Returning to the garden with Leaving Eden

Oct2

Two years on we have linked back up with Leaving Eden songwriter/multi-instrumentalist Eric Gynan to catch up with the band. Already renowned for their ear grabbing, imagination stoking rock sound, the band is poised to release its new album this month. One highly anticipated release we join Eric to look into its body and character with more besides…

Hello and thanks for taking time out to talk with us.

Howdy Eric Gynan here from the band Leaving Eden, Boston Mass area USA. It’s great to talk with you again. I think it was a couple years ago when we chatted last.

To remind people can you first introduce the band and give us some background to how it all?

Myself and Eve are the co-founders of Leaving Eden We had some songs; I’ve always been recording so we wanted to play some of these live. I think one must make a choice as to what they want to do with their life. It takes sacrifice, let downs and one must have a thick skin. Let’s face it most artists are different than others, so not only is there issues with all the variables outside the band, but from within too. I think the current line-up is great where everyone sees the bigger picture.

What are the musical backgrounds to you all; previous bands, projects etc…

Yes myself and Eve were in a band before leaving Eden. The band was regionally successful, but it usually comes down to the members. I remember for instance the drummer wanted no part of having a female in the band. He just hated it. Well, I saw the bigger picture, and after the first 100 people came up to me and told me how great Eve was, I knew I had to really do something about it…Shortly after we formed Leaving Eden.

Tell us about the band name?

We thought that this planet being the entire Garden of Eden has become corrupt full of Deceit and Hate so we thought wouldn’t it be nice to go somewhere else that’s the name leaving Eden.

Did you have a particular aim for the band initially and also in what you wanted it and your sound to offer?

Originally we wanted two female singers that never seemed to work out. Eve was really 2nd to none when it came to a front person, so anyone else up there trying to almost compete was pretty much a ridiculous situation. Now we do have another female, but she plays keys and sings backup vocals so it’s different now. I can’t stress enough how important it is to have not only the right people for the right sound, but the right personalities for perseverance.

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

I think so. I think we are a little more reality oriented and understand more the barriers and pitfalls associated with the business. I think more so now we’re happy doing what we’re doing instead of being unhappy about not achieving our goals to the fullest.

How do you see the evolution of the band’s sound since starting out?

I think first and foremost you must always be listening to what’s out there what’s current what’s new and changing with the times. Also, one must try and be a trendsetter. It’s the new artists that forge the future, the ones out there in the gutters so to speak who are really at the pinnacle. As I said, for me I listen and get these songs kind of fully produced in my mind’s eye and I just go with the flow.

So it is a more organic movement of sound than deliberately wanting to try new things or an equally sided process?

Good question maybe both. We always want to try new things but also I think organically speaking the band naturally moves in a particular direction.

You said you eagerly listen to the sounds out there; are particular inspirations which have impacted not only on the band’s music but your personal approach and ideas to creating music?

I think playing I’m sharing the stage with many of the best bands in the world has definitely been a great influence on us. Leaving Eden has toured the USA, UK and Canada sharing the stage with hundreds of the biggest national bands in the world including; Lacuna Coil, In This Moment, Black Sabbath (Heaven & Hell), Ronnie James Dio, Rob Zombie, 5 Finger DeathPunch, Disturbed, Marilyn Manson, Alice Cooper, Lynyrd Skynyrd, ZZTop, Puddle of Mudd, Korn, Killswitch Engage, Buckcherry (Jefferson Starship, Big Brother and The Holding Company, Country Joe, 10 Years After, 40th Anniversary Woodstock) Shinedown, Dropkick Murphy’s, Alice in Chains, Papa Roach, Bret Michaels, Halestorm,Theory of a Deadman, Avenged Sevenfold, Seether, Hell Yeah, Trapt, Dope, Soil, Fuel, Queensryche, Saving Abel, Hinder, Damage Plan, 7Dust, Sebastian Bach, SoulFly, Days of the New, NonPoint, DrowningPool, The Misfits, The Butcher Babies, Collective Soul, MushroomHead, Mudvayne, Chevelle, Godsmack, Powerman 5000, 10Years, Taproot, Gin Blossoms, Michael Schenker (UFO, MSG & The Scorpions) Herman Rarebell (The Scorpions), Nicko McBrain (Iron Maiden), Kittie, One eyed doll, Uncle Kracker, Tremonti (Creed/Alterbridge) Lamb of god, Slayer, Stone Sour, Motorhead, Blackstone Cherry, HOOKERS & BLOW Featuring GUNS N’ ROSES, QUIET RIOT, W.A.S.P. Members, Steven Tyler, Ted Nugent, Lita Ford, LA Guns, Trixter, Warrant, Apocalyptic Review (featuring members of Godsmack) Adelitas Way, Scott Stapp (The voice of Creed), Gemini Syndrome, Pop Evil, Ratt, Anthrax, Testament, Napalm Death & many more..

How does the songwriting work within the band; is there a particular process?

Yes I think it’s best for me as the songwriter to make a connection with the universe and listen because there’s always songs out there trying to come in; it depends if they come while I’m sleeping and I have the ability to wake up from that and go record something or if it comes while just almost meditating and communicating again with the universe and just listening.

How about the sparks to the lyrical side of your songs?

It’s definitely drawn from reality; all the lyrics are based on what’s happening at the time. Good, bad or indifferent I’m constantly writing lyrics so it’s going back to those and using them for music that I may already have written or writing the music around those lyrics. The skies aren’t always blue, thus our song Skies of Grey. “It’s not too late to open your eyes and sail through skies of grey”. “We’ve been screwed overcharged underpaid and abused, we’ve been exploited avoided and falsely accused, we’ve been cut down let down fucked around, tied and bound but NOTHING could take the music away”. From our Tied and Bound album.

Tell us about the band’s latest release?

Our latest release would be our last album Out of the Ashes (Recorded/mixed By Johnny K. (Disturbed, Pop Evil, Staind, 3 Doors Down,) Mastered by Brad Blackwood (Sevendust, Dave Mathews, Adelitas way, Korn) and produced by myself reinterpreted by Leaving Eden.) We also released a single, Jailbreak and it is going to be on our new album to be released October 19th 2018 called Descending again through Dark Star Records/Sony Music worldwide.

Our new album to be released, Descending, I’m excited about this album because it was recorded at Leaving Eden Studios. We were able to take all the time we needed and really craft this album to exactly what we wanted it to be. I did a premix on it and sent it off to Bob St John for the Final Mix and Mastering. Bob is a Grammy award-winning engineer and has done bands like Duran Duran, Extreme, Collective Soul, Steven Tyler…Such a great guy to work with too.

Can you give us some insight to the themes and premise behind Descending and its songs.

The title Descending, is taken from a song off the album called Shallow Waters. Shallow Waters is very cool because it’s one of those songs where I woke up from a dream and the song was playing in my head; this happens a lot most of the time I can’t pull myself out but this time I was able to. It’s great when you can hear songs already produced in your dreams, takes a lot of work out of it. It definitely comes from somewhere else. We wanted to have different genres such as heavy, acoustic, different key changes and tempos, really trying to have such diversity. We even got some songs you can dance to the beat.

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

Yes because studio time is so expensive it’s really best to have it all complete so we have typically recorded the entire album in our studio first working out all the bugs and adding everything we want to add so that when it comes time in the studio we know exactly what we’re doing because there’s usually not as much time as you need, so you try to prepare for that. In the case of our Descending album soon-to-be-released we actually recorded this completely in our studio so we had the time to really craft what we believe is a great album.

Tell us about the live side to the band, presumably the favourite aspect of the band?

Yes when I have always said that Leaving Eden is best seen and heard live. There’s a lot of energy sharing that goes on with the crowd. We don’t look at it like hey man look at me I’m a rock star check me out I’m too cool man, rather quite the opposite. It’s like hey we’re all here together all night to have a good time so let’s party together and let’s have some fun together. We are all involved in this.

You obviously know how hard it is for any new band to make an impact regionally let alone nationally and further afield. How have you found it with Leaving Eden?

Really I think with the onslaught of the internet anywhere you are you can really make a mark. I get it that making a mark by playing the venues that’s in your own region could make a difference. The reality is that if you’re good, fresh, have really put some time into the band look and made a great recording then it doesn’t really matter where you are. You can get it out there with a good publicist, good radio guy, good record label and good distribution also good management. We’ve pretty much always taken care of all of this on our own and hiring certain people and companies. I think it all works together. The most important thing for us is we will play anywhere anyhow anyway, so long as we can because this is what we love to do

You mentioned the internet. How do you work and weave your social media sites to use them most effectively?

The internet is very important to any band because that’s where people are getting most of their information now from and you can do it for free and make an impact on different social media platforms for sure. At the end of the day it comes down to a song, is the song good; is it one somebody wants to listen to? Our song Out Of The Ashes says digging deeper underground faster than the speed of sound. What that means is I feel we’ve always been an underground type band, you know really building its base of friends organically so an underground band able to, with the click of a mouse be in China for instance so that is faster than the speed of sound. It’s definitely referencing the internet and for that you can’t even quantify how important it is when talking about streaming on Spotify, iTunes, Amazon. You know that’s the way people are listening to the music they’re not going out and spending money to pay for music when they can listen to it for free or maybe $10 a month. Now this doesn’t really pay the artist much but if your song caught on and you had millions of listeners every day well then you would be making a lot of money so it’s really the same, only different is the means. People will still buy CDs more at a gig than anywhere else.

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

Well, without our friends, we got nothing so we hope to make new friends here and hope they enjoy learning more about Leaving Eden. We definitely want to say Thanx Much and Peace!!

https://www.leavingeden.com/ https://www.facebook.com/bandleavingeden https://www.instagram.com/leavingedenofficial/ https://twitter.com/Leavingeden https://www.youtube.com/user/leavingedenband

Pete RingMaster 02/10/2018

Rosen – Self Titled

Jul25

With a sound bound to draw comparisons to the likes of Korn and Limp Bizkit but quickly revealing its own individual drama and character, UK outfit Rosen are poised to release their self-titled debut EP. Offering six slices of the London band’s fusion of hip-hop, punk, and nu metal, the encounter is an attention grabbing proposal sparking ears with its enterprise and the imagination with its politically triggered lyrics.

Emerging last year, the quintet takes inspiration from bands such as Hacktivist, Rage Against The Machine and the previously mentioned pair of artists. The release of the first single High Tech Low Life and successor Riot triggered acclaim and support from fans and media alike, nurturing anticipation for something larger which the EP boisterously rewards.

It opens up with Sticks & Stones, the song rising up through the theatre of piano intimation with Frhetoric jabbing vocals leading jousting riffs and teasing rhythms. The guitar of Matt Ress becomes more irritable as a chorus forms, the track swiftly settling back down to repeat its creative cycle. Cole Sław’s keys continue to lure and suggest as the punchy touch of Frisco beats impose; a mix of the familiar and boldly fresh courting the appetite like a mix of The Kennedy Soundtrack and Papa Roach tinted by an industrial/darkwave hue something akin to Pink Turns Blue.

High Tech Low Life follows and almost immediately flirts with wiry grooves and a controlled but salacious swing encouraged by the throbbing bass of Kam Ikaze. As with its predecessor, there is an inherent contagiousness to the song, one elevated in its chorus around equally captivating vocals but just as manipulative throughout as the song strolls through ears. From beginning to end, the track is superb, enticing body and vocal chords as well as thoughts in an instant before Pushing Raw simmers and bubbles into view. Rap and synth rock entangle as the track quickly got under the skin, a rich Tech N9ne spicing adding to its organic magnetism and adventurous enterprise.

It proved so hard to choose a favourite track within the EP, the first trio all firmly lingering in thoughts and pleasure as too next up Hallelujah. The likes of Clawfinger, Fuckshovel, and B Movie all came to mind as the song calmly and effortlessly infested ears and imagination. Again lyrics and their delivery left as potent an imprint as the sounds around them, a rich trait echoed in Reverie straight after. Probably the song did not stir the passions as boisterously as its companions yet its atmospheric tone and melodic web only enhanced and enriched the already impressing release.

Riot brings things to a close, its electro punk scented entrance soon a blend of antagonism and seduction, again Clawfinger reminded of as well as very early Ministry though as for all songs, it’s individually is overriding. More volatile by the chord and vocal dexterity, the track is a web of temptation which never really unleashes its animosity but certainly snarls as it arouses.

Very good things have been said about Rosen and the EP has all the evidence as to why. Simultaneously it attacks and scythes through injustices and society’s waywardness while inflaming the senses with its insistently compelling, at times enjoyably tempestuous sound. The beginnings of great things for them and us we suggest.

The Rosen EP is released July 27^th.

http://rosenofficial.com/ https://www.facebook.com/RosenOfficialUK/

Pete RingMaster 23/07/2018

Bullets And Octane – Waking Up Dead

May23

Though a name familiar to a great many, attention on the UK side of The Pond did not particularly have Bullets And Octane as a concentrated spot on its radar despite some ear grabbing, appetising inciting releases since the band emerged in 2003. That was until the LA based outfit played a venue ripping tour over here last year with our own fine middle finger raising rockers Hung Like Jack supporting. It has sparked fresh interest and in turn real anticipation for the US rockers’ new album Waking Up Dead which we seriously expect to be embracing rigorous attention upon release. It is a beast of an album, rock ‘n’ roll in its most rapacious and rousing form and without doubt Bullets And Octane in their finest moment.

From the release of their debut EP, One Night Stand Rock N Roll Band in 2003, the St. Louis originating quartet has been on a hungry ride towards acclaim and attention. Their Gilby Clark of Guns And Roses produced first album, The Revelry started the growing appetite for their emergence, each of their subsequent seven albums escalating the temptation, including breakthrough album In The Mouth Of The Young, alongside a live presence which has seen the sharing of stages at shows and festivals with the likes of Avenged Sevenfold, Korn, Stone Sour, Flyleaf, Deftones, Unwritten Law, Gunfire 76, Social Distortion, Eagles Of Death Metal and many more over the years. Now we would suggest they are facing their biggest year and time yet with the release of the Brent Clawson (Wednesday 13, Hell or Highwater, The Knives) produced, recorded, mixed and mastered Waking Up Dead, a slab of devilry declaring that hard rock spun rock ‘n’ roll has never been healthier or more fun.

As soon as Bad Mother Fucker launches its attitude loaded stomp off of a warning siren, it has to said, ears and appetite were swiftly gripped; a hold tightening as the track almost stalks ears with riffs and grooves whilst stirring up the spirit with its contagious roar. Vocalist Gene Louis hollers at its heart with energy and contempt, the band’s united calls supporting his incitement as the swinging beats of Jonny Udell punch and Zachary Kibbee’s bass magnetically grumbles.

A raucously irresistible start to the album aflame with the wiry tendrils of Felipe Rodrigo’s guitar, the track sets the anthemic template for things to come and is quickly embraced by the album’s following title track. Guitar and mass incitement instantly draws ears into the almost as immediate blaze of the song, its pulsating stroll and fiery sonic flames surging straight to the instincts to rock out. There is a devious craft and imagination to the song though, predacious twists and tenacious clamours uniting in its spirit rousing exploits.

The calmer but no less lusty When We Were Young has the body bouncing again, it’s gripping hard rock nurtured canter almost poppy but all raw bustle and bite while Burning at Both Wicks jabs and snaps at the senses from its first touch, takes the listener on a bold hard rock infested ride thereon in. As the whole of the album, the songs blend the familiar with the boldly fresh in their individual escapades, each nagging to get under the skin riff by hook and hitting their target in swift time. It really was impossible not to offer up one’s own vocal and physical participation across the whole of Waking Up Dead as proven yet again by the simply captivating Fires. As its predecessor, there is a touch of Fall Out Boy meets Grumpynators to the track with a whiff of Turbonegro, a spicing which slipped through our ears like nectar.

All the same, every song within the album is stamped Bullets And Octane through to the core, the likes of the melodically aflame Fuck You Song and Murder Me Baby with its predatory prowl and salacious swing diverse proof. Neither track quite hit the personal spot as those around them actually but the fact they had us rocking and pressing replay with perpetually fresh lust shows the might of the rest of the album.

The final trio of tracks keep the stomping and thick enjoyment flying, Rolling Stone casting a ‘mellow’, in comparison to other songs, incitement which only needed a clutch of seconds to bypass inhibitions before Hostage seduced the body into a subservient sway. Even with its relative composure, the song is an insatiable rocker increasing its boisterousness and the listener’s involvement by the minute.

Heart Attack completes the release, the track maybe the best of the lot though it is hard to choose. Hooks and grooves ensnare as rhythms jab, vocals stoking up devilment and alone further involvement; the four prong rock ‘n’ roll attack as manipulative as it is simply balls swinging revelry. A great album deserves a thunderous end and Waking Up Dead certainly gets that though its whole body is a galvanic storm of rock ‘n’ roll; a tempest of pleasure we can only suggest, wherever you are, you should unleash your rocker instincts upon.

Waking Up Dead is released May 25^th through Bad MoFo Records/Cargo Records.

https://www.bulletsmusic.com/ https://www.facebook.com/bulletsandoctane

Pete RingMaster 23/05/2018

Whirling hearts and joyous uprisings: exploring the world of Swirl

Feb17

Photo by Neil Zlozower

There is an increasingly mighty roar coming out of California and it goes by the name of Swirl. This is a band really beginning to make a vocal name for themselves with their multi-flavoured, hard rock fuelled fusion of rock and metal. Welcomingly given the opportunity to get to the heart of the band with Swirl creator and guitarist Duane “DT” Jones, we talked beginnings, songwriting, successes and plenty more….

Hello and thanks for taking time out to talk with us.

Hello to you too. This is ‘DT” guitarist and founder of the band Swirl out of Southern California. Thank you for your interest in Swirl! We are always grateful to anyone taking an interest in what we do.

Can you first introduce the band and give us some background to how it all started?

I started the band in the Pacific Northwest in a town called Mukilteo, Washington. I had 3 other members than the current line-up; we rehearsed, wrote songs and made plans to record our debut in Santa Monica, CA. About a week before we were to leave I got a call from the drummer saying he wasn`t going to make the trip. I called my brother, Brian “Bam Bam” Jones who was playing in a band in Arizona at the time and asked him to come out to California, learn the songs and track drums to which he was all too happy to help out. That version of Swirl toured the US and Japan on a full length release titled Out Of Nowhere that was produced by former Quiet Riot and now RATT guitarist, Carlos Cavazo with former Rough Cutt bassist Matt Thorr engineering or producing tracks as well.

After those tour dates finished the band parted ways with the original singer and touring bassist. By then Brian had moved to California so I joined him there. I was introduced to current Swirl singer Alfred Ramirez and bassist Shane Carlson by former Dio keyboard player Claude Schnell who was looking to produce a demo for a band they had, however they had parted ways with their guitar player and Claude asked me to write with them so he and I could get into a studio together. After a few writing sessions we decided to go play the songs live and it was there that a friend pointed out to me that Alfred would sound really good singing Swirl songs so I asked him to go into a studio with Cinderella drummer Fred Coury and I. The end result of those sessions were the two songs Mad Disease and Time To Fly with the latter being particularly well received so tour offers followed. The natural choice was then Shane Carlson and we have been together ever since. 2018 will mark the 10 year anniversary of this line-up for Swirl.

Have you been or are involved in other bands?

My only involvement with other bands was the above mentioned writing project that introduced me to Alfred and Shane as well as one other band in California that hired me as one of their touring guitarist for a self-produced disc. That was actually my first ever “bus tour”. Actually it was a converted mobile home, but still I got the rock star treatment on that tour. It was fun, but the band broke up. As that band had already recorded their disc when I joined and there were no writing opportunities I can`t say it had any influence on my writing direction, but it was a great series of lessons on things to not do when running a band.

What inspired the band name?

Usually one look at a picture of the band is all it takes to answer that question, but it goes deeper in that we all have different nationalities and personalities that come to together to create the Swirl music.

Photo by Neil Zlozower

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

No particular theme to starting the band. I just wanted to play in a rock band that wrote songs good enough to share stages with my idols. Some of those goals have been accomplished!

And that same intent drives the band?

Absolutely! At the end of the day we enjoy what we are doing and are hell bent on capitalizing on the success Swirl has had to date. We are not where we want to be, but clearly we are on our way. The crowds are getting bigger, the stages are getting bigger and the bands we have opportunities to work with are larger, more well know bands as well.

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

While I am an 80s metal head guitarist at heart I have adapted my playing to a more modern approach when it comes to writing and guitar tones. I guess the best way to think of it is “what if you took a band like Shinedown, Seether, or FFDP and put a guitarist like Jake E Lee, Warren DeMartini or George Lynch in it.

As for the reason for the evolving sound?…The credit for that goes to Brian who wanted to push the music in a more modern direction, but knew I was still going to be me on guitar and have those moments. Our first attempts at this proved very successful with a self- produced EP titled SWIRL that wound up with 3 songs being featured in a full length, 2 time award winning film called Ditch Day. Those songs are Rise Up, Spell, and We Are Alive. That movie is now out in 6 countries with more to follow. Another indicator that Swirl made a smart move in terms of musical direction is the incredible social media success we have enjoyed while being an independent band. We have a very strong online presence.

Has it been more of an organic movement of sound or more the band deliberately wanting to try new things?

The change was very deliberate and I had to do my homework in listening to bands that normally I would not have given the time of day to, just to get a feel for what was going on with the guitar playing and production. I fought it at first, but in the end decided it couldn`t hurt to try. I am so glad I was open to the idea.

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?

Well I already touched on my 3 biggest influences on guitar and yes all four of us have very different influences that we bring to Swirl. Shane is the most “metal” of us all with his influences being bands like Korn and Metallica while Alfred cites David Bowie or Billy Idol as biggest influences for him. For Brian and I we started off as KISS fans, but he went in the direction of Rush and various jazz drummers.

For myself when producing Swirl music I lean a lot on Shinedown or Seether for production and “ear candy” ideas, but since I am not the only one working to produce/ mix the songs I am sure the other guys have their influences well represented in the final product that you hear from Swirl.

Is there a particular process to your songwriting?

Normally we start with a guitar idea that is almost a complete song then I get together with Brian to work on the arrangement before presenting it to Shane and Alfred who then add their influences to the arrangement and of course the vocals. Alfred creates them almost exclusively.

Where do you, more often than not, draw inspirations to the lyrical side of your songs?

“I would like to start by saying that when I write lyrics it’s usually tied to a personal experience of mine or one that I have witnessed in the world we live in. I also feel what’s most import is not so much what my lyrics mean to me, but more importantly what my lyrics mean to the listener. I want the listener find their own story within the lyrics. To me that means the listener can interpret and apply them in any way they choose.”- Alfred Ramirez

Give us some background to your latest release.

The Lift is a departure in some ways from the typical writing pattern for Swirl songs and given the new heights of success we are having with it this may become the way we do things going forward. Again I had the basic structure and worked on the arrangement with Brian, before bringing it to Alfred and Shane. However Alfred and I had a separate writing session to make changes to the verse and bounce other ideas off each other. Then we got back together as a band and went from there.

During the final mix sessions Shane Carlson made some more brilliant suggestions to improve the song to let it become what you hear from us now.

Here is the lyric video for The Lift– https://www.youtube.com/watch?v=xaBMGg0ACYo

As Alfred is the songwriter he sets the tone for the theme of the songs. If there is one constant I have noticed when I look at the reviews we get it is that the bands “message” is a positive one. A lot of life affirming, motivational and inspirational themes go into his work and I am very happy about that. I am pretty positive person most days!

Here are some samples of reviews we have received whether they are for The Lift single…

“…everything possesses a joyous, downright celebratory spirit…the track positively teems with life”- Skope Magazine

or the SWIRL EP

“An uplifting vibe…” The Happy Headbanger

“After listening to Swirl in its entirety it has lifted me up mood wise!!”- Metal Temple

“…if you are looking for a really sweet hard rockin’ melodic band that will have you humming along and singing with the CD in just a few listens than make this new SWIRL release yours. 9/10 Stars”- The Examiner

Here is a link to our reviews- https://www.reverbnation.com/socalswirl/press/

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

“What The Lift means to me is that we all need help sometimes, be it an emotional lift or a physical lift. We shouldn’t be afraid to ask for help when we need it. We also shouldn’t be afraid to offer to help when were able to. We are all on this planet together and we are all connected, so let’s help one another.

My personal Lift was given to me by “The Minor Goddess” who lifted me out of a depressed and stressed out anxious time in my life. Thank you MG! “Your words will always stay with me “. – Alfred Ramirez

Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

We like to have the song pretty much done by the time we go into the studio so we can be more efficient with the recording process, but of course we leave room for those “happy accidents” that happen when tracking that are unique to a session.

One of the unique things about the sessions for The Lift is the process we used to get into the studio. We were introduced to producer Emad Alaeddin at Granted Records by Ditch Day producer Megan Waters. He suggested the band use “crowd funding” to cover the cost of the sessions. This was a first for the band and it was very successful. As an unsigned band who happens to be self- managed as well as our own booking agents we wear many hats to make Swirl the known name that is it becoming. Our fans are our record label and they decide how often we make new music and release videos or tour. We weren`t sure what to expect, but with this first attempt and the success of the campaign (we had enough money donated to book our first session in just 48 hours of activating the page at https://www.gofundme.com/launch-new-music-by-swirl-the-band ). The page will remain active. To be clear we are not opposed to record labels, management or booking agencies….we just refuse to wait on one to discover the band when we can get our music and band out to the people who support us!

Tell us about the live side to the band, presumably the favourite aspect of the band?

We are a band that thrives on stage! We love being out there. Swirl is a high energy show with emphasis on the word “show”. There is always “someone doing something”. It`s actually the only way the band “fights”….we fight for the attention of the audience and are quick to let the others know who won the night after our set. It`s all in good fun and ultimately the audience is the winner.. We have been able to tour with established bands like RATT, Cinderella, Extreme, Red Dragon Cartel, LA Guns, Lynch Mob, and Slaughter just to name a few. We also headline shows in Southern California. In fact the first stop on “The Lift” tour will be in Hollywood, CA at the Whisky A Go Go on Saturday February 3, 2018.

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

We firmly believe that you create your own luck so yes you can make your mark. The real question is how bad do you want it? We are, have been and remain hungry to succeed! We were recently listed by Gerry Gittleson, a writer for Metal Sludge in Los Angeles as one of three local bands that actually draw a crowd when we play.

Another way Swirl has separated itself to a degree is getting involved in licensing our music into movies and television. For example Swirl has 3 songs in the 2 time award winning Ditch Day movie that stars Emmy award winner Bill Oberst Jr. The songs are Spell, We Are Alive and Rise Up (https://www.youtube.com/watch?v=6_RhbgL5Cv0&t=11s ). So far that film is available in 6 counties. We are working on more licensing deals for our music from the SWIRL EP as well as The Lift.

How has the internet and social media 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?

I have no complaints about social media! Swirl is doing very well with it. We also spend quite a bit of time and effort marketing our band globally. Again it`s a how bad do you want it situation. We didn`t wake up knowing what we know and have made mistakes along the way, but we learn, we grow and we apply lessons to the next venture for the band whether its online, in the studio or on stage.

We have been able to reach people that would otherwise have had very little chance of discovering our music so we are very grateful for social media. It is a big part of the music business now and I don`t see that changing any time soon.

See for yourself here-

SWIRL website- http://www.swirltheband.com/

SWIRL Instagram- https://www.instagram.com/swirltheband/

SWIRL Twitter- https://twitter.com/Swirltheband

SWIRL Facebook- https://www.facebook.com/swirltheband

SWIRL Soundcloud- https://soundcloud.com/swirl-dt

SWIRL YouTube- https://www.youtube.com/swirlgtr

SWIRL Reverbnation- http://www.reverbnation.com/socalswirl

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

Thank you for your time and interest in Swirl. Look for the band to be on tour in and out of the United States in every country where the music making an impact on radio or through movies released that feature Swirl music.

Pete RingMaster 17/02/2018

Kill The Unicorn – Prism

Nov8

The final few words on the press release for Prism, the debut album from Swiss metallers Kill The Unicorn declares that they “are a band to get excited about!” Greedily listening to the eleven track web of sound and intrigue yet one more time to continue concentrated attention it really is impossible to disagree.

Launching from a bed of metalcore ferocity, the album is a kaleidoscope of trespass and suggestion embracing everything from hardcore to groove metal and progressive to post metal whilst fusing an array of funky and jazzy bred psychosis with some classic 8-bit sound mischief. The result is a release which devours and seduces with violence and unpredictability like a deranged dervish; one which is a little unhinged, slightly uncontrolled, and persistently sending ears and imagination to lustful places.

Hailing from Lucerne, Kill The Unicorn emerged in 2014 and took little time in stirring up attention through their live presence which has subsequently seen them share stages with the likes of Promethee, Ghost Iris, Vola, Science of Sleep, Walking Dead on Broadway, Voice of Ruin and many more. 2015 saw the release of a three track demo, an encounter laying the seeds and hints of things to come; the joys and intrigues to be now heard and explored within Prism.

Recorded with producer Aljoscha Sieg (Nasty, Eskimo Callboy, Vitja), Prism hits the ground running with opener Motoko Kusanagi. As the guitar joins an initial 8-bit fingering, a tempest gathers behind, swiftly unleashing its voracious force as rhythms fly and riffs bite. Vocalist Pipo Thalmann is quickly there in the midst growling as a delicious hook and similarly tasty grooves entwine the aggression before the already intensive beats of drummer Matteo Leuthold raise their rabidity and pummel the senses. Already a fusion of metal is at fevered play, expectations are taken to the cleaners by the subsequent twists and turns though the band has still yet to dip into their boldest enterprise hindsight revels. The track is pure bait with the guitars of Ziggy Lebon and Raphael Zumstein as predatory as they are creative conjurors.

The vocal dexterity already suggested within the opener is pushed again within its proper successor, Ode To Spot. Unleashed after the Sinclair-esque loading of Dreams In 56k, riffs and rhythms sink their claws and teeth into eager flesh, the track savaging and gnawing the listener before suddenly turning on its head with a funk/progressive shuffle. Thalmann mixes his throat scuffed squalls with clean vocal and similarly off-kilter expression to match the sounds twisting around him; all the time the bass of Marc Sommerhalder grumbling with bestial discord though eventually even it has to join the swing before a death nurtured storm descends. Like Horse The Band in league with Pryapisme and Cryptopsy, the track consumes the senses before Wormhole To Gliese 556c voraciously infests the psyche with extreme metal hunger and corrosive adventure. Though it never truly deviates from its rapacious remit, the track is just as gripping as its predecessor and unafraid to follow where its instincts wander.

F.U.C.K.U.P. equally has a carnal heart but is soon wrapping its core in System Of A Down like mania and Hardcore Anal Hydrogen similar eccentricity, continually twisting and turning sound, imagination, and the listener alike. There is an early Korn like air to the carnivorous moments before primal outbreak too; adding to a tapestry of unpredictability which hits the spot relentlessly before the progressive beauty and stroll of Me And My Velociraptor invades the imagination with its compelling instrumental. Rousingly and hauntingly infectious, the piece has the body and pleasure bouncing ready for the invasive tone and touch of Conquistador and its tide of punk and metal hostility again impressively steered by the guitars and the vocal prowess of Thalmann. Tightening its grip by the second, the track flings the senses around like a rag doll yet seduces them with nuances and bold turns within its inhospitable consumption.

Through the punishing depths of Catacombs with its maze of sinister deviations and the senses stalking blackened incursion of Ausgefuchst, the album simply reinforces its dexterous invention and uncompromising extreme metal voracity though both tracks have to give way to the even more contentious siege of the senses uncaged by Rendesvouz with Cleopatra. Malevolence drips from every note and syllable here yet equally the band’s untethered imagination soaks every trespassing breath if without revealing the hungry boldness of earlier tracks.

The album ends with Pitch Black VR, a rancorous, skilfully woven and delivered savaging compounding the animosity and inventive craft of Prism with might and boisterousness not forgetting imaginative zeal. It is an unforgiving, mouth-watering conclusion to an album which certainly lit our fires and as that press release suggested it might, our excitement.

Prism is out now and available @ https://killtheunicorn.bandcamp.com/album/prism

http://www.killtheunicorn.com/ https://www.facebook.com/killtheunicornband/

Pete RingMaster 08/11/2017

Bad Llama – Apocrypha

Nov4

UK band Bad Llama emerged early last year and swiftly poked eager attention with the release of first EP Shedding Skin and its lead single The Wolf You Feed from fans and media alike. Now ahead of their upcoming follow-up EP, Crooked Empire, the Burton upon Trent quintet ups the ante with the release’s first track, Apocrypha.

It is a powerful and rousing encounter which demands attention whilst revealing a new maturity and intensity in the band’s multi-flavoured sound. A list of Bad Llama’s inspirations reveals an eclectic mix ranging from Red Hot Chili Peppers, Incubus, and Tool to Korn, Faith No More, Rage Against The Machine and Bring Me the Horizon; a mix equalled in the metal and heavy rock bred enterprise of a sound also bearing the spices of progressive and industrial nurturing. As previous releases suggested, what emerges is a sound distinct and becoming more unique to the band; Apocrypha another definite potent step towards that originality.

Recorded with producer Gavin Monaghan, Apocrypha moves in on ears with an almost predacious atmosphere and similarly swinging beats, its threat dissipating slightly as Kyle Jordan’s expressive tones step into the web of suggestion cast by the guitars of Dan Houlbrooke and Sam Wyatt. The gnarly snarling bass of Lewis Hutchings though keeps the intimidation flowing; a delicious texture prowling the sonic temptation continuing to entangle the imagination of song and listener as Gaz Waddell’s beats bite.

It is a captivating mix in a song which grows and blossoms in thought and enterprise with every passing second. Apocrypha is a masterful proposition, skilfully crafted and emotionally intense which it is hard to see not stoking up attention for Bad llama and anticipation for that forthcoming EP.

Apocrypha is self-released November 10^th.

https://www.facebook.com/Badllamaofficial https://twitter.com/BadLlamaBand https://www.instagram.com/badllama_/

Pete RingMaster 04/11/2017

Kinasis – Pariah

Sep27

Though formed in 2010, UK metallers Kinasis maybe a proposition, like for us, which has escaped your close attention up till now. That is surely going to change with the release of their new EP, a ferociously striking and aggressive incitement loaded with hungry unpredictability and a technical prowess which simply inflames the fascination and pleasure. The four track insurgency is Pariah, a proposition which embraces an array of metal bred flavours in a cauldron of ravenous imagination and rabid dexterity.

Since emerging seven years ago and drawing strongly favourable responses with a debut demo the same year, Kinasis has grown into the British metal scene with increasing individuality and potency. Recent years their reputation earning live presence has seen the Bridgwater quintet shares stages with the likes of Sepultura, Malefice, Flayed Disciple, Sworn Amongst, Abadden, and Tacoma Narrows Bridge Disaster among many as well as venture into Italy alongside S.H.I.N.E. The release of Pariah feels like and should be the moment when Kinasis step from the shadows and stamps their creative authority and individual sound upon the extreme metal landscape.

Produced by Justin Hill (ex-Sikth) and wrapped in the artwork of Andy Pilkington of Very Metal Art, Pariah instantly goes for the jugular with opener Red Earth. Riffs surge through ears with a rapacious nagging whilst rhythms purge their animosity straight onto the senses. With every passing second the intensity rises but with a virulence and infectiousness which has the body bouncing to the ferociousness. A Korn-esque essence emerges as clean vocals invite nu-metal nuances, an industrial dexterity reminding of Static-X joining in as the track fluidly twists and turns through its inventive drama further embracing melodic and atmospheric suggestiveness. It is sheer magnetism, the track a mighty persuasion and alone the declaration of the coming of age of a new force to take notice of.

The following Black Dog creeps up and prowls the listener with predacious riffs and stabbing beats, then once sizing things up vocally and musically plundering the imagination with vocal tenacity embracing both raw and clean throated enterprise as death and technical metal tendencies dance which each other in barbarous intent. As nu and groove metal elements get involved, things only become more precise rather than muddled, Kinasis showing their adeptness at weaving diverse and seriously enticing trespasses. For personal tastes the track never quite lives up to its three companions but certainly leaves no element of dissatisfaction in its wake.

Kindred similarly stalks ears if with a less obvious enmity as melodic strands entwine its initial proposal. Even stronger Korn like essences emerge to pleasing effect across the song and around a death/grindcore merging which has hints of Cryptopsy in its own infectious savagery. Clean vocals interchange with barbarous expulsions to further enhance the adventure, the band musically as bold and expert in switching through a kaleidoscope of styles and flavours without disturbing the song’s carnal nature and heart.

The release concludes with Incipient, an instant maelstrom of voice and sound colliding nu-and industrial metal psychosis with the harsher antagonism of variety woven extreme metal before luring in just as appetising melodic and groove metal imagination. It is seriously arousing stuff, the type of sonic manna addiction is spawned from right here. As throughout Pariah, every twist brings a fresh incitement to chew over but mere seconds to consume before the next steals attention and increasing ardour.

It is the final throe of a quite simply stunning encounter from a band which will surely now get the attention their craft and imagination deserves. There have been a few bands coming to the fore as the British metal scene heads into new horizons and Kinasis have just made it known their intent to be there on the frontline.

Pariah is released September 29^th and will be digitally available at most online stores with physical copies sold through http://kinasis.bigcartel.com/ and at shows.