Redshift – Cataclysm

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

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Pete RingMaster 01/05/2019

Copyright RingMaster: MyFreeCopyright

Spreading The Disease – Mindcell EP

From their very first single a few months short of four years back, the sound of UK metallers Spreading The Disease has been a contagious eventful trespass which has evolved almost by the song let alone release.  It has been a growth driven by creative drama and rich imagination which is now unleashing its fullest, most striking roar within new EP, Mindcell; five tracks of ravening ferocity wrapped in bold enterprise which confirms and further establishes the Kent hailing outfit as one truly individual and compelling proposition.

As its predecessor, the Insurrection EP released late 2017, was borne from a bolder step in the character and enterprise of the band’s sound, so Mindcell openly reveals another thick step in its blooming. Into the EP’s fertile and atmospheric asylum Spreading The Disease weave their richest web of styles and flavours yet; uniting the familiar and the adventurously unique in a tempest of sound which just demands attention.

Obsession opens things up, an initial sonic stand swiftly pulling in a tempest of noise, aggression, and vocal ferity. As barbarous as it is there is also an instinctive virulence to the assault which only escalates as the track hits its savage groove. The throat of vocalist Connor Russell Snyder is a fury of emotion and threat but equally an incitement of feral melody as the song breaks from its wild incursion into a voraciously catchy chorus. From start to finish the track is superb, the rhythmic blitz of drummer Jack Apell and bassist Steve Saunders, the band’s founder, as manipulatively resourceful as it is hungrily barbarous and entangled in just as magnetic and enterprising exploits from guitarists James Falconer and Martin Osbourne with each broadening their imagination by twist and turn.

The mighty start continues as Voices rises from sonic mist, the disturbed edge of its intimation fuelling and springing the controlled but hellacious surge of intensity which follows. It too is just a vehicle for subsequent imagination to emerge, dark calm and insecure vocal reflection crooning before erupting in its own bedlamic fury. That too is just a moment breeding another individual moment, the song a fluid patchwork of schizophrenic twists spilling pure magnetism from start to finish; it all crafted with individual prowess and emotive intensity.

The following groove metal swing of The Anger Inside is just as potently captivating, the track equally a bruising and harassing slab of nu meets death metal  soaked rock ‘n’ roll easily and quickly getting under the skin. Apell and Saunders steer the track through ears with sheer power and riveting guile respectively with the sonic cunning and causticity of Falconer and Osbourne similarly stirring and imposing.

Just as forceful and rousing are the vocal exploits of Snyder, their adventure no more potent than gracing next up Waves. Its gentle melodic lapping of the senses borders hypnotic, guitars and bass colluding in an alluring kaleidoscope of temptation before being urged into more caustic endeavour by the scything swings of Apell. Again there is a feral a quality to sound and song even within its mellow serenading and a progressively lined enterprise which adds to its increasing irresistibility and inevitable persuasion.

Conflicted brings things to a just as rich and potent close; the track opening with a groove which is as familiar as it is tempting. Soon though it’s untamed heart infests every emerging aspect, Snyder masterful astride its contagious trespass. To this at times, there is a hue of bands such as American Head Charge and Mudvayne but great essences soon devoured and reimagined by the viral exploits of Spreading The Disease.

Quite simply Mindcell is the finest moment to escape the creative institution of Spreading The Disease, one which should draw the spotlight it loudly declares the band deserves.

Mindcell is out now through Surgery Records; available from all platforms.

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Pete RingMaster 16/04/2019

Copyright RingMaster: MyFreeCopyright

Downpour – Self Titled

It has been waiting for its chance to explode on the metal scene for three years and now uncaged, the debut album from US outfit Downpour, is not going to let a little matter of a lengthy delay stop it making a very potent impact. Groove rich, rhythmically merciless, and built on individual craft which commands attention, the self-titled release is a declaration of creative power and intent.

Boston based, Downpour began as a project with no particular expectations and possibly aims except the simple desire to create music; indeed they were “instrumental jam nights among the members [which] offered a respite from real life – things like 9 to 5s, crumbling relationships, bills, and beyond. Their sessions were akin to therapy sessions and the music became increasingly heavy.” As things progressed drummer Derek Kerswill (Unearth) contacted Brian Fair former band mate in and vocalist for Shadows Fall. With its line-up completed by guitarist Matt LeBreton and bassist Pete Gelles, and itself a proposition which could not be denied, Downpour recorded this debut full-length in 2015. The quartet though decided to sit on it until the time was right and everything was in place for the album to be unveiled which thankfully is now.

Musically the album embraces a tapestry of metal bred flavours. Senses brutal groove metal could possibly be said to be at its heart yet in any given moment it can spring forth with progressive imagination or extreme metal predation. It swiftly proves an unpredictable and fluidly evolving encounter indeed which quite simply is metal at its most instinctive and style embracing best emerging with a voice openly individual to its creators.

The Serpent’s Tongue opens up the album, predatory riffs and Kerswill’s rapier swing to the fore but equally strands of citric endeavour entangle the trespass which in turn is accentuated by the familiar and ever magnetic tones of Fair and an increasingly antagonism in that rhythmic antipathy. Savage yet firmly galvanic, the track is superb; hues of bands like Pantera adding to an almost spiteful character but a grudge which invites deeper and greedier investigation as individual flair and prowess inspires a united enterprise.

It is an imagination though which is only broadened across the following Truth In Suffering, a song which immediately weaves a melodically crafted but volatility lined landscape of shadow cloaked intimation and portentousness. Physical and suggestive extremes collide and collude within its captivating body, vocals too aligning raw and melodic dexterity in an encounter which lyrically and emotionally reveals an intimacy to its roar.

Though you could apply certain names as reference to the pleasures with the album by these two tracks and successor Astral Projection there is no denying the distinct personality and endeavours of the Downpour sound and release. The third track has a relatively calmer and warmer presence than its predecessors but again there is an inherent volatility and tempestuousness which keeps expectations guessing and ears fascinated; that and the ever compelling imagination of songwriting and craft that breeds them.

Through the likes of darkly lit and siren-esque Still Waiting and the irritable enmity that is Without The Fear, the album simply continues beguiling and ravaging the senses. The first is pure seduction with Eastern hues to its adventure soaked landscape built upon rolling rhythms and intrigue casting guitar manipulation. It is superb, easily our favourite track within the album where virtually every note brings fresh mystery and adventure with that essence of danger and invasive reprisals, though neither are realised but always lurking. The second rises from its own inviting lure into a wiry entanglement of grooves, riffs, and voracity fuelled rhythms but a mercurial proposition tempered by the melodic toxins and harmonic caresses which rise up. Though eclipsed by the track before, it feels like the former’s dark side in many ways and was just as greedily devoured before Beautiful Nothing had the appetite licking its lips once more through its rancorous virulence and imagination embroiling exploits.

Mountain completes the release, another track which just stole ears and passions with ease. From the vocal prowess of Fair, the album surely one of his finest moments ever, through the rhythmic manipulation and suggestion of Gelles and Kerswill to the sonic weaving of LeBreton, the song, echoing the whole encounter, enthralled and aroused.

Anticipation for Downfall’s debut has been long and keen across media and fans alike and it is easy to expect all to feel the wait has been more than worthwhile, the album basically another of the year’s major highlights.

The Downpour album is out now via Noize in the Attic Records through all major digital platforms and @ https://downpourmetal.bandcamp.com/album/downpour

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Pete RingMaster 22/09/2018

Copyright RingMaster: MyFreeCopyright

Deathflux – Execrated

With its members previously part of death metal outfit Cacodaemonic and one of our favourites in progressive metallers Akarusa Yami, there was certain anticipation in hearing the debut album from British metallers Deathflux and Execrated certainly rewards that intrigue and excitement. It is a raw and uncompromising trespass upon ears and senses quipped with rich enterprise the imagination quickly took to.

Formed in 2016 by Nottingham guitarist Tom Clarke, who as mentioned enlisted band mates from his former propositions, Deathflux creates a sound which cannot be precisely pinned down. Led by a rousing and enjoyable senses abusing dual vocal attack, the sextet entangle everything from death and heavy to technical and groove metal with plenty more flavouring involved. Their first year saw the Bludgeon, Consume, Transcend EP uncaged, the band’s second bringing the current line-up together with vocalist Adam Jones joining the raucous bellows of Patrick MacDonald. Now Deathflux is ready for full and hungry attention which it is very easy to expect to be crowding them through Execrated.

It is a release which from opener Forsaken which manages to grab ears and captivate as it trespasses the senses while hinting we are just in on the beginnings of even bigger and bolder things ahead. Maybe that means there is an open potential not quite realised within the album yet it just adds excitement for the future to that gained though the bracing assault of the release. The first track immediately infests the listener as the twin fury of the vocals joins the predacious lure of the guitars and instantly threatening touch of the rhythms.  Soon as it hits its imposing stride, the song winds its creatively malicious tendrils around ears, animosity matched in the individual and united antipathy of the vocalists. Often lurching along between its fevered intrusions as imagination fuels twists and turns, the track lays potent seeds for things to come.

The following Consume finds an even more predatory lilt to its voice and presence, extreme and melodic metal converging on ears and each other as again vocals challenge as they align their discontent. Dissonance soaks every note, syllable, and word; its dystopian coating breeding a conspiracy of enterprise and imagination within the track and subsequent album as proven by next up Devolution. Similarly woven yet individual in its character and rapacious attack, the song springs nu metal hues into its infestation of styles and the web of rancor woven from them. It too jabs and snaps as well as careers across the senses, the guitars alone weaving magnetic intrigue and adventure including a delicious groove as rhythms blossom in their predatory dynamics.

Toxin initially dances in ears with catchy intent, it’s pent up animosity and frustrations waiting to be subsequently unleashed through the riveting exploits of vocals and the persistently unpredictable landscape of the song. As much as all its predecessors hit the spot, the track truly grabbed our attention and appetite, that intimation of even richer and bolder layers to the band’s creativity a nagging pleasure.

Easily our favourite track, it is more than backed up by Bludgeon which simply lives up to its title as it accosts the listener but an assault built with an imagination and diversity of touch which at one point seems to embrace inspirations of a Slipknot or Mudvayne in other moments the likes of Fear Factory and Dillinger Escape Plan.

Next up Transcend is even more bullish and irritable, deathcore traits seeping venomously into its grooved trap set by the guitars, Clarke relishing the dynamics as he casts melodic dexterity into the thrilling mix before Exile brings the album to a vicious conclusion. It epitomises every aspect of the band’s sound; from their ferocious energy and nature to the creative touch and technical flair each member brings to the war.

Though first impression were potent, Execrated really flourishes over subsequent plays as each track reveals more of their individuality and invention which might have escaped notice first time around. Expect to be assaulted and richly pleasured by Deathflux’s first album and anticipate being addicted as its potential ignites in the future.

Execrated is out now through iTunes and other stores.

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Pete RingMaster 03/07/2018

Copyright RingMaster: MyFreeCopyright

Eryn Non Dae. – Abandon Of The Self

Can it really be approaching six years since French metallers Eryn Non Dae. left us and so many others drooling over their last album Meliora. It was a release which continues to lure and led us at the time to boldly suggest that extreme and progressive metal had a band which would “continually stretch the wide genres to impressive heights.” At last they have released its successor in the invasive shape of Abandon Of The Self; an encounter which more than justifies our claim.

Since the release of Meliora, unsurprisingly there have been a fair few bands and releases which have offered similar striking propositions. Many have pushed the boundaries of genres which are never slow in exploring new trespasses and adventures anyway.  Abandon Of The Self now steps forward to join that collection of inspiring encounters, and we dare to say from the very frontline of the triumphant wave.

Formed in 2001, as The End, the Toulouse hailing quintet released their debut album, Hydra Lernaïa, through Metal Blade in 2009. It was a spark to attention and an already well brewed reputation the band had nurtured through their live presence and earlier EP. Meliora brought a whole new plateau of sound and imagination with its unveiling in 2012 which Abandon Of The Self has now escalated with its atmospheric drama and sonic invention.

Once again Eryn Non Dae. linked up with Mobo for the recording, mixing and mastering of Abandon Of The Self and swiftly gripped attention and the imagination with opener Astral. It looms in from a distance, static distortion shimmering in its air as a rhythmic shuffle soon infests ears and incites even keener attention. The raw throated scowl of vocalist Mathieu Nogues erupts against the track’s swing, the guitars of Franck Quintin and Yann Servanin gathering their wiry lures to subsequently wind around the pulsating surge of the growing trespass. Calm, clean vocals rise within the brewing tempest, conflicting atmospheres colluding rather than battling around the intrigue and voracity of the song. The rolling beats of Julien Rufié unite with the rhythmic grumble of Mickaël André’s bass to magnetically entice but it is the layers of contrasting textures and the immersive breath of the track which really pulls the listener in.

The compelling start to the album is thickened by the menace lined flirtation of Stellar. Nogues vocally walks through atmospheric intimation; his tones and expression becoming more intense as guitars weave a captivating almost feral aurora of sound as again rhythms court the predacious climate with their manipulative swing. It is a truly magnetic soundscape for ears to embrace and the imagination to explore, the band’s own lyrical and physical suggestion equally sparking fresh ventures in thoughts even as the senses increasingly cower before the brewing celestial storm.

Omni similarly sees Nogues with an initially controlled and provocative presence within a kaleidoscope of melodic and sonic wiring around the ever infectious craft of André and Rufié. Though inescapably invasive and disturbing, the ambient winds cast by Quintin and Servanin are tantalising, hinting and probing the psyche whilst allowing the volatility in the song’s heart and atmosphere to increasingly infest their mercurial weave. As with all songs and the album, every listen unveils new melancholic aspects, rapacious shadows, and dark depths to feast upon but equally a radiance which only draws you back time and time again.

The following Eclipse has a bubbling urgency to its predatory rock ‘n’ roll which arouses the senses just as potently as the atmospheric ferocity and seduction which entangles via the guitars. Every corner of the song and band unleash a compelling statement of emotion and enticement, again lust and fear hand in hand as submission to its evocative inferno was swift and inescapable before the epic flight of Halo invades and consumes, driven by further outstanding rhythmic engineering of song and the senses it manipulates. Getting lost in its soundscape was easy, immersing in its angst and emotional turbulence similarly certain, every moment of its ten minutes plus a refreshing intrusion of body and psyche.

The album closes with firstly Fragment, a pulsating inferno of intensity and untethered dissonance from voice to melodic toxicity and rhythmic incitement, and finally through the apocalyptic realm of Abyss. As with all tracks, the pair escort, no drag the listener through soundscapes which never settle and never allow predictability or an absence of adventure confront ears, the latter especially monstrous yet majestic as ire and fury merge with monolithic beauty and ravenous passion.

Though Abandon Of The Self made an immediate rich and irresistible impact, it was with time that is really gripped and thrilled as those dark corners and skilled layers were further exposed. The band describes their album as “a trip into the depths of the soul”, its press release, “a beast of a release!” We can only endorse both and suggest Eryn Non Dae. have not only sprung their finest moment yet but one of the year’s essential listens.

Abandon Of The Self is out now via Debemur Morti Productions; available @ https://erynnondae.bandcamp.com/ or https://erynnondae.bandcamp.com/album/abandon-of-the-self

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Pete RingMaster 21/05/2018

Copyright RingMaster: MyFreeCopyright

Kill The Unicorn – Prism

The final few words on the press release for Prism, the debut album from Swiss metallers Kill The Unicorn declares that they “are a band to get excited about!” Greedily listening to the eleven track web of sound and intrigue yet one more time to continue concentrated attention it really is impossible to disagree.

Launching from a bed of metalcore ferocity, the album is a kaleidoscope of trespass and suggestion embracing everything from hardcore to groove metal and progressive to post metal whilst fusing an array of funky and jazzy bred psychosis with some classic 8-bit sound mischief. The result is a release which devours and seduces with violence and unpredictability like a deranged dervish; one which is a little unhinged, slightly uncontrolled, and persistently sending ears and imagination to lustful places.

Hailing from Lucerne, Kill The Unicorn emerged in 2014 and took little time in stirring up attention through their live presence which has subsequently seen them share stages with the likes of Promethee, Ghost Iris, Vola, Science of Sleep, Walking Dead on Broadway, Voice of Ruin and many more. 2015 saw the release of a three track demo, an encounter laying the seeds and hints of things to come; the joys and intrigues to be now heard and explored within Prism.

Recorded with producer Aljoscha Sieg (Nasty, Eskimo Callboy, Vitja), Prism hits the ground running with opener Motoko Kusanagi. As the guitar joins an initial 8-bit fingering, a tempest gathers behind, swiftly unleashing its voracious force as rhythms fly and riffs bite. Vocalist Pipo Thalmann is quickly there in the midst growling as a delicious hook and similarly tasty grooves entwine the aggression before the already intensive beats of drummer Matteo Leuthold raise their rabidity and pummel the senses. Already a fusion of metal is at fevered play, expectations are taken to the cleaners by the subsequent twists and turns though the band has still yet to dip into their boldest enterprise hindsight revels. The track is pure bait with the guitars of Ziggy Lebon and Raphael Zumstein as predatory as they are creative conjurors.

The vocal dexterity already suggested within the opener is pushed again within its proper successor, Ode To Spot. Unleashed after the Sinclair-esque loading of Dreams In 56k, riffs and rhythms sink their claws and teeth into eager flesh, the track savaging and gnawing the listener before suddenly turning on its head with a funk/progressive shuffle. Thalmann mixes his throat scuffed squalls with clean vocal and similarly off-kilter expression to match the sounds twisting around him; all the time the bass of Marc Sommerhalder grumbling with bestial discord though eventually even it has to join the swing before a death nurtured storm descends. Like Horse The Band in league with Pryapisme and Cryptopsy, the track consumes the senses before Wormhole To Gliese 556c voraciously infests the psyche with extreme metal hunger and corrosive adventure. Though it never truly deviates from its rapacious remit, the track is just as gripping as its predecessor and unafraid to follow where its instincts wander.

F.U.C.K.U.P. equally has a carnal heart but is soon wrapping its core in System Of A Down like mania and Hardcore Anal Hydrogen similar eccentricity, continually twisting and turning sound, imagination, and the listener alike. There is an early Korn like air to the carnivorous moments before primal outbreak too; adding to a tapestry of unpredictability which hits the spot relentlessly before the progressive beauty and stroll of Me And My Velociraptor invades the imagination with its compelling instrumental. Rousingly and hauntingly infectious, the piece has the body and pleasure bouncing ready for the invasive tone and touch of Conquistador and its tide of punk and metal hostility again impressively steered by the guitars and the vocal prowess of Thalmann. Tightening its grip by the second, the track flings the senses around like a rag doll yet seduces them with nuances and bold turns within its inhospitable consumption.

Through the punishing depths of Catacombs with its maze of sinister deviations and the senses stalking blackened incursion of Ausgefuchst, the album simply reinforces its dexterous invention and uncompromising extreme metal voracity though both tracks have to give way to the even more contentious siege of the senses uncaged by Rendesvouz with Cleopatra. Malevolence drips from every note and syllable here yet equally the band’s untethered imagination soaks every trespassing breath if without revealing the hungry boldness of earlier tracks.

The album ends with Pitch Black VR, a rancorous, skilfully woven and delivered savaging compounding the animosity and inventive craft of Prism with might and boisterousness not forgetting imaginative zeal. It is an unforgiving, mouth-watering conclusion to an album which certainly lit our fires and as that press release suggested it might, our excitement.

Prism is out now and available @ https://killtheunicorn.bandcamp.com/album/prism

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Pete RingMaster 08/11/2017

Copyright RingMaster: MyFreeCopyright

Something visceral this way comes: entering the wicked clutches of Skitarg

Like hell’s harlequins with dark intent entangled in pestilential rage and humour, Swedish extreme metallers SKITARG is an encounter which violates the senses at every turn and pleasures an appetite for “heavy, violent and evil metal” just as eagerly. The evidence is open in a live presence which devours the its audiences and four acclaim garnering albums; the fourth in Los Pulkerz released earlier this year. We grabbed the chance to brave the band’s blackened death bred clown metal trespass with vocalist Barnet, exploring its origins, that new album, and the Swedish language….

Hi, can you first introduce the band and give us some background to how it all started and how you all came together?

Sure, the band started waaaaaay back in 2005 when me (Barnet, which means “The Kid”) and the other singer Necrofilip (which means…er…”Necrophilip”) were checking out some porn on his balcony, as one is want to do. We were talking about starting a new band – we had been playing in a band called HEAD for the last six years but ended that band – and we wanted the name to sound super pissed off. And so it came to be, this year of the unlord 2005, that we named the band SKITARG (which literally translates to “shit angry”, but more idiomatically aptly translates to “pissed off”.  It also translates to “free sexuality”, “social security” and “Volvo”, but then again EVERY word in Swedish means that too.).

Have you been involved in any other bands before? If so how has that impacted on what you are doing now, in maybe style or direction?

You bet, I have been in about 15-20 bands and Necrofilip about the same. The other band members (who seem to change every now and then) also play in a lot of bands.

Playing with Necrofilip in HEAD was a great learning curve since we´d come to rehearsals with a new song and that song could have a musical element that we hadn´t known yet up to that point. It could be things like playing parallel thirds to a melody, or playing triplets over straight eights or stuff like that…So we´ve definitely grown up musically together.

Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer and do they still continue to steer the ship?

Yes, to sound pissed off. I think this might have been covered thus far.

You can only stay pissed off for so long before you need to have a laugh, and since me and Necrofilip love laughing more than we have the energy to be angry, the band soon started introducing comedic elements. I wouldn´t say we´re comedians but we definitely have a dark sense of humour and kind of need that perspective to get by in everyday life.

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

We started out pretty raw and still have that in us today, but rather than just beating the shit out of the drums and guitars, we put a little bit more finesse into it these days.

The first album was pretty direct and simple, the second album had way more harmonies and layers, the third was more melodic in the riff structure and the fourth album is a sort of return to the original simple sound with sprinkles of off-beat songs. One song sounds like Tom Waits, another like orcs raping The Prodigy and a third one is an excerpt of the tapes that Necrofilip recorded on his small tape recorder when he was nine years old. We really don´t have any kind of regard of what we put on our albums to be honest.

Has any evolving in sound and ideas been more organic movement or you deliberately wanting to try new things?

No, we´re pretty aware of what we want to do with our songs. Of course most songs start out with an inspired idea but from that we usually have a pretty clear vision of what needs to be added.

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?

As you say, there´s too many, but I can tell you what bands we are NOT inspired by: Slipknot and Insane Clown Posse. We sound nothing like them! (Ok, I´ll admit we kind of look like them, but hey, doesn´t every band?)

Is there a general process to the songwriting within the band?

Yes. We start out with some cabbage, add some salt, dance under the moonlight of a disco ball, choke each other until we laugh and then send the master to pressing.

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

Mostly it´s everyday stuff that pisses us off, like people walking too slow in front of us, dealing with jealousy, seeing animals and babies in peoples Facebook feeds and stuff like that.

Would you give us some background to your latest release, Los Pulkerz?

Our fourth album is a return to the original sound…actually, it´s just songs from when we started the band. We had been playing for 10 years when we started listening to the really old stuff that didn´t make it on to the first album. Some of the songs would probably work on a new release as long as we updated the sound and some of the riffs. I think we managed pretty well and even added some things that we haven´t had on our albums so far, like the song Sverige Facking Fosterland.

How about an insight into some of its themes and the premise behind it?

The premise is basically that the first 10 songs are songs that didn´t make it to the three first albums. The rest of the 15 songs are random tracks we recorded on our own as stand-alone songs or as in Rosmarie och Idioten where we get to hear an authentic conversation between 6-year old Necrofilip and a 5-year old girl called Rosmarie that he knew when he was little. His mom recorded the conversation on his tape recorder from another phone in the house and we found the tape years later (for all you kids: back in the day, people used to have land-line phones. That means that you could have several phones connected by lines to a socket in the wall in your house and if you picked up one of them during a phone call, you could listen in on the conversation between the person making the call from outside and the person taking the call in the house. Sneaky 😉

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?

Since we never hire a studio guy or rent a studio we´re creating up until the very end. We do everything on our own, so there´s never a cut-off on adding new stuff.

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

Oh yes. We´re dressed as black metal clowns and use dildos as our main stage prop. I think that´s a selling point as good as any.

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?

We´ve done very well during these last 12 years in Sweden so I think we could do just as well abroad, if not better. Swedes are a pretty socially inept bunch and we (Swedes) don´t usually like to get too close to each other. So, since we manage to attract plenty of people to see us live in Sweden, we would probably do even better internationally. I mean, heck, if Rammstein made it with German lyrics, why can´t we with Swedish lyrics?

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?

We are very much a band that owes our thanks to Facebook…it´s been imperative for us to reach our audience so the Internet has been great like that. It has, however, sucked all the money out of the business, so there are fewer venues in Sweden and fewer companies that want to risk financial backing for their band. We didn´t want to wait around for the record labels to get their money-grubbing heads out of their asses so we just went ahead and started recording, financing and promoting our albums on our own.

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

There is no afterlife. Life is meaningless. Entropy will win, and your mom and dad probably had anal at one point. Sleep tight!

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Pete RingMaster 03/11/2017

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