief runs with to great effect and pleasure. A rawer destructive intensity sprawls over the vocals and their at times vacuous production, whilst guitars and bass create an intensive squall of sound and predation sparking another wave of insatiable devouring.
Completed by the pleasing Let The Dead and the outstanding and incendiary Burning In Hell, a track which sears the flesh of the ear whilst scorching the senses, Mary Jane is a thoroughly enjoyable and thrilling release. Though its pinnacles do leave some of the other songs in shade at times, not one departs without having taken the listener on an energy driven creative ride of undoubted pleasure. Dead White and Blue is a band to keep an eye on; here’s hoping it is not another twelve years before another treat.
With an air of doom to its open classic heavy metal heart, World of Evil the new album from US metallers Sinister Realm is one of those releases which just grabs you by the emotions and thrusts you into a world of muscular anthemic temptation and fiery melodic enterprise. It is an exciting and pulse racing encounter which leaves senses and appetite alert and hungry for more, something you can argue few bands in the heavy metal genre has achieved in recent times. The Allentown, Pennsylvania quartet has no problem in recruiting the passions and hunger though, certainly on this their third full length release, and without necessarily breaking down existing walls they offer something refreshingly different.
The eight track album has an imagination and depth which also takes in the essences of rich flavours outside of its core sound, this fusion rising to songs that use open influences from the likes of Black Sabbath, Judas Priest, Iron Maiden, Dio, Ozzy Osbourne, and Mercyful Fate in a shadows clad intensive union that sparks off of essences from bands such as Candlemass and Memento Mori. Formed in 2008 by ex-Pale Divine member John Gaffney (bass, guitar, backing vocals) and Darin McCloskey (Pale Divine, Falcon), Sinister Realm followed up a four-song demo with the well-received self-titled album in 2009, followed two years later to good acclaim its successor The Crystal Eye. Released through Shadow Kingdom Records, World of Evil takes the band to another plateau of accomplishment and one suspects acclaim, the quartet of Gaffney, vocalist Alex Kristof, guitarists John Kantner and John Risko, and drummer Chris Metzger, raising not only their own bar but that on modern classically sculpted heavy metal.
The first thing to say as we delve into the release is how impressive and deliciously imposing and creative the bass work of Gaffney is, throughout the release its throaty steely tone revolving through seductive to carnivorous but perpetually darkening the shadows, breath, and creative presence of songs wonderfully. It is a bestial predator which gives an intimidation and menace to every second of the release taking the listener into hidden dangers tempering the melodic flames which equally enhance and fire up the release.
Opener Dark Angel of Fate escapes from a stark threatening ambience, exploding into an eagerly paced romp of crisp rhythms and that instantly calling bass sound. Riffs too grip attention with their unspectacular but directly invitational attack whilst the excellent vocals of Kristof parade the song’s tale with expression and strength. As becomes apparent across the whole album, the anthemic lure of the song is dramatic and potent, a power metal like charge fuelling the imaginative engine for the melodic invention to flare off from. It is an excellent start soon backed up by the following pair of Bell Strikes Fear and the title track, even if they fail to quite live up to the impressive welcome of the album. The first of the two holds more of the expectations you would assume from a classic metal song but with good backing vocal shouts and the excellent guitar play not forgetting the bass threat expanding its presence, the track is a rewarding encounter equalled by its slower intensive successor, the song a more than decent companion to thoughts and imagination.
The grooved enticement of The Ghosts of Nevermore with its familiar yet undefined touch marks the epically breathing song as another major highlight. As guitars coax the appetite with those acidic grooves the bass unveils its own predatory but simultaneously beckoning lure, the union bringing greed into play towards the rich weave of the song. Hunger for it is accelerated by the fine craft of the guitars and the rising symphonic atmosphere infusing the air. The captivating track is just the start of a scintillating passage within the album, Prophets of War stepping up with its confrontational rhythmic sinews and antagonistic riffs next to lead the listener and thoughts into a battlefield of climactic emotion and riveting endeavour. The bass again steals the biggest share of the passions, but every aspect of the track recruits full eagerness and instinctive subservience to its towering inventive declaration, the melodic and adventurous exploration of the initial dark premise as it moves towards its climax especially enthralling.
The pulsating and deviously addictive Cyber Villain has blood surging around veins with irresistible ease, the song a thumping example of choice heavy metal whilst the instrumental The Forest of Souls calms down emotions and energies with enchantingly creative poise before evolving into the vibrant key for final track Four Black Witches to unlock its brooding malevolence and doom like gothic presence. Approaching nine minutes of classic genre fare it is a captivating if slightly overlong conclusion to an excellent release.
World of Evil is a thrilling fascination brought by a band in Sinister Realm which is giving an arguably well-worn genre a new kick of creative adrenaline.
Unleashing a furnace of melodic might and invention with their debut album Descent To The Underworld, Raven Lord has given classic metal a shot of adrenaline and traditional passion which reaches far beyond just the fans of the genre. Consisting of six of the finest rock musicians with a pedigree and experience to match, the Csaba Zvekan formed band combine power metal and neo classical influences with their heavy metal heart for a towering encounter in sound and album. Taking full use of the opportunity and pleasure to talk about the band, album, and his inspirations with Csaba, The RingMaster Review looked at all things Raven Lord.
Hello Csaba and thank you making time to talk with us.
Raven Lord is arguably a ‘supergroup’ with the pedigree and experience of its members. Started by yourself what is the history before and build up to the band?
Thank you and indeed that was the idea. To have a band with experienced players who have been around the block and played some high profile shows before. I was looking out for players who would fit the RAVEN LORD code that I had in mind. After leaving KILLING MACHINE in March 2011 I was all ready to go to make some more Heavy Metal. All I needed is to write a bunch of songs with a release so we can start playing shows, so the idea.
Just for the record can you give the current line-up and their band history as I believe the personal has changed since the album?
The current line-up is JOE STUMP on lead guitars. Joe is known for his superfast shredding technique and has been working with bands like HOLYHELL, REIGN OF TERROR and of course his solo career. GEORGE KARAFOTIS plays rhythm guitars for RAVEN LORD and also for his other band called VERMILLION DAYS. JAMIE MALLENDER is our bass player and he is best known for his work with EX-BLACK SABBATH’s singer TONY MARTIN. ALESSANDRO DUO plays all keyboards and is also active in a band called VOODOO HIGHWAY. Then we have RICH SMITH with us playing drums who previously played for POWERQUEST. And I was singing in bands like KILLING MACHINE, STREAM, SARDONYX, ROUGH ANGEL and EMERGENCY.
Was there any specific intent or purpose when starting Raven Lord?
Yes, my main idea was to play festivals all over Europe and become a touring band. For that we needed a release of a CD. I never thought that this product would receive so much interest from the press, fans and listeners.
From an arguably bland stance for heavy metal in recent years, Raven Lord is the proof that actually it is vibrantly alive and kicking. Do you feel outside of the band it has been lacking a spark as a genre for a while now?
Must be a true fact as this is not the first time somebody mentions this. We get this question a lot and feel that the true and pure heavy metal seems to be a rarity these days, almost as if it is reserved to be played by the “biggest in the business”. Instead it’s the music we grew up with and the genre that started all of this to begin with. Also there seems to be a void in all this as newer bands try to go a different approach. RAVEN LORD can act to patch up the need for this type of music.
I believe the band took a while to get going and emerge, took time to become an active project?
The first record did take more time than originally intended. I think that is normal under the circumstances we were in. Looking for the right player took some time. Also producing the right music and arranging what I had in mind. Truly I believe the band now knows what sound we play and what our goals are. This wasn’t always the fact. So the next RAVEN LORD album is already in process and shouldn’t take that long as the first one.
What are the major influences which have helped define your ideas and the band’s sound?
There are so many influences all and each of us have. We have been compared with the biggest names in metal. As for the vocals and overall sound I’m strongly influenced by Dio, Black Sabbath, Judas Priest, Malmsteen, and TNT but also with singers like Ian Gillen, Glen Hughes and even Chris Thompson.
You linked up with Axel Wiesenauer, a man who has been very kind to The RingMaster Review, from ROCK’N GROWL promotions before the band became a reality, how has his help and expertise impacted on band and its progress to date?
This is very simple to answer hahahaha. Without Axel from ROCK’N GROWL there would be no RAVEN LORD. No band name, no band logo, no artwork, now producer, no record deal absolutely nothing. I cannot say enough thanks to this man who I call the 7th band member. He might be not on stage with us visibly but he sure is with his overall work and dedication for the RAVEN LORD concept.
You have just released your excellent debut album Descent To The Underworld, an accomplished and imaginative slab of classic metal. I get the impression the band members are not local to each other so was the album an internet spawned release or did you find time to get together for a studio adventure?
At one point at the very end of post-production we almost got together for the final mix down in Gothenburg, Sweden. Unfortunately it didn’t happened. So the very next event is rehearsals around June 7th that’s when we come together for the very first time and shake hands and meet as a band. The recordings were done all spread out at every band member’s home country. This has some major advantages in time management but also had a few drawbacks. I would do it again for pre-production as it saves a lot of time. But for the recording and post production I prefer to go to a bigger studio and work with a producer on site. Let’s not forget that this is all depending on how much budget is available. On the first record we didn’t have a budget. We still managed to pull things off with recording the album in our home studios and then had it mixed with FREDRIK NORDSTROM in Sweden. Later we gave it a good polish in the mastering studios of MAOR APPELBAUM in Los Angeles. Both engineers were doing an excellent job!
Recording albums without losing any unity or technical craft using the internet and various computer programmes to transfer and translate files seems the way some music is heading. Do you feel that there are negatives to this which will never evolve the same results as a band being together in person to either write or record?
There are a few negative drawbacks. In particular for the producer to interact immediately with the player who comes up with some recordings and perhaps it’s not liked. So then things would have to be discussed and rerecorded again. This of course is double work for the player who is involved. Sure it is more efficient time wise if you produce the record on site. The other thing is engineering yourself was never a good thing. You might be over picky with yourself. Making endless takes or quite the opposite thinking it is good enough. That’s where an engineer and producer are valuable to the outcome of the product. At the end of the day it’s still a budget issue.
Can you tell us about the album and its songs; is there an underlying theme across Descent To The Underworld?
All though it’s not a concept album as many believe it to be the majority of the songs have to do with life and death. And since it’s a debut album and “Black Friar” describes the band name RAVEN LORD in a fantasy story. So I didn’t want to use the very same song name as the album title. Instead I describe “Black Friar” with a different title, hence “Descent to the Underworld”. And the very same title seems to work just fine with the rest of the songs as well.
What has inspired your songwriting and lyrics the most for the album?
Life!
Life, nature, people, animals, the whole cosmos as a one working organism. And where there is life there is death. It’s an endless cycle of birth, death and rebirth. Forever! You see I believe we have always been and will always be. As the energy is never lost it only changes form and appearance. And even if the whole galaxy would collapse in a black whole tearing us up in billion pieces we would be reborn in time again. But there is always the inevitable “end of things” which actually marks a new beginning.
What is the songwriting process and how does it work for the main within Raven Lord?
For the first record it was quiet difficult to create something that only I knew how it should sound. The players didn’t always know what I had in mind. It needed some explanations first. Now that we’re working on already new songs for the second record it’s much easier to follow that style. The routine would be like with many metal bands I worked with. The guitar players come up with some riffs, I then would piece them together so the length with the vocals can fit. Changing some chord progressions so I can fit my desired melody that I have in mind. I would also sing some riffs to give it the initial spark and occasionally I would record guitar tracks on my own and hand it to the guitarist to work it out in a more detailed and better fashion. The rest comes from all of the RAVEN LORD members with their individual styles and melts into this shiny slab of metal.
Now finished in all its glorious and thunderous presence, is there any part or moment of Descent To The Underworld which gives you the biggest personal thrill or tingle inside?
Yes, I am amazed by all these positive CD-reviews. Never expected this. I mean I’ve been doing this pretty much all my life and now of a sudden it’s the new “masterpiece”, “best record in decades”, we’re being compared with top metal bands and that is just overwhelming. We must be doing something right!
Anything in it which, not that you would change or could have done better in hindsight, but has sparked fresh ideas to explore in your next recording?
Oh yes hahahahaha. I am so looking forward for the sequel of the record as there is so many more stories to tell. Believe me. Life gives me inspiration on a daily basis. And it can do it for anybody. Simply stop what you’re doing for a minute open your eyes and inspect your world around you.
Have the songs on the album all come fresh to the band and release or are there some parts or ideas which have seeds in your previous bands and projects?
All the songs are brand new and have been made exclusively for RAVEN LORD. I like new fresh ideas. No need to reuse old ideas if we can do them “new”!
The album is released via Mausoleum Records, how did that link up come about and there is a second album planned with the label?
Again, the whole credit goes to Axel Wiesenauer who is our general manager. He worked out the two-album record deal with MAUSOLEUM RECORDS. The label boss knew some of us from previous bands and liked the product so they picked it up. There were other offers from other labels. But I didn’t want to pass on a label like MAUSOLEUM RECORDS that was celebrating 3 decades of Heavy Metal success.
What comes next for Raven Lord, have you live shows or tours in the works?
Yes, RAVEN LORD is growing very rapidly and I started booking us some shows on my own. Until someday I realised the workload is getting too much. I asked for help with a very professional booking agent who now is working to get us on some festivals in Europe. Later this year around October we should announce our first EU/UK tour. One big festival is already confirmed in Tongeren, Belgium. It’s the R-MINE METALFEST 2013. We’re going to be playing the main stage Saturday the 22nd June 2013 with bands like Symphony X, Rhapsody Fire and Hell. This is going to be a blast. There will be even more shows confirmed this summer so stay tuned and check our website periodically under www.raven-lord.com or even better like or Facebook page at www.facebook.com/ravenlordmusic.
I will admit before hearing the album I was not sure about the band name but now having heard your sound and release it is the perfect fit to the shadows and ominous, slightly classical breath of certain elements and the heavy metal sound overall. Was there much deliberation over the band name and how it should represent the music?
It’s amazing how things fall into the right place with RAVEN LORD. I felt the same way when we brainstormed about band names. Did not like the name at all at first. After I investigated the Raven as a bird and it’s meaning in mythology I was inspired instantly. It’s the gothic, dark, Middle Ages look that grabbed my attention. And with the neoclassical musical background, logo and lyrics it gave even more persona. Suddenly it was all making sense. Just as if a hidden and invisible force would put all these things together for us. Maybe that’s really how everything is.
Many thanks again for taking time to talk with us, any last words for readers and fans?
Thank you so much for this opportunity to make such an interesting interview with RingMaster Review. Also thank you for your great CD-review earlier. We thank the readers, our fans and supporters for this successful release. It’s because of all you out there that we’re making these things happen. Come meet and greet us on festivals near you!
Finally what are the songs or albums you would go back in time to create first and grab all their credit for?
I think I would jump in the time machine and go back to the year 1979 for the Black Sabbath – Heaven and Hell album. But then again this sounds like blasphemy hahahahahahaha
US heavy metal band Rough Angel has been hitting hard with heavyweight riffs and red hot melodic metal sounds for over two decades building a strong and ardent fan base across Nevada and beyond. Formed by Jimmy Z. and JohnnyG. in Hollywood, Los Angeles the band were soon ‘owning’ the sunset strip up as they played up and down its length and eventually moved to Las Vegas. The departure of Johnny G. led to the arrival of vocalist Csaba Zvekan and another move for the band this time to Hawaii. Then in 1993 the quintet of Zvekan, guitarists Jimmy Z. and Marc Mougavero, bassist Ross Manzo, and drummer Dave Kappos (later replaced for live shows by Mike Rangel) set about recording four tracks for an EP.
Recorded at Paramount Recording Studios, Hollywood and engineered by Csaba Zvekan himself the recordings were intended for promoters and the industry and until now were never available to the public. Now through Rock N Growl Records and remastered by Zvekan these four prime cuts of heavy metal released as the Hear The Angels Rock EP have finally seen the light of day and it is the only release by the band over their long existence. One wonders why this is the sum of their recorded output as the four tracks though from almost 20 years back still sound strong today and certainly give proof that the band were right up there with the better quality metal bands at the time.
It has to be said there was an element of surprise at how well the tracks have stood the test of time, even if a mere twenty years, and how they fit easily with current heavy metal sounds and bands. Zvekan himself has said “It’s unbelievable how these recordings are almost two decades old and still have the power to convince the listener. The music and lyrics are still current especially these days. I got goose bumps remastering this piece of music. It definitely is a gift for all the friends and fans that are out there.”
Production wise there is the sense of limitation from back then compared to now but it does not take away from the quartet of good impressive tracks. The songs are agreeably large with powerful chunky riffs and pure metal energy infused with smartly formed melodies and striking guitars. The tracks ooze essences of Black Sabbath, Judas Priest, and Dio as expected from late 80’s/90’s metal placed within Rough Angel’s own engaging sound. Vocally Zvekan is aggressive with the genre trade mark high pitched screams and squeals though he never does it to excess and he is a good rounded vocalist in tone and delivery. Opener ‘Standing by Mirrors’ and the closing title track give an excellent if not surprising top and tail to the release, the first coming in off a grunge like lick to employ addictive riffs that chug along and grab attention neatly. The grunge tones appear often and are especially open on the first of the two tracks sandwiched in the middle, ‘Defiance’. The song pumps out eager hard heavy hitting and higher toned scorching riffs to please all tastes and as on most songs is deliberate in its attack in not choosing out and out aggression. ‘Let it Burn’ is equally styled, slow in pace but quick to engage the senses in good heavy metal energy and enterprising intent.
Hear the Angels Rock is understandably not going to leave you open mouthed or in shock by offering something devastatingly new but it will definitely feed your metal tendencies perfectly and make you wonder why it has taken so long for sounds from this rather good band to appear.
RingMaster 12/12/2011
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It is fair to say that many hard rock bands and releases are generally predictable, not necessarily bad, just that you know what you are going to get before a note is played and there is often no distinction from one band to another who are effectively and sometimes satisfyingly reproducing the same set sound of the genre. Unless a real fan of hard rock it can be off putting from checking out bands and their music, but it is bands like DC4 who make sure nothing should be taken for granted and shows that there is some strong and intriguing blood pumping through the heart of the genre.
The L.A. rockers show with new album Electric Ministry on Metal Blade Records that the time between their previous release Explode and this has not been a barren time ideas wise, Electric Ministry being a breeze of hard rock sounds infused with strong and vibrant metal riffs and tones. Consisting of the brothers Duncan, vocalist/guitarist Jeff (Armored Saint, Odin), Matt on bass, and drummer Shawn (Odin) plus Rowan Robertson (ex-Dio) on guitar, DC4 have produced an album that shows at its best why rock fuels the day for so many. Electric Ministry begins on the short instrumental burst of melodic energy ‘Wrecktory’ setting up an edge for the title track to ride in upon. With driving hard riffs and a deep throbbing bassline ‘Electric Ministry’ delivers strong effective rock ‘ n’ roll, Jeff’s vocals punctuating the track purposely and strongly with his classic rock vocals. This is a good blend that features throughout the whole album, the classic and hard rock styling from his vocals and band harmonies as well as some delicious rock guitar play all combining with some direct and dark aggressive riffs that would not seem out of place on a Spineshank or Sick Puppies album.
Two of the best three tracks on the release are the sexed up wonderful ‘filth’ of ‘XXX’, a riot of aggressive loin fire that is as infectious as the subject matter for any respectable rock star is itself, and ‘Rock God’ with the best combination of body throbbing induced bass and drum rhythms heard this year, pounding behind some guitar and melodies that point to a Alice in Chains/ Stone Temple Pilot feel and touch. Matt’s bass is imperial and alone would make the song something special but everyone is at their pinnacle making the track irresistible. The third glorious track comes later in the shape of the dark, venomous ‘Sociopath’, again rippling with wickedly devious riffs and intensity. Though many of the tracks are right there supporting with great sounds and quality such as ’25 To Life’ and ‘People’ another great bass driven track , both having a good John Bush era Anthrax flavour to them, ‘Sociopath’ and the other duo of tracks take Electric Ministry to a much higher level.
One of the strong positives about Electric Ministry is its strength in bringing the hard rock and metal elements together to appeal to both set of fans. Possibly tracks like ‘The Ballad Of Rock And Roll’ and ‘Glitter Girl’ might not work for those not into the hard rock sound particularly but with eight other great tracks that surely will it is not an issue and with the great rock flavourings, vocals and guitar sounds on the heavier riff laden songs pleasing traditional rock fans this is a all win album for all. Electric Ministry has the quality hand of Bill Metoyer guiding it and it is hard to imagine anyone anywhere that could have made it sound any better or have the understanding of what the band wants as well as him. Production is crisp allowing each member to excel and be heard in perfect tandem with each other. DC4 have shown that hard rock does not have to be a replica of what came before and mirror everyone else currently and with Electric Ministry given essential listening for many other rock favouring ears. http://www.dc4rocks.com
Pugnale’s guitar craft and enterprise is another potent feature and provides even more attention grabbing enticement within next up Road To Hell, his grooves wrapping round ears with infectious intent as the rhythms of Inserillo and Cola rap and throb with flirtatious aggression. Growing into a definite best track contender it is swiftly rivalled by the blues rock lined strum of Memories; a track with a whiff of stoner rock and grunge to its relatively calm but increasingly tempestuous climate
Has it been organic, especially the movement of sound or more the band deliberately wanting to try new things?
Was there a particular idea behind the forming of the band and also in what you wanted your sound to offer?
The following Black Day In Paradise has a similarly potent template and presence to it but also an additional drama which flirts through bass and guitars as vocals and keys colour their predation with a warmer invitation and adventure. Its elevated energy, compared to that of its predecessor, also adds a more anthemic feel to the song, setting up ears and appetite nicely for the EP’s best two tracks which start with Virtual Freedom. Instantly there is a darker more intimidating edge to the song, riffs and rhythms aggressively alluring as slithers of sonic acidity spear the tempestuous character of the encounter. Zvekan prowls the song, roaring with full throated skill throughout whilst Stump once more uncages a fiery intrigue of imagination through one blazing solo and spiky melodic tempting. The track is outstanding, invention and anthem tattooed on its creative predation.
Sinister Realm which helps keeps the adventure fresh?
The album and song titles seem bred from the shadows and less savoury aspects of this earth and its inhabitants. This is the main inspiration for your ideas and songs generally as you touched on earlier?
and Sex Pistols into their own voracious adventure and spite, the album is not unearthing new ground but considering the songs were written and created well over a decade ago you feel at the time of its birth the it was ahead of the game at the time. As the lead off track and first single from the album Take launches caustically at the ear attention and senses are immediately awoken with a seed of good appetite also finding its bearings as the vocals of Workman and the great fiery riffs make their presence firmly known. Expecting the track to explode into a fury of energy it wrong foots with a lumbering almost doom lit twist before unleashing the full intensity of the track with rhythms and guitars offering a compelling abrasion and the bass prowling it all with saliva dripping malice. The song continues to bring an ever evolving unpredictable venture, a seamless flow of ideas and direction which makes captivation and hunger an easy response.
throughout the release its throaty steely tone revolving through seductive to carnivorous but perpetually darkening the shadows, breath, and creative presence of songs wonderfully. It is a bestial predator which gives an intimidation and menace to every second of the release taking the listener into hidden dangers tempering the melodic flames which equally enhance and fire up the release.
You have just released your excellent debut album Descent To The Underworld, an accomplished and imaginative slab of classic metal. I get the impression the band members are not local to each other so was the album an internet spawned release or did you find time to get together for a studio adventure?
you the biggest personal thrill or tingle inside?
