Playboy Manbaby – Don’t Let It Be

 

playboymanbaby_RingMasterReview

With their recent single still inciting mischief and bad behaviour, Arizona post funk punksters Playboy Manbaby have just uncaged their new album Don’t Let It Be, eleven tracks of creatively nefarious goodness infesting body and spirit.

The union of You Can Be A Fascist Too and I’d Like To Meet Your Parents was a devilish punk riot of a single leaving greed part of appetite and anticipation awaiting the band’s third album. The Dirty Waters/Lollypops Records released Don’t Let It Be soon shows that the Playboy Manbaby sound is broader than ever, bigger than an elephant’s backside in flavour and sound. Having caught up with their previous full-lengths in Bummeritaville and Electric Babyman, both released 2014, that variety will be no surprise to fans but their successor has really gone to town in adventure and diverse fun to truly leave all before it in the shade.

The Phoenix hailing sextet of Robbie Pfeffer (vocals), Chris Hudson( bass), TJ Friga (guitar), David Cosme (trumpet), Chad Dennis (drums), and Austin Rickert (sax) have become a big deal locally and across their homeland, shows alongside the likes of  Mike Watt & The Missing Men, King Khan & BBQ Show, King Khan & The Shrines, Rocket From The Crypt, Thee Oh Sees, Cosmonauts, The Spits, Black Flag, The Descendents, The Replacements, The Slackers,  and Teenage Bottlerocket to name just a few, pushing their reputation as potently as their sounds. Now having been already tenderised by the last single, global attention is surely poised to embrace Playboy Manbaby and Don’t Let It Be. Justice is never a given of course but neither do anything to deter that expected and deserved embrace.

You Can Be a Fascist Too gets the revelry going, a surge of guitar jangle and bass throbbing swiftly joined by the slightly derange and excitable tones of Pfeffer. Spicy melodies and tenacious riffs almost barge into each other as the garage and punk essences of the track bound through ears, salacious harmonies sparking thoughts of UK band The Tuesday Club. For less obvious reason, The Tubes also come to mind a little too as the song stomps around like a belligerent pup, its raw power pop punk quite irresistible.

art_RingMasterReviewThe zeal pumped diversity quickly comes to the fore with the following Last One Standing, brass instantly flirting with ears with saucy flames as the bass swaggers with deceptive innocence. There is an agenda at play; an intent to turn the listener into a physical puppet and there is no escape for feet and hips to the virulent lures of the rhythms and grooves teasing and taunting within the ska kissed funk escapade. The earnest screwy tones of Pfeffer again are sheer magnetism as too the evolving dark bait pulsating out of Hudson’s bass.

The outstanding track is quickly matched by the even livelier dance of Bored Broke And Sober, its catchy jazz funk garage punk as loco as it is skilfully woven to lure untied bodies. Hooks are as flirtatious as rhythms, every fondling by and flash from the Friga’s guitar ear chaining rascality, and the whole song as those before slavery.

Cadillac Car saunters in next, its low slung groove temptress like as vocals dance with drooling expression of defiance and attitude in the garage punk crawl before Self-Loathing In Bright Clothing throws its post punk/punk tendencies into the ring. A few blows short of a brawl, the track springs its creative agitation with infection loaded enterprise creating a rough and ready tango of fiercely captivating Reuben meets Dead Boys like provocation.

The sultry flirtatious garage r&b of Cheap Wine and the scuzzy pop punk of Popular bring body and soul to the boil again, the latter like a raw Mighty Mighty Bosstones in some ways while I’m So Affluent slips in with a slinky grace as noir lit air hugs skittish rhythms and vocal suggestion. Jazzy with a dark indie jangle recalling The Jazz Butcher, the song quickly blossoms its dark rock ‘’n roll into another majorly bewitching moment within Don’t Let It Be, one with an increasingly tenacious bounce complete with band calls just impossible to be left out of.

That indie sound fills next up Oprichniki too though as all songs it soon shows a jumble of spices and styles in its ballsy pop with Don Knotts In A Wind Tunnel straight after  engaging in dirty rock ‘n’ roll with a certain Rocket From The Crypt fever to its irritable bawl and brass igniting flames. For us it is joy to be unable to pin a sound down, this pair alone showing Playboy Manbaby get just as big a kick from defeating any attempt whilst pleasing their own devious imaginations.

Dark rock ‘n’ roll brings the album’s closing treat of White Jesus to ears, its meandering stroll and creatively incisive accosting portrait of a certain new world leader initially Nick Cave/Tom Waits like before ending as a concussive explosion of Dead Kennedys toned ferocity and bedlam.

The last Playboy Manbaby single set up anticipation for Don’t Let It Be perfectly but barely hinted at the bold inescapable fun and adventure to be found, both which will be hard to find any better on any release across the rest of the year too we suspect.

Don’t Let It Be is out now on CD through Dirty Water Records and cassette from Lollipop Records @ https://lollipop-records.myshopify.com/products/playboy-manbaby-dont-let-it-be-cass with its digital outing available @ https://playboymanbaby.bandcamp.com/

https://www.facebook.com/ButterGravyButter    https://twitter.com/playboymanbaby   http://playboymanbaby.com/

Pete RingMaster 03/03/2017

Copyright RingMaster: MyFreeCopyright

To Bear Sir – Hold Yourself Tight

TBS_RingMasterReview

Hold Yourself Tight is the debut album of To Bear Sir, the solo project of someone who has already, like for so many others, made a major impact on our ears and passions. The creative provocateur constantly stirring up the imagination is Welsh songwriter/vocalist/musician Russell Toomey though you might know him better as the creator/frontman of My Red Cell, Innercity Pirates, and Denim Snakes; three bands which all made a striking impact on the UK underground scene with their individual sounds and characters, each deserving far more attention and success than found.

It is a height of recognition which just might be sparked by To Bear Sir. Each of Toomey’s bands has even with some strains of similarity been wholly unique propositions to each other and indeed any band around them but To Bear Sir is a gulf away from those before it and just as impressive.

Debut album, Hold Yourself Tight reveals bare intimacy not knowingly heard in its creator’s work before, the songs giving greater meaning and echo to the name of the project. The diverse array of tracks and styles breeding its songs come together to create one of the most haunting, emotionally open, and generally irresistible propositions heard. From its first breath, the release bewitches, its heart akin to the listener’s sharing melancholy and despairs mutually known and felt.

Produced by Todd Campbell, Hold Yourself Tight opens up with Mother I’m Sorry. As solemn strings rise to share emotive fingers on ears, that heartrending air is swiftly inescapable, only thickening as a lone guitar strum takes over with its own shadowed melody. Toomey’s distinctive tones soon follow bringing a dark blues haunting and seduction with it reflected in the sounds hugging his presence. Funereal in gait, compelling in regret and touch, the song is sheer melancholic beauty.

art_RingMasterReviewIt is a stunning start quickly matched by Medi-Monster, a slightly livelier affair in energy with brooding shadows to its wiry melodies. Vocals are a wonderfully dispirited incitement, magnetic and mournfully introspective but luring full participation with the song’s almost disturbingly catchy chorus. It is impossible not to get physically and emotionally involved with either of the first pair of proposals or with the albums title track which follows. Its rhythmic shuffle has a touch of Fatboy Slim to it making a kinetic canvas for the dark folk serenade of voice and melody. A blend of contrasting textures, the track seduces hips and thoughts with ease even if not quite matching up to the lofty heights of its predecessors.

The new single from To Bear Sir is next, a song which could not be a better teaser for project and album if it tried. The Begging Ends Here is superb, rhythmically shamanic whilst cinematically and indeed emotionally so dark that it throbs with drama. It’s predominantly minimalistic body is enriched by flames of guitar with Toomey’s earnest croon inciting greater intensity in the heart and raw rock ‘n’ roll of the song. People are rightfully drooling about the new ex-Reuben frontman Jamie Lenman’s new single Mississippi, a song actually in similar vein to The Begging Ends Here and just as stirring and thrilling is Toomey’s essential treat.

Strings again lay their suggestive hands on ears as the sorrowful, hope searching Too Late closes in next, its sentiment and sad grace raw potency. It is an essence intensified even more in Loves That One Thing, an emotional incitement of voice and piano trespassing on personal truth and fresh wounds.

The Walk has a low key country scented breath next, a flavour bring new hues to another increasingly alluring mourn and disquieting charm whose persuasive elements conjure 3 Years to similarly enjoyable heights with keys and voice once more an enticing union as darker hues cradle their engaging solemnity. Each of the two pulls ears and thoughts into their world before the bluesy dance of It’s Not Over Until I Say So makes its energetic play. It is a track which did not initially convince as fully as others within the album, though its bursts of scuzzy delta blues guitar quickly had the appetite licking its lips, but lingered maybe more than most to persistently tempt and subsequently seduce.

Hold Yourself Tight is closed by the rueful yet accepting and occasionally hopeful Dream, a captivation echoing the heart of the album in its brief absorbing minutes. There were certain expectations waiting for this album because of past triumphs and not one of them was fed. To Bear Sir is a whole new unique adventure from Russell Toomey, a bold and personal one which is really rather special and deserves your intrigue at the very least.

Hold Yourself Tight will be released the first week of May.

 

Upcoming live dates:

20th of April – Clwb Ifor Bach, Cardiff with Palace and Willie J Healey

3rd of May – Riverside Tavern, Newport

10th of May – The Monarch, Camden

https://www.facebook.com/tobearsir/

Pete RingMaster 04/03/2017

Copyright RingMaster: MyFreeCopyright

Gravves – Rattle

gravves-promo-shot_RingMasterReview

There is no foreplay involved with Rattle the debut EP of British noise inciters Gravves. It is a release which, certainly for us, careered straight to lustful instincts from its very first roar of breath and sound, thereon in proceeding to entwine us around its little creative finger. Having an already well-established love for The Eighties Matchbox B-Line Disaster, an open inspiration to the North West hailing trio, certainly helped its persuasion but the four tracks making up Rattle soon established the band and its sound as something individual, unique, and quite irresistible.

Since forming, the threesome of bassist/vocalist Adam Hughes, guitarist/vocalist Dave Thomas, and drummer Tom Williams have persistently lured attention and a fine reputation with a stage show seeing Gravves play with bands such as Slaves, Nothing But Thieves, DZ Deathrays, God Damn, Heck, and Misty Miller, as well as impress with festival appearances at the likes of Focus Wales, Tramlines, and Threshold Festival. Radio has also eagerly embraced the band and its striking sound, a success easy to see expanding as Rattle takes the band towards a new broad tide of ears and fans.

gravves-cover-artwork_RingMasterReviewRecorded with Michael Whalley (Mums, Kong, Bipolar Sunshine), Rattle simply explodes on the senses as opener My Pet Rihanna unleashes its sonic tirade. Within the clamour though, a virulent groove is forming, escaping and driving the song from thereon in as vocals clash and collude in noisy emotion while guitars and bass flare up and seductively groan respectively alongside each other. There is an inner calm in the turbulence too, a magnetic lure which breeds monotone vocals alongside the established outcry in a reflection of the dark touch of bass. There is no escaping the air of the previously mention Brighton band and at times there is a touch of fellow Brit up ‘n’ comers like The Droppers Neck and The St Pierre Snake Invasion too, but the track swiftly breeds its own identity.

Heartbeats is just as impressive as it reveals another aspect to the Gravves character. It has a controlled hand on its tempest of noise; still offering a fuzzy infestation of ears but with a dark composed gait echoed in the vocals and rhythms. Thomas’ guitar certainly sears air and flesh, its scorching touch infused with sharp hooks and abrasive grooves which trap the passions with their intrusive infection. There is a slight scent of The Birthday Party to the song and of Mclusky too in some ways while Future of the Left also comes to mind but again as its predecessor what emerges is all Gravves.

From its opening rhythmic enticement aligned to melodic acidity which has a bit of early U2 to it, Tribes storms the barricades next; subsequently sonically and vocally raging around that persistently infectious first hook and another great blend of vocal persuasion. It is a virulent blaze as catchy and imposing as anything around right now, manna for hungry senses and appetites as too the following Hollow Bones.

The closing track also has a more stable energy and storm to its heart, its body prowling almost stalking the listener as melodic vocals and keys entwine with harsher textures. Though it hints at fiercer eruptions, the song retains its control to fine effect, providing a thrilling end to a stunning release.

Rattle is an introduction to stir things up and Gravves one of those propositions which quite simply re-ignites a lust for music.

Rattle is out now across most stores through Loner Noise Records.

http://facebook.com/gravvesgravvesgravves    https://twitter.com/gravvesgravves

Pete RingMaster 21/02/2017

Copyright RingMaster: MyFreeCopyright

Andy J Gallagher – Boy Racer / I Don’t Wanna Be Like You

andy-j-gallagher-pic-5_RingMasterReview

If Andy J Gallagher, once of punky avant-Britpop band The Shopkeeper Appeared, sparked real anticipation for his new album with previous double A-sided single Because We Are/ Sheena’s Big Night Out, he has brought real lust to the wait for Ego with its successor. Again offering two tracks which leap from the speakers with relish, Gallagher’s new proposal is as fresh as it is nostalgic with punk and new wave instincts colluding with indie nurtured rock ‘n’ roll daring.

Though it has been seven years since releasing his well-received debut album Helicopter, Dolphin, Submarine, Gallagher has stayed busy playing live and creating in the studio. The past months have seen him link up with like-minded talented musicians for the upcoming Ego and also ex-The Damned member Roman Jugg who produced, as its predecessor, the album. As mentioned, the last single alone awoke an eagerness for the forthcoming full-length which the twin attack of Boy Racer and I Don’t Wanna Be Like You only concentrates.

andy-j-gallagher-artwork-boy-racer_RingMasterReviewBoy Racer traps ears with its opening hook, a delicious lure soon joined by punchy beats and a groaning bassline. Opening up its vocal and melodic enterprise, the song teases and flirts like a mix of Television Personalities, BabyShambles, and Ste McCabe; continuing to surprise and entice with whiffs of seventies punk pop and rock ‘n’ roll for extra spice of Buzzcocks meets Showwaddywaddy like mischief.

The track is pure infection, minimalistic in body and sharp in touch and swiftly matched by I Don’t Wanna Be Like You. With a rawer breath and more forceful attitude, the song similarly springs inescapable hooks amidst rapacious riffs and rhythms. Like the ringleader to the devilry, Gallagher further stirs attention vocally in the midst of the forcibly magnetic and enjoyably dirty romp with its uncompromising persuasion. Again it is a fusion of eras and styles honed into something unafraid to bare its inspirations but present a unique temptation; both tracks sharing that success.

Fair to say Ego cannot come soon enough with the promise of some more great adventures to relish. Andy Gallagher has not really been away but certainly he is back in the public ear thanks to two mighty singles providing a quartet of irresistible treats, the latest two set to draw bigger spotlights for creator and album all on their own.

Boy Racer / I Don’t Wanna Be Like You will be released March 17th.

http://www.andyjgallagher.com/    https://twitter.com/andyjgallagher

Pete RingMaster 21/02/2017

Copyright RingMaster: MyFreeCopyright

Lauren Hoffman and The Secret Storm – Family Ghost

lauren-hoffman_RingMasterReview

Often there is nothing more seductive in music than emotional and creative melancholy, a thought wonderfully backed up by Family Ghost, the debut album from Lauren Hoffman & the Secret Storm. Coming from the latest project of songwriter/vocalist/musician Hoffman, no stranger to acclaim through her solo releases, Family Ghost is an imagination stoking dark theatre of word, emotion, and beauty, or as potently suggested by its press release, “A whirl of cabaret, broken ballads, and indie rock, it is a collection of heart-bending narratives that double as emotional exorcism.”

Hoffman’s songwriting was already alive but was further nurtured by Jeff Buckley after she met him backstage while waiting for her father. He became her mentor up until his death in 1997, just one month before she released her debut solo album. Released by Virgin Records, Megiddo was critically acclaimed and subsequently followed by just as evocative and striking encounters. Hoffman assembled the Secret Storm a few years ago with its intimately and personally open Family Ghost built on songs written over a decade ago as well as newer explorations by their creator.

The release opens with Don’t Look Back, a tantalising serenade with wistful melodies and a brush of rhythmic coaxing around the enticing tones of Hoffman. The shadowy groans of cello from Cathy Monnes (of the indie-pop Sally Rose Band) are as potent and persuasive as the imagination of keyboardist Ethan Lipscomb, both bewitching textures in a swiftly riveting encounter. Its thicker crescendos of sound and evocation just reinforce the persuasive majesty of the song while all the time Hoffman’s vocals sublimely capture ears and thoughts.

family-ghost-artwork_RingMasterReviewFrom its gothic, funereal spiced enterprise, the band unveil a lighter gait and atmosphere with second offering Feel It All, though again the darker hues of cello and brooding tones of Jeff Diehm’s bass provide rich drama against the livelier air cast by guitarist Tony Lechmanski (Bella Morte) and Kevin Ardrey’s boisterous beats. Though less pronounced the vaudevillian touch of its predecessor colours the track to captivate before Let The Waves Crash On Me hugs the senses with its country rock/folk lit embrace. Its reflective heart and rich weave is a kiss on the ear, Hoffman a beacon at its core.

Sick With Love radiates in melancholic intimacy and vocal openness next while In The Sun bewitches as it grows in gentle but open intensity and imagination with each passing second. Both tracks easily excite but find themselves outshone by the following I Just Broke Up With A Guy Who Looks Kinda Like You. Carrying a Young Marble Like Giants like minimalistic air and seduction as bass and guitar entangle their descriptive prowess, the irresistible song blossoms into a tenaciously catchy slice of pop ‘n’ roll with spicy melodies and swinging rhythms. Even its magnificence though has to play second fiddle to the album’s title track which seduces straight after. There is drama in every riff, theatre in each ear flirting hook, while rhythms and vocals bring their own creative imagination to the compelling tapestry. Like a siren, the song lures the listener into its busy evocation of spirit and emotion.

Through the noir lit stroll of Fast Lane there is no let-up in the album’s grip on body and appetite. The song is as funky as it is jazzy, as folky as it is poppy; its dark rock ‘n’ roll nurtured croon simply haunting infectiousness. It is majestic in an understated but bold way, a success matched by the similarly catchy saunter of Broken. A thin but rich melody initially courts the magnetic presence and tones of Hoffman as the track offers another slim yet thickly provocative adventure and insight to get seriously caught up in.

The exotic bordering sinister hug of The Dragon comes next, the track a shadowy seductress in air, intent, and voice increasingly infesting and seducing body and psyche from its first provocative breath. There is also volatility in its nature which only adds to its might on the way to taking best track honours.

Family Ghost is concluded by the calm yet emotionally inflamed Til It Lasts, a fine end to a release which is Lauren Hoffman at her most creatively adventurous and open, backed by a band with as much suggestiveness in their sounds as in the singer’s heart bred words. It is darkly magical and sure to be on the favourites lists of a great many.

Family Ghost is out now on iTunes and other stores.

http://www.thesecretstorm.com/   https://www.facebook.com/laurenhoffmanmusic/   https://twitter.com/ShhSecretStorm

Pete RingMaster 07/02/2017

Copyright RingMaster: MyFreeCopyright

The Rogue Network – Binary

binary-ep-cover_RingMasterReview

If like us you were taken by their debut EP of 2015 and the two track single last year which it spawned, you will be pleased to know that The Rogue Network has taken things on their part and our attraction to another level with Binary. The four-track EP is another slice of the band’s blues fuelled rock ‘n’ roll yet revealing a broader canvas of sound as catchy as it is adventurous.

The band, taking inspirations from seventies nurtured blues/soul, has increasingly grown into a compelling proposition since emerging in 2015. Led by vocalist/guitarist Gerallt Williams, The Rogue Network re-energised an already growing interest and support for the band’s sound and live presence with the Milk and Honey/Lowland City single in 2016, a tantalising melody rich affair now eclipsed by the Binary EP.

From the first eager throes of opener Operator, band and release has ears and attention locked in. A tasty groove makes first contact, grumbling pulsating electronics and bassline in close attention as sonic enterprise brews around them. With a controlled easy going gait, the song soon eagerly strolls through ears, harmonies and fiery grooves in turn wrapping the potent tones of Williams. There is feistiness to the track which infests every aspect, giving it a raw tempestuous texture which never erupts but adds weight to the infectious funk clad encounter.

It is a fine, seriously catchy start quickly backed up by the melodically charmed Venodotia. There is a Paul McCartney-esque feel to the song, its pop prowess Wings hinting as picturesque lyrics and suggestive melodies embrace and inspire the imagination while Hammond spiced keys add extra colour. It is easy to get lost in its lure, its infectious chorus and a refreshing canter especially though it is soon overshadowed by the EP’s best track.

Ruby is pure enslavement, a slice of pop ‘n’ roll which chains appetite and lust as soon as its opening drama reveals the salaciously seductive bait of piano and the sinister charm of atmospheric melody. Demanding to be a single, the track dances like a mischievous temptress with body and spirit, its spicy blues flirtation alone irresistible around a chorus which has vocal chords dancing without inhibition.

The EP is concluded by Pam Fi, a Welsh sung proposal with rumbling bass and crisp beats clad in fiery melodies as wiry grooves infest the imagination. It is, as now expected, an inescapably catchy tempting bringing the release to a fine conclusion, quickly defusing the niggle of not knowing what its lyrical heart is sharing.

The Rogue Network have really hit their stride in songwriting and sound, Binary relishing another step in craft and boldness which if it continues suggests even bigger exciting things ahead.

The Binary EP is out now across most online stores.

https://twitter.com/THEROGUENETWORK   https://www.facebook.com/theroguenetwork/

Pete RingMaster 18/01/2017

Copyright RingMaster: MyFreeCopyright

Weaves and carousels with Demi The Daredevil

demi-the-daredevil_RingMasterReview

It is fair to say that bands which bring a diversity of imagination and sound together stand out from the thick music crowd more than most and that is exactly what is happening with Demi The Daredevil. Since forming in 2006, the Texan outfit has explored their art rock natured sound without allowing it boundaries, persistently luring attention from fans and media alike to now knock on global awareness. We recently had the chance to do our own exploration of the band with one of its founders Jeff Azar to look at the beginnings of Demi The Daredevil, that journey through sound and imagination, their latest release and much more…

Hello, many thanks for taking time out to talk with us.

Can you first introduce the band and give us some background to the bands beginnings?

My name is Jeff Azar from an Art Rock/Dark Theater band called Demi the Daredevil. It all started in our hometown El Paso; El Chuco as some like to say. Jovan (RIP) and Marc started playing guitar together, and I was introduced to them by a mutual friend. I started off on the drums in this band.

Were you involved in other bands before Demi the Daredevil? If so what influence did those experiences have on what you are doing now?

Marc is in a few other bands. I jammed with some people sometimes. I guess they helped me realize what direction I did NOT want to go in.

What inspired the band name?

Demi is short for demigod, which is a half man half god. Kinda like a Hercules type.

Not sure about Daredevil. Marc and Jovan chose Demi the Daredevil over The Rootbeer KamiKazis.

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

No, at least it was more intuitive rather than a logical idea behind what we were doing. When we first started, Jovan was inspiring from random things like film scores or TV show theme songs or video game music and we punk rocked those out. We didn’t have too much of an audience in mind, we just wanted to make loud fast melodic music.

When my brother came into the mix later down the road, I thought we’d have two ideas: classical music merged with the pop world and the world of movie acting/very obvious themed songs. Currently, the main goal is to have 1) good chord progressions 2) good melodies 3) and killer grooves. Besides that, there is no one idea musically, and as far as the lyrics go, I’m speaking to those who struggle with mental health.

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

That’s a good question. At first it was the pure fun of playing and analyzing music, with no thought of an audience. Then the drive became to be a critical success. Now, the drive seems to be connecting with kindreds, with like minds. Wanting a sense of community is the drive.

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

This band has had a lot of style changes. There have been phases, which might have made it hard to pinpoint an audience. But it was a necessary exploration…. Anyway, at first it was balls out punk rock or power pop. Then during a Beatles phase it became more reserved and softer. When my brother Thomas came into the mix, it became very Broadwayesque, because he’s a classically trained pianist and likes Broadway styled melodies.  Now, there don’t seem to be rules. As long as the songs are accessible, emotional, and will stand the test of time at least for a little while, we can inspire from soft rock, power pop, classical, funk, dark cabaret, etc…

It has been more of an organic movement of sound rather than you deliberately trying new things?

It’s always been an organic movement of sound. At every point in the history of this band we’ve just dished out what we were taking in at the time. For me it’s intuitive writing in that I take in a bunch of impressions, and then somehow something is synthesized from all those impressions.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

Yes. You’re right about there being such a wide range of influencers. I’ve obsessed over bands during each stage…And can’t list them all. But, even though I’m ashamed to keep bringing up this contemporary band that only in the last year has been the biggest personal influence, Twenty One Pilots has had a major impact on my personal approach. I had similar subject matter to Tyler lyrically; he just said it better with zero pretence. He got me to get more sober, gave me faith in making songs that don’t have to be master crafted mega hits, just as long as they are good and accessible. They made me go the distance with grooves, and incorporate all these intricate rudiments I learned in drum line. And they created online community of a certain type of fan with a very particular identity which I’d like to reach too. The live show energy; I could go on. Please stop me.

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

For me, I need to start with a timeless and emotional chord progression…Or at least a variation of one.  That is most important to me. I try out syncopated rhythms with the core instruments. Melody then is experimented with. Previously written poetry is put more into lyric and song form. Recording programs help with happy accidents. There is a long phase of punching the song up after the main idea is there…So many bases to cover.

Where do the biggest inspirations to your lyrical side come from?

Lyric inspiration starts from what I think is a big realization or feeling.

I then take months to get a more bird’s eye view on it and to say it better than when I tried to describe it initially.

Can you give us some background to your latest release?

A lot of the lyrics for it were written in strange places, like an attic on the UT campus during my last summer of school there, a couple psych hospitals(a lot of time to reflect there), and in a tee pee (which I needed to live in to save money for marketing). The band was in flux, and our producer lived in New York. So it took a long time to coordinate with our producer long distance, which left me a lot of time to treat the songs like Frankenstein until they were the best they could be.

Give us some insight to the themes and premise behind it and its songs.dtd-art_RingMasterReview

The EP is called Secret Schizoid. The schizoid, defined by a psychologist Rollo May, is someone unable to feel, or to have close connection with others. They are out of touch with themselves. So these tracks are tracking that recovering the self process and piecing it back together.

Are you a band which goes into the studio with songs pretty much in their final state or prefer to leave plenty of room for development as you record?

Definitely a band that goes into the studio with songs more in their finished state. Unless a group of musicians are dedicating enough time with each other to make magic happen going into the studio without set ideas seems like a nightmare. Plus we really just need to record live drums in the studio. The rest can be tracked at home.

 Tell us about the live side to the band?

We’re starting to prep for the live shows and trying to make them theatrical, in the sense that we we’re creating little inner dialogue scenes with voices on the back tracks, or I should say monologue scenes because they are like schizophrenic voices, in between songs…And making it engaging with the audience. We want people to feel like they are part of the inner turmoil.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it? Are there still the opportunities to make a mark?

Yes, there are opportunities to break through; the key is knowing what kind of person your fan is and send them personal messages. Build relationships. Also learning how to using social media to reach them. Facebook offers a really useful audience insights tool to learn more about your fans, and a power tool editor to advertise correctly.  In terms of playing live shows to regional fans when you don’t have money or resources to book nation or worldwide tours, promoting your shows to potential fans in whatever area will make it more worth your while. No industry ppl who can take you to the next level will mess with you without fans, and you can’t leverage anyone in the industry without fans.

You touched on social media there, how has it impacted impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success or is it more that bands struggling with it are lacking the knowledge and desire to keep it working to their advantage?

At first, the social media made us feel insecure because we just got crickets. After understanding how to use it (to spread your music to people who are care about that kind of music), it’s a free marketing tool. You have to learn how to use it and adapt. If you want to get signed to a company, you need to prove you have engagement from a Fan-base because that is in our control now. If you don’t care about getting signed you still need to use social media to have a Fan-base. You can play a show to ten people, two whom really likes you, or you can reach 8,000 people by $20 to market a live performance online for example.

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

Thank you for asking good questions! Yes, admit insanity, embrace your humanity.

If you are plagued with self-doubt, are conflict ridden, and someone who asks existential questions listen to our Secret Schizoid EP 🙂

http://www.demithedaredevil.com/    https://www.facebook.com/demithedaredevil/   https://twitter.com/demidaredevil

The RingMaster Review 13/01/2017

Copyright RingMaster: MyFreeCopyright