Bloody roses in the seduction of the dead: Entering the world of Venus de Vilo

Having been seduced and hooked on the dark and creative world of Irish singer/songwriter/artist….Venus de Vilo upon the release of the Edgar Allan Ho EP back in 2012, featuring her unique and compelling sounds on live radio shows and podcasts among other shouts, it was with real pleasure that we read of her link up with the excellent horror punk/rock scented German label Undead Artists recently. Even more exciting was news of a special 5th anniversary Edition of that very EP with a horde of extras to tease and tempt. It was time to go call on the lady and explore the world of Venus de Vilo….

Hey Venus, many thanks for sharing your time with us.

For those readers yet to feel your dark embrace, could you introduce Venus de Vilo?

The Voice of Horror: Venus de Vilo is a theatrical Irish musician specialising in the vaudeville, macabre and bloody side of dark horror music. An internationally published and acclaimed comic book artist and Gothic-horror illustrator, Venus has recently been signed to German Horror Punk record label Undead Artists. Vile mother of three EPs, a Frightmas album, three rotten rhymes poetry albums and one thirteen track musical monstrosity, Venus is currently working on a twenty-six track deluxe double album entitled Cadaverotica. If you like your humour black, and your live shows bloody then Venus de Vilo is the glitter-encrusted weirdo for you.

You have numerous strings to your dark bow but would you call yourself a musician first, poet, artist or…?

Venus de Vilo is number one forever and always a musician. Music is very much the main love in my life and is completely rooted in what’s left of my soul. Music is the only thing that I live for. Even when I write fiction, non-fiction, bad tweeny-goth poetry and draw very strange things that shouldn’t be, it’s entirely rooted in my music. I only started drawing because of my music. Everything I do creatively is entirely wrapped up in Venus de Vilo.

When did your fascination with the dark side begin?

I was born, therefore I am.

How about the beginnings of your songwriting and performing?

Again, I was born, therefore Venus de Vilo am!

What and who would you say are your biggest inspirations?

Death, the dying, and the damned.

You have blessed nightmares with numerous releases and are about to give us the 5^th anniversary Edition of the Edgar Allan Ho EP. What new delights will it embrace compared to the original?

I am obscenely excited about this project! It’s not been the year I planned family/health-wise so all new projects, albums, EPs that I was working on and planning at the end of 2016 had to be stalled, which I was heartbroken about as this was the year I got signed to a record label at long last! Not the most convenient time to have things go tits up!

However, as this Halloween was organically going to be the 5th anniversary since my first debut EP Edgar Allan Ho, and this was a very “let’s think back on my career and life” orientated year doing something special to commemorate the last five years seemed fitting. I wasn’t in the zone to do new things, so why not utilise material already at my disposal? Have an auld nostalgia buzz with the old fans and hopefully introduce some poor wee innocents to the warped world of Venus de Vilo.

So along with all the bonus tracks, remixes and unheard material on Edgar Allan Ho: The 5th Anniversary Re-Release album there is also a free download of my new album Scarental Advisory: The greatest Frights Hellection 2012 – 2017 AND also Edgar Allan Ho: Behind the Screams, a free PDF collaborative autobiography, photo-gallery, art book and horror-story about the back story of Venus de Vilo’s origins featuring artwork and stories by some of Europe’s finest freaks.

By coincidence (or not?) our favourite track within it is RingMaster. What was the spark to its creation?

If you want to know the back story behind the Ringmaster anthem download the Edgar Allan Ho 5th Anniversary Re-Release album from the Venus de Vilo Bandcamp page and ALL back stories and creative process for the rest of the album will be included in the Behind the Screams free PDF book.

Could you also touch on the EP’s other tracks and themes?

Heartbreak. Revenge. Insanity. Horror.

For more information, once a salesman – always a salesman! go buy the album and get the free book with it! It comes with some dirty pictures in them too! * winks *

The EP is being released on the great independent label, Undead Artists. How did the link up with Johnny Rose and co come about?

Ah, I’m so happy about this! This was a miracle match-up. Myself and Johnny had been in touch with each other on/off for a few years now thanks to my Horror Radio DJ friend McPatches from Underground Horror Radio who’d been pushing my music in Johnny’s direction for some time. I’ve been a fan of Johnny’s musical projects for a while and admired what he’d been doing for the Horror Punk scene.

So, in February 2017 when I was doing my routine run of emails off to various media types and record labels I was totally gob-smacked to get a message back from Johnny who turned out to be the head of the main record label I’d applied to that I thought looked most up my street and also one I thought wouldn’t touch Venus de Vilo because maybe Venus wasn’t as high-calibre as some of the kick-arse bands this label had signed to them?! I was wrong, apparently. Johnny was willing to take a chance on little old Venus de Vilo, the brave, brave fool…! * winks *

So, various chit-chat and miscellaneous negotiations happened and voila! Happiest day of my Venus de Vilo life, signed not only to a record label, but possibly THE most perfect label for Venus de Vilo to be signed to! I am very grateful to Johnny for taking the chance and hopefully with Edgar Allan Ho and Scarental Advisory this can be the start of a tremendously successful and long-running partnership.

When creating songs do words inspire the sounds more often than not or the music breed the tales?

Ah, I always start with a story. Story comes first and foremost in Venus de Vilo. Storytelling in songs is sadly something that has completely fallen by the wayside in modern commercial music. Storytelling and its craft is something I always try and completely uphold and respect in my music. While the lyrics and ideas of Edgar Allan Ho were quite basic, and why not, and yes – it was a low budget affair, it was my early stages of songwriting, I still think it’s more structured and thematic than some of the bollix you hear on the radio today. So when creating songs, I create a STORY first. I’m shite at guitar and can’t play piano so music is always braved last! I fit the music around the words and the story.

A bit of a silly question knowing the general themes of your songs but what especially inspires your lyrical side?

Death, the dying and the damned.

You have also lit up the Irish nightlife and creative landscape with your live-performances within the Burlesque/Goth scene alongside your MC exploits and the literature/art scene with your gore-drenched comic books. What does Venus de Vilo do in her spare time, if there is any, to relax?

There is no off-button with Venus de Vilo, unfortunately! Or fortunately, depending on how you want to look at it! Venus de Vilo is a 24/7 job/lifestyle/curse. If I’m not rehearsing for a gig or hounding bookers for more gigs, I’m working on a new comic book or sketching out ideas for a new one…Planning events and albums…Applying for tables and panels at comic-book conventions and markets, attending them and roping poor new people into my sick little fandom…Annoying poor other musicians and artists to do collaborations…Spamming promoters and reviewers to get my music and art out there…The endless social media promotion of links and websites. I’ve also recently started facilitating and teaching my own songwriting classes in Dublin so there’s always that to plan for and organise – they are an absolute joy though, I adore those. And of course, all this must be done while trying to keep up with the latest music and horror movies for further inspiration and idea-stealing!

Tell us about your appearance at Ireland’s first ever horror convention, Screamvention last year where you performed before the likes of horror legends Kane Hodder, Tony Todd, and several original Cenobites.

Oh my goth, I loved that, I loved that so much. That was unreal. I performed on both days of the event and my audience was composed almost entirely of Hollywood horror royalty. It was like a magnificent nightmare! It was great fun, getting to do the Venus de Vilo thing for a massive convention of horror fans, that’s so rare for me. Ireland is still very twee and repressed and our horror scene is TINY but VERY STRONG, so to have direct access those little weirdos who “got” Venus was a lovely change from the grumpy old men and sneery young normies I usually embarrass myself in front of at local pubs and what-not!

Back to the Edgar Allan Ho EP, when will it be unveiled and will there be shows and events supporting its well-deserved reboot?

I’ve decided against an “official” Edgar Allan Ho 5th Anniversary live event as to be honest I’m doing so many Halloween shows in October anyway for other promoters and bookers (plus I am CURSED when I run my own events, honest to god cursed, it’s hilarious) I might as well utilise the opportunity to promote the album at the gigs I’m already gigging at without the pressure of being responsible for any of them! However, every public appearance this autumn and winter will be very much Edgar Allan Ho orientated, I will be reviving old classics from the crypt to introduce a new audience to them and will make sure each performance is blood and glitter soaked.

What comes next musically and creatively once it the EP is out there evil doing?

Once my self-indulgent nostalgia trip has ended I will be, hell or high water, back to focusing on NEW material and doing whatever I can to get the new EPs and albums into some form of structure. Also got some interesting collaborations with other musicians planned as well, some weird little projects bubbling away there on the back-burner, as well as a new legacy of horror art. Crazy For You 3, the comic book is finally ready to be embraced and after the roaring success of my first ever J-Horror inspired manga Bento Boy – I am DEFINITELY working on another manga. I have it all planned out. It’s very strange and hopefully tremendous fun! And possibly scary. That would be beneficial also as it’s meant to be a horror…!

 Our biggest darkest thanks once again Venus, any last words you would like to share?

Nitwit. Blubber. Oddment. Tweak.

Read our review of Edgar Allan Ho 5th Anniversary Edition @ https://ringmasterreviewintroduces.wordpress.com/2017/10/12/venus-de-vilo-edgar-allan-ho-5th-anniversary-edition/

https://www.facebook.com/VenusDeViloTheVoiceOfHorror/     https://twitter.com/VenusDeVilo

https://venusdevilo.bandcamp.com/

Pete RingMaster

12/10/2017

Copyright RingMaster: MyFreeCopyright

Venus de Vilo – Edgar Allan Ho 5th Anniversary Edition

It seems impossible that it was five years ago that we, as so many others, were seduced by the shadowed clad, blood strewn creative world of dark seductiveness of Venus de Vilo through the Edgar Allan Ho EP. It is in some ways still a relatively undiscovered but certainly a revered and acclaimed gem by those in the know, and was the prelude to equally compelling tales of dark deeds, shadowed carnivals, blood drenched burlesques, and dead borne vaudevilles  in songs, literature, and art by the Irish songstress ever since. This October on Friday 13^th, its release is celebrated by the artist in union with the great independent label, Undead Artists, with the unveiling of the 5th Anniversary Edition of Edgar Allan Ho.

Hailing from Dublin, Venus has frequently lit up rock/metal bars, Burlesque and Cabaret nights, open mic nights, and other numerous venues around her home city and further afield with her Goth-Shock anthems since emerging around 2011. The release of Edgar Allan Ho in 2012 saw fan and online radio attention gather with plaudits to the fore, our own podcasts eagerly among them with all persistently enthralled by subsequent encounters with singles, EPs, words, and comic books alike.

Venus is like a sultry vampiric temptress bred from artistic alchemy raised from the fire of Imelda May, the snarl of Wanda Jackson, and the energy of Fay Fife with a pinch of the rock ‘n’ roll infection Horrorpops for good measure. Edgar Allan Ho soon revealed though she is as unique as they come, all those essences rich hues in her own kaleidoscopic imagination and sound.

The Anniversary Edition of Edgar Allan Ho as well as regaling in the original tracks also features remixes and covers of its songs by notorious Gothic-Industrial, Cabaret Noir and Alternative musicians, unique artwork by some of the best underground horror artists inspired by its songs, some steampunk stories also based on the EP’s anthems, and a full Behind the Screams book by Venus discussing the entire processing of writing, recording and out-ing the EP.

The EP opens up with Heartless Horseman and immediately the riveting tones of Venus grab ears and attention. As her acoustic guitar stabs, a rockabilly feel reminding of The Creepshow swiftly joins the song, a flavouring in turn bringing even more potent bite to the voice and delivery of Venus, her soaring compelling vocal imagination and drama holding an Agnete Kjølsrud of Djerv meets Lene Lovich like agility. A sweeping lure into night terrors and dark romantic suasion, the irresistible track is still soon outshone by the brilliant Ringmaster. It is a mesmeric waltz of colourful enchantment and dark carnival cast by voice, harmonies, and guitar. As one of its protagonists, it swings like an aerial gymnast, swaying elegantly in ears like a glorious aural siren. It is also a spectacular with one delicious chorus sharing a riveting likeness to The Dickies’ Killer Klowns From Outer Space. It was our undeniable favourite back in 2012 and remains so but every track within the EP is a mighty challenge.

Miss Frankenstein is next, an aural incitement which is as cinematic as it is sonically suggestive. Its rhythms are a bold enslavement matched in temptation by the electronic strings and Venus’ ever inimitable and irresistible tones. It is an epidemic of sound, an almost toxic and certainly addictive contagion which leaves you no option but to dive voice and feet first into its twisted majesty.

The more understated but no less seductive Penny Dreadful Love is next, its shadowed climate and Victorian draped air a creeping tempting out on a funereal stroll.  As lady and song lace the senses and thoughts with their visceral love poisoned evocation, the track simply and sublimely absorbs the listener in dark hearted romantic serenade.

Crooning from within a gothic Bauhaus-esque mist, Carmilla’s Return atmospherically swarms around ear and imagination with keys and guitar caressing the continually powerful and virulently enticing tones of Venus, behind whom the chants of the ‘dead’ hauntingly harmonise. It is a pungent kiss on the senses but one wrought with threat and danger; the best kind of seduction there is.

Apocalips completes the EP, its rockabilly swagger and virulent swing pure manna to the soul. Again voice and guitar transfix like a celebratory incantation, rhythms scything across its dark beauty with relish and similarly teasing venom. The track flirts with the wantonness of a fifties siren and the intimidating composure of instinctive psychobilly, rich traits colluding with everything else for one wholly contagious shard of mesmeric delight.

Apart from a couple of live track and remixes by Elvis Einstein, all sheer passion fuelling theatre, we have yet to taste the whole package of the EP’s re-release but its core tracks alone make Edgar Allan Ho an essential must. It is time to feel the Venus de Vilo embrace world.

The Edgar Allan Ho 5th Anniversary Edition is released October 13^th through Undead Artists @ https://www.facebook.com/events/100369350679694/

https://www.facebook.com/VenusDeViloTheVoiceOfHorror/    https://twitter.com/VenusDeVilo

https://venusdevilo.bandcamp.com/

Pete RingMaster 11/10/2017

Copyright RingMaster: MyFreeCopyright

Chasing Ghosts – Fearless EP

Last year British quintet Chasing Ghosts made a potent introduction to themselves with the single Everything Changes; a song soon finding itself featured across fifty radio stations in the UK, US, and Canada, including ‘BBC Radio, ‘Total Rock’ and ‘Metal Nation Radio”. Now the Milton Keynes band is poised to unveil their debut EP Fearless; three shadowed strapped and emotionally charged tracks woven from the heavy throes of dark metal and gothic rock.

Formed by in the final days of 2014 by bassist/keyboardist Lee Brueton, a line-up change since the release of the aforementioned single has seen vocalist Nelson Cancini, lead guitarist Maycon Milani De Matos, rhythm guitarist Ashley Clark, and drummer Gary Fuller linking up with Brueton. Earlier this year, the quintet set about recording the Fearless EP at the renowned Lynchmob Studios in London, subsequently creating an encounter which quickly sparks intrigue and an appetite to hear more of the band.

Current single Fallen From Grace is the lead track from Fearless and already following its predecessor in earning strong radio support and play through again linking up with Pluggin Baby. From its initial caress of melody driven guitar, the song works on the imagination. It dips into an evocative smoulder as darkly toned vocals begin to share the track’s emotive heart. Presumably they being Cancini, there is a plain almost dour element to the voice which ignites to much more impressive heights as an emotive roar sweeps through the atmospheric shadows and heavy textures of the song.  Growing in character and strength with every minute spent with it, the track is magnetic drama continually making a richer seduction of ears and imagination with its Paradise Lost scented proposal.

Alongside the song are the similarly impacting proposals of Dark Skies and the EP’s title track. The first of the pair is bred from the same template as the single and begins in a very similar way but soon, as keys and guitars weave their poetic webs, reveals its own distinct character and emotionally shadowed adventure. Blending low key almost monotone flavours and colours with rousing flames of sound and energy, the track also blossoms with time and attention, invading ears and imagination with its lingering drama and temptation.

The title track swiftly reveals more urgency and an immediate intensity than its companions, a fire which as the band impressively mixes to greater effect the diversity of vocals, creatively blazes away and steals the show from the other two equally enjoyable songs.

As impressive as that earlier single and confirming the potential it suggested, the Fearless EP sees Chasing Ghosts growing into their sound and its own uniqueness with the promise of more to come while reinforcing their stature as a band to watch.

The Fearless EP is released September 2^nd on iTunes and Spotify.

http://www.chasingghosts.co.uk/    https://www.facebook.com/Cghostsmusic   https://twitter.com/chasingghosts_

RingMaster 01/09/2016

Copyright RingMaster: MyFreeCopyright

Jet Noir – A Cold Day In Hell

Continuing her solo progressive gothic seduction on ears, Jet Noir releases new single A Cold Day In Hell, a transfixing lure on the imagination and enticing incitement for the body. The successor to previous releases, The Scarlet Woman and Like A Circle, which came out earlier this year, the new track simultaneously acts like an atmospheric predator and melodic enthralment with a potent suggestion of dark shadows and emotive escapades to captivate from start to finish.

 Taking time away from Naked Lunch, the London based Jet Noir has increasingly grown her mix of dark trance and progressively honed gothic suggestiveness, a union at times also offering a slim but imaginative symphonic flirtation hue to get wrapped up in. Her previous EP and single mentioned above, has brought an even blend of those ingredients though often leaning more towards electronic revelry within highly suggestive shadows bred by the songs involved. With A Cold Day In Hell though, there is a heavier and more primal rock spine involved, around which the progressive enterprise of Noir’s heart and craft unveils a provocative and dramatic narrative.

Opening with an instantly enticing nag of bass alongside the alluring voice of Noir, the song is soon sending scythes of scuzzy guitar across its emerging body. That bait is quickly wrapped in the melodic prowess and ambient charm of Noir’s keys, their flowing theatre expanding the strength of word and sound on ears and imagination. Thoughts are sparked into adventures of past times, distant battles, and darkly romantic crusades yet equally the portentous elegance and imposing atmosphere of the track could soundtrack any modern physical and intimately emotional apocalypse.

The track is a bewitching play of sound and expression, easily the most imaginative and thrilling offering from Jet Noir yet. Complete with a trio of re-mixes of the song from Ruinizer, Attrition, and Dean Baker of synth pop band Cloak, A Cold Day In Hell is a tonic for the dance-floor and imagination, and only the start of bigger things from its creator we suggest.

A Cold Day In Hell is available from October 4^th via https://jetnoir.bandcamp.com/album/a-cold-day-in-hell

https://www.facebook.com/TheJetNoir

Pete RingMaster 04/10/2015

Copyright RingMaster: MyFreeCopyright

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

Old House Playground – The Great Escape EP

Listening to The Great Escape EP, thoughts wondered whether if Edgar Allan Poe was around today creating dark literary masterpieces, would he be listening to and most likely involving the music of UK based Old House Playground somewhere. Four tracks of dark rock ‘n’ roll bred with provocative blues climates and gothic imagination, all “with roots in the songwriting culture of traditional Greek folk music”; the band’s new seriously compelling EP suggests quite possibly yes as it thrills with its ripe bewitching drama and imposing atmospheres.

It was in 2009 that Old House Playground moved from Athens to Manchester to, in the words of their bio, “experiment with new musical paths and forms of expression.” Vocalist/guitarist Tryfon Lazos, drummer Andreas Venetantes, and bassist Conor Loughran were soon weaving inspirations from the likes of Tom Waits, Django Reinhardt, Nick Cave and Greek artists Psarantonis, and Marcos Vamvakaris into their own unique vision of an alternative rock/blues sound. The departure of Loughran before its recording saw debut album God Damn That Gold the creation of the remaining duo overseen by producer/musician Chris Evans. Its 2013 release via Evening Economies/Fat Bob Records was keenly received and praised, as too a UK tour in support of its unveiling. The band also ignited the attention of Vini Reilly through the band linking up with Sugar House production, leading to a subsequent collaboration seeing Old House Playground and Durutti Column together for the latter’s first Manchester performance for five years and Lazos singing onstage alongside Reilly that night. With bassist Jago Furnas enlisted last September, Old House Playground now release the magnificent tempting of The Great Escape, an encounter to inspire the imagination and feed a greedy appetite for dark treats.

   Opener Polite Fiction immediately has ears and attention sparked with its initial psychobilly coated groove, and gripped with the quickly joining blend of vocals and spicy guitar enterprise. The tones of Lazos are a rich enticing and attention grabber, even as the song becomes a perpetual awakening of new sounds and textures sparking ears with embraces of fiery sax and brooding basslines amongst many things. An unbridled captivation with a predatory stride, the song blossoms into a sultry, jazz kissed seduction of Bernaccia and Tom Waits like essences courting the warped swagger of Eighties B-Line Train Disaster and the raw croon of Nick Cave. It is a delicious web of temptation, ears and thoughts embroiled in the swinging lures and smouldering drama cast by the openly inventive and descriptive craft of the band.

The exhilarating start is followed by Stardance, a similarly potent slavery of blues intoxication and rhythmic devilry bound in tangy grooves and vocal enterprise. Like its predecessor, the song has a flirtatious devilry to its sauntering gait and swinging energy, and like the first track provides an irresistible tapestry of darkly cultured hues entangled in delta bred blues persuasion. It is the devil’s music for sure and even more ridiculously addictive when exploring off kilter twists of sonic and melodic ingenuity aligned to the perpetual noir lit jazziness fuelling its inventive breath.

A western twang creeps in with the inviting caress of guitar bringing All Day Today into view next, the song’s country-esque acoustic folk charm enhanced further by the ever potent and alluring vocals of Lazos. Reminding in some ways of Swedish band Billy Momo and in others of Milton Star, the song is three minutes of dark seduction sparking ears and thoughts further before making way for the EP’s closing title track. Sweltering with sultry melodies and heated sonic mystique, the song is pure aural alchemy conjuring a majestic tapestry of wiry chords and acidic grooves within a suggestive landscape as intimate as it is evocatively expansive.

The track is a brilliant end to a seriously thrilling release. Old House Playground may have been in the shadows for many before the release of The Great Escape EP but it is easy to suggest the only dark hues around them will be those they seed, blossom, and embrace their music with from hereon in.

The Great Escape EP is available via Horus Music from 22th June @ http://oldhouseplayground.bandcamp.com/album/the-great-escape, digitally and as Limited Edition 10″ vinyl with 2 bonus tracks!

http://www.oldhouseplayground.net/   https://www.facebook.com/oldhouseplayground

RingMaster 22/06//2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Milton Star – Things Fall Apart

Like for most a sound to riot too is a treat, music to change or ignite the day essential, but just as potent and thrilling are compositions which invite you immerse deeply into their depths so you can conjure your own emotional and visual experiences. Music to get truly lost in is the forte of UK duo Milton Star as evidenced by their previous two-song offering Salvation/ Storyville. Now the Scottish band returns with new single Things Fall Apart and arguably their most immersive and provocative embrace of sound yet. It is enveloping, it is sultry, and it is powerfully mesmeric; simply the track is a sinister fever of dark country romance to chill the bones and ignite the passions.

  Milton Star consists of Alan Wyllie and Graeme Currie, two songwriters/musicians whose history together encompasses numerous projects and collaborations going back to the early days of post punk and most notably The Thursdays and Fast Records. The pair also understands the potency of fusing cinematic suggestiveness with atmospheric aural imagination, and indeed as evidenced by their singles how to achieve such fusions. Creating their music in a converted church in Fife which is also Wyllie’s home, Milton Star is the riveting equivalent of Nick Cave, Helldorado, and Mark Lanegan awash with the craft and vision of an Ennio Morricone and David Lynch, but with their own identity.

Straight away their new single has ears and thoughts engrossed, as a deep throaty tone resonates from within guitar, bass, and just the whole ambience of the piece. Things Fall Apart is an immediate seduction, its sombre gait and melancholic air a mesmeric croon on the senses reinforced by the grainy but vibrantly toned vocals. Whereas the band’s previous single had a slight mischievous essence, certainly to one of the songs, which reminded of Tombstone Three, this new proposition has an intimacy and drama which imposes itself on ears and appetite with more solemn intent. Its melodic prowess though brings smouldering warmth too, guitars and keys a haunting, at times almost regal caress inflamed with exotic hues that further enthral and spark the imagination.

The song is pure cinema, and pure aural temptation. Every listen increases its potency too, and from being a powerful successor to its stronger predecessor, Things Fall Apart has grown and evolved into the bands finest most pungent and thrilling incitement yet. Here is hoping an album is on the cards or at least a fuller adventure of an EP next.

Things Fall Apart is available from June 15^th via Stereogram Recordings @ https://itunes.apple.com/gb/album/things-fall-apart-single/id991360030

https://www.facebook.com/miltonstar   http://www.miltonstarmusic.net/

RingMaster 15/06/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Gentian – NightLight

Never be afraid to give a twelve year old an acoustic guitar because you might just be breeding magic. That is what happened with UK band Gentian, from the moment one of its members held the instrument, seeds were sown and creative blooms nurtured, with haunting and elegantly enchanting songs like NightLight their new single emerging. There is much more to the tale than that one instant in time of course but from Devon musician Jingle picking up the guitar and proceeding to devour its and her potential, the UK music scene been on course to meet one strikingly promising and mesmeric proposition in the shape of Gentian.

The creativity within Gentian is two pronged though, and has been from an early age. Once Jingle had mastered the song books at her disposal, she and sister D.D., who has already been singing along, began writing their own unique songs. The years have seen this develop with D.D. , who is also an author, writing the songs and creating the melodies whilst Jingle arranges and plays all the instruments. 2012 saw the pair emerge into the spotlight as Gentian and in little time their music was receiving support from James Santer at BBC Radio Devon on his Introducing show. Recently the duo released the In The Dark EP, a debut three track melodic tempting recorded with Andy Rugg (Coldplay, Beyonce, Jay-Z) at Resident Studios in London. The release is an embrace of evocative and tantalising beauty with new single NightLight its mesmeric pinnacle.

From the first kiss of dark strings, the song has ears and imagination enthralled, its melancholic seducing an inescapable and picturesque caress of gothic shadows and radiant charm. The alluring enterprise cast by the creative skills of Jingle is as spellbinding as it is emotionally provocative whilst the soothing but equally vibrant voice of D.D., backed by the bewitching harmonies of the pair, takes ears and thoughts on a celestial flight through the darker climate of the song. There is also a virulent infectiousness washing through the encounter, colluding with less open moments of almost sinister persuasion, a potency which by the track’s end had us thinking that if a British TV company did their own version of American Horror Story, this would be the prefect theme tune.

Though having being impressed by the EP, it was NightLight which actually blew us away, and it continues to do so as a single. Something a great and increasing many are finding too.

Nightlight and the In The Dark EP are out now.

http://www.gentiantunes.com/     https://www.facebook.com/GentianGentian1

RingMaster 03/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Mr.Kitty: Life

Like a knowing soundtrack to every aspect of its title, Life the new album from US musician Mr.Kitty is a canvas for reflection, emotive dance, and drifts into diverse enveloping feelings inspired by its elegant and beautifully sculpted beauty. The most complete and rounded release from the Dallas based artist to date, the fifteen track album is a rich and smouldering wash of electronic pop and new wave adventure, an album to ignite the senses and invite the passions into a long and ardour fuelled companionship.

Mr.Kitty is Forrest Carney, who takes his inspirations from an eclectic array of artists such as Joy Division, The Cure, Depeche Mode, Crystal Castles, Pictureplane, and Grimes. His music employs numerous flavours and textures in addition to the basic tag we previously mentioned, elements of eighties post punk, gothic emotiveness, and electro ambience all playing their part in the depth and distinct characters of sound and individual songs. Released with Engraved Ritual, Life is the fourth album from Mr.Kitty, and part of a four album series consisting of two “light” and two “dark” albums, this drawing on the lighter shade of his imagination, though it is not without its rich and mesmeric shadows.

From opening song Insects, the album as well as seducing the ear and senses provides a visual backdrop to its songs in its atmospheric narratives and colour soaked expressive breath. Evocative and with lush emotional hues, Life provides the paint box and aural paper for the listener to explore their own dark corners and heart bred thoughts as well as those offered by and of the artists himself. Insects is an immediate medium to ignite those interactive qualities, its animated stroll and pulsating rhythmic veining an absorbing lure with the crystalline electro oscillation alongside another mesmeric suasion. The vocals of Mr.Kitty soon caress the ear with a sultry lure to their soothing texture, the artist a constant tempter across every song with his impressive and expressive delivery. The eighties inspiration is open within song and album though only another breeze to the refreshing wind wrapping the listener from the very first minute.

The impressive start is soon equalled by both Heaven and Unstable, the first cradling the senses with a choral kiss of angelic harmonies before heady rhythms and cantering melodic synth fascination emerges to explore the lofty heights already in place. The song bounds over thoughts and emotions with eagerness but a respectful energy that seduces the imagination and opens up its romance and that of its recipient. Like its predecessor it is virulently infectious, the roaming electronic atmosphere a spark to the simpler but no less effective and irresistible hooks and has thoughts in lustful expectations for its successors, something the darker but no less contagious Unstable feeds with poise and beauty. Across its provocative and slightly sinister embrace there is a Depeche Mode call to the veiled heart but again only a taste fused into something transparently contagious and unique.

Through the harsher touch of Sacrifice with its riveting and senses worrying intro and caustic intent, Holy Death where the vocals have a Dave Gahan lilt at times, and the excellent Labyrinth, the album continues to stretch the journey and venture into a wealth of emotions and thought taunting scenarios. The latter of the trio brings a Visage like melodic tonic to its glorious smouldering presence and though at times you want to sing “Fade To Grey” as the bulbous melodies suggest their source, the song is another striking highlight.

Those pinnacles just keep coming though as tracks such as the exceptional London, a song enjoying the added siren call of female vocals within its Pet Shop Boys like waltz, the stunning gothic cast Dearlove, and the intense Choke with its shadow fuelled drama, all explore imaginatively further impacting emotion lit pastures. With so many songs there are rare moments where some hold a similarity as they hold hands but it is rare and such the strength and potency of each and every one it is an ‘issue’ you are searching for just to offer up as a temper to the otherwise full acclaim it is hard not to place over Life.

As the closing Father provides the deepest emotive honesty of the album, the artist unafraid to venture where pain dwells, Life leaves a powerful and lingering imprint on mind and heart. It is an outstanding encounter that leaves no emotional stone unturned yet does so with a light and melodic energy which captures the passions. Mr.Kitty is destined to take electronic pop to new fields, Life the impossible to dismiss evidence.

https://www.facebook.com/mrkittydm

9/10

RingMaster 05/07/2013

Copyright RingMaster: MyFreeCopyright

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Doom’s Day: The Unholy

Though arguably offering more promise for the future than major satisfaction in the now, The Unholy the debut album from Canadian  occult metal/horror punk band Doom’s Day is still a recommended investigation if the likes of Mercyful Fate, Venom, Ghost, and early Misfits grab the imagination. There is also an eighties essence to the sound which pervades the eight songs which make up the release bringing spicery from the likes of Joy Division, Sex Gang Children, and Fields of The Nephilim into the mix. It is a far from flawless release but given time makes a more than decent persuasion that this is a band to keep an eye on.

The Québec based band has been making big waves in their surrounding area since forming earlier this year, soon moving from a small project into a full band for shows around their province. The Unholy was originally released as a hand numbered CDR consisting of just 50 copies, but soon came to the attention of PRC Music owner Remi Cote. Impressed by what he heard and no doubt the promise ahead, his label has re-released the album on CD and digitally. It is a release proudly steeped in the musical past but with the intent to embroil things with a freshness of modern imagination and opinion, it is debatable how successful it is in that but certainly engages enough to incite returns to its sounds and inspire intrigue ahead.

From the opening track Overture, a gothic cathedral instrumental breath within an oppressive storm, the album enters fully with the title track. Dark heavy riffs and Hammond organ like keys merge for a heated embrace upon the ear which holds many similarities to fellow Canadians, the excellent New Jacobin Club. The gruff unpolished vocals stand aside from the strong guitar play and scorched melodic  touches to add an abrasive bite to the track. It is quite a compelling song despite the weak production, a trait for the whole release which manages to leave the strong aspects of the album rather lifeless and the raw unrewarding parts accentuated. It is a more than decent start though inspiring good expectations for the rest of the release.

The following trio of songs She’s Possessed, Necronomicon Ex-Mortis, and Sabbath Deadly Sabbath do not exactly live up to the hopes though most again offer things which suggest the possibility of good things coming from the band on the future horizon. The first of the three has a great female vocal alongside the restrained and tempered delivery of vocalist Doom, it makes for a magnetic encounter lined with hypnotic rhythms and a snarling bass  within the sonic wash of guitar. A short and crisp track it is certainly one of the better efforts on the album to ensure continued investigation. The metallic groove of the second song makes an enticing additive to another strong enough song whilst the latter is a bland formulaic song but one fans of classic metal will find something to latch onto.

The best moments of the album are kept to the end with The Sorceress and its great Bauhaus like opening, the muscular Your Last Breath, and the closing Ghost Of Fate. The smoother vocals of the first pair of the songs are a definite plus to the sound of the band and used within a sinewy and formidable intensity works a treat. The last track Ghost of Fate is a great tease of what one senses hopefully will be ahead with Doom’s Day, the song a rampaging well thought out merge of riling energy and melodic craft.

The Unholy is overall enjoyable with its strengths managing to outshine its negatives but it does lack the spark to ignite any real passion for its contents. Placed in a studio with a top producer who can breathe life into their certain creativity and the band itself discovering a unique heart to their invention, it is not too hard to imagine Doom’s Day turning into a more notable ingredient within occult metal.

https://www.facebook.com/dooms666day

RingMaster 03/12/2012

Copyright RingMaster: MyFreeCopyright

My Jerusalem: Preachers

photo Chad Kamenshine

     Preachers from post-modern gothic soul conjurors My Jerusalem,  is an exceptional and impacting delight which at times feels like the perfect soundtrack to a union of TV shows Carnivàle and American Gothic with its smouldering shadows and menacing breath. It is a release which haunts emotions and thoughts whilst evoking images and feelings wrapped in drapes of dark and inspiring suggestive ingenuity. It is a delicious piece of imagination and enterprise which goes far beyond the ear as its provocative warmth kisses every pore like a passion driven flickering candle.

Preachers is described on its accompanying promo sheet as ‘the first My Jerusalem album genuinely made by a band, not just performed by a group of musicians.’ This suggests that their second album felt a more instinctive and natural creation than its predecessor, the critically acclaimed debut Gone For Good of 2010, for the band. It certainly has the presence of something organically spawn, a creation brought from a union of imagination and passion rather than a mere collection of ideas. It flows over the senses and thoughts like a smouldering seductive breath equipped with tension brewing surges and blackened enrapturing elegance. Formed by vocalist Jeff Klein (ex-Gutter Twins, The Twilight Singers), the Austin, Texas band recorded the record with Spoon drummer Jim Eno at his Public Hi-Fi studio, and achieved according to guitarist/keyboardist Jon Merza sound and release which is “more representative of what our live shows sound like.”

As keys open up the title track to start off the escapade into enthrallment, there is an immediate chilled caress which puts ones attention on alert. Swiftly following harmonies and an enticing bass beckoning herald the outstanding expressive baritone vocals of Klein within the thick atmosphere enveloping, its shimmering charm laying a lush canvas for the song to ignite melodic fires and emotive sparks upon to enhance rather than ward off the closely watching shadows. It is a hauntingly mesmeric start which has a beauty and reassuring clasp as potent as the oppressive menace of its theme.

Things just explore and expand to greater heights then on in across the album, with firstly the wonderful Shatter Together. The song is the perfect dark pop song, its crawling bass murmurs and golden shards of melodic infection a delicious adventure which invigorates whilst opening up the elegance of dark painful love. It is quite glorious and sets up the passions for the following senses scorching stroll of Born in The Belly. The Southern burn to the angst soaked plaintive fire of Klein transports one into a squall of emotive intensity erupting at the heart of the song. It is another stunning slice of dramatic imagination with once more the bass of Geena Spigarelli a compulsive lure alongside the strong cage of rhythms built by drummer Grant Van Amburgh, but it is the vocals and titanic play from Merza and multi-instrumentalist Michael St. Clair which reap the fullest furnace of pleasure for their efforts.

The thrilling engagement continues at the established hypnotic great height through the likes of This Time, a track which plays like Johnny Cash meets Kings Of Leon through a majestic dusty western haze, and the persistent Death Valley, its dark rampancy of rhythms and consuming shadows igniting a Max Payne like imagery and presence. It is an urgent rolling insistence which frames expansive and inciting melodic invocations to leave one basking in sheer insurgent beauty.

The latter part of Preachers unveils songs which gently wrap themselves around the heart, the likes of Devoe, Between Space, and Chameleon glancing rich heart borne caresses across thoughts and emotions for rewards as equally irresistible as the more urgently driven encounters. Amongst them though there is the stirring rocker Oh Little Sister, a track which just romps with excitement inspired by the teasing bass lines, heart bursting horns, and the sensational acidic discord soaked guitar. It is a brilliant final thrust of dynamic energy before the stunning closer, I Left My Conscience In You. The song coaxes with subdued and subtle tendrils of warm creativity with the expressive breath of vocal and acoustic guitar gently aided by keys and bass. As it progresses though there is a slowly building ambience and increasing bristling of sounds which eventually erupts into a riot of passion and energy for a fiery and climactic crescendo to leave one breathless.

Released via The End Records, Preachers is simply sensational, easily one of the emotive and musical highlights of the year made from the colossal combination of shadows and imagination of My Jerusalem, and a release which just gets better and more powerful with each and every listen

http://thisismyjerusalem.com

RingMaster 18/11/2012

Copyright RingMaster: MyFreeCopyright