Desperate Machines – Complet_

Jan8

It was back in 2014 when in a year of striking releases, American progressive/experimental rock band In Progress left their very potent mark with the album North Atlantic Echoes. The band was the creation of Jake Rosenberg and John Dillon and with a host of guests provided one increasingly fascinating and impressive adventure few rivalled at that time in the progressive rock scene. Since then the duo has seemingly been quiet, evading attention but obviously busy as they have returned with a new project in the shape of Desperate Machines and a debut EP which in distinctly different ways has made the same rich impact on our ears and imagination.

As the three tracks making up Complet_ reveals defining the Desperate Machines sound is never going to be a precise exercise with its tapestries and soundscapes of electronic, progressive rock, industrial, atmospheric and experimental essences and textures but an adventure which will keep imaginations busy and hungry if they herald what is to come ahead.

The EP opens up with Complete and as all tracks within the EP sees Kevin Moore (Chroma Key, OSI, ex-Dream Theater) guesting on vocals as well as providing lyrics. From the shadows the song looms up, its industrial breath springing animated beats and the instantly gripping gnarly growl of Dillon’s bass. Just a rush of seconds in and already the song is a web of flavours and textures, every subsequent twist indeed almost each second the gateway into fresh styles and bold imagination as the captivating tones of Moore rise amongst the synth, keys, and guitar enterprise of Rosenberg and Dillon. The gait of the track is funky, its breath dark with a Nine Inch Nails meets Deftones-esque melancholy and every moment as infectious as it is captivating, indeed haunting.

It is an effortlessly magnetic affair but is still slightly eclipsed by the magnificent Our War. Again from the start rhythms provide a manipulative enticement, melodies caressing and adding to the increasing urging of participation from hips and feet. Alongside Moore, Marjorie Boggs Vazquez adds additional guest vocals, further radiance in the mercurial but relentlessly magnetic encounter. As with its predecessor, every moment offers a fresh surprise with each twist as unpredictable in sound and invention as it is irresistible.

The release is completed by the original demo for Plan B, the song which is said to be the spark bringing Desperate Machines to life several years ago. From an industrial underground, a piano teases the imagination with its intimacy and touch, vocals soon alongside bringing similar intimation and fascination. A hint of a scent in both previous songs, the third strongly reminds of eighties band Comsat Angels and like many of that band’s tracks had us drooling in admiration and desire for more.

Though we had not realised it at the time, there was a gap without In Progress which was waiting to be filled. Rosenberg and Dillon have returned to do not only that but occupy many other areas lacking the imagination and sound which Desperate Machines brings with them.

Complet_ is out now @ https://desperatemachines.bandcamp.com/releases

https://www.facebook.com/desperatemachines/

Pete RingMaster 08/01/2020

Redshift – Cataclysm

May2

With influences to its breeding ranging from “70’s/80’s Rush and Genesis to more modern prog like Dream Theatre and Between the Buried and Me” it was hard to exactly imagine what the debut album from UK metallers Redshift was going to offer. It was an intrigue though rewarded with a release which was as unpredictable as it was fascinating and only increasingly enjoyable by the listen.

Their sound is tagged as progressive metal but that only gives one aspect of the Bath trio’s sound. It embraces extreme metal textures as easily and readily as melodic and classic hues, the band’s technical prowess just as ripe and open within the creative tapestry. For personal appetites there are moments which simply enthral and other times where the record merely held keen intrigue yet from start to finish Cataclysm held court on ears and attention and as mentioned with increasing success.

A concept album depicting the story of an invasion like no other around an engrossing lyrical thread based around honour, love, and a devastating apocalyptic event, the Ben Turner produced and Jamie King (Between the Buried and Me, The Contortionist) mastered Cataclysm easily lured attention with its opener, Overture: Something In The Sky. Immediately the technical craft of the band engaged; the guitar of Joshua Boniface casting a lure of intimation before showing its feral side alongside the driving rhythmic incitement of drummer Jack Camp and the rich lines of bassist/vocalist/keyboardist Liam Fear. The instrumental with its progressive suggestiveness effortlessly had the imagination weaving before the full force of Invasion descends.

The second track rises up from the formers portentous calm, almost hunting the senses and conjuring thoughts before rushing their barricades with vocal causticity amidst guitar spun wiring. The unpredictability and imagination of the band’s sound is soon properly unveiled, the song an aural kaleidoscope of flavours and sonic grains all designed to spread the tale and entice firm attention. Extreme and seductive textures continue to fluidly collude across the compelling proposition, the band’s progressive instincts seemingly honing the attributes of everything unveiled before Call to Arms stirred things up further with defiance and aggression. Yet it too brings an infectious melodic essence to its eruption, the mellower calms in between like the verbal and sonic narrator to the blossoming conflict. As the album itself both are tracks which reveal a little more by the listen, the richness of their narrative and bodies only thickened over time.

Promises provides a melodic amnesty to the friction, its unsettled piano crafted repose the calm before the storm, a tempest announced by church bell chimes and unleashed by the outstanding Fire, Smoke and Thunder. It devours the senses instantly, every angle of its attack carnivorous but equally voraciously virulent, ferocity and barbarous intent in league with dextrous progressively hued enterprise throughout. Easily our favourite track within Cataclysm, it tips a great potent release over into rousingly impressive if leaving the final pair of tracks the unenviable challenge of following its triumph.

Both May Fate Rest Upon You and The Last Stand may miss out rivalling their predecessor but both escalate the album’s appeal, the first with its classic hues over appetite nagging technical prowess and the closing track through its evocative atmosphere and expressive melodic radiance, a redolent beauty across a mercurial landscape which is never far from erupting and at times does so with rapacious agility and expectations defeating invention.

The final song also epitomises the unpredictable nature of album and sound, a core reason of its perpetual fascination and temptation and even after numerous plays we are discovering fresh things to chew on and enjoy within Cataclysm. Suggested as an album for fans of bands such as Opeth, Between the Buried and Me, and Dream Theater, Redshift has provided something well worth checking out for anyone with a taste for adventure.

Cataclysm is available now digitally and on CD @ https://redshiftband.bandcamp.com/releases

https://www.facebook.com/RedshiftBandUK/ https://twitter.com/RedshiftBandUK https://www.instagram.com/redshiftbanduk/?hl=en

Pete RingMaster 01/05/2019

Shadowpath – Rumours of a Coming Dawn

Dec3

Released earlier this year with a more recent and wider reboot, Rumours of a Coming Dawn is the debut album from Swizz metallers Shadowpath. It is also one of those encounters which certainly makes a strong impression first time around but grows in potency and pleasure as subsequent ventures into its depths reveals the true imagination and craft at its heart.

Originally called Wishpond, Shadowpath weave a multi-flavoured sound drawn from the attributes of power and symphonic to progressive and death metal, taking in inspirations ranging from Opeth, Dark Tranquillity, Everon, J.S. Bach, Katatonia, Lamb of God, Amon Amarth, Tesseract, Dream Theater, and Nightwish amongst many others. The band’s personnel has changed a fair bit over time but by 2015, the line-up of vocalist Gisselle Rousseau, keyboardist/vocalist/songwriter Philipp Bohny, guitarist Stefano Riario, bassist Amos Zürcher, and drummer Samuel Baumann came together and proceeded to work on this first album across the following year.

Each of the eight tracks within Rumours of a Coming Dawn are individual slices of creative theatre in an overall play, many epic productions and all woven and cast upon the listener with an instinctive passion and imagination. Each also provides a web of layers and textures which unveils new twists and fresh aspects with every listen, a major reason why it grows in impressiveness over attentive time.

The opening introduction of Prelude to Agony is the most straight forward proposal of all within the album, its invitation an atmospheric overture to things to come. Its stormy entrance brings with it the elegant melancholy of the piano and as swiftly the vocal prowess of Rousseau. Her harmonic cries then spark the more portentous air of storm and track with rhythms imposing yet restrained and melodies funereal even in their liveliness as flames of guitar descend. It is an imagination stirring start soon spawning the tempestuous throes of Chaos Equation. Instantly guitars and keys collude in a magnetic tapestry, the grumble of the bass and senses clipping beats lining the heated union with darker almost predacious hues. Rousseau’s symphonic nurtured delivery is a glassy reflection of word and emotion and superbly contrasted by Bohny’s earthy growls; it all uniting for a captivating tempest as potent in its electronic invention as in its extreme metal bred trespass.

The following Seed of Hope makes a calmer entrance, Rousseau and piano aligning their melodic suggestiveness before a rise of dark drama erupts, settling down again to begin repeating the dramatic cycle. As its predecessor, the track has many familiar aspects to it and plenty of unique features which combine for a compelling and increasingly striking proposal. The individual craft of the band is inescapable; Bohny and Riario especially grabbing attention within the song though as it evolves everyone makes a rich impact.

Every track is an adventure never settling into one direction, perpetually unpredictable and as a result fascinating though none more so than the album’s best moment, The Impossible Chain. It easily outshines those around it, instantly stirring the passions with its outstanding start. The dark noir stroll of the bass within the dancing threat of drums is simply delicious, manna to personal tastes and things only escalate in pleasure as keys spread their suggestive wash and guitars spring their devilish almost salacious tempting. Once Bohny’s raw throated tones open with demonic intimidation, the track has an unshakeable grip. Then mellower twists and harmonic beauty comes with skittish rhythms, the climate change as beguiling as the aggressive trespasses are thrilling, as too is Rousseau varying her more expected symphonic metal delivery with more organic and grounded exploits, an excellent move hopefully she will explore further ahead as it equally stands out over the next pair of songs. A scenic break midway in the song is just a tempting breath before it returns to even more adventurous and surprising endeavours, setting a major pinnacle within the release by its conclusion.

Next up Another Inquisitor makes a thick attempt at rivalling its majesty, the song an intricately designed maze of electronic, melodic, and fierce metal dexterity with folk seeded progressiveness. Rousseau again pushes her range and adventure to fine effect whilst musically the song never gives a moment to settle in one flavour or style, again to rich success before Deny me opens like a relaxed bloom into a fiery display of sonic colour and creative magnetism. Though it does not quite match up to the previous two, the song simply enthrals from start to finish.

The album concludes through firstly For a Final Ultimatum, a cauldron of contrasting often battling textures and inescapably infectious enterprise, and finally Beta, a mercurial serenade of self-reflection and melancholic fire which ebbs and flows in volatility as it charms ears and imagination. It is a thunderous finale to the album, even in its calm flights having an instinctive power which lends to its vice like hold on attention.

Shadowpath create music which manages to be chilling and haunting as simultaneously it is warm and inviting, threatening and ravaging. The evidence is all there within Rumours of a Coming Dawn, a release which may not be perfect but has all the seeds to evoke real enjoyment and the anticipation of major things ahead.

Rumours of a Coming Dawn is available now through the band’s Facebook page and website.

http://www.shadowpath.ch https://www.facebook.com/shadowpath.band https://twitter.com/shadowpath_band http://www.instagram.com/shadowpath_band

Pete RingMaster 01/12/2017

Toxik – Breaking Class

Jul19

As the number of metal bands returning after extensive breaks or simply break-ups often decades earlier keeps going up so are the amount of impressive releases emerging from these reunions. Adding to the list and almost heading it is the new EP from US thrashers Toxik. Offering three tracks of the genre in its old school breeding, Breaking Class is everything that is irresistible within thrash metal with a healthy freshness linked to experience that newcomers can only learn from and be inspired by.

Subsequently one of the most potent forces with thrash once emerging in 1985, New York hailing Toxik released a pair of increasingly recognised as classic albums in World Circus (1987) and Think This (1989) as well as built a potent live stature which included sharing stages and touring with the likes of King Diamond, Testament, Dream Theater, Exodus, Pantera, Candlemass and many more. Disbanding in 1982, interest in the band was clearly evident with the release of a pair of live DVDs in 2007 and 2010. Announcing their return three years after the second DVD with Shadows Fall’s Jason Bittner replacing original drummer Tad Leger, Toxik very successfully toured Europe and South America showing the lingering support for the band. Since then the line-up has seen James D’Maria of Generation Kill replacing Bittner and vocalist Charles Sabin (from the band’s second album, Think This) taking over from original frontman Mike Sanders as well as bassist Shane Boulos linking up with band founder and guitarist Josh Christian. It is a unit which seems to be a perfect fit as Breaking Class ravages the senses, an organic roar driving its rapacious sound and intent from the EP’s opening seconds.

Those first moments come courtesy of Stand Up, the track spiralling from an initial sample woven lure with wiry guitar swirling around senses jabbing beats. Straight away instincts for anthemic metal are awoken, vocals a rousing incitement backed by hungry riffs and a brooding bass line which almost dances with an established appetite for its flavours. There is a great Anthrax like tenacity and tone to the track around its chorus but equally a modern crossover essence bringing whiffs of bands such as Suicidal Tendencies and Municipal Waste into play but all spices assimilated in a proposal familiar, new, and distinct to Toxik.

The outstanding start is more than matched by the EP’s title track, Breaking Class a devilish surge of riffs and whipping rhythms fuelled by an energy and devilment just as evident in Sabin’s instinctively persuasive vocals and tenacity. Christian similarly has ears and imagination hooked with his aggressive and inventive web of riffs and sonic enterprise, never allowing the listener to settle without adding a new twist then another then….

As compelling as it is riotous, the track is itself more than matched by the closing Psyop; that healthy brew of flavours within the opener uncaged again within its more predatory climate and gait and again involved in an adventurous and almost challengingly unpredictable proposal. It maybe old school nurtured but the song, as its companions, show that does not mean things have to be restrained in boldness and imagination and they certainly are not in the hands of Toxik.

With hints of a new album in the works, it is as if Toxik has never been away just taking their time to create what is one of the most enjoyable thrash stomps of recent years.

The Breaking Class EP is released August 4^th with re-ordering available now @ https://toxik.bandcamp.com/album/breaking-class

https://www.facebook.com/TOXIKMETAL/

Pete RingMaster 18/07/2017

Shades and glories; talking Different Light with Trevor Tabone

Apr12

The history of progressive rock band Different Light comes in two parts, each seeing the band finding greater attention and plaudits to match their relentless growth in sound. Following their acclaim clad last album, the band is preparing to record its most inventive and imaginative collection of songs for a new album so we took the opportunity to explore the band to date with thanks to Trevor Tabone, a founder of Different Light.

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

Can you first introduce the band and give us some background to how it all started; how you all together?

The band consists of: Trevor Tabone (vocals, keyboards) that’s meJ, Jirka Matousek (bass), Petr Matousek (drums), Petr Lux (guitars, backing vocals) and Petr Kania (live guitar). The band was originally formed in Malta in 1995 with 3 other members besides myself; then I reformed it with the current line-up after I moved to Prague in 2000.

Have you been involved in other bands before?

I was obviously involved in a few other bands before Different Light. The style has always been prog/classic rock, changing slightly according to the time it’s in.

What inspired the band name?

Mark (original guitarist) came up with the name when we were drinking in a bar, usually the place for the best ideas!

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

Personally speaking, I see myself more of a songwriter than a musician, so I’ve always sought the best musicians I could find to help me create and record the material I’d written. Regarding the sound, it’s got to be melodic and powerful with lyrics the listener can relate to.

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

I suppose the driving force is still one of wanting to move people with the music we make; I think I can speak for the rest of the band with this.

Since your early days also how would you say your sound has evolved?

We’ve obviously become technically better, plus the new members to the constantly changing (evolving?) line-up always add a new dimension to the sound.

Has it been more of an organic movement of sound or more the band deliberately wanting to try new things?

More organic I would say, it’s all about evolution and not intelligent design 🙂

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?

What particularly inspires my writing is personal experience and real life situations, people I know or even people I just observe. I’m not into fantasy and sci fi! Of course there are the many bands that we love and have inspired us, Genesis, Supertramp, Pink Floyd, Rush, Dream Theater and quite a few others.

Is there a certain process to your songwriting?

I sometimes come up with a lyric and put a melody to it and go from there. Or I’m fooling around on my piano or guitar and come up with a chord progression and a basic melody which I develop. I sometimes just completely rip off something (joking of course :)).

Could you give us some background to your latest release?

Our last release, The Burden of Paradise, came out just over a year ago and has been received fantastically by both critics and fans. We were high in many of the prog polls for 2016 and sales were excellent too. Its success has been a great inspiration for me personally and I’ve already managed to write the next album which we hope to start recording later this year.

Can you offer some insight to the themes and premise behind it and its songs.

A lot of the themes are personal but which I hope the listener can also relate to. They deal with love, death, freedom, religion, history, delusion and a host of other subjects.

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?

They pretty much are in their final state when we go in to record, as we always develop and arrange them in our rehearsal sessions before. Obviously some changes are made during recording, but not too many I’d say.

Tell us about the live side to the band?

To be perfectly honest, we’re more a studio band than a live one. Having said that, we’re rehearsing to play a few gigs later this year and we promise to give a memorable show!

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?

The Czech Republic isn’t exactly a hotbed for progressive rock, so we’ve found that our market is mostly around the rest of Europe, plus various other parts of the world too of course.

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?

It’s a bit of a double edged sword, in that it has helped, or even enabled us to make our mark in the music world without having to rely on a record company. It also makes the recording of an album so much easier. On the other hand though, streaming and illegal downloads have obviously cut our sales dramatically. Still, I think it’s mostly positive for bands like us.

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

Our next album is going to be even better than the last 🙂

https://www.differentlight.cz https://www.facebook.com/differentlightsound/?fref=ts https://www.youtube.com/c/differentlight

Pete RingMaster

The RingMaster Review 12/04/2017

Suicidal Tendencies – World Gone Mad

Nov15

credit-krouskypictures

Many elements make up the success of legendary punk/thrashers Suicidal Tendencies, an array of qualities which has gripped and thrilled across three and a half decades and eleven previous studio albums. One potent trait is, within a sound which roars Suicidal Tendencies from its first breath, unpredictability; an essence which in varying degrees has made all of the band’s offerings memorable and easy to devour. New proposal World Gone Mad is no exception; a seriously rousing and thunderous affair of crossover ferocity inescapably Suicidal Tendencies which twists through new adventures while flirting with the imagination.

The successor to the well-received 13 of three years ago, World Gone Mad is a tempest of infectiously aggressive and creatively imaginative escapades equally drawing on the kind of punk fuelled exploits which marked out the band from its early days as one of metal and punks most vital propositions. The new album also sees the band’s newest line-up in place with founder and vocalist Mike Muir and guitarist Dean Pleasants (ex-Infectious Grooves) linking up with guitarist Jeff Pogan, bassist Ra Diaz, and master drummer Dave Lombardo (Slayer, Phantomas, GripInc, Dead Cross). It is a unit which across the board has forged a new aspect to the Suicidal Tendencies personality without losing its prime character and appeal. Produced by Muir alongside Paul Northfield (Rush, Dream Theater, Queensrÿche, Ozzy Osbourne, Hole, Marilyn Manson) who also engineered and mixed the record, World Gone Mad snarls and stomps, providing an incitement as bruising and confrontational as it is a riotous funk grooved infestation of ears and body.

Latest single Clap Like Ozzy sets things off; its fuse and explosion prime Suicidal Tendencies. Lombardo’s catchy beats first catch ears, a grumbling bassline quickly adding to the thick coaxing as guitars send sonic scythes across the lure. Swiftly the song uncages a venomous yet ridiculously catchy assault, wiry grooves and rhythmic tenacity an anthemic roar of punk ‘n’ thrash virulence ridden by the unmistakable presence and tones of Muir. As hooks collude with the flirtatious antics of the bass, Pleasants winds trails of melodic lava around it all, his strings a heated siren within an already irresistible calling.

The New Degeneration takes over finding even more irritability in its tone and individual elements. Riffs and rhythms almost stalk the senses as Muir leads the defiance; group calls a great backing to his instigation. An undercurrent of animosity brews throughout the attack, eventually igniting as Lombardo flicks the switch to a full-out ravaging of ears with his magnetic swipes. Again the track is ‘typical’ Suicidal Tendencies but rippling with fresh twists and turns to leave satisfaction rich and full before Living For Life appears to eclipse its success. Unsurprisingly moments of Infectious Grooves like juiciness appear within World Gone Mad, the third track unapologetically embracing their funk metal swing for its initial flirtation before crashing ferociously upon the senses with its punk scented epidemic of ravenous riffs and on rushing rhythms again led by the twisted beat alchemy of Lombardo. The track is glorious everything you could wish from a Suicidal Tendencies encounter and more as it seduces and inspires body and spirit

suicidal_tendencies_-_world_gone_madSuicidal Tendencies - World Gone Mad The gentle melodic opening of Get Your Fight On! is a suggestive pull next which intrigues more than ignites the imagination but soon leads into the waiting rhythmic prowess of Lombardo and the sonic enterprise of Pleasants and Pogan. It too works its way from a relatively calm tempting to an incendiary blaze where it really grabs the appetite and passions as heavy metal flames unite with punk and thrash dexterity for an anthem which might not hold all the sparks of its predecessors but leaves only an eager want to delve into its cauldron all over again.

The album’s title track is another which takes its time to convince to the same level as the opening tracks, showing itself a slow burner which by the fifth or sixth lessons is one of the moments of the album which lingers the longest. A perpetual prowl which ignites onto a consuming fire of sound and aggression, the song has a touch of Insane Clown Posse to its most intense fire and Red Hot Chili Peppers to its relentless groove but as expected roars with nothing other than the voice of its creators.

The excellent Happy Never After fingers lustful reactions next, its gait also a prowling incitement crossed with sonic tendrils and pushed by steely riffs courting militant beats. Muir is the ringmaster to its determined intent and nature, whipping up the heart and imagination of track and listener alike as the rest of the band spins a riveting and increasingly addictive web.

From one major highlight to another as One Finger Salute stands bold and aggressive with punk rock insatiability and thrash driven intensity straight after to create a deliciously imposing and hungry proposal. Diaz’s bass is a treat of a bestial lure, its resonating flirtation aligned to the jumping beats of Lombardo, both enslaving attention soon bound in the sonic potency of the guitars.

Straight after Damage Control is a threatening infestation of wonderfully toxic and gripping grooves as rhythms again take on a preying animalistic potency whilst Muir and riffs stir with their punk ‘n’ roll cattiness. The outstanding track keeps the album’s pinnacle point going in feverish style, bass and drums especially irresistible though all parts of the incitement leaves a new hunger installed in ears and appetite for the release.

The sonic metal tapestry of The Struggle Is Real equally sparks a zeal for song and album, its punk call and rhythmic swagger a captivating irritant on peace and clam while successor Still Dying To Live sees the quintet embarking on a smouldering melodic venture equipped with alluring throaty bass tempting and psych rock shimmers around the warm coaxing of a kaleidoscope of magnetic hooks and surprises. At over seven minutes, the track is a masterfully invasive seduction romancing ears and imagination and a compelling finale to World Gone Mad capped by the stripped down magnificence of This World and its evolution and continuation of the closing track of the same name upon 13.

The track is a fine end epitomising the growth and riveting blossoming of sound and imagination between the two albums seeing World Gone Mad a powerful and thrilling new turn in the band’s history. Whether it will be considered the band’s best release will down to the individual but without doubt the album is destined to be right there as a true favourite.

World Gone Mad is out now across most online stores through Suicidal Records.

http://www.suicidaltendencies.eu/ https://www.facebook.com/suicidaltendencies https://twitter.com/OFFICIALSTIG

Pete RingMaster 15/11/2106

Boundless lifescapes; exploring the realm of Lucid AfterLife Interview

Nov15

lucid-afterlife-pic_RingMasterReview

With a sound as eclectic as the themes within its imagination driven walls, Vancouver hailing Lucid AfterLife has earned loyal attention and support at home and across a global landscape. Renowned as one of Canada’s more impressive and memorable live propositions, the progressive groove rockers are luring bigger spotlights their way with their new EP, the successor to their well-received debut album I Am, expected to spring a new wave of invention hungry fans the way of the quartet. We recently had the pleasure to find out more about the band, that upcoming EP, and the creative heart of Lucid AfterLife with guitarist Thom Turner…

Hello and thanks for sharing your time to talk with us.

Hello, Thom from Lucid AfterLife here. Thank you so much for having us!

Can you first introduce the band and give us some background to how it all started?

In the beginning our vocalist Nat Jack was floating through the aether contemplating the purpose and form of existence. He then came upon our drummer Matt. The two of them forged a great alliance. From this union a great universe was born. It was one of never ending inspiration and possibilities. To round out this vision myself, Thom, and our bassist Miles were sought. Together we are take these rough shapes and turn them into the most honest and kick ass songs that we can.

Have you been or are any of you involved in other bands? If so have they had any impact on what you are doing now, inspiring a change of style or direction maybe?

I am a current member of the band Freya as well as being a professional musician for the last 15 years. I have played in numerous groups. The work ethic and attention to artistry that I got from that band is immense. Sonically they are very different. Miles is a member of Riftwalker and Hallux. Matt has played with many groups as well. As for Nat Jack…He simply is. All of us take our experience and add it to everything we do. That is one of the best things about LAL. Genre does not factor in. Whatever mood serves the lyric or vibe is what it needs to be.

What inspired the band name?

As a group we feel that reality is in an illusion…More than that it is malleable. Life, death they are merely shades on a continuum. So through our music we transcend. To be able to visualize and experience multiple levels of existence is. We can experience multiple worlds through our songs and live shows. That is what Lucid Afterlife means to me.

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?

There are always stories that come to us…things that may be inspired by every day. Some come from deeper more existential places. All of them are important to us. As we have toured we have been lucky to see that these topics hit home with so many people. So we continue to write them. As for the sound it is meant to be inclusive. To be the heaviest thing ever when the emotion is deep and powerful then, turn around and be very clean and melodic to represent another story or character is as honest as we can be.

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

Constant evolution…we are all about that. That said though most of the same principles are the corner stones of what LAL is. Relatable honest music that is served with all the energy we have live.

Since your early days, how would you say your sound has evolved?

Since I was brought on I would say that the sound has evo-loved. We still love Sabbath and Monster Magnet. On top of that we explore our mutual love of progressive music. Things like Kansas and Yes and Porcupine Tree and Kings X. It adds a broader pallet to the stories we can tell. Really though it all comes down to the live show for us. Nat Jack is a wild man on stage and we push out the sound track for the listener’s experience.

Has it been more of an organic movement of sound or more the band deliberately wanting to try new things?

Extremely organic I believe. We work to service the songs that come out. Our sound is extremely diverse. Yet, when you hear it you know it is LAL. It all comes from that point of honesty in the lyric and music.

You mentioned some already but presumably across the band there is a wide range of inspirations; are there any others in particular which have impacted not only on the band’s music but your personal approach to creating and playing music? As I said before Black Sabbath, Led Zeppelin, Monster Magnet, Yes, Kansas, Porcupine Tree. Also Ministry, Cream, Dream Theater, Kings X, Hendrix, A Tribe Called Quest, Wu Tang Clan, Body Count, MF Doom. Soooo much music goes into what we do. From rock to jazz to metal to Hip-Hop, it all moves us.

Does the band have a particular method to its songwriting?

We work in very brotherly way. I will write some things, pass them to Nat and a lyrical idea will usually pop out. From there Matt and I go to work on fleshing out an arrangement and Miles lays down the bass. So far it has been all hands on deck movement.

Where do lyrical inspirations more often than not come from?

Everyday life through the lens of existential global truths…A lot of our songs have to do with relationships. Not really with people per se, more archetypes. If we do a song that is very obviously about sex then you can bet it isn’t at all about sex. We like to lead people, through the parlance of our time to deeper truths.

lucid-afterlife_RingMasterReview Can you give us some background to your latest release?

Our new EP Occult Mafia Mistress is an opening salvo into what is coming next for LAL. With this line-up we have 4 great singers so we wanted to put that to use. Most songs really take advantage of all of us.

How about an insight to the themes and premise behind it and its songs?

This record focuses on themes of transcendence. Be it through love, sex, meditation or sheer elation. They are explained in somewhat adversarial roles. Some characters and ideas want to hold you down from your potential. Others are the inner explorers rupturing out into being against that oppressive force. We are able to do this through the use of many styles and genres, from hip hop on a song like Time Killaz (feat. Merkulese) to the pure rock and roll of Retarded Owl, the voice of the song blends seamlessly with the lyric.

Are you a band entering the studio with songs pretty much in their final state or prefer to develop them as you record?

The frame of a song is all done by the time we get in there. Because we play the crap out of the songs live and see what goodness comes out. So when we get into the studio what happens is we add all the touches; layering and vocals. A record should be a piece of art unto itself. Music is ephemeral. It changes depending on your mood; where you listen to it, even through the course of the song. Then it is over. That time has passed. So when we are in there recording and mixing everything is fluid. What comes out is even more magical then what went in.

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

Live we are a completely different band depending on Nat Jack. His mood and character shape our live performance…never the same thing twice. We reach out to the audience and invite them in…literally. They play with us. We feel that the live stage is a conversation so we go all out. We breakdown our bodies and minds while we are up there and show the people they can too. We do a lot of improv along with our normal songs as well. We ask the audience for suggestions on style and lyrical content. And we go at it…all within the confines of a normal set.

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?

With the internet EVERYTHING IS REGIONAL; we have many devoted fans and neighbors in BC. They are amazing and we love them. But, we also have some amazing fans all over the world just looking for the same stuff we are. The impact is right there. The days of $500,000 an album contracts are gone. We are out there just to make these connections…One person at a time. Art drives life; even if only one person listens to us and passes it onto one friend. That is growth and the conversation continues. As long as you are creating you are growing.

Do you see the internet and social media impact you mentioned destined to become a negative from a positive as the band grows and hopefully gets increasing success or when or if it happens it is more that those bands have struggled to use it in the right way?

The internet is reality for many people. So ignorance on how to use it to your advantage doesn’t seem to make very much sense. Every tool is right there for you. It can be no different from handing a demo to a person on the street. As long as that person passes it on you are good. I really think it is a matter of perspective size. Many musicians hold themselves in light of Metallica and Sabbath and Kanye and Adele or whoever Enormous star. These standards can be so daunting that you quit creating. This is an atrocity. Look, did you know that Platinum albums are now 500,000 albums instead of 1,000,000? That proves that the old system is dying. That level of “success” is meaningless without a real connection with people. That is what the internet affords you…The ability to connect with THE WORLD. We all want to be able to make a living off what we love to do. But, that can’t be the end goal. We all have a world of art inside us and we owe it to ourselves and humanity to get it out there. So go into it with the goal of making great honest art, whatever that is and, people will take notice.

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

Myself (Thom) and all of LAL want to tell you and your readers that we are so thankful for you to be participating in all this with us. We are looking forward to meeting all of you. Remember to keep your head up and your mind open.

Occult Mafia Mistress is released digitally and on CD December 9^th @ http://lucidafterlife1.bandcamp.com/