Papertowns. – With You In Mind

OutsidePT

Being a simple soul, it has been hard to understand how a band can start with one genre and suddenly change to embrace a distinctly different one. Assumptions would be they start with the style/direction that lights their fires and continues to evolve it to fulfil their potential with the hope of success. There are probably numerous examples of artists doing this that are escaping thoughts as fingers click keys, but undoubtedly Ministry is the most obvious example. You can be sure many do it to chase the success and bucks, though something you cannot accuse the Al Jourgensen band of nor we would suggest Papertowns., a US band according to the press release for their new EP also undertaking that kind of change, though maybe not quite as massive a leap. The Arizonia quintet formed in 2012 as a hardcore provocation but last year after a line-up change “decided to change their genre in hopes of creating a more sharable form of music that not only they could enjoy, but many others could enjoy as well.” How potent their sound was before we cannot say but the band’s new release suggests that with their now emo/angst fuelled rock they are a band to keep an eye on.

Hailing from Phoenix, Papertowns. released their debut release the following year in the shape of Passion/Aggression EP. It was followed and supported by the five-piece going on tour across the southern half of America with Vices and Hotel Books. As mentioned 2014 saw the band undergo a personnel change and subsequently the reassessment of their future leading to the big change in sound. It was not long before they took to the studio to create their new/first offering since the shift. Recorded with engineer/producer Zachary Rippy, the With You In Mind EP has emerged as an attention sparking and flavoursome proposal. How existing fans will have taken to the move only they can say but for newcomers the release, via Famined Records who the band signed with also last year, makes for an intriguing enjoyment.

WYIMFront     Drift Away is the first track from the EP to entice ears, guitar and mellow vocals a gentle, reflective, and slightly sombre initial caress. A brief engagement in length, the track is soon becomes an impassioned roar of vocal anxiety and sonic intensity which subsequently drifts away allowing the following Late Night to step forward with its own mix of melody rich contemplation and tempestuous emotion. Never anything less than stormy, the song still makes a warm and inventive entrance, guitars spinning an engaging and volatile web of sound and expression matched by vocals which at times wander a little but essentially provide another strong emotive flame to the proposition. A great throaty bass line throbs throughout whilst drum rhythms do not intrude with any real venom yet are snappy when needed to be. As the EP eventually emulates, the song is an appealing further introduction to the band, one with a few unsure elements but with far more promise which outweighs their deficiencies whilst sparking an appetite for the band’s enterprise.

Next up is Change, its modest first touch soon a wiry enticing of sonic imagination and spicy melodies courted by a much more forceful rhythmic coaxing. Vocals again are swiftly at the scene and impressively blossoming as they expand to fill the climactic sky of the fuzzily warm and slightly caustic incitement. In no time the track shows a stronger endeavour and imagination than its predecessors, creating enthralling aural scenery around its melancholic narrative and ensuring its three minutes simply fly by.

Empty similarly casts a weave of varied sonic endeavour, the diversely seeded strands entwining around firm rhythms and another vocal display which is especially vibrant when harmonies and multiple voices converge on the senses. The shimmering sultry air of the song is magnetic whilst the turn to a predatory intent through riffs and beats is captivating, though the success is diminished a touch by the closing raw ire hitting voice and sound. Nevertheless there is plenty to be fascinated by and to find keen interest for, reinforced by the spiralling melodic intensity and provocative atmosphere of Dusk which serenades with feisty energy and unpredictable emotion next. It is another song which finds a greater inventiveness and creative intensity, holding ears and thoughts with ease. The warmth of the songs as here, is never given an easy ride by the sonic and emotive turbulence driving each encounter, but again in the penultimate song on the EP makes for a pulsating and potent embrace.

Final song Old Days is a tapestry of guitar enterprise and individual prowess, a showing of rich craft within one last cauldron of emotional unrest. It is an enthralling end to a strong release and though With You In Mind did not have the passions on fire, it is fair to say that as a first glimpse at the new direction of Davy Comyns, Dillon Clinton, Harrison Miller, Jordan Leal, and Jonathan Brown, it makes a healthy and pleasing base for further adventures and enjoyments.

The With You In Mind EP is available now via Famined Records @ https://itunes.apple.com/us/album/with-you-in-mind-ep/id982975869

https://www.facebook.com/PaperTownsAZ   http://www.papertownsaz.com/

RingMaster 13/05/2015

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

 

 

Deathkings/Rozamov – Split

Rozamov Split

On May 16th and 17th US bands Rozamov and Deathkings respectively will be playing The Observatory in Santa Ana as part of the three day Psycho California fest which starts on the 15th. The third year of the event will again see over fifty bands from around the world bringing a wealth of genres from doom and sludge to post rock, hardcore to black metal. To mark their participation Deathkings and Rozamov have united to unleash a split 7” via Midnite Collective, bearing a new and exclusive track from each. It adds up to around fifteen minutes of sludge bred enjoyment with the imaginative contagion to seduce and primal ferocity to savage.

Deathkings

Deathkings

The first track is from LA hailing Deathkings, a quartet fusing sludge and doom with experimental voracity. The band consists of guitarist Daryl Hernandez and bassist/vocalist Nicolas Rocha, a pair who had already played together in a previous band before forming Deathkings, as well as drummer Sean Spindler and guitarist Mark Lüntzel, who joined the band after the release of the band’s three-track EP Destroyer. The quartet is currently getting to grips with the creation of their second release, tentatively titled All That Is Beautiful, and with their contribution to this endeavour in the mighty shape of Solomon, it is destined to be a highly anticipate encounter.

Solomon opens on a hypnotic and instantly enthralling stroll of resonating, deeply impacting rhythms skirted by equally predatory strands of guitar and one delicious bass tone. It is a gripping anthemic baiting over which the gruff growling of Rocha grumbles and roars. A fresh gear is then subsequently found, the track prowling with greater relish and urgency whilst dispensing thick and incendiary sludgy enterprise on the way to becoming an evolving cauldron of sinister monotone vocals, melodic toxicity, and doom soaked intensity. It proceeds to haunt the psyche and voraciously devour the senses, never remaining in one strain of confrontation for long but continuously igniting the imagination with its darkly immersive landscape. The track is inescapably compelling, an unrelenting mouth-watering incitement quickly matched by its companion on the release.

Rozamov springs from Boston and infuse their sludge invention with a more hardcore bred ferociousness as well as, like Deathkings, potent atmospheric persuasions. The trio of

rozamov

rozamov

guitarist/vocalist Matthew Iocavelli, bassist/vocalist Tom Cornio, and drummer William Hendrix, have frequently drawn references to the likes of Neurosis, Yob and Grief through their sound, live presence, and a pair of previous EP’s. Now in the depths of writing their first album, the Massachusetts band offer Ghost Divine to the split’s fury of sound, and from a sonic mist swiftly turns into a maelstrom like intensive examination of the senses fuelled by a bracing turbulence. Vocals quickly vent with a hardcore fury, a raging emulated by the caustic tempest of sound consuming ears simultaneously. At times an unbridled hurricane and in others a lumbering beast of doom lined discontent straddled by acidic flames of guitar rapacity, the track is a bewitching and fearsome rancor but unafraid to reveal unpredictable and engrossing flights of imagination, even if in brief and fleeting moments within its ravenous assault.

Both tracks leaves senses bruised, ears hungrier, and anticipation for their next releases sparked, as well as wishing we were there at both their upcoming performances.

The Deathkings/Rozamov – Split is available now via Midnite Collective @ https://midniteclv.bandcamp.com/album/deathkings-rozamov-split and http://midniteclv.storenvy.com/products/12489843-deathkings-rozamov-split-7

http://www.facebook.com/DeathkingsMusic   https://www.facebook.com/Rozamov

RingMaster 13/05/2015

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

Hogslayer – Defacer

hogslayer-promo-02-b

photo Mei Lewis of Mission Photographic

 

As primal and consuming as any physical grudge the earth expels, the sound of Welsh fury Hogslayer is an inescapable savaging but equally a predatory incitement which sparks only a greedy appetite for more. Certainly that is the success found in the band’s first album, and taken to new heights in their new and second full-length Defacer. The release is a brutal monolithic tide of sludge rich, tar thick sonic malevolence, a proposition as oppressively destructive as it is perversely invigorating and ultimately fiercely compelling.

The Cardiff quintet first emerged in 2012, rising from the ashes of Shaped By Fate and Zonderhoof. Instantly there was no mercy given by their crawling toxic blend of sludge, doom, and every rabid essence of noise to be found, a heavily persuasive confrontation evidenced by the band’s 2013 self-titled debut album. Now they have intensified every aspect of sound and emotional turbulence within their invention to create and unleash Defacer, as magnetic a violation as you are likely to meet this year.

The first trespass of senses and psyche comes with Slowhawk, a raw vocal rant from Lord Bastard the trigger to a tsunami of bestial bass predation and equally vicious guitar stalking, it all punctuated by the slow uncompromising swings of drummer Max Von Beek. The creeping groove of the assault is as immediate in its lure too, the primitive growls of bass cast by Grym Av Skugga and Damek Ômsk irresistible intimidation loaded with an instinctively seductive swagger. The guitar of Barron Drakk provides its own incendiary tempting to add to the mix, entwining the dark imposing incitement alongside with a mix of caustic riffs and piercingly spicy hooks. The track is an unrelenting mass of uncompromising contagion; raw rock ‘n’ roll at its hellacious best setting the album off to a mighty start.

11025783_788660491214134_3070821753561557583_n   The album’s following title track reveals an even more barbarous presence and intent from its first few breaths, riffs and grooves almost Neanderthal in tone yet quickly showing they are prepared to twist in infectious enterprise and sonic unpredictability too as they potently colour the almost hypnotic repetitious core of the song. Throat scarring vocals spill furiously from the front man, providing a potent abrasion from within the smothering web of sound and hostility around him. Once again an addictive essence is at large before the ruinous presence of the song makes way for the similarly intensive and vehement Wülfbaanger. Its body of central riffs and rhythmic prowling is not far removed from that of its predecessor, a comment which can be raised across the album as a minor niggle with some grooves and heavy riffery often showing a lack of distinction from others though it is usually compensated by the sonic invention and unpredictable adventure also revealed, if at times understated.

Bludgeon is as its name implies a heavy-duty and antagonistic confrontation of noise and energy as viscous and black hearted as it is groove catchy whilst next up Burn Them Out sets down another pinnacle to match the opening pair. It is sonically fairer than previous songs but still offering a syrupy toxicity through the senses lapping grooves. It is the hardcore essences though which rage within vocals and the twisted imagination of the guitars that gives something extra to take a great song to the plateau of major incitement. Rhythmically too there is a fresh impetus, an anthemic quality to Von Beek’s enterprise courting grooves and hooks which flirt back with fiery stoner-esque hues. The track is still as inhospitable as anything else upon Defacer but tapping into an open diversity which is not always as keen as elsewhere.

The truculent Warcries is as gladiatorial as you would imagine but within its argumentative brawl of sound and intent, Hogslayer explore an out of the blue and thrilling melodic detour which only adds to and emphasises the overall intensity and impact of the song. Once more bolder imagination and invention is freed to impressive results and without defusing the weight and force of sound around it.

Bastards Of Reality comes next, its doom fuelled carriage of malicious sound and emotion taking the listener into dark, suffocating, and cavernous depths where more striking and riveting strands of sonic endeavour lights up ears and imagination. For seven minutes the track excites as it roams and infests the senses, spilling sonic venom and grievous animosity musically and emotionally, before being emulated in length and impact by This Spiteful Cycle. The new song is simultaneously tortuous and deliciously hypnotic, though its addictive character allows no chance of an easy ride. A favourite element of the band’s sound is the entangled hostility and creativity of guitar and bass, both ripe with their volatile natures, and arguably they are at their most psychotic in the closing song driven on by ever merciless drum provocation. Probably the most testing listen on the album it is a richly satisfying final challenge, though not the last song as there is the hidden bonus of Mealworm for the patient to enjoy, an outstanding slab of psychotic sludge bred, senses corroding rock ‘n’ roll.

Hogslayer has risen to a new level and stature with Despiser, but with the potential for even bigger, fiercer things ahead you feel. The album is excellent but with room for its ideas to be taken further meaning pleasure is rich now but excitement for the future easily as potent.

Despiser is available now via Undergroove Records on CD @ http://undergroove.bigcartel.com/product/hogslayer-defacer-cd and digitally at most online stores.

http://www.hogslayer.co.uk/     https://www.facebook.com/hogslayerband

RingMaster 07/05/20145

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

Murdock – Dead Lung

MURDOCK-Promo1

How to describe Dead Lung, the new album from Dublin trio Murdock? Well quite simply it is a BEAST! In sheer power, ferocity, and primal instincts the album is a devourer of senses and psyche. Similarly though it has all the creative wile and lithe characteristics of a predator and once it has its claws in there is no escaping the savaging of hardcore, noise, or the technical trespass assaulting ears and igniting the imagination. Dead Lung is just immense.

Since emerging Murdock has earned an increasing and devoted following to go along with the reputation bred of being one incendiary device live. It is a devastating experience which in the words of the band has the attitude, “If you are not bleeding or exhausted, what is the point?” The band has ignited stages alongside the likes of Every Time I Die, The Dillinger Escape Plan, Unearth, Sick Of It All, Lower Than Atlantis, Coilguns and numerous more, either on tour or at individual shows but now it is their debut album Dead Lung, released via Basick Records, that is poised to be the detonator to greater intensive climes, and with little to surely stand in their way such its might and hellacious alchemy.

The album opens with the first single taken from it, Deer Noises. It is a track going for the jugular from its first breath, riffs gnawing the senses whilst rhythms venomously batter them, and it is fair to say that the sonic spicing wrapping both is up to no good either. It is a magnetic entrance enhanced further by the raw vocals of guitarist Aidan and the contagious elements flaring up in the tempest of sound and emotion. It is not just an infectious essence emerging either, an inventive unpredictable flurry of fierce and melodic twists adds to the gripping turmoil too. Coilguns comes to mind listening to the song but equally spices of bands like The Ghost of a Thousand and Kunz tease thoughts, all mere whispers in the roar though as the album gets off to a thumping irresistible start.

Albumcover   The band has so many weapons that impress, that unpredictability a major one outside of the sound itself and it continues to seduce across the album starting with I Am Not A Continent next. This also has the listener’s throat in its sonic jaws from the first second, guitars and bass snarling and ravaging the senses whilst the beats of Ronan show more restraint yet still unload with a punishing intent. Slips into mellow scenery equipped with sultry harmonies and progressive beauty virtually flirt with the listener inside the encounter too but always they have to submit for the similarly riveting fury fuelling the proposition.

A lustful appetite is already brewing by the time What You Don’t Like takes over; its psychotic character and agitated rhythmic bait a swift proposal to be feared and embraced. It is even angrier than the rages before it but also in some ways lacking the same addictive quality, though this is more to do with personal preferences across Dead Lung. The track seems to lean deeper in the hardcore side of the band compared to its more evenly sculpted predecessors but also arguably more experimental ideation with its Deftones like detours. It provides another fascinating incitement though but one soon surpassed by the band’s latest outstanding single Erk. An avalanche of rhythms bruise and inflame ears first, riffs and sonic ferocity just as toxic from within the storm. The bass of Rob lays down a mean throaty lure throughout the increasingly anthemic and volatile brute of a triumph also, but the song is a success again unafraid to slip into melodic beauty and evocative caresses. Its hooks are sheer addiction on top of it all and the band gets more accomplished in ability and imagination in three and a half minutes than most others will across a whole album.

Narrowcasting finds a post punk coldness and monotone elegance to its prowling presence next, the song managing to sound like a hybrid of Palms meets late seventies band Artery. It is just as intimidating in its doom lined mellowness as it is in the outbursts of pent up vocal and sonic vitriol and takes album and listener on a completely new direction to what came before whilst continuing in the same vein as the previous provocations. The track is mouth-watering stuff matched by Brainface which explodes in the face after the brief jazzy and progressive instrumental seduction of 51 West 95th St. This leads straight into the sonic windstorm and blistering inhospitality of Brainface, a relatively short punk brawl clad in noise rock devilry and furious dissonance.

Neither The Signal In The Noise nor Leave Me Here For The Crows take any prisoners, the first a scorching and scarring sonic consumption speared by magnetic rhythm invention, warped slithers of unconnected styles, and rabid vocals. Once feeling in the senses returns, there is only pleasure for the might and thrilling violation of the track, the same applying to its successor. This takes a more controlled assault to the senses yet is still a volcanic maliciousness which intensifies its potency and weight with every passing swipe and grazing riffs, whilst its core groove just makes the tongue pass over lips.

Juices spill again with the cyclonic Old Blood Dead Lung, a glorious beating with convulsive rhythms and a bass sound you can only describe as demonic. The guitar enterprise and vocal vehemence of Aidan strip ears of their stability magnificently and in no time the track is locked in as a favourite across the increasingly impressing album.

It should be noted that every glimpse of the song we are trying to portray is as just that, choice moments in the ever evolving and twisted landscape of the tracks, each conflicts you can make assumptions and have expectations over but will never get a full handle on until heard, as Vebalectomy next. It is hardcore and punk in its heart but a broad and constantly shifting diversity of sound and ideation in presence, and arguably this is one of the more straight forward tracks in its make-up.

      Dead Lung comes to a close through firstly the portentous doom seeded Nineteeneightyfive, a sinister and almost meditative soundscape as hypnotic as it is threatening and lastly Monographia which blooms from within its predecessor and returns to the post punk hued atmosphere and persuasion glanced over previously in the album. The vocals of Aidan and Rob are smouldering caresses within the raw and caustic but similarly reserved sounds, though in time it all becomes a turbulent and bracing proposition.

It is a superb end to an engrossing and simply thrilling album. Even the pair of singles put out just before Dead Lung barely gave a true picture of the variety and scintillating depths of songwriting and adventure of sound to be found within it. The list already is getting long for possible album of the year contenders but there is no other option than to add Murdock’s name to it.

Dead Lung is available now via Basick Records @ http://music.basickrecords.com/album/dead-lung

https://www.facebook.com/murdocknoise

RingMaster 17/04/2015

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

 

Oaths – Stag Party

Oaths - Promo Shot

Never hurts to make a good first impression and UK band Oaths certainly have that intent nailed with debut EP Stag Party. A busy and furious storm of hardcore and melodic rock, the five track fury is an imaginative entrance by the Manchester quintet. Arguably it is too imposing and tempestuous on first listen to really appreciate the rich potential and creative tenacity within its walls, but proper attention soon reveals band and release to be an exciting and compelling proposition.

Consisting of vocalist Topher, guitarists Curtis and Michaela (the latter also providing vocals), bassist Jack, and drummer Chris, Oaths emerged in 2013 with inspirations from the likes of The Dillinger Escape Plan, Glassjaw, Every Time I Die, and Norma Jean in their creative arsenal. Last year saw the band hitting the road around the country, earning a potent reputation for their live presence and a success continuing into 2015 with the band recently completing a tour with Faces of Eve. Produced by Mike Bennett from Empires Fade, Stag Party is the band’s new mighty nudge on national awareness, a release which goes for the jugular from its first breath and tugs away on the senses and a keen appetite from thereon in.

Oaths Cover ArtworkThings instantly boil up with opener Lover Another, though its initial touch is abrasing if relatively calm. The raw hardcore bred vocals add a swift aggravation to the brewing atmosphere as do the similarly imposing beats which punctuate the impending intensity. It is a rising tempest though which relaxes just a little as a melodic enticing from the guitars adds to the harsher riffs and rhythms, and similarly a more melodic vocal delivery joins the caustic roars. Passion and angst is soon raging again amongst the fresh progressive and variety filed textures of the song, everything from rhythms to sonic endeavour evolving in imagination and fascination.

The strong start is matched by Idols / Rivals, a track fuelled by punk aggression and melodic adventure which ebbs and flows in aural intensity on the beaches of the senses. As in its predecessor, there is a great unpredictability to the offering which brings intrigue and exciting twists to a more familiar yet no less captivating hardcore seeded canvas. Every move from raw aggression and hostile atmospheres to harmonic elegance and melodic beauty is seamless musically and vocally whilst combined it finds has a clarity wrapped place for every aspect in the impressing proposal.

Hank Moody continues in similar style, an almost beauty and the beast collision of textures uniting for a dramatic and riveting incitement. The song does not quite grip as tightly as those before it for an undefined reason though the fact it does not seem to have the constant distinctiveness of those before might be one factor. Nevertheless everything about the song is in firm hold of ears and attention, the driving rhythms magnetic and the guitar enterprise at times simply bewitching, whilst vocally, and especially on the cleaner side of things, it is potent and enjoyable theatre as the contrasting tones share the lyrical and impassioned heart of the song.

As good as Stag Party is already, it hits personal tastes perfectly across its final two songs, turning into a raucously contagious slice of rock ‘n’ roll at the same time. Amsterdam comes first and though it is still a hardcore and progressive/melodic rock eruption the song discovers a contagious virulence and creative exploration which emerges as more gripping hooks, spicier grooves, and rhythmic imagination. At times bestial and in other moments a fiery seduction, the song is superb and swiftly matched if not surpassed by the closing I Am The Danger.

The band’s current single, the track is instantly addictive and ruggedly infectious, bounding in on intimidating rhythms and an enthralling sonic escapade. Riffs from the guitars and bass snarl, whilst their individual hooks are venomously poppy; traits explosively aligning to the increasingly impressing vocals which burst from across the band. Within a thumping cage of fierce beats, the track is exceptional and with the previous song alone, ignites a real appetite for Oaths and their increasingly thrilling sound.

Stag Party is a release to take your time with; first impressions are good but only get better. It also sparks an expectation to see Oaths grow into a strong and potent force within the hardcore scene, not only at home but further afield. If not they have certainly unleashed one intensely enjoyable debut anyway.

Stag Party is available from April 13th through all platforms.

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

RingMaster 13/04/2015

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://reputationradio.yooco.org/

Roaring with sounds and words: talking Choking On Illusions with Mario Strasser

Mario Strasser

It is not as if hardcore is lacking bands with new voracious ideas and sonic explorations but there are times when one has that extra essence or imagination which sets the passions a flutter. One such encounter came forward this past month from German band Choking On Illusions in the shape of their second and compelling album Rest/less. It is a beast of a melodic hardcore incitement as fiercely confrontational as it is inescapably compelling, a seriously exciting encounter. Offered the chance to dig deeper into album and band, we grabbed it with both hands plying vocalist Mario Strasser with questions, exploring the origins and heart of the band, the creation of Rest/less, and a final bombshell.

Hi Guys, many thanks for sparing time to talk with us.

You’re welcome; thanks a lot for giving us the opportunity to say some words!

Can you firstly give us some background to the band and its beginnings?

Well, originally this band started as five kids from a church’s youth group who wanted to play heavy music. Over the years one member after another changed and now I (Mario/Vocals) am the only founding member remaining. With the change of members the band experienced a change of both musical and lyrical style and yeah, REST/LESS pretty much sums up who and what we are now.

Did you have any particular aim and intent with the band and its music from those opening days?

We’ve always been very focused on lyrical content because we never wanted our music to be “just” music. From what I learned about heavy music there has always been more to music. There has always been a message behind it. Be it a positive or negative one, all the artists I admired had something to say and that is something I wanted to keep going with the music we created.

10402430_10152928515889656_5317035852149746870_nAs evidenced by your new album Rest/less, you are shaping hardcore with a fresh and fiercely imaginative mix of flavours and ideas. Did you always intend explore the hardcore core of your sound with this level of adventure or has it evolved organically over time?

I guess you could say that our music evolved over the past few years just the way we evolved as musicians and just human beings. When you grow up you learn to think outside the box and see what is beyond the boundaries you set yourself. That pretty much sums up how we wanted to write our latest album.

It is fair to say, without any disrespect to past members, Choking on Illusions found its creative stride and potency around 2011 when the current line-up came together. What was different and provided the spark for the band to go to the next level?

Thank you, that is pretty much what I and everyone in the band thinks. I guess you could say that some of the guys from the first incarnation of the band were just not that much “into it”. Being in a local band can be pretty hard and it takes a lot of time, energy and money to keep going and so the other guys kinda got lost along the way.

The following year saw the release of acclaimed debut album Guide me home. Now as we mentioned you have unleashed the outstanding Rest/less, how do you see the evolution between the two releases?

The period between the two records was a time where we spent a lot days on the road. We played about 100 shows in 2 years, which is a lot for 5 guys that still try to balance their personal life with being on the road a lot. I think that is something you can really hear on the record.

Did you approach the new album with any specific idea or direction which differed majorly from its predecessor?

When we recorded Guide me home we pretty much only recorded all the songs we had written as a band. For this record, we had an amount of about 30 songs written, out of which we selected the 11 songs you can hear on the album.

You recorded it at Mysterium Studio; this is an environment which you find easy to create within, or are studios generally the same if you exclude the personnel?

Mysterium Studio used to be an amazing place. It has now been closed down because of our producer Arkadi moving to America, but we always had a great time there. Arkadi is one of the most talented guys I have ever met and there has always been a great chemistry between him and us. The atmosphere always resulted in maximized creativity and it he has definitely to be credited for challenging us to broaden our influences.

Tell us about the recording of Rest/less.Choking on Illusions Cover

We started recording the album I think in May 2013, with the first version of it being written, yet untitled; [it was] chaotic and simply just no really good to be honest. We started tracking drums, but about two weeks into it we all decided that this just wouldn’t do it for us. We wanted to put out a better record with better songs, so we went straight back to writing songs. After all, only 4 Songs remained from the first attempt of writing an album. 3 months later in August 2013 we entered the studio again, this time with the songs that made it to the album. I think it took a total of only 10 days to record it, but we had to deal with a lot of delay und unprofessionalism from people outside the band (for example “guest vocalists” being unable to record or to even respond to messages which resulted in them ultimately being cut out apart from Robbert from Wasted Bullet who did an amazing job) so it took until about June 2014 until the whole record was finished.

Do you try to enter the studio with songs basically complete ultimately or are you a band which evolves songs once inside its walls?

We usually write all the songs before and it’s just some minor changes, additional leads or instruments that develop during the recording process.

How does the songwriting process generally work within the band?

The songs are (and have always been) written by me. I write the songs, program them and show them to the rest of the band. Then we get together and work on the songs. Make them better, rewrite them sometimes and try to put them into the best form possible.

We found that Rest/less, though a striking beast from the off, actually grew in its depth and imagination over numerous listens. It took time to explore all the fascinating enterprise beneath its imposing roar. We liked that immensely about the album; was this something you expected might be the case with some listeners?

Thank you; that is definitely something we wanted to achieve. I always like it when an album can still grow after the first time listening. I wished for our music to be something like that, so it’s great to hear that this is the case for at least some listeners. We included a lot of depth in both music, with additional guitars and additional instruments, as well as the lyrics that require a certain will to explore from the listener.

The album is released through Bastardized Recordings, your first with the great label. How did the link up happen?

We were playing a show with our friends in The Green River Burial where Marco from Bastardized Recordings was also attending. From the guys in TGRB Marco knew that we were in the process of recording our new album and after seeing us live he came up to us and expressed his interest. As soon as our record was done he listened to it and he instantly wanted to release our record through his label.

Choking on Illusions Pic2Did knowing they would release it put an extra spring in the step making the album or was the union after recording?

We were done recording before we started talking to Bastardized, so that didn’t affect the writing or recording process.

What is next for Choking on Illusions?

Unfortunately, we will only be doing our last tour and then we’ll go on indefinite hiatus. We were already joking about releasing the songs we never recorded during the time this band was in existence right after we break up, but I don’t really think that that is going to happen.

Once again thank you for talking with us. Any last thoughts you would like to leave us with?

Thanks so much for giving us a chance to talk, we feel extremely blessed to have people care about what we pour our hearts into. Thank you!

Read the Rest/less review @ https://ringmasterreviewintroduces.wordpress.com/2015/03/26/choking-on-illusions-restless/

https://www.facebook.com/ChokingonIllusions

Pete RingMaster

The RingMaster Review 06/04/2015

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://reputationradio.yooco.org/

 

 

YORKSHIRE YOUNG GUNS KILL THE SILENCE RELEASE DEBUT RECORD!

Kill The Silence Online Promo Shot

Taking from a collection of influences, spanning from Reuben and Lower Than Atlantis to Bring Me The Horizon, Kill The Silence come at you from Leeds and nationally release their self-titled debut EP on Monday 20th April through all digital stores.

Consisting of Jason Walsh (Vocals/Rhythm Guitar), Sam Rickerby (Lead Guitar), Jack Townend (Bass) and

Reece Cockayne (Drums), Kill The Silence were officially formed during the middle part of 2013. Show invites and festival appearances soon began to take shape. To date, the foursome have played extensively through the north, rounding up support slots and festival appearances with Fearless Vampire Killers, Blitz Kids, Max Raptor, The Family Ruin, Attention Thieves, Ashestoangels, Yashin, Mallory Knox, The Defiled, Dinosaur Pile-Up and Rolo Tomassi. The hi-octane rockers have also picked coverage from BBC Introducing and internet radio, and have been featured as Kerrang!’s Local Heroes.

The time is now ripe for Kill The Silence to step up and reach out to a national audience, and the band have the right tools in the shape of their new EP. The juggernaut rhythms and soaring chorus of their current single ‘Get Out! Get Out!’ start up the record, and it’s a perfect introduction for the wiry quartet. The punchy grimy hardcore of ‘Darling’ is next up and it’s an engrossing slab of adrenaline fuelled punkcore. The pounding onslaught of ‘S.S.D.D.’ continues to batter your eardrums before ‘Chapter II’ caps off the EP with its blistering riffage bonded with oft-kilter phrasing. Kill The Silence now hit the road with their record in tow, so stay tuned to their social sites for tour announcements.

-KILL THE SILENCE RELEASE THEIR SELF-TITLED DEBUT EP ON MONDAY 20th APRIL THROUGH ALL STORES-

Kill The Silence PromoImage

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