Returning to the garden with Leaving Eden

Two years on we have linked back up with Leaving Eden songwriter/multi-instrumentalist Eric Gynan to catch up with the band. Already renowned for their ear grabbing, imagination stoking rock sound, the band is poised to release its new album this month. One highly anticipated release we join Eric to look into its body and character with more besides…

Hello and thanks for taking time out to talk with us.

Howdy Eric Gynan here from the band Leaving Eden, Boston Mass area USA. It’s great to talk with you again. I think it was a couple years ago when we chatted last.

To remind people can you first introduce the band and give us some background to how it all?

Myself and Eve are the co-founders of Leaving Eden We had some songs; I’ve always been recording so we wanted to play some of these live. I think one must make a choice as to what they want to do with their life. It takes sacrifice, let downs and one must have a thick skin. Let’s face it most artists are different than others, so not only is there issues with all the variables outside the band, but from within too. I think the current line-up is great where everyone sees the bigger picture.

What are the musical backgrounds to you all; previous bands, projects etc…

Yes myself and Eve were in a band before leaving Eden. The band was regionally successful, but it usually comes down to the members. I remember for instance the drummer wanted no part of having a female in the band. He just hated it. Well, I saw the bigger picture, and after the first 100 people came up to me and told me how great Eve was, I knew I had to really do something about it…Shortly after we formed Leaving Eden.

Tell us about the band name?

We thought that this planet being the entire Garden of Eden has become corrupt full of Deceit and Hate so we thought wouldn’t it be nice to go somewhere else that’s the name leaving Eden.

Did you have a particular aim for the band initially and also in what you wanted it and your sound to offer?

Originally we wanted two female singers that never seemed to work out. Eve was really 2nd to none when it came to a front person, so anyone else up there trying to almost compete was pretty much a ridiculous situation. Now we do have another female, but she plays keys and sings backup vocals so it’s different now. I can’t stress enough how important it is to have not only the right people for the right sound, but the right personalities for perseverance.

Do the same things still drive the band when it was fresh-faced or have they evolved over time?

I think so. I think we are a little more reality oriented and understand more the barriers and pitfalls associated with the business. I think more so now we’re happy doing what we’re doing instead of being unhappy about not achieving our goals to the fullest.

How do you see the evolution of the band’s sound since starting out?

I think first and foremost you must always be listening to what’s out there what’s current what’s new and changing with the times. Also, one must try and be a trendsetter. It’s the new artists that forge the future, the ones out there in the gutters so to speak who are really at the pinnacle. As I said, for me I listen and get these songs kind of fully produced in my mind’s eye and I just go with the flow.

So it is a more organic movement of sound than deliberately wanting to try new things or an equally sided process?

Good question maybe both. We always want to try new things but also I think organically speaking the band naturally moves in a particular direction.

You said you eagerly listen to the sounds out there; are particular inspirations which have impacted not only on the band’s music but your personal approach and ideas to creating music?

I think playing I’m sharing the stage with many of the best bands in the world has definitely been a great influence on us. Leaving Eden has toured the USA, UK and Canada sharing the stage with hundreds of the biggest national bands in the world including; Lacuna Coil, In This Moment, Black Sabbath (Heaven & Hell), Ronnie James Dio, Rob Zombie, 5 Finger DeathPunch, Disturbed, Marilyn Manson, Alice Cooper, Lynyrd Skynyrd, ZZTop, Puddle of Mudd, Korn, Killswitch Engage, Buckcherry (Jefferson Starship, Big Brother and The Holding Company, Country Joe, 10 Years After, 40th Anniversary Woodstock) Shinedown, Dropkick Murphy’s, Alice in Chains, Papa Roach, Bret Michaels, Halestorm,Theory of a Deadman, Avenged Sevenfold, Seether, Hell Yeah, Trapt, Dope, Soil, Fuel, Queensryche, Saving Abel, Hinder, Damage Plan, 7Dust, Sebastian Bach, SoulFly, Days of the New, NonPoint, DrowningPool, The Misfits, The Butcher Babies, Collective Soul, MushroomHead, Mudvayne, Chevelle, Godsmack, Powerman 5000, 10Years, Taproot, Gin Blossoms, Michael Schenker (UFO, MSG & The Scorpions) Herman Rarebell (The Scorpions), Nicko McBrain (Iron Maiden), Kittie, One eyed doll, Uncle Kracker, Tremonti (Creed/Alterbridge) Lamb of god, Slayer, Stone Sour, Motorhead, Blackstone Cherry, HOOKERS & BLOW Featuring GUNS N’ ROSES, QUIET RIOT, W.A.S.P. Members, Steven Tyler, Ted Nugent, Lita Ford, LA Guns, Trixter, Warrant, Apocalyptic Review (featuring members of Godsmack) Adelitas Way, Scott Stapp (The voice of Creed), Gemini Syndrome, Pop Evil, Ratt, Anthrax, Testament, Napalm Death & many more..

How does the songwriting work within the band; is there a particular process?

Yes I think it’s best for me as the songwriter to make a connection with the universe and listen because there’s always songs out there trying to come in; it depends if they come while I’m sleeping and I have the ability to wake up from that and go record something or if it comes while just almost meditating and communicating again with the universe and just listening.

How about the sparks to the lyrical side of your songs?

It’s definitely drawn from reality; all the lyrics are based on what’s happening at the time. Good, bad or indifferent I’m constantly writing lyrics so it’s going back to those and using them for music that I may already have written or writing the music around those lyrics. The skies aren’t always blue, thus our song Skies of Grey. “It’s not too late to open your eyes and sail through skies of grey”. “We’ve been screwed overcharged underpaid and abused, we’ve been exploited avoided and falsely accused, we’ve been cut down let down fucked around, tied and bound but NOTHING could take the music away”. From our Tied and Bound album.

Tell us about the band’s latest release?

Our latest release would be our last album Out of the Ashes (Recorded/mixed By Johnny K. (Disturbed, Pop Evil, Staind, 3 Doors Down,) Mastered by Brad Blackwood (Sevendust, Dave Mathews, Adelitas way, Korn) and produced by myself reinterpreted by Leaving Eden.) We also released a single, Jailbreak and it is going to be on our new album to be released October 19th 2018 called Descending again through Dark Star Records/Sony Music worldwide.

Our new album to be released, Descending, I’m excited about this album because it was recorded at Leaving Eden Studios. We were able to take all the time we needed and really craft this album to exactly what we wanted it to be. I did a premix on it and sent it off to Bob St John for the Final Mix and Mastering. Bob is a Grammy award-winning engineer and has done bands like Duran Duran, Extreme, Collective Soul, Steven Tyler…Such a great guy to work with too.

Can you give us some insight to the themes and premise behind Descending and its songs.

The title Descending, is taken from a song off the album called Shallow Waters. Shallow Waters is very cool because it’s one of those songs where I woke up from a dream and the song was playing in my head; this happens a lot most of the time I can’t pull myself out but this time I was able to. It’s great when you can hear songs already produced in your dreams, takes a lot of work out of it. It definitely comes from somewhere else. We wanted to have different genres such as heavy, acoustic, different key changes and tempos, really trying to have such diversity. We even got some songs you can dance to the beat.

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?

Yes because studio time is so expensive it’s really best to have it all complete so we have typically recorded the entire album in our studio first working out all the bugs and adding everything we want to add so that when it comes time in the studio we know exactly what we’re doing because there’s usually not as much time as you need, so you try to prepare for that. In the case of our Descending album soon-to-be-released we actually recorded this completely in our studio so we had the time to really craft what we believe is a great album.

 Tell us about the live side to the band, presumably the favourite aspect of the band?

Yes when I have always said that Leaving Eden is best seen and heard live. There’s a lot of energy sharing that goes on with the crowd. We don’t look at it like hey man look at me I’m a rock star check me out I’m too cool man, rather quite the opposite. It’s like hey we’re all here together all night to have a good time so let’s party together and let’s have some fun together. We are all involved in this.

You obviously know how hard it is for any new band to make an impact regionally let alone nationally and further afield. How have you found it with Leaving Eden?

Really I think with the onslaught of the internet anywhere you are you can really make a mark. I get it that making a mark by playing the venues that’s in your own region could make a difference. The reality is that if you’re good, fresh, have really put some time into the band look and made a great recording then it doesn’t really matter where you are. You can get it out there with a good publicist, good radio guy, good record label and good distribution also good management. We’ve pretty much always taken care of all of this on our own and hiring certain people and companies. I think it all works together. The most important thing for us is we will play anywhere anyhow anyway, so long as we can because this is what we love to do

You mentioned the internet. How do you work and weave your social media sites to use them most effectively?

The internet is very important to any band because that’s where people are getting most of their information now from and you can do it for free and make an impact on different social media platforms for sure. At the end of the day it comes down to a song, is the song good; is it one somebody wants to listen to? Our song Out Of The Ashes says digging deeper underground faster than the speed of sound. What that means is I feel we’ve always been an underground type band, you know really building its base of friends organically so an underground band able to, with the click of a mouse be in China for instance so that is faster than the speed of sound. It’s definitely referencing the internet and for that you can’t even quantify how important it is when talking about streaming on Spotify, iTunes, Amazon. You know that’s the way people are listening to the music they’re not going out and spending money to pay for music when they can listen to it for free or maybe $10 a month. Now this doesn’t really pay the artist much but if your song caught on and you had millions of listeners every day well then you would be making a lot of money so it’s really the same, only different is the means. People will still buy CDs more at a gig than anywhere else.

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

Well, without our friends, we got nothing so we hope to make new friends here and hope they enjoy learning more about Leaving Eden. We definitely want to say Thanx Much and Peace!!

https://www.leavingeden.com/   https://www.facebook.com/bandleavingeden   https://www.instagram.com/leavingedenofficial/   https://twitter.com/Leavingeden   https://www.youtube.com/user/leavingedenband

Pete RingMaster 02/10/2018

Copyright RingMaster: MyFreeCopyright

 

Powerman 5000 – New Wave

Since first album The Blood-Splat Rating System was uncaged in 1995, it has been so easy to form a soft spot for the metal exploits of Powerman 5000 and all the reasons why are there blazing away in new album New Wave. Across nine studio full-lengths, the band has aroused and stirred the imagination in varyingly successful degrees but always left a potent impact on personal pleasure, their new offering hitting that mark with ease once again. Whether New Wave is their best proposition to date or indeed their most unique we will leave others to debate; as to whether it is one of their most exhilarating and addictive incitements there is nothing to question.

Though metal bred, Powerman 5000 has always felt as much punk rock in tone and attitude as any more recognisable punk ‘n’ roll proposals; an air which is at its most vocal within New Wave. The album opens with Footsteps and Voices, its electro instincts teasing and tempting as rhythms and vocal chants gather in the industrial background. In no time though, the track is strolling along with a muscular swagger, vocalist Spider One the ringmaster ready to share his spirit rousing rap as the rhythmic shuffle of drummer DJ Rattan and bassist Murv Douglas flirt with the electronic revelry. Like a fusion of Marilyn Manson and Hed (PE) but uniquely Powerman 5000, the track has the body bouncing and vocal chords hollering; its rock ‘n’ roll inescapable bait.

The following Hostage is just as manipulative, again bringing all its virulent aspects together before leaping into a contagious canter with biting beats aligned to compelling grooves and riffs cast by the guitars of Ty Oliver and Ryan Hernandez. Submission and involvement with its epidemic of enterprise and incitement is unavoidable and liberating as the track’s punk fervour takes hold before exhaustion soaked pleasure is passed onto and emulated by the band’s latest single. The warped love affair of Sid Vicious in a Dress lives up to its theme in sound, a psyche twisting infestation only leading to addiction as heavy grooves and rapacious riffery unites with the rapier swings of Rattan and Douglas’ bass grumble. As its predecessor, the song’s catchiness and ear arousing antics are viral, a toxic sonic trespass leading to dependency from which escape is not an option. There are plenty of familiar aspects to the track and all adding to its forceful persuasion upon body and spirit.

 The electro waltz of David F**king Bowie is no mean spirit in stirring ears or appetite either, its gait and energy a calmer but lively instigator swiftly tempting forceful participation from vocal chords. Its celestial meanders allow a breath to be taken though equally it leads to a hankering to be back romping which the song subsequently provides before Spider stands centre stage to call on ears and his flock with Cult Leader. An anthemic hard rock meets glam punk roar again very difficult not to get caught up in it does lacks some of the unique sparks of its predecessors but leaves the listener wanting little.

The alluring balladry of No White Flags settles the charge of the album but not the rich attention it continues to earn; the song a tantalising mix of melodic alternative metal and heavy rock while Thank God is a gloriously irritable slab of nu-metal lined punk metal as raw and antagonistic as it is uncontrollably contagious. One minute plus of primal temptation it sets yet another lofty marker in the landscape of New Wave, one teased if not hit by successor Die on Your Feet, a song of typical yet openly individual Powerman 5000 enterprise carrying all their established traits in its scuzzy rock ‘n’ roll blaze.

Get a Life steals the passion next with its prowling Dope/Rob Zombie-esque taunting. The track hints at and flirts with an instinctive tempest but keeps it restrained to only further seduce. That volcanic eruption never does not really escape even as the song expels a more tempestuous energy and aggression in its riveting stalking, again though this only adding to its show stealing majesty.

The album concludes with Run for Your Life, an electro rock nurtured, groove swinging slice of infection which in no time has hips swaying as feet and spirit dance. At times there is whiff of Ministry before Al Jourgensen turned his synth pop industrial metal to the song which potently colours up the Powerman 5000 creative theatre working away on the imagination. As it departs with a clunky abruptness you wonder if the song was a late addition or originally meant as a hidden treat, or indeed maybe a clue from the band of things to come, but it is a welcome and thoroughly enjoyable addition which lingers as much as any other gem within New Wave, an album which declares Powerman 5000 as essential as they have ever been.

New Wave is out now via Pavement Music across most online stores.

http://www.powerman5000.com    https://www.facebook.com/officialpowerman5000/

Pete RingMaster 08/11/2017

Copyright RingMaster: MyFreeCopyright

Death Blooms – Self Titled EP

Recent single I’m Dead was the hint of a new emerging force in British metal, the self-titled debut EP from Death Blooms is the confirmation. It may be their first full introduction to and nudge on the nation and beyond but the four track roar of ferocious multi-flavoured alternative metal is a wake-up call demanding attention.

We had marked down the fresh breath and sound of Anti-Clone as the future of UK metal but now alongside them we have to suggest will be Death Blooms. It is not that the Manchester/Liverpool bred outfit’s  sound is strikingly unique at this moment in time but everything about it blossoming from their equally potent songwriting is, as the EP, feral excitement and compelling dynamism soaked in the potential of truly great things ahead.

With shows alongside the likes of Dope, Skindred, Raging Speedhorn, and Anti-Clone under their belts, Death Blooms are on a charge which the new EP can only add extra fuel and gears to. The release simply grips ears with its opener Hate:Die.; challenging and thrilling them from its first rabid breath as vocalist Paul Barrow roars over an intrusive trespass of sound. Riffs nag as hooks collect around the primal stabs of bass and Mel Stewart’s swinging beats. Quickly hitting its predacious stroll, the track devours the senses but equally seduces them with melodic flames and unpredictable moments of relative restraint. Barrow continues to snarl from within the web of sonic enterprise cast by guitarist Ad Lucas, the bass of Ben Grimsley as dark and threatening as the backing vocals almost crawling across the psyche.

It is a stunning start to the EP, essences of early Mudvayne, Spineshank, and indeed Anti-Clone coming to mind as it ignites body and spirit before passing its willing victim over to the waiting infectious animus of Last Ones. With a seriously catchy chorus breaking up yet managing to inflame or at least accentuate its ferocious confrontation, the song similarly impresses while recruiting eager involvement in its contagious tempest.

Two songs in and Death Blooms confirm their instinctive ability to align virulent infection loaded temptation with primal animosity, latest single I’m Dead further evidence with its rabid energy and rapacious urgency. Vocals bark and riffs hit the body with spiky endeavour, the bass a primordial flirtation alongside the biting jabs of Stewart and all colluding in a hungry storm of antagonism and flirtatious craft given greater strength by the hardcore hollers of the band. As the opener, the track is superb and easy to understand its success in stirring up real anticipation for the EP and the spotlights already pressing upon the band.

Closing things up in fine style is Sick, another scourge of resourceful metal harrying and arousing the senses and spirit. Its plaintive cries lay earnestly upon the maelstrom of grooves and riffs, every hook linked to a voracious rhythm, each imposing beat bound in sonic coquetry.

It is fair to say that Death Blooms find adventure in every idea and note thrust upon a quickly willing victim to their might and imagination. With a deluge of submissions to be considered by The RR it is hard to find the time to return to many encounters for just pleasure, but Death Blooms and their galvanic treat of an EP has joined that short but potent list; they should be on yours too.

The Death Blooms EP is out now through iTunes.

https://www.facebook.com/dthblms/    https://twitter.com/dthblms

Pete RingMaster 24/05/2017

Copyright RingMaster: MyFreeCopyright

Dope Out – Scars & Stripes

Formed on the first breath of 2013, French band Dope Out has earned a potent reputation in their homeland for their aggressive and stylish heavy rock sound. Now with the release of their highly enjoyable second album, Scars & Stripes, they are threatening to provoke the same kind of attention and support on a much broader scale.

Musically, the Paris quartet merges flavoursome traits from classic and hard rock with more punk, metal, and stoner essences for a proposition which feels familiar yet equally fresh and adventurous. The band has honed their sound and invention across a debut EP, All Hopes Inside, released that first year, and the well-received debut album Bad Seeds of 2014. The years between albums has seen Dope Out breach another level and maturity in their music; an evolution making Scars & Stripes a potently flavoursome proposal.

The four tracks making up the Lady Misfits EP which came out January 2016 made a tasty teaser of things to come, its potential straight away confirmed as Scars & Stripes hits ears with its title track. A lone bassline provides the first lure, its throaty twang soon joined by wiry riffs and rolling rhythms as the song brings its appetising bait all together for a predacious stroll awash with flaming melody. Once settled, the grouchy lead vocals of guitarist Stoner step up with attitude the fore, their irritated air matched by the hooks and grooves lining the slice of punk infused rock ‘n’ roll. Varied twists and turns follow to add to the captivation of the strong start to Scars & Stripes; a base the album only grows bolder from.

The following Dive is a just as appealing proposition, matching its predecessor’s success with its fiery web of grooves and enterprise spun by lead guitarist Crash over a rhythmic trespass driven by the jabbing beats of Mad and Doc’s heavy tempting bassline. As with the first, the song sets the tone of the album without exposing its deepest layers of imagination, that discovery really beginning from The Freakshow, which follows, onwards but still inciting a keen appetite for what is on offer so far.

The third song swiftly hits the spot, its initial pyre of sonic taunting mouth-watering but only added to by the rhythmic rumble which is soon aligned to a broadening design of flavours and invention.  Once hitting its resourceful stride, the track prowls like a mix of Dope and Marilyn Manson while its melodic blaze and earthy air has Gruntruck like hues to it. It is compelling stuff, only increasing its hold on ears as it twists and turns with imagination fuelled confrontation, blues grooves and steely tendrils increasing the fun.

Lady Misfits makes a more even tempered entrance, Stoner’s mellow tones joined by a just as relaxed melody as rhythms saunter with similar restraint. It is all a build-up though to a blaze of a chorus which after searing and pleasuring the senses slips back into the highly enjoyable calm, erupting with greater temptation throughout as the track continues to grow and reveal more of its captivating character and resourcefulness.

By now, the band and album has the lid open on their boldest adventure, next up Clan Of Bats bearing a spicy slab of imposing blues hued rock with an infectiousness breeding a chorus which is one of the truly memorable moments within the release. It is also the moment when you feel Dope Out really get to grips with their craft and imagination, the album having a real swagger to its presence and almost mischievous ambition.

The snarling rock ‘n’ roll of next up Shooting Gun keeps attention and pleasure high, its catchy swing and assertive intensity a potent mix before Nose White entangles ears in woozy blues grooves and stalking rhythms as vocals mix belligerence and invitation in their commanding persuasion. Carrying a touch of Black Stone Cherry and Hardcore Superstar to its body, only concentrated pleasure arises with it especially as its shadows darken and its tone and sinews become more invasive, luring the listener into its heart and the waiting devilry of Balls To The Wall. Another major highlight of the album, the song is a beast of almost violent rhythmic intent and sonic trespass, the guitars searing ears with their hook laden melodic flames whilst vocals scowl as the heart of the track erupts.

The album is brought to a just as feverish close by firstly Again, a song with infectiousness in its DNA and blues rapacity in its veins. As many of its predecessors, it has feet twitching and hips swinging with increasing relish, exhausting and pleasuring the body ready for the mellow caresses of closing encounter Soulmate, an acoustic reflection playing like a warm and increasingly enthusiastic night cap on a boozy rock ’n’ roll session.

It is hard to say that Scars & Stripes is overly unique yet has plenty of new elements to provide a truly fresh and increasingly enjoyable encounter; a proposition quite possibly coaxing a great more of the world to listen to Dope Out.

Scars & Stripes is digitally out now.

https://www.facebook.com/Dopeout/   https://dopeoutunited.bandcamp.com/

Pete RingMaster 21/03/2017

Copyright RingMaster: MyFreeCopyright

Circle of Dust – Machines of Our Disgrace

As treats go, the re-release last year of all four Circle of Dust albums was rarely rivalled, until the last sigh of 2016 that is and the unveiling of a brand new collection of songs from the 90’s emerging industrial / electronic-rock project. Circle of Dust was the introduction to the craft and stirring talent of artist/producer Klayton, the fore-runner to his acclaimed and inspiring project Celldweller though the differences to the pair of propositions is an open roar no more potent than in the breath-taking Machines of Our Disgrace.

The quartet of Circle of Dust releases in Circle of Dust, Brainchild, Metamorphosis, and Disengage and also the Misguided album from his side project Argyle Park had been ‘lost’ to our ears for over twenty years with the rights to all unavailable to Klayton after the labels they were released through shut down back in the nineties. After two decades chasing, he re-gained ownership of the rights in 2015 and set about re-mastering each of the five full-lengths last year, expanding all with additional demos, unreleased bonus tracks, acoustic/alternate versions of tracks as well as some new remixes.

Whether they were the spark to writing new Circle of Dust songs and creating a brand new episode in its distinct landscape of adventure or a new album was an idea already in motion matters little in the face of an imagination lit and gripping proposal offered by Machines of Our Disgrace. Entangling metal and electronic essences in a virulently infectious industrial incitement, Klayton and album set another bar for others to be inspired by. There is formidable steel to riffs and a backbone of rhythms which invade the senses with a crunch throughout the release while surrounding them a multi-varied and ever present snarl stalks sound and lyrics.

machines_of_our_disgrace_cover_RingMasterReviewOpening with the suggestive air and throbbing ever intensifying lure of brief encounter re_Engage, the album swiftly consumes ears and thoughts with its title track. From behind an initial sample, repeated throughout, Machines of Our Disgrace looms, advancing with rapacious intent before launching its metallic riffs and wiry guitars grooves. Electronic provocation unites with this predacious embrace, senses and imagination infested and pleasured by the predacious tapestry as Klayton’s tones prowl with harmonic enterprise and invasive potency.

It is an exceptional full start sparking body and emotion and backed just as powerfully by next up Contagion. Living up to its name, the track soon surrounds ears with a treacle like melodic tempting, subsequently beginning a relentlessly catchy enticement with just a whiff of Ministry to it, that evolving into a more Dope/Society One like trespass as Klayton’s vocals prowl and question while the song reveals its full repertoire of creative stimulation.

There is no relinquishing of imagination and appetite with Embracing Entropy next. Featuring Celldweller, i.e. the combining of Klayton’s two unique creative sides, the track pulsates with intrusive drama and invasive energy. As across the whole of the release, samples are skilfully and evocatively used whilst sounds feverishly bubble, igniting senses and thoughts in turn. From blisteringly agitated to melodically seductive, the song is a theatre of sound and texture, inescapably persuasive and hungrily addictive.

Just as powerful is the ferocious presence of Humanarchy, the track a ravenous threat of metallic and vocal rabidity locked in allegiance with a just as imposing electronic swing while after the warning of Signal, the following alt_Human uncages a sonic tempest as enjoyably challenging as its lyrical examination of science and morality. Fuelled by rapacious infectiousness, the song easily infests body and imagination with a swift and almost prurient craving.

Hive Mind is a simmering, bordering on predatory croon tempting ears like a blend of synth pop era Ministry, Ghost In The Static, and Nine Inch Nails while straight after Outside In and Neurachem serenade and growl respectively. The first of the pair is an absorbing melodic embrace, almost warm in its touch, whilst its successor is an irritable and fiercely captivating trespass binding ears with metallic and introspective melodic seducing, both adding further pinnacles to the lofty heights of the release.

A sonic kaleidoscope evocatively devours ears next with k_OS, samples narrating its dramatic landscape before Neophyte bubbles and bursts in electronic espionage for another irresistible, contagion loaded adventure for the imagination to lose itself in.

The album closes with Malacandra, a brooding fog of sound and atmospheric suggestion haunting ears and thoughts alike across its instrumental soundscape. It is an edgy and emotionally charged piece of noir lit evocation bringing a superb adventure to a powerful and magnetic close.

Even though Celldweller has forged pleasure and lust in ears and imagination, Circle of Dust has been missed, its distinct industrial presence an absence never filled until now with the exceptional Machines of Our Disgrace where Klayton swiftly suggests he is ready to push genre boundaries once again.

Machines of Our Disgrace is out now via FiXT across most online stores and @ https://circleofdust.bandcamp.com/album/machines-of-our-disgrace-2 or http://fixtstore.com/circleofdust

http://circleofdust.net     https://facebook.com/circleofdustofficial    http://klayton.info

Pete RingMaster 17/01/2017

Copyright RingMaster: MyFreeCopyright

Contemplating Leaving Eden

le-3-11-16_RingMasterReview

It is quite simple. Leaving Eden is a band which demands attention with a sound and creative flair that persistently captures the imagination drawing an ever growing following simultaneously. Their ear catching and thought provoking music has help lead the band to sharing stages with hundreds of the biggest national bands in the world and tours across numerous countries. We managed to grab some time with Eric from the band to learn more about Leaving Eden and what makes them tick…

Hello and thanks for taking time out to talk with us.

Can you first introduce the band?

Hi, great chatting with you also.

Eve: Lead Vocals

Ryan: Manning Drums

Johhny V: Bass

I’m Eric Gynan: Guitarist, vocals, Keys.

Have you been involved in other bands before? If so has that had any impact on what you are doing now?

Yes we’ve all been in various bands along the way and learning from the past always gives you a jump on the future.

What inspired the band name?

Leaving Eden came to be simply that this planet is like the Garden of Eden right, with all of its corruption; wouldn’t it be nice to take off and go somewhere else to visit? Lol.

Was there any specific idea behind the forming of the band and also in what you wanted it to offer and does that intent still drive the band or has it evolved over time?

Definitely we have evolved. I think you have to in order to change with the times so long as it’s better. It’s important though to maintain your individuality. For us we set out to be different. Quick story here, we went to this huge studio once where bands like Seven Dust, The Rolling Stones and Boston recorded. The person there brought out a white board in the conference room and drew a box. They said you are here, pointing outside the box and you need to be here, pointing inside the box. I immediately said wait, are you telling us we need to be in that box?  They said well yes I guess I am. I said thank you very much and got up and walked out. I get it, if you wanna ride a wave and be like everyone else on that moment of time, they can easily slip you into a genre. For us though it’s hard to just slip us in to any particular genre. We won the best Hardcore act in New England and I thought that was funny because they couldn’t find the appropriate Genre for us. We stay true no matter what the times may change to our roots, Rock Music.

Since your early days, how would you say your sound has evolved and has that been an organic movement or you guys deliberately heading in certain directions?

I think being a recording artist, endlessly recording and working with some incredible recording engineers like Johnny K (Disturbed, Pop Evil) you learn what it really takes. When they say they will go through your music with a fine tooth comb, they mean that literally that down to the 64th beat your music will be scrutinized for perfection. Ya know good bad or indifferent, when you listen to the radio, you may not like the band you’re listening to but aside from that, you will NEVER hear something that’s not polished. It’s gotta be perfect or you’ll never make it to the radio. With this on mind, you take this knowledge of being tight to the live performance and it makes all the difference in the world. This is why some bands may record a great album but when you see them live, it’s just not the same. We try and stay true to our recordings.  We also evolve in that area after the recording we may change it up live where we may think we’ve built upon that foundation.

art_RingMasterReviewPresumably 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?

I think all of us are inspired by what we like as far as taste in other bands music. For us what greatly inspires us is that organic sound that manifests itself in a way that is kind of like connecting the dots. We feel that Leaving Eden learns from the past, encompasses the present and forges the future. Any band that has been in the gutters not in the limelight, they’re the ones whom always forged the future. This is why we named our last album Pinnacle…Because it’s at that pinnacle where trends will be forged.

Is there a particular process to the band’s songwriting?

Sure. For me I connect with the Universe in a way that opens my mind to listening. I use my fingers as kind of line antennas to pick up the frequencies, as strange as that sounds, if you listen, you can hear the music that lyrics, melodies and harmonies completely produced. Just gotta transfer that info to the recording. Then the rest of the band puts their stamp on it and presto, there’s a new song. I’ve even felt the influence of dead poets coming through. Sometimes I feel like I really can’t even take credit for the songs as they’ve come from somewhere else. It’s a deep meditative state of mind that brings these ideas into fruition.

Where do you, more often than not, draw the inspirations to the lyrical side of your songs?

Great question… Our songs speak from experience, life’s experiences…Sometimes good but mostly bad lol. Bad in the way of getting screwed, for instance our song Tied and Bound comes from the frustration of the music industry; “We’ve been screwed overcharged underpaid and abused, exploited avoided and falsely accused, we’ve been cut down let down fucked around tied and bound, but nothing can take the music away”

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?

Pinnacle released by Rock Avenue Records USA, was completely written before we got to the studio. We like to do pre-production first, be prepared so to speak, so that we aren’t wasting valuable time and money. Pinnacle is really an eclectic array of song themes and music. We tried to keep it again organic so you won’t hear all these extra vocal harmonies for instance that we could never do live. Yes there is harmony, but it can be done live.

Tell us about the live side to the band, presumably the favourite aspect of the band?

That is where one should shine right?  I feel it is our live sound which is one of our trade marks. It’s so hard in the studio to capture that live performance primarily because it’s a one sided energy exchange. When you have a crowd, that’s where the sharing of the energy happens, therefore it really helps to put you on top of your game. You can’t see the band for instance when listening to an album, so that performance is so necessary.  Can the band reproduce that sound live? With Eve in front, she is clearly universal and really takes control of the room or festival, really just connecting with the crowd.

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?14195978_1274693589207580_3294288122701219788_o

Correct. We’ve been fortunate, lucky, graced, whatever you’d like to call it. Our motto has always been that we will play anywhere, anytime, any way we can so long as we can. This philosophy has led us to share the stage with some of the biggest bands in the world with;  Lacuna Coil, In This Moment, Black Sabbath (Heaven & Hell), Ronnie James Dio,  Rob Zombie, 5 Finger DeathPunch, Disturbed, Marylyn Manson, Alice Cooper, Lynyrd Skynyrd, ZZTop, Puddle of Mudd, Korn, Killswitch Engage, BuckCherry (Jefferson Starship, Big Brother and The Holding Company, Country Joe, 10 Years After, 40th Anniversary Woodstock) Shinedown, Dropkick Murphy’s,  Alice in Chains, Papa Roach, Bret Micheals, Halestorm, Theory of a Deadman, Avenged Sevenfold, Seether, Hell Yeah, Trapt, Dope, Soil, Fuel,  Queensryche, Saving Abel, Hinder, Damage Plan, 7Dust, Sebastian Bach, SoulFly, Days of the New, NonPoint, DrowningPool, The Misfits, The Butcher Babies, Collective Soul, MushroomHead, Mudvayne, Chevelle, Godsmack, Powerman 5000, 10Years, Taproot, Gin Blossoms, Michael Schenker (UFO, MSG & The Scorpions) Herman Rarebell (The Scorpions), Nicko McBrain (Iron Maiden), Kittie, One eyed doll, Uncle Kracker, Tremonti (Creed/Alterbridge) Lamb of god, Slayer, Stone Sour, Motorhead, Blackstone Cherry, HOOKERS & BLOW Featuring GUNS N’ ROSES, QUIET RIOT, W.A.S.P. Members, Steven Tyler, Ted Nugent, Lita Ford, LA Guns, Trixter, Warrant, Apocalyptic Review (featuring members of Godsmack) and many more..  This has led us to Winning The New England Music Awards & The Pulse Magazine Worcester MA Music Awards and Touring The USA, UK & Canada. If we didn’t get out there we would have never found these opportunities. There’s usually someone there that can help move you forward.

Are there the opportunities to make a mark if the drive is there for new bands?

Absolutely…In fact I believe bands who haven’t “made it” have more of an opportunity. Let’s take a band that has made it whether it was one song or many. As time passes, for whatever reason, they stopped making hits. It’s very rare for them to have another hit song or even get on the radio. It’s very strange but true. As a new artist you have more of a chance because again you’re at the pinnacle forging ahead.

How has the internet and social media impacted on the band to date?

I find this very interesting. In a moment you can be heard all over the world. It’s absolutely amazing. Back in the day I feel bad for the artists before the internet that never had that chance. Shit, back then you couldn’t even stay connected with different states via phone. It was too expensive to make a phone call so you were quite limited as far as how far you could reach. Now, our music is flying through the airways, our unreleased song Out of the ashes says; digging deeper underground faster than the speed of sound

I can see the light of day, darkness fades away”. This just says as a band that’s not superstars, they are basically underground in the gutters spreading like swill in the harbor of slime lol. God some of the venues we’ve played have been the scum of the earth. Shit when we went to UK, there was a dirt floor. But in order to really appreciate where you may end up you’ve got to crawl through the slime in the gutters. If I for instance just started a band, had lots of money, related to someone big in the industry, getting signed immediately and becoming famous overnight, how then could I appreciate where I came from? When you come from the bottom of the barrel and make your way to the top, you never forget where you came from.

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

This was fun. Please excuse my unorthodox replies here and appreciate your time. Leaving Eden will be touring the USA, Canada and Europe. Hopefully South America as well, where our management/touring Co. Alpha Omega/Darkside Entertainment has offices in Europe, USA and South America we feel honored to be part of the family there. We hope to see all of you soon!! For all Leaving Eden Info go to http://www.leavingeden.com

And see us on Facebook Leaving Eden and Peace and Harmony to all!!  I say harmony because this planet, the universe, everything in it works in perfect harmony accept one species, Humans. WTF is that about right? Let’s make it happen.

https://www.facebook.com/bandleavingeden

Pete RingMaster

The Ringmaster Review 01/12/2016

Copyright RingMaster: MyFreeCopyright

The Silverblack – The Grand Turmoil

TheSilverblack_RingMaster Review

Starting with a core blaze of industrial metal and twisting and stretching it thereon in by infusing a horde of rampant flavours, styles, and waves of imagination into its roar, Italian rockers The Silverblack have come up with one thoroughly enjoyable trespass of the senses in The Grand Turmoil. The band’s new album is a physical and creative holler of sounds, new and familiar, that captures the imagination and exhausts the breath across a volatile landscape, and though it might be pushing it to say that The Grand Turmoil is the best industrial metal incitement this year, it is firmly amongst the leaders in pure enjoyment.

The Torino hailing band is the brainchild of multi-instrumentalist and producer Alessio Nero Argento (NeroArgento, The Stranded) and vocalist Claudio Ravinale (Disarmonia Mundi, The Stranded, 5 Star Grave), the pair forming The Silverblack in the opening weeks of 2014. Live the band becomes a quintet with the addition of bassist Ivan King, drummer Rob Gaia, and keyboardist Nisha Sara, but for the album it is the founding duo exploring ears and their own invention alone with just a couple of guest solos for extra spice.

It opens with its title track, a stomping beast of a proposal with a sonically fetid atmosphere and pulsating electronic scenery crowding a stalking gait. It is immediately intensive and busy on the senses as the band springs a trap of agitated rhythms and great fiery and openly varied vocals, the raw emotive roars of Ravinale balanced skilfully by cleaner tones courting their confrontation from the background. With keys and guitars jostling for attention, each getting equal share as the track casts its maelstrom of adventure, the song makes a dramatic and heftily alluring start to The Grand Turmoil, though bigger and bolder things are on the horizon.

cover_RingMaster Review   The following Anymore with its vibrantly lighter breath and shadowy presence follows and if not one of the bolder tracks certainly whips up ears and appetite with its Dope meets Celldweller parade of electronic enterprise and vocal magnetism. It is not a song stretching the imagination or finding major originality but it does leave an energetic satisfaction and hunger behind which the outstanding King-Size Vandalism pounces on with virulent and ravenous prowess. Bursting in with robust rhythms and a joyfully warm melody, the song becomes a boisterous romp sizzling with the energetic tenacity of a Pendulum and grouchier lilt of a Combichrist, whilst vocally variety reaps a slight scent of Marilyn Mansion at times. The track quickly infects feet and emotions; it’s an electro rock anthem soon having the body bouncing as high as its own.

Retaliation comes next, its immediate heavy predacious gait a thick intent that defies the effort of the keys to lighten the ambience and mood. Nevertheless they shimmer and tempt engagingly as the song prowls through an early Rammstein leering towards an electro pop chorus. The band’s eagerness to venture into unpredictable turns and styles is a stirring quality in the album but for personal tastes not as potently impacting here with the track’s ‘nice’ pop essences, though it does not stop ears being more than content overall and ready to leap on the kaleidoscope of sound and light that is Make It Worth The Grime. Dirty and melodically glowing, the song is a great fusion of dark and light that loosely comes over like a meet up of Hanzel und Gretyl and KMFDM yet sculpts its own identity along its compelling length.

The fiercer tempest of As Good As Dead raises the levels of addictiveness next; its blended contrasts of emotive rapacity and antagonistic sounds with vocal harmonies and warm infection a perfectly crafted union whilst Attic Hime straight after quickly eclipses it. With a great vocal weave within a climate which at times is like a still warm melodic day and in other moments a blustery sonic wind that ebbs and flows to distort and enhance the drama of the song, it provides an ever evolving and constantly gripping parade of diverse sound. The track leaves ears on a lofty high; a plateau extended by the blistering examination of Pyromanservant, a track drawing on as broad a canvas of metal as it does electronic invention. Like Die Krupps, Powerman 5000, and Skinny Puppy blended, the song incites and engrosses as it takes top song honours within The Grand Turmoil.

The initial gentle shimmer of Great Expectations allows a catching of breath before it too uncages a dark and contagious theatre of emotion and enterprise, an angrier and bitter version of Gravity Kills coming to mind as yet another excellent and lingering encounter within the album exciting ears.

The release is brought to an end by firstly the pleasingly sonically thick and physically volatile Might Get Worse Before It Gets Better, a song brawling with the senses as it lays down its ultimately successful persuasion, and lastly Fragmentary Blue, the darkest, most melancholic offering on The Grand Turmoil and one of the most forcibly compelling even as its departure leaves a sense of unfinished business. It is a fine end to a richly enjoyable offering which as suggested has all the invention and adventure to be, for a great many, deeply entrenched amongst their favourite 2015 industrial releases.

The Grand Turmoil is out now via Sliptrick Records.

http://www.thesilverblack.eu/   https://www.facebook.com/thesilverblack/ https://twitter.com/silverblackband

Pete RingMaster 29/10/2105

Copyright RingMaster: MyFreeCopyright

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