Returning to the garden with Leaving Eden

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

Copyright RingMaster: MyFreeCopyright

 

Starsha Lee – Post-God Metaphysics

You venture into the dark dusty corners of a previously unexplored attic and within find the predictable, almost dauntingly alluring yet sinister looking dolls house long told tales and visually evocative movies often portray. You peer through its small enticing windows and wonder what goes on within their plastic panes, what adventures play out within the surrounding walls in the darkness. The imagination conjures, thoughts tease…then as their distinct sounds search out both from speakers below, the possibility is obvious; they just might house the unique world of Starsha Lee.

Not that the sound of Starsha Lee is nursery room fit, unless it is those lurking within the distorted lines between reality and nightmares. As in evidence within the band’s debut album, Post-God Metaphysics, it is a rapacious psyche trespassing endeavour spawning songs borne of discontented snarls with characters bred in demon haunted mania. It is also one fiercely addictive treat which may find itself a challenge too far for some but fingered our passions from start to finish within an album that just demands attention.

Though undoubtedly highly individual, the Starsha Lee sound also has a side to it which is akin to a fusion of the rebellious punk rock of In Evil Hour, the noise bred catchiness of Melt Banana, and the mischievous alternative rock of Daisy Chainsaw. The latter is no surprise as they and Starsha Lee are inflamed by the distinct senses scathing, spirit rousing guitar enterprise of Crispin Gray, also formerly of Queen Adreena, and Dogbones. Beside him, the quartet consists of the rhythmic adventure of Lenny Verallis (Dumbjaw/You) and, headed by the vocal devilment and lyrical incitement of Portuguese singer/ visual artist Sofia de Oliveira Martins. Epitomising the uniqueness of the band tenfold, she can best be described as having the vocal prowess of Lene Lovich twisted and distorted through the hands of Jigsaw as the juices of KatieJane Garside (Daisy Chainsaw/Ruby Throat) and Dawn Lintern (Das Fluff) are squeezed into their high pitched results. It all adds up to anarchic beauty in a release which had us drooling with lust rather quickly.

Post-God Metaphysics opens up with Love Is Superficial and immediately Gray is teasing ears with sonic intrigue, coaxing them and the imagination with infectious rhythms in close quarters. As swiftly the richly enticing tones of Martins flirt and dance on the blossoming landscape of the song, it all as infectious as it is musically and emotionally predacious. The track is superb and just the beginning of one exhilarating creative emprise.

The punk rock throes of People Are Horrible follows, its rhythmic raps and sonic writhing spinning a web of stop go virility entangled with Martin’s vocal rascality. In its far too short a stomp, the song, as all, embraces an array of flavours in one devious recipe, all spicing up ears and an already greedy appetite here for the album’s loco lined exploits.

With the guitar again laying the first line of bait, next up Holy Hatred seduces and feverishly ignites within its opening breaths; growing from a gentle caress into a metal infused blaze of incendiary rock ‘n’ roll with venom in its voice and sounds before Life Is Suicidal shares its own sonic pyre with virulent contagion to its bold vocal blend and bounce. The nihilistic tone of word and heart floods the proposal, another constant menacing allure across the album, and bonds perfectly with the raucous bounce and captivating discord conjured.

Post Modern is an electric scowl, the guitar almost grimacing with acidity as Martin’s skilfully and heartily delivered intimation are again aligned to the harmonic breath of Gray’s backing vocals. Verallis and Zahra-Hall stamp rhythmic authority on the temptation, working on hips and neck muscles as the song serenades with open causticity while within the more hard rock nurtured Used To The Bruise, their rhythmic arousal comes wrapped in melancholic harmonics and emotive suggestion. Both tracks simply captivate with ease, the latter an inescapable lure to participation before Even God Doesn’t Know Your Name ensnares the senses with its addiction sharing punk ‘n’ roll canter. With a Cauldronated like hue to its tenacious body as Martins vocally writhes around, the song matches, at times eclipses, the temptation of its predecessors as another major highlight within the album drew further lust.

Through the scuzzy climes of Sterile Girl and the similarly raw discordance of Uncle Nietzsche, Starsha Lee just increase their grip; the first with a gentle twist and the excellent latter with a tug like one induced within an inflamed sexual endeavour. It stomps through ears with a hunger which veers on the rabid but with a controlled predatory nature matched in the following swagger lined march of Glass Diamonds. Its Marilyn Manson-esque swing underpins a senses scorching flame of sonic toxicity, an aural drug which   bewitches and bewilders with craft and imagination.

Laugh Of God and (I Am) High And Divine bring things to a close, the first a cauldron of punk, metal, and garage rock which scars and seduces by the second, Martins once again a vocal Harley Quinn centre stage. Though not quite living up to other songs, it simply grabbed eager attention but was in turn overshadowed by the closing track’s acerbic croon. A song epitomising every aspect of the Starsha Lee sound if without continuing the line of springing essential hooks on the imagination, it brings Post-God Metaphysics to a glorious conclusion.

It is fair to say that Crispin Gray has been behind and involved in numerous bands which have unerringly hit the spot and instincts of us and a horde of others, but few if any striking dead centre the same way Starsha Lee has with Post-God Metaphysics.

Post-God Metaphysics is out now on digital download, streaming, CD and vinyl via Syndicol Music; available @ https://www.syndicolmusic.com/store

http://starshalee.wixsite.com/starsha-lee    https://www.facebook.com/OFFICIALStarshaLee/

Pete RingMaster 27/03/2018

Copyright RingMaster: MyFreeCopyright

Powerman 5000 – New Wave

Since first album The Blood-Splat Rating System was uncaged in 1995, it has been so easy to form a soft spot for the metal exploits of Powerman 5000 and all the reasons why are there blazing away in new album New Wave. Across nine studio full-lengths, the band has aroused and stirred the imagination in varyingly successful degrees but always left a potent impact on personal pleasure, their new offering hitting that mark with ease once again. Whether New Wave is their best proposition to date or indeed their most unique we will leave others to debate; as to whether it is one of their most exhilarating and addictive incitements there is nothing to question.

Though metal bred, Powerman 5000 has always felt as much punk rock in tone and attitude as any more recognisable punk ‘n’ roll proposals; an air which is at its most vocal within New Wave. The album opens with Footsteps and Voices, its electro instincts teasing and tempting as rhythms and vocal chants gather in the industrial background. In no time though, the track is strolling along with a muscular swagger, vocalist Spider One the ringmaster ready to share his spirit rousing rap as the rhythmic shuffle of drummer DJ Rattan and bassist Murv Douglas flirt with the electronic revelry. Like a fusion of Marilyn Manson and Hed (PE) but uniquely Powerman 5000, the track has the body bouncing and vocal chords hollering; its rock ‘n’ roll inescapable bait.

The following Hostage is just as manipulative, again bringing all its virulent aspects together before leaping into a contagious canter with biting beats aligned to compelling grooves and riffs cast by the guitars of Ty Oliver and Ryan Hernandez. Submission and involvement with its epidemic of enterprise and incitement is unavoidable and liberating as the track’s punk fervour takes hold before exhaustion soaked pleasure is passed onto and emulated by the band’s latest single. The warped love affair of Sid Vicious in a Dress lives up to its theme in sound, a psyche twisting infestation only leading to addiction as heavy grooves and rapacious riffery unites with the rapier swings of Rattan and Douglas’ bass grumble. As its predecessor, the song’s catchiness and ear arousing antics are viral, a toxic sonic trespass leading to dependency from which escape is not an option. There are plenty of familiar aspects to the track and all adding to its forceful persuasion upon body and spirit.

 The electro waltz of David F**king Bowie is no mean spirit in stirring ears or appetite either, its gait and energy a calmer but lively instigator swiftly tempting forceful participation from vocal chords. Its celestial meanders allow a breath to be taken though equally it leads to a hankering to be back romping which the song subsequently provides before Spider stands centre stage to call on ears and his flock with Cult Leader. An anthemic hard rock meets glam punk roar again very difficult not to get caught up in it does lacks some of the unique sparks of its predecessors but leaves the listener wanting little.

The alluring balladry of No White Flags settles the charge of the album but not the rich attention it continues to earn; the song a tantalising mix of melodic alternative metal and heavy rock while Thank God is a gloriously irritable slab of nu-metal lined punk metal as raw and antagonistic as it is uncontrollably contagious. One minute plus of primal temptation it sets yet another lofty marker in the landscape of New Wave, one teased if not hit by successor Die on Your Feet, a song of typical yet openly individual Powerman 5000 enterprise carrying all their established traits in its scuzzy rock ‘n’ roll blaze.

Get a Life steals the passion next with its prowling Dope/Rob Zombie-esque taunting. The track hints at and flirts with an instinctive tempest but keeps it restrained to only further seduce. That volcanic eruption never does not really escape even as the song expels a more tempestuous energy and aggression in its riveting stalking, again though this only adding to its show stealing majesty.

The album concludes with Run for Your Life, an electro rock nurtured, groove swinging slice of infection which in no time has hips swaying as feet and spirit dance. At times there is whiff of Ministry before Al Jourgensen turned his synth pop industrial metal to the song which potently colours up the Powerman 5000 creative theatre working away on the imagination. As it departs with a clunky abruptness you wonder if the song was a late addition or originally meant as a hidden treat, or indeed maybe a clue from the band of things to come, but it is a welcome and thoroughly enjoyable addition which lingers as much as any other gem within New Wave, an album which declares Powerman 5000 as essential as they have ever been.

New Wave is out now via Pavement Music across most online stores.

http://www.powerman5000.com    https://www.facebook.com/officialpowerman5000/

Pete RingMaster 08/11/2017

Copyright RingMaster: MyFreeCopyright

Freak Injection – Freak Is Fashion

Unleashing in the words of its press release, “Blood, Sex and Psycho!” the Freak Is Fashion EP is quite simply a temptation rather hard not to get down and sweaty with. It is a new slice of devilment from French industrial/electro rockers Freak Injection, a rousing four track escapade fusing the familiar and the fresh in a roar sure to inspire the freak in us all.

It is fair to say that big surprises are not as prevalent within Freak Is Fashion as flavours which tempt like old friends yet the Paris hailing quartet create an aural captivation and physical incitement many unique offerings can only dream of. Inspiration to Freak Injection comes from the likes of the Prodigy, Nine Inch Nails, Nina Hagen, Madonna, and Marilyn Manson, though Freak Is Fashion leaps upon the listener more like an insatiable fusion of Animal Alpha, Die So Fluid, and The Guilt with Kontrust like lunacy leading and fuelling it all.

With the raw essences of metal and punk colluding with electro and industrial revelry, the Freak Injection sound needs little time to infest ears and psyche as EP opener and title track reveals. As soon as its initial electro spiral is joined by distortion kissed vocal coaxing, there is no r escaping the song’s devilry and rebellious intent. Within a breath rhythms are pounding upon the senses like migraine, riffs simultaneously harrying them with their dirty tone as hooks and electronic bait are unleashed with insatiable intent. The vocals of Charlie RED just as swiftly get a hold of ears, her infectious guile and mischief accompanied by the melodic teasing of guitarist MAC-F as Kevin Hapexia’s bass heavily prowls. Continuing to probe with the swinging beats of Anthony bordering on the psychotic at times, the track makes a riveting and body rousing trespass to kick things off, its schizophrenic character increasingly unveiled as its bounds along.

The following Sex Me is an instantly panting arousal of sound and creative intrigue, its introduction a slower, more controlled yet insatiable proposal with instinctive seduction lining every note, beat, and vocal taunting. With an increasing swagger, riffs grow in weight and rhythms in impact but equally so too does an unpredictable web of twists and deceitful turns never going quite where you expect and greatly pleasing because of it. Again it is hard to say that the song is truly unique, certainly not across its whole body yet there are only fresh and enthralling times in its midst. It is qualities equally found within successor Crosses, a meaty stomping of electro pop ‘n’ roll which has the body bouncing,  hips swerving, and vocal chords induced within its first anthemic roar. Charlie is again a beacon within a blaze of tenacious captivation naturally fitting and sparking rock ‘n’ roll instincts.

The release is completed by Psycho (Russian Boy), an emboldened motivation of sound which arguably fits expectations of the tags given to the band’s sound more than most but brews volatility in its rock ‘n’ roll which just detonates in ears. It is a high-voltage end to a creatively bustling and animated, not forgetting fervour driven, rampage that the inner freak just cannot refuse.

Freak Is Fashion is out now.

https://www.facebook.com/Freakinjectionmusic/    https://twitter.com/Freak_Injection

Pete RingMaster 23/05/2017

Copyright RingMaster: MyFreeCopyright

Dope Out – Scars & Stripes

Formed on the first breath of 2013, French band Dope Out has earned a potent reputation in their homeland for their aggressive and stylish heavy rock sound. Now with the release of their highly enjoyable second album, Scars & Stripes, they are threatening to provoke the same kind of attention and support on a much broader scale.

Musically, the Paris quartet merges flavoursome traits from classic and hard rock with more punk, metal, and stoner essences for a proposition which feels familiar yet equally fresh and adventurous. The band has honed their sound and invention across a debut EP, All Hopes Inside, released that first year, and the well-received debut album Bad Seeds of 2014. The years between albums has seen Dope Out breach another level and maturity in their music; an evolution making Scars & Stripes a potently flavoursome proposal.

The four tracks making up the Lady Misfits EP which came out January 2016 made a tasty teaser of things to come, its potential straight away confirmed as Scars & Stripes hits ears with its title track. A lone bassline provides the first lure, its throaty twang soon joined by wiry riffs and rolling rhythms as the song brings its appetising bait all together for a predacious stroll awash with flaming melody. Once settled, the grouchy lead vocals of guitarist Stoner step up with attitude the fore, their irritated air matched by the hooks and grooves lining the slice of punk infused rock ‘n’ roll. Varied twists and turns follow to add to the captivation of the strong start to Scars & Stripes; a base the album only grows bolder from.

The following Dive is a just as appealing proposition, matching its predecessor’s success with its fiery web of grooves and enterprise spun by lead guitarist Crash over a rhythmic trespass driven by the jabbing beats of Mad and Doc’s heavy tempting bassline. As with the first, the song sets the tone of the album without exposing its deepest layers of imagination, that discovery really beginning from The Freakshow, which follows, onwards but still inciting a keen appetite for what is on offer so far.

The third song swiftly hits the spot, its initial pyre of sonic taunting mouth-watering but only added to by the rhythmic rumble which is soon aligned to a broadening design of flavours and invention.  Once hitting its resourceful stride, the track prowls like a mix of Dope and Marilyn Manson while its melodic blaze and earthy air has Gruntruck like hues to it. It is compelling stuff, only increasing its hold on ears as it twists and turns with imagination fuelled confrontation, blues grooves and steely tendrils increasing the fun.

Lady Misfits makes a more even tempered entrance, Stoner’s mellow tones joined by a just as relaxed melody as rhythms saunter with similar restraint. It is all a build-up though to a blaze of a chorus which after searing and pleasuring the senses slips back into the highly enjoyable calm, erupting with greater temptation throughout as the track continues to grow and reveal more of its captivating character and resourcefulness.

By now, the band and album has the lid open on their boldest adventure, next up Clan Of Bats bearing a spicy slab of imposing blues hued rock with an infectiousness breeding a chorus which is one of the truly memorable moments within the release. It is also the moment when you feel Dope Out really get to grips with their craft and imagination, the album having a real swagger to its presence and almost mischievous ambition.

The snarling rock ‘n’ roll of next up Shooting Gun keeps attention and pleasure high, its catchy swing and assertive intensity a potent mix before Nose White entangles ears in woozy blues grooves and stalking rhythms as vocals mix belligerence and invitation in their commanding persuasion. Carrying a touch of Black Stone Cherry and Hardcore Superstar to its body, only concentrated pleasure arises with it especially as its shadows darken and its tone and sinews become more invasive, luring the listener into its heart and the waiting devilry of Balls To The Wall. Another major highlight of the album, the song is a beast of almost violent rhythmic intent and sonic trespass, the guitars searing ears with their hook laden melodic flames whilst vocals scowl as the heart of the track erupts.

The album is brought to a just as feverish close by firstly Again, a song with infectiousness in its DNA and blues rapacity in its veins. As many of its predecessors, it has feet twitching and hips swinging with increasing relish, exhausting and pleasuring the body ready for the mellow caresses of closing encounter Soulmate, an acoustic reflection playing like a warm and increasingly enthusiastic night cap on a boozy rock ’n’ roll session.

It is hard to say that Scars & Stripes is overly unique yet has plenty of new elements to provide a truly fresh and increasingly enjoyable encounter; a proposition quite possibly coaxing a great more of the world to listen to Dope Out.

Scars & Stripes is digitally out now.

https://www.facebook.com/Dopeout/   https://dopeoutunited.bandcamp.com/

Pete RingMaster 21/03/2017

Copyright RingMaster: MyFreeCopyright

Suicidal Tendencies – World Gone Mad

 

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credit-krouskypictures

Many elements make up the success of legendary punk/thrashers Suicidal Tendencies, an array of qualities which has gripped and thrilled across three and a half decades and eleven previous studio albums. One potent trait is, within a sound which roars Suicidal Tendencies from its first breath, unpredictability; an essence which in varying degrees has made all of the band’s offerings memorable and easy to devour. New proposal World Gone Mad is no exception; a seriously rousing and thunderous affair of crossover ferocity inescapably Suicidal Tendencies which twists through new adventures while flirting with the imagination.

The successor to the well-received 13 of three years ago, World Gone Mad is a tempest of infectiously aggressive and creatively imaginative escapades equally drawing on the kind of punk fuelled exploits which marked out the band from its early days as one of metal and punks most vital propositions.  The new album also sees the band’s newest line-up in place with founder and vocalist Mike Muir and guitarist Dean Pleasants (ex-Infectious Grooves) linking up with guitarist Jeff Pogan, bassist Ra Diaz, and master drummer Dave Lombardo (Slayer, Phantomas, GripInc, Dead Cross). It is a unit which across the board has forged a new aspect to the Suicidal Tendencies personality without losing its prime character and appeal. Produced by Muir alongside Paul Northfield (Rush, Dream Theater, Queensrÿche, Ozzy Osbourne, Hole, Marilyn Manson) who also engineered and mixed the record, World Gone Mad snarls and stomps, providing an incitement as bruising and confrontational as it is a riotous funk grooved infestation of ears and body.

Latest single Clap Like Ozzy sets things off; its fuse and explosion prime Suicidal Tendencies. Lombardo’s catchy beats first catch ears, a grumbling bassline quickly adding to the thick coaxing as guitars send sonic scythes across the lure. Swiftly the song uncages a venomous yet ridiculously catchy assault, wiry grooves and rhythmic tenacity an anthemic roar of punk ‘n’ thrash virulence ridden by the unmistakable presence and tones of Muir. As hooks collude with the flirtatious antics of the bass, Pleasants winds trails of melodic lava around it all, his strings a heated siren within an already irresistible calling.

The New Degeneration takes over finding even more irritability in its tone and individual elements. Riffs and rhythms almost stalk the senses as Muir leads the defiance; group calls a great backing to his instigation. An undercurrent of animosity brews throughout the attack, eventually igniting as Lombardo flicks the switch to a full-out ravaging of ears with his magnetic swipes. Again the track is ‘typical’ Suicidal Tendencies but rippling with fresh twists and turns to leave satisfaction rich and full before Living For Life appears to eclipse its success. Unsurprisingly moments of Infectious Grooves like juiciness appear within World Gone Mad, the third track unapologetically embracing their funk metal swing for its initial flirtation before crashing ferociously upon the senses with its punk scented epidemic of ravenous riffs and on rushing rhythms again led by the twisted beat alchemy of Lombardo. The track is glorious everything you could wish from a Suicidal Tendencies encounter and more as it seduces and inspires body and spirit

suicidal_tendencies_-_world_gone_madSuicidal Tendencies - World Gone MadThe gentle melodic opening of Get Your Fight On! is a suggestive pull next which intrigues more than ignites the imagination but soon leads into the waiting rhythmic prowess of Lombardo and the sonic enterprise of Pleasants and Pogan. It too works its way from a relatively calm tempting to an incendiary blaze where it really grabs the appetite and passions as heavy metal flames unite with punk and thrash dexterity for an anthem which might not hold all the sparks of its predecessors but leaves only an eager want to delve into its cauldron all over again.

The album’s title track is another which takes its time to convince to the same level as the opening tracks, showing itself a slow burner which by the fifth or sixth lessons is one of the moments of the album which lingers the longest. A perpetual prowl which ignites onto a consuming fire of sound and aggression, the song has a touch of Insane Clown Posse to its most intense fire and Red Hot Chili Peppers to its relentless groove but as expected roars with nothing other than the voice of its creators.

The excellent Happy Never After fingers lustful reactions next, its gait also a prowling incitement crossed with sonic tendrils and pushed by steely riffs courting militant beats. Muir is the ringmaster to its determined intent and nature, whipping up the heart and imagination of track and listener alike as the rest of the band spins a riveting and increasingly addictive web.

From one major highlight to another as One Finger Salute stands bold and aggressive with punk rock insatiability and thrash driven intensity straight after to create a deliciously imposing and hungry proposal. Diaz’s bass is a treat of a bestial lure, its resonating flirtation aligned to the jumping beats of Lombardo, both enslaving attention soon bound in the sonic potency of the guitars.

Straight after Damage Control is a threatening infestation of wonderfully toxic and gripping grooves as rhythms again take on a preying animalistic potency whilst Muir and riffs stir with their punk ‘n’ roll cattiness. The outstanding track keeps the album’s pinnacle point going in feverish style, bass and drums especially irresistible though all parts of the incitement leaves a new hunger installed in ears and appetite for the release.

The sonic metal tapestry of The Struggle Is Real equally sparks a zeal for song and album, its punk call and rhythmic swagger a captivating irritant on peace and clam while successor Still Dying To Live sees the quintet embarking on a smouldering melodic venture equipped with alluring throaty bass tempting and psych rock shimmers around the warm coaxing of a kaleidoscope of magnetic hooks and surprises. At over seven minutes, the track is a masterfully invasive seduction romancing ears and imagination and a compelling finale to World Gone Mad capped by the stripped down magnificence of This World and its evolution and continuation of the closing track of the same name upon 13.

The track is a fine end epitomising the growth and riveting blossoming of sound and imagination between the two albums seeing World Gone Mad a powerful and thrilling new turn in the band’s history.  Whether it will be considered the band’s best release will down to the individual but without doubt the album is destined to be right there as a true favourite.

World Gone Mad is out now across most online stores through Suicidal Records.

http://www.suicidaltendencies.eu/   https://www.facebook.com/suicidaltendencies   https://twitter.com/OFFICIALSTIG

Pete RingMaster 15/11/2106

Copyright RingMaster: MyFreeCopyright

Sonny Lanegan – Coma

cover_RingMasterReview

The Coma EP is the first offering from the solo, self-titled project from Sonny Lanegan, a release offering six rousing slices of alternative/industrial post rock which command attention and spark the imagination with drama and craft. All offer an adventure bringing a familiar and distinct invention to the ear which does not always surprise as it might but any moments when expectations are offered a recognisable but still tasty morsel, the individual character of Lanegan’s sound ensures there is plenty of fresh imagination on offer

Lanegan is an Italian born singer-songwriter and multi-instrumentalist better known so far for his former band White Pulp and as one half of the duo The Dead Good with vocalist Isabella Knight. Through his many projects, the now Los Angeles based Lanegan has played hundreds of live shows and been part of numerous international album releases. Now it is his solo project beginning to stir up eager attention, it providing a new vehicle for his renowned creative and stage presence to blossom into new areas of sound and adventure.

Released worldwide at the beginning of May and to be backed by numerous live shows across the summer, they to be followed by a national tour, Coma seizes ears and appetite straight away with opener And No One Ever Gave A Fuck. Its dark atmospheric beginning swiftly has the imagination intrigued, the quickly following predation of hungry riffs and spiky beats taking care of ears with the attitude soaked tones of Lanegan leading the way. Quickly a tribal, shamanic like tempting and tenacity infiltrates sound and vocals, its contagion an inescapable lure alongside similarly potent electronic and industrial metal enterprise helping shape the rousingly infectious and increasingly volatile tempest.

It is a tremendous start to the release quickly revealing the variety and diversity to be found in EP and sounds ahead, its suggestion confirmed by the following Down and Dirty. More whispers in its predecessor, Marilyn Manson meets Society 1 like hues make a thicker colouring to the fiery and dynamic body of the second track. It has certain irritability and almost predatory aggression to its tone and incitement too but it is an intimidation tempered by the great electronic exploits and their listener involving catchiness.

A broader rock landscape accompanies the electronic revelry of Loaded and Crooked next, the song an eagerly catchy proposal almost dancing in ears even with a feisty nature to its creative cavorting. It is not the best track within Coma but it has to be said that the spirit raising encounter has single written all over it before making way for the more carnivorous tone and challenge of Love Will Never Die If You Spice It Up With Narcotics. With a touch of glam and grunge to its industrial booty, the song rumbles and blisters on the senses as vocals and sounds create a fascinating and invigorating clamour. At times it is a muggy maelstrom and in other moments a provocative slimline rock ‘n’ roll roar, and persistently an encounter which keeps ears and thoughts enjoyably busy.

The salacious tempting of Foreplay comes next, its pulsating rhythmic resonance and electronic flirtation a bold seduction egged on by the ever inviting tones of Lanegan. The repetitive nature of its beats and the stalker like enticement of its grooves acts like an excitable drone, leading the listener towards some explosive climax, every beat and sonic nag like a countdown. That kind of a finale never arises but its absence just caps the drama of the song off perfectly.

The EP is closed by the sultry smoulder of What If, though it is a lively simmering which electronically and sonically bubbles and froths over its brief length, subsequently immersing the senses in a lava-esque wash of body rousing temptation. Its infectiousness brings the EP to a memorable and richly pleasing conclusion, adding the final potent bait to a release which, as suggested, might not be the most unique in some ways but leaves little more of it to be desired. If this is a sign of things to come, Lanegan’s solo adventure might be his most fruitful yet.

The Coma EP is out now @ https://sonnylanegan.bandcamp.com/releases

https://www.facebook.com/sonny.lanegan/   https://twitter.com/SonnyLanegan

Pete RingMaster 18/05/2016

Copyright RingMaster: MyFreeCopyright

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