Bootlegs – Ekki fyrir viðkvæma

With the band recently inking a worldwide management deal with GlobMetal Promotions, we thought a look at Bootlegs’ recent album, Ekki fyrir viðkvæma, was in order.  Formed in 1986 and soon becoming one of the bigger names in Icelandic metal history over the next five years or so, Bootlegs released two highly praised albums in that period before disbanding in 1991. Since then the band has come and gone through a couple of brief comebacks before returning more permanently in 2012. Released last year, Ekki fyrir viðkvæma is the Reykjavik quartet’s latest incitement of raw and ferocious thrash metal, a release metal fans will not want to be missing out on.

WC Monster and their self-titled second album, released 1989 and 1990 respectively, certainly pushed Bootlegs from national success towards recognition upon the broader metal map as too appearances on compilation albums over the next couple of years and a live presence which saw the band break into the likes of Denmark. After coming to an end, the band did come back together for a big reunion concert which was recorded and subsequently released as a live album a few years later in 2006. Before its release though, Bootlegs were already active again, returning in 2004 for a two to three year presence.  Then in 2010, they arose again with original members back; the fresh return followed by releases of the band’s first two albums in 2014 via Minotauro Records. Last year saw Bootlegs enter the studio for their first recordings in over two decades, and emerging with the rather impressive and rousing Ekki fyrir viðkvæma.

With the vocal roars of guitarists Jón ‘Junior’ Símonarsson and Jón Örn ‘Nonni ‘ Sigurðsson to the fore and its energy and intensity driven by the rhythmic predation of bassist Ingimundur ‘Elli’ Ellert Þorkellsson and drummer Kristján ‘Stjuni’ Ásvaldsson, album and sound is old school, thrash in its irritable prime. It is unafraid to offer some punk attitude too, at times songs breaching a Suicidal Tendencies like punkiness, but for the main and in its individual style, Ekki Fyrir Viðkvæma is the perfect fit for tastes bred on the likes of Voivod, Exodus, Metallica, Slayer, and Subhumans.

From the hungrily abrasive and riotous punk ‘n’ roll of Gervigleði er ógleði, the album has ears and appetite in league with its ferocious intent. It is a great opener quickly matched in success and persuasion by the thrash prowl of Fullur á Facebook. Grooves and hooks collude with rapier like swings from Stjuni in the second song, luring in the listener before uncaging a ravenous assault and devilment reminding of the crossover thrash sounds of the previously mentioned California hailing band.

As the likes of the senses nagging KúkurPissOgÆl and the glorious exploits of Bootlegs fyrir börnin come and go, it is fair to say that major surprises are few yet fierce temptation and unbridled enjoyment unmistakable and inescapable. Within the second of the two, there is also something very familiar about certain melodies and flavoursome hooks yet all escape comparison to anyone in particular as the track steals ears and passions with ease. There is an occasional sense of early Stam1na, passing essences fleetingly bringing the Finnish band to mind as the track provides the first major pinnacle within the album.

Tribute to Thrash is one of the few English sung tracks and more than lives up to its title, swinging along with a snarl and swagger while being as multi-flavoured as its predecessor. With some great guitar interplay involved it is followed by Eitur naðra which explores a darker and heavier canvas of textures and character as sonic flames vein its intimidating posture and tone. The track is just one more highly memorable proposal, whether stalking the listener or in a rampage of niggling riffs and the snakiest of toxic grooves, and swiftly irresistible as too the in the face predation and roar of the excellent Gjallarhorn.

By this point it is fair to say that Ekki fyrir viðkvæma had us hooked, sharing physical and vocal, where we could language wise, involvement with instinctive eagerness. The pair of Fórnarlamb tískunnar and Kjörkassasvín only add to the album’s temptation and uncompromising thrills; both tracks providing an immediate and merciless trespass as anthemic as they are grouchy. They are highly addictive proposals carrying an array of imagination pleasing twists and turns backed by the band’s individual craft; the latter especially intriguing and devilish in shape and resources.

Making less of a dramatic and lingering impression is Poser though fair to say that its antagonistic attack leaves only satisfaction in its wake before Haleluja adds its own creative incitement and SOD III uncages the album’s shortest and most hostile offering yet. Again both leave pleasure full without matching earlier triumphs with the closing Ó Reykjavík providing a final spirit arousing galvanic punk ‘n’ roll stomp to greedily devour.

It is a great end to an excellent release. Ekki fyrir viðkvæma might not be the best thrash album you will have heard this past year or so, though it is in with a real shout, but it is undoubtedly on the frontline of the most enjoyable and ridiculously easy to return to propositions you will come across.

Ekki fyrir viðkvæma is available @ https://bootlegsthrash.bandcamp.com/releases

http://www.facebook.com/bootlegsiceland

Pete RingMaster 11/05/2016

Copyright RingMaster: MyFreeCopyright

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In Fall – Delete

From Ekaterinburg, Russia, In Fall is a gothic rock duo consisting of Shade (vocals, bass, programming) and Eric (guitar). Recently they released third album Delete, a collection of dark yet hope filled, melancholy soaked tracks that simply capture the imagination. Aligning contrasts within a blend of creative intricacies which themselves are paired with simplicity of tone and emotional openness, the release is a fascinating and increasingly enjoyable offering suggesting the band are ready to prompt broad attention.

The background to the band and its members are not openly offered in profiles and press release, but 2012 saw the first In Fall release in the shape of the Coffin shores EP whilst a year later debut album Charm appeared with its successor How can you fall in love? coming in 2014. Recently linking up with GlobMetal Promotions, In Fall now has Delete to entice and inspire the imagination, a success in motion from its first touch.

   Sometimes starts things off, a lone piano casting a classical air as thicker sounds brew around it, guitars and rhythms a shadowy tempting courted by an even darker bass lure. The voice of Shade has a mellow but emotive intensity which lies separate to the melodic beauty and metallic intimidation around it, but links all with its potent plainer hue. For ears, the song and subsequent album provokes thoughts of bands like Sisters Of Mercy, The Mission, and Gene Loves Jezebel, though equally as the likes of the album’s title track takes over, thoughts of Type O Negative and more so an emotionally detached version of Black are also nurtured. For the main though as keys seduce and shadows encroach, vocal croon and melodies caressing within a muscular climate, In Fall create something specific to themselves becoming more impressive and enticing with every listen.

Through tracks like the climatically smouldering You say and the more tenacious rock ‘n’ roll of Wednesday ears are pulled deeper into the release and its romantic lure around ironic and openly reflective lyrics. Both songs offer individual proposals in sound and design which again only increase in persuasion as their theatre of emotion and rich textures is increasingly revealed before the post punk shaped Brainbox bewitches an already happy appetite with niggly riffs and a bestial bassline around elegant keys and subsequently seducing strings. Vocally Shade deviates little from his prime emotionally cold delivery, which at times is a temper to the flames of beauty aside him, but always he stretches it to rise and fall with the heart and intensity of a track, and as here always to great effect.

Could be similarly weaves a fusion of post punk and gothic/melodic metal resourcefulness into a haunting embrace whilst from a warm dance becoming emotively darker and physically irritable, Beautiful day crawls into the psyche and passions to take best song honours. It is a relentless prowl of ears, a magnetic spark for the imagination, and lingering sinister hug for the senses, and quite superb.

That great post punk breeding lines the melodic call of synths across More, the song a transfixing siren of sound reminding of eighties band Leitmotiv. The feel of that era is a recurring and welcome spice across certainly the post punk and gothic colouring within Delete, its provocative melancholic scent again flowing through Dust even as a carnivorous bassline seeds a volatile atmosphere which, though it never quite erupts, is a constant intensity to the enthralling drama.

The album concludes with firstly From above, a lighter and catchier affair on ears, and finally the raw emotive intensity and sonic fire of Over. Each song leaves ears and pleasure full and the impressiveness of Delete enhanced even if not quite matching up to the potency of tracks before them. They certainly add to an album which just gets stronger and more engrossing though, not forgetting one more enjoyable with every encounter.

In Fall, as previously for us, is likely to be an unknown outside of their homeland for most but that deserves to change from Delete alone, a release you seriously should be checking out.

Delete is out now.

https://www.facebook.com/in.fall.gothic

Pete RingMaster 04/11/2015

Copyright RingMaster: MyFreeCopyright

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Absorb – Vision Apart

There are a few metal bands around the globe with the name Absorb, but certainly standing out in sound alone are the German death metallers carrying the title. Emerging back in 1989, the Bavarian quartet released a pair of demos before splitting up in 1994 but thirteen years later, founders Pfisty and Jochen reformed the band with new and fresh ideas bubbling up to take a sound already unafraid to twist and evolve its death metal seeding, to new potent places.

With a new line-up in place around the original pair, Absorb released Dealing with Pain in 2010 to strongly welcoming reactions from media and fans alike. As their live presence embraced shows with the likes of Obscura, Cannibal Corpse, Pestilence, One Man Army, Sodom, Vader, Hatesphere, The Black Daliah Murder, Morbid Angel, and Arch Enemy amongst a great many over recent years, more personnel changes were gone through, eventually leading to the current line-up of vocalist Volker and bassist Daniel alongside guitarist Pfisty and drummer Jochen who now the unleash the band’s new EP Vision Apart. A gnarly tempest of four diversely flavoured extreme metal furies, the release is a ravenous and rabid confrontation suggesting that Absorb, who recently signed with GlobMetal Promotions, have tapped into a vein of creative venom that could awaken broad attention.

    The EP starts with a predatory gripping of ears through Perfect Whore, nagging riffs a perpetual tempting as vocals and drums descend greedily on the senses. With the bass a more reserved but no less potent protagonist in the mix, grabbing its moment to grumble within breaks with toxic prowess, the track climbs over the senses and imagination like a serpent. The sonic tendrils of the guitar are as seductive as they are venomous, still flirting with virulence as hostile eruptions unite in a bruising tempest. The track is a superb start to the EP, death metal infused with slithers of other varied metal and noise induced invention.

The following Los Muertos de Hambre is just as flavoursome within its carnal turbulence, again acidic grooves and alluring riffs veining the smog of sonic intensity. Clean vocals bring another enjoyable colour to the forceful prowl, their delivery adding a scent of heavy metal to the creative savagery. Though not quite matching the plateau of its predecessor, the song is a fascinating tapestry of styles and fluid ideas, something definitely fresh and appetising to the more formula genre releases escaping this past year.

The song Undead springs with a similar breeding to the previous track, but quickly revealing its own insidious character in presence and imagination with an impressing mix of vocal enterprise again adding weight and texture to the track. With the bestial sounds at its core and Volker’s great guttural delivery a glorious violation as addictive as the whirling sonic lacing of guitar, the track opener fires up the ears and passions with instinctive ease before making way for closing incitement World Stops Turning.

The final track stalks to the thrash seeded backdrop of driving riffs and rhythmic barbarism interspersed with slower meanders, creating the most destructive and cancerous moment on the release, and another seriously riveting trespass to get involved with. Like Vision Apart as a whole, it is hard to say major originality is being cultivated but the freshness to it all, and the blending of contrasting flavours creates something highly enjoyable and different to contemplate.

Their name might be relatively common but certainly Absorb’s sound has a personality of its own which is very easy to suggest trying out.

The Vision Apart EP is out now.

https://www.facebook.com/Absorbmetal   http://www.absorb-metal.eu/

Pete RingMaster 03/11/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Seneron – Parasites And Poets

 

A year and a half ago, the potential ridden Order Restored EP roared and confronted whilst thrusting Northern Ireland rockers Seneron into the keen gaze of attention. It was not an explosion to ignite the world of heavy melodic rock but one richly satisfying and enticing invitation into the appetising emergence of the band. Now the Derry trio return with debut album Parasites And Poets and show not only that their early promise has been realised but they have opened up another vat of intriguing and exciting possibilities.

Fusing aggressive essences of alternative and punk rock with grunge, Seneron from its founding in 2011 swiftly sparked the local underground scene live and with their first release, the Well Driven EP a year later. Its raw and rugged presence made for a strong and alluring entrance which last year’s Order Restored reinforced and pushed on, just as the new album does again. Signing with GlobMetal Promotions the same year for a worldwide management, the band through the EP found themselves catching the attention of US radio as well as at home, its successful release supported by numerous shows, tours, and festival appearances. It was a potent year for Seneron and one easy to imagine being eclipsed over upcoming months as Parasites And Poets infests more and more ears and passions.

As soon as the opening song of the album hits there is a more rounded and flavoursome presence and texture to the band’s sound which has evolved between releases. The accustomed fire and snarl of tracks are still there but honed into a more contagious and adventurous charge. First track and new single Don’t Cave In sets things off and instantly grabs ears and appetite with a wall of hungry rhythms and tenacious riffs. Grooves are swiftly employed too, the mix voracious bait which grips the imagination as feet straight away offer their support. It is a powerful start which once into its muscular and forceful stride, expels an anthemic call which is part Foo Fighters, part Turbonegro, and all fun. It is fair to say song and album has an agreeable familiarity about it but also a pleasing freshness in character and enterprise which combines for a healthy stomp. The track continues to rage and flirt across its length, the strong stony vocals of guitarist John Shields backed by those of bassist Ivor Ferris, stirring up senses and pleasure as potently as their sounds and the heavy thumping beats of drummer John Hamilton.

The feisty start is continued with Talk the Walk, a song with an initial Queens Of the Stone Age air to its appearance before striding with a heavy rock swagger and punkish attitude. As its predecessor, the song is immediately infectious with thick riffs and imposing rhythms bound by fiery melodies and spicy grooves. That recognisable essence talked of before, ensures this and subsequent songs have the feel of an old friend but as shown by the following lively smoulder of Breath, there is plenty to fuel each with unpredictable and intrigue fuelled drama. The third song is a mellower but still feisty proposition with a bounce which perfectly conflicts with and compliments the great grizzled tones of bass as beats swing with less intensity but equal animosity to their intent on the first pair of tracks.

Riches and thrills within the album keep coming as the inescapably Foo Fighters influenced Dig Deep steps in next, though those open energetic and melody soaked flavours are also aligned to a more caustic growl which brings greater depth and expectations avoiding substance to the song and its invention. Equally there is a slight Metallica seeding to its even paced stroll and rigorous terrain of rhythms and rugged riffery, a bled which makes a great appetiser for the impressive What a Way to Go. The song is a growl from start to finish, bass and guitars an intimidating provocation of heavy rock ‘n’ roll courted by the punchy swipes of Hamilton and the again great vocals. A slight sniff of Therapy? adds to the intensive incitement of the track, melodic flames caressing the predacious intent and enterprise as it grips ears and thoughts with ease.

Both the more even tempered persuasion of It All Ends Here and the riveting and incendiary imagination of Freakshow keep ears and emotions tightly embraced, the first an unspectacular yet captivating creative croon whilst its successor with a similar core intent, latches onto more imposing and striking hook littered scenery within a melodic fire of catchy temptation. Their easy to digest lures are followed by the grittier blaze of final track Outbound, a song which has raw rabidity to its vocal and heavily boned roar but also a contrasting melodic seduction which simply mesmerises with Soundgarden/Gruntruck like vivacity. It is with little problem an outstanding close to a great release.

Parasites and Poets shows that Seneron has not only found a new plateau for their invigorating sound and creativity but untapped another source of potential. The album is not a major ground breaking provocation it is fair to say but has a spark and invention to its assault which ears and emotions can only embrace and find full pleasure in, an enjoyment which puts a vast amount of heavy rock releases this year in the shade.

The self-released Parasites And Poets is available now @ http://seneronband.bandcamp.com/album/parasites-and-poets

http://seneron.sitefly.co

RingMaster 10/11/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Gramar – Oskolki Veri

Weaving a blend of alternative and progressive metal with numerous flavoursome additives, Russian band Gramar provide a very healthy invitation to explore their depths with new EP Oskolki Veri. Translating as Pieces of faith, the four track release is a fascinating and skilled expanse of sound and enterprise. It is not an encounter to set a fire in the belly but certainly one to spark a keen appetite to explore more.

The Chelyabinsk hailing Gramar was formed in 2010 by guitarist and songwriter arranger Ilya Sokolov. Soon joined by drummer Ivan Salo, the pair making the spine of the band since, the band released the well-received Existential quantifier EP in 2013. A change in line-up occurred between the last and new release, the latter now unleashed following the band signing with GlobMetal Promotions earlier this year. It is an attention asking and receiving proposition which captures the imagination from its opening minute.

Нет прощения (No forgiveness) embraces ears first, electronic coaxing with crystalline radiance gliding around the firmer rhythms and provocative melodic textures. It is potent start which only increases its impressive presence as riffs and grooves aligned themselves to symphonic breezes from the keys and strong vocals. It is a captivating offering which even with the narrative sung in Russian hints resourcefully at the lyrical and emotional intent of the song, though it is frustrating to not know more admittedly. More a kaleidoscope of sound than a maelstrom, the track swirls around senses and imagination with a fluid blaze of inventive and gripping ideation.

The impressive start is followed by Время потерь (Time of losses) which again instantly brings a symphonic metal whisper to its otherwise rugged entrance. It is soon rolling out an anthemic rhythmic bait which itself is quickly joined by equally evocative melodies from the guitars and expressive vocals, both adding enticing hues to the emerging landscape of sound and creativity flowing through the song. The track continues to spark with twists of melodic and progressive rock whilst entwining industrial and electronic intrigue in its fully coloured enticement for body and thoughts.

The melancholic drama of Крылья печали (Wings of sadness) comes next, its shimmering sonic climate an intriguing breath over the fiery scenery of aggressive riffery and similarly imposing rhythms. Gramar again show they are well equipped to merge dark and light, fierce and mellow textures to great and persuasive effect to cast a bewitching encounter. Like the release it does not set a fire raging but firmly grips an awakened appetite urging another strain of hunger for its presence to escape.

The release closes with Ложь (Lies), it like its predecessor a slower prowl initially before firing up an intensive web of riffs and rhythmic incitement, the bass especially vocal and compelling within the song. The most predatory track on the EP, it proceeds to intimidate ears with antagonistic riffs and bass voracity whilst seducing them with melodic ideation and sonic adventure. As the whole release, it is an enthralling protagonist which is maybe missing a spark or two to set the passions ablaze but has plenty to keep imagination and eager interest firmly latched on to the band.

Russia has unveiled some striking and potential drenched bands over the past couple of years, its underground ripe with potent emerging bands, and to that list you can firmly add Gramar.

The Oskolki Veri EP is available now

8/10

RingMaster Review 12/09/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Bleeding hopes and stark wastelands: an interview with Morok from Bog[~]Morok

    

It is fair to say that Russian metal is still pretty much in the shadows for the rest of the world despite the success of bands such as Arkona and…well that is arguably it despite the wealth of impressive and inventive bands creating thrilling sounds and releases within the country’s varied rock and metal realms. It needs an intent and exploration on the part of the listener to generally discover these shadowed treasures one of which is the excellent industrial/nu metal band Bog[~]Morok. The latter part of 2013 saw the band release their new album Industrialypse, an incitement drawing on numerous and unpredictable flavours and invention for a unique industrial metal bred creation. It is an exciting and stirring collection of tracks which deserve the widest attention. To find out more about the band we had the pleasure of asking its founder Morok about the origins of Bog[~]Morok, the impact of its home city, the striking band name and much more…

Hi Morok and welcome to The Ringmaster Review, thank you for sharing time with us.

Firstly can you give us some background to Bog[~]Morok at the very beginning, the spark and intention of the band at its start?

Hello and thank you!

Ok, I started Bog-Morok back in 1997. I just wanted to make fast, loud and aggressive music. Nothing special :). I think many people start to play music thinking that they are able to create something outstanding, something better than what they were listening to. I am not an exception. For a long time it was one-man-band. As a band B-M exists since 2003 when we released our first CD Azoic. Since then we have recorded six albums released on a different Russian labels, played a lots of shows, recorded many remixes for other bands, etc. The band’s style can be described as industrial/nu-metal. The new album Industrialypse released on 21 October on More Hate Productions for Russia and CIS. For the rest of the world it will be sold by Israeli label A&M Releases with support of GlobMetal Promotions.

As you said the band eventually expanded to a full line-up, was this a natural progression or a deliberate direction to expand on what you could do as a solo project?

I always wanted to play live shows. At first this was the reason to find musicians, but then I found that the writing process is much more interesting and effective together with other members. I am an ordinary bassist and very bad drummer, that’s why I cannot make qualitative music alone. So, I think this was a natural progression to expand the possibility to make music. Besides, we are very good friends and it’s a pleasure for me to spent time with these guys :).

Your sound has evolved over the years and your five albums, how do you see its change and evolution over the time? 

You see, I always wanted to find special and unique sound for Bog-Morok. I wanted to make my band sound different from others bands. Not better, not worse, but different. Our first album is not typical for further creativity, but then we started to use low-tuned guitars, distorted bass, synthesizers, electronic sounds, etc. and now we feel that we are very close to what can be named “our own sound” :). Anyway, this process was natural. I never tried to make my band sounding like someone. It’s so boring…

How would you describe your sound right now for newcomers to the band?

Well, it’s some kind of mix of dirty and groovy guitars and bass, mechanistic rhythms and cold electronic sounds and backgrounds. This is just like a sound of machine or tool, but machine with a soul and furious emotions.

What is the story behind the band name?

It was many years ago, when I read the book called Sword and Rainbow or something like that. It’s fantasy, as far as I remember. There was a strange character. A troll or may be orc who lived in the bog. In Russian he was named Morok Bolotny (Morok from bog). Quite stupid character I have to say. But I liked him, besides I wanted to play fast and scary black-metal at that time. I decided that it will be great nickname for me and name for the band. But you see, this book was translated into Russian and I didn’t know how his name sounds in English properly. I used my own translation. Morok means ghost or spectre. Bog is bog (by the way, in Russian “Bog” means “God” that’s why some people thought I’ve got megalomania, haha!). So the band’s name means Ghost from bog. Time passed, we started to play different music, but the name is still the same. Maybe ‘cause it is quite unique and strange. I hope so :).

You recently released the excellent Industrialypse as you said earlier, an album of twelve inventive and explosive slabs of industrial/nu metal with plenty more flavouring to seduce the imagination. It is one of our favourite introductions to a band, it the first time we came across Bog[~]Morok, in a long time; how long has the album been in the making?

Too long! I started to write songs for this album a couple of years ago. Then approximately a year ago we started the record sessions at our studio, but in the middle of recording process I understood that the results did not satisfy me. I don’t how to explain it, but you see, the songs did not sound the way I wanted them to sound. Something was wrong and I didn’t know how to fix it. Then I started absolutely new side-project named Shexna, a strange mix of nu-metal, folk and sludge, together with Bog-Morok’s drummer and guitar-player and singer from well-known Russian band Temnozor. In a week I composed 9 tracks, in the next week we recorded all instruments and two more weeks I spent mixing and mastering these songs. The self-titled album was released by Russian label Sound Age in the beginning of 2013 and received a lot of rave reviews. Only after that we continued to record our distressful Industrialypse and finished it in August 2013.

Have you like your sound, evolved and changed how you approach recording your music and working in the studio which made a big difference and help in creating Industrialypse.

You know, I am the maximalist and that’s why I never satisfied with the result. But I know how to find a compromise with myself. Otherwise, you can go crazy trying to achieve a perfect result :).

The title is a provocative word sparking the imagination to sculpt thoughts of an apocalyptic expanse bred from an industrial toxicity; what was your thoughts behind the name and does it represent a theme for the album as a whole?

It is a combination of two words: industrial and apocalypse. You see, we live in quite a big industrial city, Rybinsk, where there are a lot of factories and most of the people work there. Every day I see crowds moving to their working place and back. They are just like zombies: no hope, no future and no past. Eat, work, sleep, die… I think that industrial apocalypse is already happened for them. That’s why there weren’t any doubts it will be the title of the album when I wrote this song. But I can’t say that it’s refers to the album as a whole. You see, there are so many things to sing about. I think I’ll never be able to write a conceptual album :).

You just described Rybinsk with its factories and industrial plants etc., has this setting made a specific impact on not only the lyrical content of the album but your music in general?

My parents are teachers, I am a lawyer, but when I was a child I always drew factories and smokestacks and dreamt to work on a plant :). Thank God my dream has not come true, but when I grew older I started visiting different abandoned factories and other industrial objects (there are a lot of them after the notorious Perestroyka). I still love it and when I started to listen to music I was so happy to discover such bands as Die Krupps, FLA, VAC, Fear Factory, Steril etc. Their music was like a soundtrack of my dreams and visions. So there’s no surprising that I started to make industrial metal :).

How does the song writing process work within Bog[~]Morok and has that changed in a large way since those early days of the band?

The main part of music and lyrics is written by me. It has not changed since early days. But you see I play music with very good musicians. When I bring a new song they can change whatever they want. I trust them. In most difficult cases we work all together on a song looking for best option or may be compromise. Really, I am the lucky one these people are play music together with me :).

Do you enter the studio with songs completed or allow them to evolve further as you start to record them?

We’re recording songs in our own studio and there’s no need for the long training before record session and rush while recording music. May be that’s why we work so slow :). Anyway, we may write song, record it completely and then throw away ‘cause it doesn’t suit us. We can afford it.

Is there a particular part or aspect of Industrialypse which gives you the strongest intensity of pleasure?

I love this album entirely, but today my favourite one is Bloodsucker J. This song is outstanding ‘cause it consists of only one note A, it’s true, there are no any other notes except A :). The guitarist and bassist can drink beer while playing this song, ‘cause the left hand is free. I love this song today. May be because I’m in a good mood, you see, I always listen to most heavy songs when I’m in a good mood:).

I am sure like us you feel it is time for the world to wake up to Bog[~]Morok, what have you done his time around and put behind the album to try and make that happen?

We signed a contract with GlobMetal Promotion. They do their job very well spreading our music all over the world. As for us, we are playing live shows, answering the questions, communicating with people and many other things to please our old fans and to find new ones.

Are you planning to promote the album in live shows or tours? 

Yes, we’ll do our best to play as much shows as possible, but don’t forget that we live in Russia, the country where life is like a survival, the country where all your plans can be destroyed in a few seconds…

What comes next for Bog[~]Morok?

I think it will be live shows, some videos and writing of new songs. Yes, we will start to write new songs rather soon. I have some ideas but nothing definite still. All I know the next album will be more insane and outside borders and genres.

 How about the band member’s other projects outside of the band, anything we should be watching out for?

Oh yeah. Our drummer plays in very interesting black/death metal band Iconoclast. Also all members of Bog-Morok involved in our side project Shexna. And of course, I’d like to present our new band Morguenstern. This is the band where I play the guitar and the vocalist is my sister Morgana. We play old school gothic metal, sometimes horror punk. The music is similar to soundtracks from horror movies of the 80’s J. The debut album Sepulchral Burden will be released by Israeli label A&M on 15th January 2014. Check it out!

Thank you again for talking with us, would you like to leave any final words for the readers?

Take care of yourselves and don’t forget to listen to Bog-Morok! Thank you for your interest in our music!

Read the Industrialypse  review @ https://ringmasterreviewintroduces.wordpress.com/2013/11/08/bogmorok-industrialypse/

http://www.reverbnation.com/bogmorok

Pete Ringmaster

The RingMaster Review 01/01/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://www.audioburger.com

From Angels to Bazaars: an interview with Alexey Markov of Starsoup

Starsoup is a band emerging from within Russian which is beginning to stir up a healthy appetite outside of its homeland through debut album Bazaar of Wonders. Creating an enticing weave of heavy and progressive metal invention fed and inspired by a wealth of additional flavours, the album is a compelling adventure which coaxes emotions and imagination with evocative narratives and excellently crafted and skilfully invented enticing songs. To find out more about this awakening creative presence within world metal we had the pleasure to talk with band creator vocalist/guitarist Alexey Markov. Looking at the project’s origins, its first album, opportunities for Russian metal and more, this is what Alexey unveiled…

Hello Alexey and thanks for talking with us.

First of all please give us some background to Starsoup, its origins and the history of its core members.

Well it’s basically a one-man band, but this man (me) doesn’t compose all the music. A big part of Bazaar of Wonders was composed by Andrew Gryaznov – our fellow keyboardist and composer, and there are two songs by my good friends Lex Plotnikoff (Mechanical Poet) and Dan Mescher (Nazgul band). I wrote most of the lyrics and I was the one who financed and produced the record, because in fact I was the only one who really needed it. A significant part of the album was recorded by session musicians.

How did you and Andrew meet and what was the spark to working together?

I met Andrew in a band called Crime of Passion where he played the keyboards and wrote music, and I was invited to sing there. A few times we split and re-appeared, but then the band ceased to exist and I decided I wanted to record our material (because I felt it was good). The spark… well I loved Andrew’s tunes and probably my ideas somehow supplemented his.

Did you have any prime idea or direction when forming Starsoup?

No, totally not. After all we only had 4 songs which we wanted to record. And we just did 🙂 The album is basically something that happened in the process. Maybe it turned out unusually ballad-esque and slow-paced to my taste.

The band is a studio project, was this always the aim of the band or just how it has worked out to this point?

That’s a tough question. I think every musician wants to perform live at some point. Frankly speaking, I’m a bit scared I won’t be able to play (and sing!) the material live as accurately as I did in the studio. I’d say the studio project wasn’t the aim, but right now I don’t have a serious desire to make it a touring band.

What are the inspirations which have most impacted on your ideas for the band and sound?

I think it’s the feelings. When I read a book or watch a movie, or meet somebody, I get new emotions and sometimes I remember them; if they’re strong enough. I wanted the songs to be emotional, not technical.

You have just released your debut album Bazaar of Wonders on Sublimity Records; I believe it was a long time in the making so it must be a relief to finally have it out there for public consumption?

Yes, definitely. I feel much better now as this is a huge weight lifted off my shoulders. Time to enjoy life for a few days and then start doing something else 🙂

Was there anything in particular which held up the album’s creation?

I was waiting for the cover art for a very long time, then I had to find another artist, but fortunately Mr. Smerdulak did an amazing job and I’m happy I chose him after all. The artwork turned out to be wonderful.

How has responses for Bazaar of Wonders been so far in your homeland and further afield?

Strangely enough the response in Russia is very moderate. Some people only hear the accent, some don’t enjoy that it’s not in Russian (why should it?!), some don’t like the musicianship or the songs and it’s kind of customary to get this awkward message through – to the author (me). It’s totally different abroad. We got some very nice reviews from the US, Italy, Greece, Israel and other countries.  I really enjoy reading them.

Is it hard for Russian bands to get attention outside of its borders or with the internet have you found it a relatively painless thing to be noticed?

I think it’s harder for the Russian rock and metal bands because no one sees them as serious contenders on the international stage. But now we have ARKONA with their immense success abroad so they kind of opened the road for the rest of us. Internet helps too, as this interview was organized by our friends at GlobMetal Promotions – and this is so cool we’re doing this.

The album at times brings to mind the likes of Dream Theater and Fates Warning as well as other bands like Stone Sour and Avenged Sevenfold; you are musicians who are unafraid to explore numerous styles to create your melodic landscapes?

Yes, Starsoup won’t stick to any one style. It’s my field for experiments. I start thinking that probably standing next to Dream Theater is a bad positioning for Starsoup. After all it’s just another league – 5 best musicians from the best music school in the world with half-a-million $$ recordings next to my $10k record produced in the middle of nowhere by a guy with very little musical education. I mean I’m flattered standing next to them but this comparison is just a predefined loss on all fronts.

The album sees several guest musicians involved in its making; are they playing your sounds or is it a proper collaboration with these artists and they are fully involved in developing their parts?

I never told anybody what to play. In fact a few times I was surprised how it turned out. I’ll stick to this in the future 🙂 After all I can play almost everything myself. Why call anybody else to do that if they don’t put a piece of their soul in? I let them do whatever they wish.

How do songs generally emerge from first seeds in your songwriting?

Sometimes I just play the guitar and some melody appears – or just a chord progression. I play it a few times (even for a few weeks) and try to imagine things. Sometimes the inspiration comes, sometimes it doesn’t. Or I might have a melody in my head which I try to arrange in some interesting way. Sometimes it’s a guitar riff or a rhythm figure that gives me a feeling of flow. I don’t have a universal recipe.

Reading the information around the band and album, I get the impression that you went into the studio to record a quartet of songs including your debut single Angels which drew great responses upon its release, but ended up with a lot more ideas and potential songs which led to an album instead, is that how Bazaar of Wonders came about?

Yes, the songs were emerging themselves in the process of the album recording. I know they usually don’t record the albums like that – usually the band has all songs ready, books the studio and then records the drums, the guitars, the bass, the solos and then the vocals. But we didn’t have this option – this way the album would never have appeared. But I will surely do the 2nd album the “traditional” way.

Is there anything specific upon the album which gives you the greatest satisfaction?

I like how the cd turned out. It’s a finished and self-contained product from the songwriting to recording and production, to art and design. I love to hold the disc in my hand, putting it into a cd player and listening to it from the beginning to the very end. It sounds different when you look at it as a whole; much better than one song at a time 🙂

You mentioned that the project has not played live yet, is that something you are hoping to do in the near future?

Not in the near future, although I’ll be probably giving some acoustic concerts in 2014. So I’ll be definitely playing a pair of Starsoup ballads – Rumors of Better Life and The City and the Stars.

What is next for Starsoup?

We look forward to releasing a pair of new singles in 2014 – and of course one or two videos.  Unfortunately I don’t think we’ll manage to create another album next year 🙂

Once again thank you for talking to us, have you any last words or thoughts you would like to leave us with?

Stay metal! Don’t stay silent: write about the music you like, share it with your friends and don’t miss the gigs!

https://www.facebook.com/Starsoup

Read the Bazaar of Wonders review @ https://ringmasterreviewintroduces.wordpress.com/2013/11/08/starsoup-bazaar-of-wonders/

Pete RingMaster

The RingMaster Review 30/12/2013

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