First impressions are not always the most accurate barometer to people and indeed bands but they can give a strong intimation when you are on to a good thing; a suggestion the debut EP from UK metallers Godstone strongly makes. Offering five tracks fuelled by a sound which is not maybe overly unique, the band’s music lying somewhere amongst the likes of Alter Bridge, Shinedown, and Stone Sour, Monument Of One hits the spot with individual enterprise and a rousing breath.
From the south west of England, Godstone linked up with John Cornfield to record their first EP and from its first moments, Monument Of One makes for one magnetic proposition with its tapestries of ear entwining grooves, imagination stoking melodies, and spirit rousing muscle.
Over the Line starts things off, the song immediately setting the scene for the release with its rapacious air, imposing touch, and create weave; a delicious groove bursting with zeal from the initial coaxing upon a swinging gait. Guitarists John Kenward and Alex Goodrich quickly have attention keen as the punchy beats of Matt Davy hungrily collude with the dark grumble of Matthew Pascoe’s bass. Once the strong tones of vocalist James McDonald rise to add further lures, nicely backed by the melodic throat of Kenward, the song is in control of ears and body whilst providing a familiar yet certainly fresh slice of metal incitement.
The following Tear It All Apart offers its own striking invitation, again a guitar making the creative beckoning before the band unites in an infectious rumble as imposing as it is magnetic. With wiry grooves and a compelling conspiracy of hooks and twists, the song soon has ears firmly locked in feeding on its cosmopolitan melodies and aggressive dynamics. As suggested earlier, there is something familiar about this and other songs yet it has a character and style to its roar which sets the band apart from most.
A gentle almost melancholic caress brings next up The Way You Are into view, McDonald soon joining the inference of guitar and sombre twang of bass. The track’s eruption into a fiery trespass is fluid and resourceful though the song still retains a leash on its aggressiveness which only enhances its temptation. Potent first time around and even more compelling by the listen, much as the EP itself, the song adds another firm hand on ears and pleasure before Breathe crafts another rich moment within the release with its grunge/groove metal natured roar. Predacious yet seductive as its body and sound reveals a mercurial nature the song makes a strong play for best track.
Swiftly showing its candidacy too is final song Full Circle, it also a composed yet raucous holler of metal and heavy rock woven with grooved enterprise and melodic dexterity. It provides a strong and indeed fine end to a release announcing Godstone a band attention is bound to be good friends with. Uniqueness may still be in the brewing stage in the band’s sound but the potential is there and with encounters like Monument Of One the wait should be rather enjoyable.
Offering four tracks which either hit the ground running with ears and imagination or simply blossom into just as potent propositions over subsequent listens, it is fair to say that the Realize EP is one attention commanding debut. The first EP from London trio Paradigm, it is a striking introduction to a UK rock band already stirring up strong words of acclaim.
With its initial seeds sown when vocalist/guitarist Alex Blake met drummer Angel D at school where they exchanged a Nirvana album and instantly became best friends, Paradigm truly stepped forward with a line-up completed by bassist/pianist Giulio Granchelli. Honing their sound whilst earning swift and potent reputation for their live presence, the band eventually hit the studio where producers John Cornfield (Muse, Oasis, Robert Plant, New Model Army, Supergrass) and Paul Corkett (The Cure, Bjork, Placebo, Nick Cave), after recording the EP with the band, announced that “This is one of the most fresh and exciting modern rock bands we‘ve produced!”
Realize opens with the instantly impressing Desire, a track which has the listener’s physical and emotional involvement on broad with little time or effort. Riffs and rhythms create a united coaxing further enhanced by spicy grooves and the quickly compelling and throaty bassline cast by Granchelli. As melodies add sultry temptation, the dark tones of Blake steal their big portion of attention, his presence already being described as Nick Cave-esque, and understandably so listening to the opener. It is an enthralling persuasion catching further alight with its rousing chorus and volatile emotive energy. Every twist brings a new spice to enjoy, keys pulsating with an enterprise as resourceful and magnetic as the drama fuelled hooks and collusion of vocals cast across the band.
The stunning start is closely matched by Your Darker Side. It is a less intensive affair but just as rich in melodic tempting and creative imagination. Many bands have been offered up as an attempt to describe Paradigm’s individual sound; Muse, 30 Seconds to Mars, U2 among them but we suspect everyone will find out their own unique comparisons, as here the song reminds these ears of The Fatima Mansions and Teardrop Explodes as much as anyone else, a Julian Cope air also seemingly lacing Blake’s again impressing tones and delivery. The thrilling and highly infectious song itself proceeds to build crescendos of energy and intensity, each erupting seamlessly into anthemic roars and gentler hugs of expressive sound.
To reveal another shade to their songwriting and sound, the sombre yet fiery Strangers has a Walker Brothers air to it at times, going on to unveil a grungier presence leading up to and for its tempestuous chorus. Pete Wylie also comes to mind across the song, but as suggested each will hear their own references such the thickness and depth of the Paradigm sound and invention. Fusing various strains of rock, past and present, the song fascinates as much as its catchy qualities seduce, and though it does not leap on the passion as swiftly as its predecessors, Strangers has them just as greedily hooked in time
The same with closing track The Miracle. Its theatre of sound and emotion sees the poetic hues of a piano aligning with almost orchestral like drama, an imaginative blend needing longer to explore and get into but emerging as another easy to embrace proposal if admittedly not quite to the same strength as the previous three on personal tastes. Nevertheless the band only impresses individually and as a single thick flirtation of the senses.
Paradigm have announced their presence in big, bold, and at times breath-taking style with Realize so expect to hear much more from and of this potential bulging band.
The Realize EP is released April 8th through Sumind Records across all stores.
If you thought all forms of op music was insipid and oppressively bland you have not come across the new album Rooftops from UK indie band The Sea. Consisting of brothers Alex and Peter D’Chisholme the band released a collection of songs which were infectiously imaginatively inventive and distinctly varied pulling in essences of pop, rock, show tunes, soul, and the blues to name a few of the flavours bursting from within Rooftops. As soon as we were offered we jumped at the chance to speak with the band to find out more, asking Peter about them, the album and life in The Sea.
Hello and welcome to The Ringmaster Review. Thank you for talking with us.
Firstly for those still not aware of you, please introduce yourselves and describe the band.
Hello there, we are two brothers (Alex and Peter), guitar and drums – making rough pop music. Lots of energy and lots of love.
What inspired you to make music and your sound in particular?
Couldn’t tell you what actually inspired us to start, it’s always been there with us and we kinda fell into it. The sound just came naturally and due to the fact there are only two of us. Whatever we’d lose from there being only two of us we more than match with the energy of our live show.
At what point did you think your music had something that would appeal to others as much as you enjoyed creating it?
Haha, when other people told us?! It’s never really been a major issue for us; we’ve always made the music we wanted to regardless of what others say.
Did you grow up with music, always music in the family household?
Yeah absolutely, our Dad is a guitarist and was in several covers bands when we were kids. There was always a guitar in the house and The Beatles were always on the stereo.
Was the band name pretty inevitable with your other love haha?
Er, yes I suppose it was really. We were sat on the beach one day talking about what we should call ourselves, when Alex said, “How about ‘The Sea’?” and that was that.
As surf fanatics too how hard was it to blend the two and to initially give your music the dedication it needed when the waves were calling?
Very hard indeed, and us moving to London pretty much says it all really doesn’t it? There are no waves here, man! So the band took priority. However we do watch all the ASP contests when we’re on the road – for us it’s our football.
You began in 2007 out of your parents garage your bio said, was that the point you actually started making music or the point you decided you were a band?
The point that The Sea came about… We were in another band before, that fell apart and we found ourselves just jamming at Mum and Dad’s place and we were like “yeah this works”.
Your acclaimed debut single Love Love Love came out as 2009 started on your own Lusty Records, as have your releases since. Was doing it DIY always your preference or the only way at the time to get something released so no real option?
Well, we were advised if you want to keep full control of your output you should set up your own label so we did. Since then we’ve licensed the releases to various other labels all over the world so I don’t think we were worried about not getting signed to other labels.
Could you see Lusty Records widening to help other artists at some point?
Yeah don’t see why not. Not yet though.
2008 and 09 seems like they were very hectic and full years in many ways for you, though most years could be classed the same it seems for you haha. Was it as much of a whirlwind at the time as it seems from the outside?
It’s more of a whirlwind now I’d say. Fuck man, it’s all a blur to be honest (not in a druggy way, just constantly touring or recording). It’s been a great few years that’s for sure.
You were invited to play the MJ Festival in the US during this period, please tell us how that came about.
Really don’t know. We’ve played twice actually. They just contacted us and asked us. This has happened a lot to us, most unsigned bands don’t tend to believe you, but most of the good stuff that has happened to us is not through us pushing for it. Getting signed in Europe, supporting big bands – all of it is because others have contacted us.
Your debut album Get It Back was released in April 2009 also again to strong and eager acclaim. In a time already going very well what impact or extra difference did it make to the already impressive responses you were getting critically and at your constant shows and touring?
I think it was a case of the gig attendance went up massively, almost overnight. People just started turning up! Haha!
It seems like the album came out in the middle of touring was that actually what happened or there was a lull around it?
No, it happened mid-way through touring. It was very hectic. We didn’t really have any management in place in those days, so we were running everything. It’s a lot more organised for this album. Kind of had to be because we’re touring even more this time!
Moving on to your excellent new album Rooftops. How has it and the sound you have now, changed and evolved from your debut?
Well, if we have changed it’s more of an unconscious decision in the sense that we just gave each song what we felt it demanded. If we heard horns or strings in our heads we’d put it down. I guess this record is more pop than “Get It Back”. That’s not to say the next album will be like “Rooftops” though.
Did Rooftops emerge exactly as you envisaged going into it or did it bring an extra breath and depth that even surprised you a little?
Good question! I guess it did surprise us a little bit. The songs seemed to take on a life of their own. It was like they were speaking to us saying “give me strings, give me horns”.
Listening to the album there are so many flavours that suggests many influences without sounding exactly like any either. As songwriters how aware or how much thought if any goes into wondering where some chords or riffs come from and how much they may sound like something else or is that never an issue?
I don’t think that’s ever really been an issue to be honest, if it sounds good then we’ll do it and just hope that someone tells us before we release it if we’ve ripped off someone else! Our merch guy is like a musical encyclopaedia he knows every riff ever written, when in doubt ask Ben. That’s our motto!
Rooftops is very varied too, from the big glorious sounds of New York, the wonderful soulful ballad Cry, to the garage punk energy of Panic On The Streets Of Dalston. How have you created this diversity but made it fit seamlessly within the overall charm of Rooftops without it being disjointed?
That’s a big compliment, thank you! We spent a lot of time in the studio discussing how the songs were put together – months in fact. Our producers Julian Diggle and John Cornfield wanted to get the story of the songs to flow into each other. In many ways it’s a concept album of falling in love in London and the whole album maps out that summer when it all happened.
Could you give some background to Panic On The Streets Of Dalston our favourite song on the album?
I (Peter) was at the time living at my friend’s house in Shoreditch and my friend turned up early from work saying, “Have you heard about the shooting in Dalston?” At that time The Smiths song ‘Panic’ was on the TV, so I just went into my room and out it came! I also wrote ‘Where’s The Love’ on the same day!
Also tell us about the distinct and hypnotic closing track to the album is Emily’s Waltz?
Well that’s THE song for us on this record. It’s the realisation of falling in love and letting everything else in your life just disappear. I still ‘well up’ when I sing it live sometimes. It’s about hope and the risk of starting a new life.
As you mentioned you got producer John Cornfield (XTC, Muse, Supergrass, Oasis, Razorlight) in to work with you on Rooftops. Why did you feel he was the right man to help realise your new ideas and sounds?
Well he’s a fellow Cornishman, so we knew each other and love all the albums he’s ever done. He’s got a real ability to get the best out of you.
You were writing the album in 2010 and you recorded it then too?
Yeah the recording, mixing and mastering went through 2010 and 2011. We were lucky to be given such a long time to make it.
Rooftops has taken quite a while to be released then and obviously that is also down to the terrible accident Alex had whilst surfing in 2011. That must have put music well away from the thoughts at the time?
Yeah, the accident put the release back by pretty much a whole year. But to be honest it was the last thought in our minds at the time. We were told by various industry people that this could really damage our career (such a long time between albums). But any suggestions to continue without Alex were met with a very swift ‘FUCK OFF’. There are more important things than what some wanker in the music industry thinks.
Can we ask the extent of Alex’s injuries and the prognosis for him at the time?
OK, as I (Peter) am doing this interview I can only tell you the facts. The surf was pretty average, certainly not big; a freak accident ‘duck diving’ (look it up) pushed Alex’s neck into the shallow sand, rendered him unconscious underwater, breaking his neck and slipping a vertebra out of place. It looked for a while that he’d have to have surgery and initially at least we were not sure if he’d ever walk ever again let alone play the drums. He’d lost the use of his left arm totally.
Could anyone other than a drummer have made the remarkable return to strength and the drum kit that he did haha?
Haha, probably not! Even the doctors were astounded by his recovery. As the swelling reduced the vertebrae slipped back into place, his left arm started working and he slowly got back to normal.
Is he back to full strength now, and has surfing take a back seat now?
Yes, thank God! You’d never know now, everyone that saw The Sea before the accident that sees us now will tell you he’s playing better than ever. It’s truly incredible. He still goes just as hard when he surfs as he did before too!
Before and after the accident The Sea were touring extensively and I believe the same is ahead for 2012?
That’s right. This year is the biggest ever!
I believe you played 250 gigs in just two years, was this a target you aimed for playing as many shows as possible or just how it turned out from the demand for your music?
Demand really, but can’t say we were complaining. I think we’re doing more this year though.
I have to ask how do you get the large and majestic sound to your songs like on the single New York to translate live though just a duo?
Well mostly it’s the energy we put into the performance. The horns are on laptop (I don’t think there is any shame in it, everyone does it these days). Come and see us and then you’ll know!
After the album what are the next plans for The Sea?
Touring in UK, Europe, USA and Canada. Release another single in the summer. Supporting some bigger acts in the summer too. Recording album no. 3 in the winter, and repeat the whole thing again next year.
Thank you again so much for talking with us.
Would you like to leave any final words or thoughts?
Our pleasure. Final thoughts – no matter what is put in your way don’t stop believing in your dreams, it can happen. Take it from someone that knows.
And lastly with New York following previous single Don’t You Want Meby being featured on UK TV show Hollyoaks; do you have a fan on their production crew haha?
Haha! Honestly, I don’t even have a TV that works so it’s rare that we even see it. But it’s very flattering. The money is of some comfort too.
Having been bowled over by previous single New York the anticipation for the new album Rooftops from UK band The Sea was eager and impatient, and the band has fulfilled and exceeded all hopes and expectations placed upon the release. Rooftops is a triumph of big melodies, larger than life songs, and music that lifts and lights any day or heart. It is a refreshing new breath and a familiar friend all at once, its sounds infectious and instantaneous whilst being imaginatively inventive and distinctly varied. Pop, rock, show tunes, soul, blues, the album has essences and veins from all and more fused into songs that easily rouse the spirit.
Brothers Alex (vocals, drums) and Peter D’Chisholme (vocals, guitar, piano) from emerging out of their parents garage in Newquay, Cornwall in 2007, have instilled themselves as one of the most thrilling bands in the UK. From the off the duo took no time in grabbing attention and acclaim from their shows through to their debut single Love Love Love and album Get It Back, both released on their own Lusty Records in 2009. Tours around and across the UK and Europe surrounded their recordings and took up the following year, 250 gigs in less than two years. Summer 2010 saw the band enter the Sawmills Studios in Cornwall to record Rooftops with producer John Cornfield (XTC, Muse, Supergrass, Oasis, Razorlight) and bring their evolving lush, rich, multi-layered sounds to new songs. The following year saw The Sea tour Europe extensively as the USA and Canada but also witness a freak surfing accident in the summer to Alex which left him with a broken neck and serious doubts he would walk again let alone play the drums. Like their music though the band and its members do not lie down quietly and Alex returned within months to tour Europe again as well as undertaking shows in North America. The heart, strength and passion showed echoing that of the music which strides with a power and depth of feeling that is irrepressible and impossible to shy away from.
The single New York opens up the album and it could not have a finer entrance. The song is immense, a buoyant and boisterous track that towers over the ear with confident expansive energy, eager guitars and rhythms all brought within the glorious arms of dazzling horns and grand harmonies. Its anthemic grace and senses stirring heart opens one up for what follows with drooling anticipation, and the album makes sure satisfaction is guaranteed with a lively and eclectic flurry of ideas, music, and imagination.
Where’s The Love with its rolling hypnotic drums instantly pulls in attention to hear expressive vocals and matching emotive guitars weave and wind their warm and earnest passions around the soul. The song provokes emotions in a different but just as distinct way to the opener and as the next in line Silly Love Song and its mischievous twinkle in the eye shows, the band never rest or stand still making a release that is mesmeric, unpredictable and lovingly attentive. The third song on the release has a wonderful show tune type feel bringing large sure and bold melodies whilst the piano and harmonies all stroll with an air of the dramatic and more than a dose of wicked humour.
As the songs unveil their beauty and pulsating diverse charms it is impossible not to sink deeper within the luxurious waters of impressive songwriting, equally skilled craft, and consuming pop rock sounds. The likes of the pulsating slow burning Rooftops Of London with its blues inspired guitars and Doors like keys and melodies, Need Breath Dream with its heart boosting ELO keyboard pomp, and the excellent and beautiful acoustic soulful ballad Cry where Pete tugs more than gently on the emotions, three more perfect examples of the distinct and stunning treasures to feast upon.
Alongside from New York, the track Panic On The Streets Of Dalston fights for the honour of flaring up the senses most of all, its garage punk fuelled riffs and direct electrified rock aggression revealing yet another side to the band and their creative sound. To be honest it is impossible to pick a top song. The whole release is strong and impressive with the likes of another blues rock track in Shake Shake and the closing Young Knives like anthemic wonder that is Emily’s Waltz which leaves the listener with a final heart pumping and life warming lift, just as glorious and pleasurable as those previously mentioned.
Rooftops is simply outstanding and should be on the playlist and shopping list of all who enjoy big, vibrant, and deeply inspiring pop rock songs. The Sea is an incoming tide you will wish to be consumed by.
RingMaster 25/04/2012
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With their new album Rooftops due for release in May indie rock band The Sea give an advance taste with their new single New York, and what a full and vibrant teaser it is. Their first release since2009, the track is a mighty feast of big melodies and even bigger sounds that lift the emotions and send the senses reeling in a swell of warmth and energy from its upbeat heart.
The Sea consists of brothers Peter (vocals, guitar, piano) and Alex D’Chisholme (vocals, drums) and has only has one intention which is to inflame the heart with infectiously melodic tracks brought within a large and welcoming wealth of sound. New York epitomises their intent perfectly and lays great anticipation down for the forthcoming album.
The duo began in 2007 out of their garage in Newquay, their jamming sharing time with surfing. The following year saw them voted “best unsigned band in the UK” by XFM radio as well as grabbing a support slot for The Enemy at London’s Brixton Academy. 2009 saw firstly their debut single Love Love Love thrust them to stronger attention, the release selling out within two months of its January release and receiving impressive acclaim from the UK music media such as NME, Kerrang, The Fly and also becoming the single of the week in The Guardian. Released on their own Lusty Records label the pair followed it up with their further acclaimed debut album Get It Back, again off their own fiercely independent backs on Lusty in the UK and Pop Up Records in Europe. Subsequent singles Don’t You Want Me and By Myself only cemented and increased their stock as did the touring for the remainder of the year within England and Europe which included supporting Muse at their Teignmouth homecoming gigs in September and a gig at the CMJ in New York in October.
2010 saw the band work on follow up album Rooftops bringing in producer John Cornfield (Muse, Supergrass, Oasis, Razorlight) to help realise the bigger sound they were contemplating for the release. Alongside this The Sea played four separate European festival headline slots including the Musikschutzgebiet Festival in Germany and Kuahgartn Open Air Festival Switzerland and for the latter part of the year with the recordings into their final stages played 20 gigs in seven countries in 22 days all of which sold out and ending in their triumphant UK homecoming in London. Shows continued into 2011 across Europe and N. America until a freak surfing accident that summer left Alex with a broken neck and the distinct possibility he would never play or walk again. But he is a drummer after all and within months he was back behind his kit, at full steam and engaged in Autumn tours through Europe, New York and Montreal.
New York marks their welcomed recording return with an anthemic power alongside a fine melodic finesse and sound that sets The Sea up for another successful year. The song confidently strides in on eager yet compliant guitars and rhythms, the sound a warm invitation before expanding with irresistible glorious arms of dazzling horns and grand harmonies. The result is an insatiable rousing of the senses and emotions, a song one cannot fail to be swept up to joyful heights and in to breathlessness from. New York is immense; a towering explosive creature that one just knows is as mighty live.
If New York is the indication of what Rooftops is going to treat us too roll on May, in fact let us delete April and get right too it.
RingMaster 03/04/2012
The best and easiest way to get your music on iTunes, Amazon and lots more. Click below for details.
The following Tear It All Apart offers its own striking invitation, again a guitar making the creative beckoning before the band unites in an infectious rumble as imposing as it is magnetic. With wiry grooves and a compelling conspiracy of hooks and twists, the song soon has ears firmly locked in feeding on its cosmopolitan melodies and aggressive dynamics. As suggested earlier, there is something familiar about this and other songs yet it has a character and style to its roar which sets the band apart from most.
The stunning start is closely matched by Your Darker Side. It is a less intensive affair but just as rich in melodic tempting and creative imagination. Many bands have been offered up as an attempt to describe Paradigm’s individual sound; Muse, 30 Seconds to Mars, U2 among them but we suspect everyone will find out their own unique comparisons, as here the song reminds these ears of The Fatima Mansions and Teardrop Explodes as much as anyone else, a Julian Cope air also seemingly lacing Blake’s again impressing tones and delivery. The thrilling and highly infectious song itself proceeds to build crescendos of energy and intensity, each erupting seamlessly into anthemic roars and gentler hugs of expressive sound.
