Syztem 7 – Evolving

Though new album Evolving is the first time we have come across US rockers Syztem 7, it is a proposition which immediately felt like an old friend back to eagerly stir things up. That is because the Seattle hailing outfit openly aligns familiar rock, industrial, and metal textures to their own just as bold imagination. It is the distinctiveness of the latter though which fuels and drives their rousing sound and makes their new album one highly enjoyable encounter.

The multi-flavouring adventure of their industrial rock sound has allowed Syztem 7 to share stages with and find support amongst the fans of bands as varied as Zakk Wylde, The Genitorturers, One-Eyed Doll, Thrill Kill Kult, Lords of Acid, King’s X, The Dreaming, and many others. It now provides a gripping incitement within Evolving which needed mere seconds to ignite attention and appetite as album opener No Regrets erupts to kick things off.

An initial lure of guitar makes for a potent coaxing, one swiftly ignited as the rolling rhythms of drummer Ed Rhoads add their ear grabbing bait to the great dirty grumble escaping Nathan Raynes’ bass. With keys keenly bursting into the already rousing mix, the track had us swiftly bouncing before relaxing into an infectious stroll alongside the enticing tones of vocalist Jason Ames. Rhythms continue to pick their spot with military precision, accelerating their strikes as the track’s anthemic chorus erupts upon the increasingly intense sonic hookery of guitarists Jaymz Kennedy and Shane Scot. Like a blend of Gravity Kills, Powerman 5000, and Rammstein, it is a gripping and highly manipulative start to the album and a persuasion only matched and twisted to greater temptation thereon in.

This Disguise is next up, the song laying down an electronic misting from which sonic tendrils wrap the imagination and a thick fusion of rock and metal spirals. As with the first, a certain familiarity in its voice and moves only entraps eager participation while fresh enterprise and individual imagination breeds the overall uniqueness which fuels the Syztem 7 sound. It swiftly had body and ears engaged passing them over to the just as easily persuasive Eternita Divina. Emerging as one of if not our favourite moment within Evolving, the song has a great touch of Breed 77 to its cosmopolitan web of melody and rhythmic animation, it all making the passage under our skin fluid and swift.

Proving just as captivating, Forgive and Forgets raises its anthemic hand upon the equally magnetic croon of Ames, the song with a Mudvayne meets Stabbing Westward air swiftly irresistible while The Worst sizzles on the senses straight after to match the virulence and captivation previously on offer. From guitars to rhythms, vocals to electronics, the track is a rapacious dance of varied rock enterprise designed to and succeeding in enticing full participation from its willing victims.

The following Skintag captures a 16 Volt/Celldweller hued temptation to its breath-taking enticement, the song another with a firm grip on best album moment as it nags eager and complete involvement in its arousing endeavours. Unsurprisingly it cast a web of tantalising flavours lined with varied and recognisable yet freshly individual threads in its energetic and inspiring weave and no shock, it too had us hook, line, and sinker.

Evolving closes out with firstly the physically intoxicating Godsend and finally the spiralling tempest of its title track. The first of the pair stalks the senses as it seduces ears with its melodic yet more carnal traits; its electronic elements inciting the bite of its rock and metal nurtured essences whilst equally breeding richer harmonic tempting in sound and vocals. Its successor aligns sonic turbulence and emotional intimacy with melodic intimation and ravening electronic contagion resulting in a final slice of inimitable Syztem 7 enterprise and audacity.

With every second, from its first lungful of sound to last, hitting the spot, Evolving easily rose as one of the year’s most arousing moments and Syztem 7 a band we can only anticipate much bigger attention rising up for.

Evolving is out now via Mighty Music @ https://targetshop.dk/product/syztem-7-evolving-cd?lang=en

https://www.facebook.com/Syztem7band/

Pete RingMaster 12/12/2019

Copyright RingMasterReview: MyFreeCopyright

Spreading The Disease – Mindcell EP

From their very first single a few months short of four years back, the sound of UK metallers Spreading The Disease has been a contagious eventful trespass which has evolved almost by the song let alone release.  It has been a growth driven by creative drama and rich imagination which is now unleashing its fullest, most striking roar within new EP, Mindcell; five tracks of ravening ferocity wrapped in bold enterprise which confirms and further establishes the Kent hailing outfit as one truly individual and compelling proposition.

As its predecessor, the Insurrection EP released late 2017, was borne from a bolder step in the character and enterprise of the band’s sound, so Mindcell openly reveals another thick step in its blooming. Into the EP’s fertile and atmospheric asylum Spreading The Disease weave their richest web of styles and flavours yet; uniting the familiar and the adventurously unique in a tempest of sound which just demands attention.

Obsession opens things up, an initial sonic stand swiftly pulling in a tempest of noise, aggression, and vocal ferity. As barbarous as it is there is also an instinctive virulence to the assault which only escalates as the track hits its savage groove. The throat of vocalist Connor Russell Snyder is a fury of emotion and threat but equally an incitement of feral melody as the song breaks from its wild incursion into a voraciously catchy chorus. From start to finish the track is superb, the rhythmic blitz of drummer Jack Apell and bassist Steve Saunders, the band’s founder, as manipulatively resourceful as it is hungrily barbarous and entangled in just as magnetic and enterprising exploits from guitarists James Falconer and Martin Osbourne with each broadening their imagination by twist and turn.

The mighty start continues as Voices rises from sonic mist, the disturbed edge of its intimation fuelling and springing the controlled but hellacious surge of intensity which follows. It too is just a vehicle for subsequent imagination to emerge, dark calm and insecure vocal reflection crooning before erupting in its own bedlamic fury. That too is just a moment breeding another individual moment, the song a fluid patchwork of schizophrenic twists spilling pure magnetism from start to finish; it all crafted with individual prowess and emotive intensity.

The following groove metal swing of The Anger Inside is just as potently captivating, the track equally a bruising and harassing slab of nu meets death metal  soaked rock ‘n’ roll easily and quickly getting under the skin. Apell and Saunders steer the track through ears with sheer power and riveting guile respectively with the sonic cunning and causticity of Falconer and Osbourne similarly stirring and imposing.

Just as forceful and rousing are the vocal exploits of Snyder, their adventure no more potent than gracing next up Waves. Its gentle melodic lapping of the senses borders hypnotic, guitars and bass colluding in an alluring kaleidoscope of temptation before being urged into more caustic endeavour by the scything swings of Apell. Again there is a feral a quality to sound and song even within its mellow serenading and a progressively lined enterprise which adds to its increasing irresistibility and inevitable persuasion.

Conflicted brings things to a just as rich and potent close; the track opening with a groove which is as familiar as it is tempting. Soon though it’s untamed heart infests every emerging aspect, Snyder masterful astride its contagious trespass. To this at times, there is a hue of bands such as American Head Charge and Mudvayne but great essences soon devoured and reimagined by the viral exploits of Spreading The Disease.

Quite simply Mindcell is the finest moment to escape the creative institution of Spreading The Disease, one which should draw the spotlight it loudly declares the band deserves.

Mindcell is out now through Surgery Records; available from all platforms.

https://www.stdband.com/   https://www.facebook.com/spreadingthedisease.official/    https://twitter.com/stdmetalband

Pete RingMaster 16/04/2019

Copyright RingMaster: MyFreeCopyright

Sober Truth – Psychosis

Less than a handful of months in and 2019 is already looking like it could go down as a major year for startling releases. Adding to the growing reasons why we are suggesting that possibility is the new album from German metallers Sober Truth. It is a snarling, writhing tempest of the band’s already individual progressive groove metal but has breached a whole new expanse of varied sound driven by an imagination living a up to its title; in short Psychosis is one dramatically thrilling engagement.

Formed in 2007, Siegburg hailing Sober Truth has established themselves as one of Europe’s most intriguing propositions across a trio of previous albums starting with Riven in 2009. The quartet has grown and nurtured their presence and reputation release by release but fair to say major spotlights and recognition are set to be stirred given the required opportunity with Psychosis. The successor to their previous well-received full-length Locust ▼  Lunatic Asylum, there is no escaping a new maturity and bolder imagination to the band’s songwriting and sound within Psychosis or the richer fusion of flavours making up its boisterous canvas.

The release opens with Solitude, the song initially brewing its attack in the background before crowding ears in a rapacious but controlled swirl of riffs and rhythms. A potent coaxing, it in turn soon centres its trespass and drives across the senses as eager grooves align with hungry riffs, the vocal antagonism of guitarist Torsten Schramm soon in league with the ferocious incitement. Instantly contagious and increasingly unpredictable as melodic strands and invention entangle in the fury while variety enhances the magnetism of vocals, the song just blossoms by the second. Already hints of different styles and spicing are at play, stronger in some moments than others but all adding to the track’s potent imagination and character.

It is a stirring rousing start easily backed by the sonic tapestry that is Akardos. Classic metal lined progressive wiring initiates the temptation, a great slim but rich prowling gait emerging before those early hues inflame the melodic enterprise of Schramm and lead guitarist Aaron Vogelsberg. Darker, heavier shadows soon infest the contagion, the esurient beats of Sam Baw uniting with the magnetic pulsation and lure of Jules RoCkwell’s bass. New threads of sound and styles continue to be keenly woven into the magnetic web before Dark Valley takes over the enslaving of ears and appetite. There is a bedlamic edge to Schramm’s vocals which quickly captured the imagination, one which only escalates across the song as musically too it nurtures an anarchic pandemonium within its skilfully bred infestation; the result which is maybe something akin to Dog Fashion Disco and Mudvayne meets The New Jacobin Club but is truly unique to Sober Truth.

The brief atmospheric ally portentous instrument of Ode To Reality leads to the authoritative bait of Riven which subsequently embraces thrash metal bred enticement and blackened shadows to its creative breast. As all tracks though, it evolves and spreads into a diversity of flavours and endeavour, the song as the band’s sound, wonderfully difficult to truly pin down though there is something of a Fear Factory tint to it.

The progressively flamed, death metal flushed Horizon and the nu/groove metal webbing of Utopia only cement the album’s potency and temptation; both unforgettable escapades forged in the diverse furore of sound and imaginative craft from across the whole band before Sober (ReArranged) reveals a whole new side and character to a song previously found on the last album. As catchy in temperament and intent as the original, the song flourishes in the fresh creative winds which race through the band’s growth in sound.

Dying Dreams follows bringing tenebrific clouds over melodic and harmonic intimation before the album’s title track seduced ears with its enthralling mesh of voracious metal and gothic rock equipped with almost malevolent grooves and post punk starkness. At times the song sparks thoughts of The Mission and Sisters Of Mercy, in other moments erupts in an insatiable squall of dissonance and instability. The track is superb, and one of the album’s biggest highlights.

The album concludes with an Unplugged rendition of Collapse, it too a song first introduced on Locust ▼ Lunatic Asylum. Whether intended as a mere bonus slice of Sober Truth goodness or not it provides a wonderful conclusion to Psychosis which is very easy to be greedy over.

Sober Truth may have still been an unnoticed proposition to many but surely that will change thanks to Psychosis. Quite simply the album is a real pleasure of originality and heterogeneity which deserves all the attention and plaudits it will hopefully get.

Psychosis is available now @ https://sobertruth.bandcamp.com/album/psychosis

http://sober-truth.com/    https://www.facebook.com/sobertruthband    https://twitter.com/sobertruthband

Pete RingMaster 14/03/2019

Copyright RingMaster: MyFreeCopyright

Down To The Bunker – Misery

A growling, snarling beast of a release, Misery is the debut album from Swiss quintet Down To The Bunker and an encounter which marks them out as one richly promising, indeed already impressive proposition. Offering up nine tracks of alt metal predation merged with heavy rock contagion and hardcore dissonance it all delivered with potent technical prowess and an uncaged heart, the release is one wake-up call to and declaration of intent from one rather exciting outfit.

Formed in 2012, the Genève hailing band has worked through years of line-up instability as it searched for the right personnel. It is a time though the band equally used to explore and hone a sound which is as unpredictable as it is varied and adventurous. A self-titled EP in 2015 drew keen attention though its support live was a struggle with again a changing line-up trespassing the next steps for Down To The Bunker. Now though things seem to have settled and with the band’s strongest line-up to date, the stability relishing result being the striking Misery.

Embracing a sound which sees the likes of Tool, Korn, Rage Against The Machine, Meshuggah, Gojira, Promethee, and Code Orange amongst its inspirations, Misery is an album which arouses as it challenges. Almost every moment has attention glued to its lures, the thrill of the unexpected rearing its head throughout an encounter which twists the familiar into its own pattern of fresh imagination and invention. Certainly there are moments where it ebbs and flows in the intensity of its temptation but there are few if any moments where it allows the listener to impulsively drift off elsewhere.

From the opening bait of first track Mother, the album was burrowing under the skin; sonic lures straining against the speakers urgently wanting out. The guitars of Matt and Jerem continue to bait the senses as heavier and darker strands join them, the bass of Arnaud a predatory taunt alongside the considered but imposing swings of drummer Léo. Completed by the fine tones of vocalist Jo, the track swiftly grows into a formidable and compelling incitement, imagination and unpredictability increasingly fuelling its enterprise and inescapable persuasion.

The increasingly magnetic and impressive start is easily continued by the album’s title track. It too springs from a seductive sonic lure if one which lances the senses rather than caresses them. The emerging web of guitars ensnared ears with swiftly nagging and devious intent; a strength of coercion matched in voice and rhythm. There is a touch of Mudvayne to the track at times which does it no harm or indeed the atmospheric winds which bring haunting melodies amid seemingly calm but dark aural intimation.

With the twisted canvas of The Asylum a refreshing bedlam of sound and individual craft shaped into another tantalising captivation come threat and the, at times, even more creatively unhinged and similarly fascinating Chrysalis, there is no let up on attention and enjoyment. Each track lured and trapped both with a creative greed which alone marks Down To The Bunker out, a dexterity in thought, songwriting and adventure which equally infests next up Ethics. As with all songs, it is a writhing collusion of sonic vines and metallic dissonance matched in vocal and lyrical dispute, and like each a blend of the barbarous and seductive as a cast of styles and flavours join up to ignite the band’s imagination and sound. There are moments of deceptive and corrupted calm which maybe disrupt the flow and impact of the track but it is that unexpected ideation which also makes it as potent as anything within Misery.

Through the intimately reflective and melodically evocative Waves, a quest with its own underlying snarl, and the sonically invasive and haunting Lost In The Desert, there was no let up on bold enterprise and striking intimation. The latter is like a senses suffocating limbo which slowly but surely reveals it’s waiting demons and distortions resulting in an experience which gloriously tests and provokes.

a final pair of bonus tracks in Machine and Alive brings the album to a dramatic and imposing close. The first and another major highlight of the release openly wears familiarity in its holler yet it would be hard to say it is anything other than a Down To The Bunker creative clamour while its successor prowls, pretty much crawls through ears with a great mix of heavy grunge and rapacious metal bound in melodic volatility.

It is a great end to an album which just pleasures and grows more impressive over time. In their seventh year Down To The Bunker will be making their first introduction to a great many with Misery but it is easy to believe they will be no strangers to them and major spotlights hereon in.

Misery is released February 22nd via Tenacity Music; available @ https://tenacity-music.bandcamp.com/album/misery

https://www.facebook.com/DownToTheBunker

Pete RingMaster 20/02/2019

Copyright RingMaster: MyFreeCopyright

Abstract Rapture – Hollow Motion

Formed in 2001, Luxembourg hailing metallers Abstract Rapture especially drew praise with the release of their album Earthcrush. Now seven years after its successful release and “significant” line-up changes the band have its successor primed to re-stir attention and such the craft and enterprise within Hollow Motion it is easy to see the quintet courting the biggest spotlights and plaudits.

Woven in a tapestry of metal bred flavours courting everything from groove and nu to death and thrash metal, the band’s sound and new album is a cauldron of adventure and imagination embracing the familiar and unique. Hollow Motion is a dark melancholic proposition yet a beast with a discontent fuelled fire in its belly and attitude nurtured tension in its breath.

The album opens with A Promise from the Ghouls and immediately lured ears with its rhythmic invitation, the teasing collusion of infectious beats with a dark earthy bass grumble devious. Swiftly the predacious edge of the guitar joins the threat, it all soon sparking into a rapacious stroll further accentuated by the potent tones of Dritt. The swinging grooves and continually intimidating edge of the track made for a compelling and infectious proposal unafraid to twist and turn with further imagination and creative trespassing sparked by the melodic and sonic prowess of guitarists Alex and Nol. It is an ear and appetite grabbing start to the album which continues through next up The Cancer in Your Soul.

The second track is instantly a more predatory proposal, almost stalking the senses even as melodic and grungier hues spring forward from within its ill-intent. Individual craft joins united endeavour as the song blossoms with each adventurous move, it maybe not as strikingly manipulative as its predecessor but just as imaginatively captivating before Endless Chapter grips ears with its own wily exploits. Again the swings of Spit incite as they bite, nagging grooves entangling his tenacious strikes as vocals incite. Across the album there is an essence of Mudvayne meets Disturbed meets Machine Head and no more so than within this gripping offering.

Blood-Red Revolt brought even stronger enticement and incitement to body and pleasure, the track a definite favourite, writhing as it fingers the imagination with its boisterously manipulative and widely flavoursome antics before, following the brief chillingly haunting and increasingly threatening lead of …and Winter Comes, the predacious Inner Plague prowls and teasing the senses with its own venomous but darkly seductive threat. As ever the tenebrific yet tempting growl of Maks’ bass fuels the alluring menacing; constantly keeping the listener on their toes alongside the drums even as melodic flames and enterprise blazes away.

From one outstanding moment to another as Venom Skies descends on the senses with intrusively skittish beats to the fore before its sonic spiral springs another web of riveting and toxic conspiracy built on craft and imagination. The swing of the track is inescapable, its resourceful weave innovative even as familiar hues add to its appealing canvas.

Through the simply invigorating deeds of The Fear Industry and the calmer but similarly enticing Hollow Soul, ears were only firmly held; both tracks and especially the first of the pair offering snares of sound and touch which left us simply greedy for more before Ego Non Te Absolvo (A Drunken Conclusion) brought the album to a destructively intimate and provocative close.

It is a fascinating, tormented end to an album which is almost intense in its dark tone whilst bordering the kaleidoscopic in a sound which still embraces a particular hue that is individual to Abstract Rapture. Hollow Motion will be an introduction to a great many even being the band’s third full-length, one announcing  Abstract Rapture to all as being one striking and thrilling proposition.

Hollow Motion is out now, distributed by Black N ‘Purple Records, across most stores.

https://www.facebook.com/pg/abstractrapture/

Pete RingMaster 18/12/2018

Copyright RingMaster: MyFreeCopyright

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

 

Deathflux – Execrated

With its members previously part of death metal outfit Cacodaemonic and one of our favourites in progressive metallers Akarusa Yami, there was certain anticipation in hearing the debut album from British metallers Deathflux and Execrated certainly rewards that intrigue and excitement. It is a raw and uncompromising trespass upon ears and senses quipped with rich enterprise the imagination quickly took to.

Formed in 2016 by Nottingham guitarist Tom Clarke, who as mentioned enlisted band mates from his former propositions, Deathflux creates a sound which cannot be precisely pinned down. Led by a rousing and enjoyable senses abusing dual vocal attack, the sextet entangle everything from death and heavy to technical and groove metal with plenty more flavouring involved. Their first year saw the Bludgeon, Consume, Transcend EP uncaged, the band’s second bringing the current line-up together with vocalist Adam Jones joining the raucous bellows of Patrick MacDonald. Now Deathflux is ready for full and hungry attention which it is very easy to expect to be crowding them through Execrated.

It is a release which from opener Forsaken which manages to grab ears and captivate as it trespasses the senses while hinting we are just in on the beginnings of even bigger and bolder things ahead. Maybe that means there is an open potential not quite realised within the album yet it just adds excitement for the future to that gained though the bracing assault of the release. The first track immediately infests the listener as the twin fury of the vocals joins the predacious lure of the guitars and instantly threatening touch of the rhythms.  Soon as it hits its imposing stride, the song winds its creatively malicious tendrils around ears, animosity matched in the individual and united antipathy of the vocalists. Often lurching along between its fevered intrusions as imagination fuels twists and turns, the track lays potent seeds for things to come.

The following Consume finds an even more predatory lilt to its voice and presence, extreme and melodic metal converging on ears and each other as again vocals challenge as they align their discontent. Dissonance soaks every note, syllable, and word; its dystopian coating breeding a conspiracy of enterprise and imagination within the track and subsequent album as proven by next up Devolution. Similarly woven yet individual in its character and rapacious attack, the song springs nu metal hues into its infestation of styles and the web of rancor woven from them. It too jabs and snaps as well as careers across the senses, the guitars alone weaving magnetic intrigue and adventure including a delicious groove as rhythms blossom in their predatory dynamics.

Toxin initially dances in ears with catchy intent, it’s pent up animosity and frustrations waiting to be subsequently unleashed through the riveting exploits of vocals and the persistently unpredictable landscape of the song. As much as all its predecessors hit the spot, the track truly grabbed our attention and appetite, that intimation of even richer and bolder layers to the band’s creativity a nagging pleasure.

Easily our favourite track, it is more than backed up by Bludgeon which simply lives up to its title as it accosts the listener but an assault built with an imagination and diversity of touch which at one point seems to embrace inspirations of a Slipknot or Mudvayne in other moments the likes of Fear Factory and Dillinger Escape Plan.

Next up Transcend is even more bullish and irritable, deathcore traits seeping venomously into its grooved trap set by the guitars, Clarke relishing the dynamics as he casts melodic dexterity into the thrilling mix before Exile brings the album to a vicious conclusion. It epitomises every aspect of the band’s sound; from their ferocious energy and nature to the creative touch and technical flair each member brings to the war.

Though first impression were potent, Execrated really flourishes over subsequent plays as each track reveals more of their individuality and invention which might have escaped notice first time around. Expect to be assaulted and richly pleasured by Deathflux’s first album and anticipate being addicted as its potential ignites in the future.

Execrated is out now through iTunes and other stores.

https://www.facebook.com/deathflux/   https://twitter.com/deathfluxband

Pete RingMaster 03/07/2018

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