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

Copyright RingMaster: MyFreeCopyright

We Are Band Nerds – Forget Me Nots

When something is self- described as “Deftones meets Outkast” you just have to have a sniff but it was a mighty lung full we subsequently grabbed when diving into the debut album from US outfit We Are Band Nerds. That description certainly fits the Dallas sextet’s sound, though we would also suggest The Kennedy Soundtrack at times in their blend of alternative hip hop and nu metal, yet there is so much that is individual to the band that it is one imagination grabbing adventure within a debut which just demands plaudit loaded attention.

We Are Band Nerds consist of Brandon Cross (Lead Singer/Rapper), Tony Lucas (Rapper/Vocalist), Dorian “Scullie” Thomas (Guitarist), Carlos “DJ Sol*Los” Juarez (DJ/Sampler), Stephen “S Dot” Bonilla (Drums), and Santos “Sandman” Johnson (Bass). They all bring individual craft and loves into a united sound keenly embracing further diverse styles from jazz, metal, electronica, rap, and varied rock music. Within their first full-length, Forget Me Nots, it quickly proves to be a fascinating mix. Lyrically too the band transfixes, never pulling their punches whilst showing honesty fuelled insight and craft which whether with subtlety or force bewitches as firmly as the sounds around them in songs exploring the depths of everything from relationships to racism, poverty to life’s experiences.

From opener Hunger Games it grabs ears and imagination, electronics almost teasing as they suggest and lure before embracing a current of metal nurtured riffs, dancing beats, and the vocal prowess of Cross and Lucas. The snarl of the guitars is gripping and portentous; vocals matching their angst and irritability with the pair of singers and their individual styles a magnetic union.  All the while the melodic instincts of the band add a mesmeric glaze to veins of creative suggestion and the encounter’s natural rawer rapacity. It is a compelling mix of threat and contemplation in word and sound and a gripping start to the album.

The following Whore has an instinctive catchiness from its first breath of voice and bass, their natural swing controlled but bold and setting the tone for the outstanding track. Like a clock, each note ticks by with consistency and intimation, vocals matching their gait yet all the time volatility in the song’s belly is brewing and stirring, never truly erupting but adding a rousing trespass between the crystalline breaths and organically bred emotions. Like Palms meets Mudvayne in an unexpected way, it is simply glorious and reason alone to check out band and album.

Fake In You similarly has a relatively calm climate within which turbulence and intense shadows lie, essences which burn bright at times but are tempered by the atmospheric glides of the keys and the smooth blend of rap and clean vocals. That tempestuousness does take hold momentarily towards the song’s close but again is dampened down by the tranquillity and beauty of melody before Dreamer opens its heart and diminishing hopes through elegance, grace, and corrosive intensity. As with all songs, hindsight brings a sense of familiar hues within the inventive drama but there is no chance of predicting the landscape and enterprise of each encounter as hearts are shared and thoughts turned over.

Without quite stirring the passions as thickly as those before Under Water still holds attention tight with its evocative drama in sound and word amidst rapacious metal encroachments while American Trash springs from an electronic breeze of an interlude/intro into a heady windstorm of sonic manipulation and lyrical dissonance, though never breaking from its restraints to truly create a blistering tempest.  That control just makes the song though, ensuring its portentous air is a tantalising harassment behind more of the stirring blend of mellow and ire sealed vocals.

The industrial bent Hagel Trumpf is a prowling predator breeding addiction and lust for its senses preying beauty lit with nu metal stalking while Savage borders on the carnivorous, in comparison, but too holds its ferocity in an embrace of suggestion soaked harmonics and melodic intrigue. Both are mutually unique and magnificent, just two more reasons to be excited about their creators and lustfully keen to recommend the album they grace.

Forget Me Nots concludes with Fade Away, a scalding slice of rap and rock infused metal which is the band at their organically rawest on the album but once more infused into a searing irradiation of melodic beauty. It is a compelling end to an album which we can only repeat, must be checked out especially if those comparisons at the beginning hit the spot but equally atmospheric metal/rock in general.

Forget Me Nots is out now via Pavement Entertainment across most stores.

http://www.wearebandnerds.com/    https://www.facebook.com/wearebandnerds/     https://twitter.com/wearebn6

Pete RingMaster 09/03/2018

Copyright RingMaster: MyFreeCopyright

Death Blooms – Self Titled EP

Recent single I’m Dead was the hint of a new emerging force in British metal, the self-titled debut EP from Death Blooms is the confirmation. It may be their first full introduction to and nudge on the nation and beyond but the four track roar of ferocious multi-flavoured alternative metal is a wake-up call demanding attention.

We had marked down the fresh breath and sound of Anti-Clone as the future of UK metal but now alongside them we have to suggest will be Death Blooms. It is not that the Manchester/Liverpool bred outfit’s  sound is strikingly unique at this moment in time but everything about it blossoming from their equally potent songwriting is, as the EP, feral excitement and compelling dynamism soaked in the potential of truly great things ahead.

With shows alongside the likes of Dope, Skindred, Raging Speedhorn, and Anti-Clone under their belts, Death Blooms are on a charge which the new EP can only add extra fuel and gears to. The release simply grips ears with its opener Hate:Die.; challenging and thrilling them from its first rabid breath as vocalist Paul Barrow roars over an intrusive trespass of sound. Riffs nag as hooks collect around the primal stabs of bass and Mel Stewart’s swinging beats. Quickly hitting its predacious stroll, the track devours the senses but equally seduces them with melodic flames and unpredictable moments of relative restraint. Barrow continues to snarl from within the web of sonic enterprise cast by guitarist Ad Lucas, the bass of Ben Grimsley as dark and threatening as the backing vocals almost crawling across the psyche.

It is a stunning start to the EP, essences of early Mudvayne, Spineshank, and indeed Anti-Clone coming to mind as it ignites body and spirit before passing its willing victim over to the waiting infectious animus of Last Ones. With a seriously catchy chorus breaking up yet managing to inflame or at least accentuate its ferocious confrontation, the song similarly impresses while recruiting eager involvement in its contagious tempest.

Two songs in and Death Blooms confirm their instinctive ability to align virulent infection loaded temptation with primal animosity, latest single I’m Dead further evidence with its rabid energy and rapacious urgency. Vocals bark and riffs hit the body with spiky endeavour, the bass a primordial flirtation alongside the biting jabs of Stewart and all colluding in a hungry storm of antagonism and flirtatious craft given greater strength by the hardcore hollers of the band. As the opener, the track is superb and easy to understand its success in stirring up real anticipation for the EP and the spotlights already pressing upon the band.

Closing things up in fine style is Sick, another scourge of resourceful metal harrying and arousing the senses and spirit. Its plaintive cries lay earnestly upon the maelstrom of grooves and riffs, every hook linked to a voracious rhythm, each imposing beat bound in sonic coquetry.

It is fair to say that Death Blooms find adventure in every idea and note thrust upon a quickly willing victim to their might and imagination. With a deluge of submissions to be considered by The RR it is hard to find the time to return to many encounters for just pleasure, but Death Blooms and their galvanic treat of an EP has joined that short but potent list; they should be on yours too.

The Death Blooms EP is out now through iTunes.

https://www.facebook.com/dthblms/    https://twitter.com/dthblms

Pete RingMaster 24/05/2017

Copyright RingMaster: MyFreeCopyright

Ninjaspy – Spüken

It is fair to say that Spüken, the new album from Canadian metallers Ninjaspy has been a long time in the making. With its ten tracks spanning a decade and its recording beginning late 2014, the band’s second full-length has had time and attention given its creation and character; it all reflected and more in its thoroughly enjoyable and imaginatively dynamic adventure.

Consisting of a trio of blood brothers in vocalist/guitarist Joel, bassist Tim, and drummer Adam Parent, Ninjaspy has honed a fusion of groove infested metal, reggae, and other heavy natured flavours which now roar mightily within Spüken. It is a web of sound which grabbed attention in the Vancouver threesome’s 2007 debut album Pi Nature and even more so in the following EP, No Kata six years later. Their new offering is the natural and lofty evolution of these earlier successes; a release weaving occasionally familiar but always unpredictable proposals which tease, flirt with, and persistently arouse the senses and imagination.

Linking up once more with producers GGGarth Richardson (Rage Against the Machine, Red Hot Chili Peppers, Mudvayne, Gallows) and Ben Kaplan (Biffy Clyro, Atreyu, Haste the Day), Ninjaspy gets the album under way with the single Speak, a track certainly sparking anticipation of Spüken with its release last August. Its relatively low key Australasian entrance cored by an emerging bait loaded groove soon leaps into a smouldering swinging stroll with more than an air of Dog Fashion Disco meets Faith No More to it. Subsequent raw outbursts come loaded with ferocity and zeal, trespassing with the same catchiness as the song’s mellower teasing where rhythms dance and the bass grumbles.

It is a stirring start swiftly eclipsed by Shuriken Dance. It too shows restraint in its initial coaxing, melodic twang and rumbling rhythms colluding in an understated but bold tempting before a web of sonic and creative espionage binds ears and appetite. A punk roar escapes the throat of Joel, his aggression matched by the punching beats of Adam and both tempered by the melodic exploits of guitar. Their calm is as deceptive as the raw touch they temper, each beckoning ears into a waiting System Of A Down-esque bedlam of psychotic sound and invention. The track is pure virulent infectiousness, drawing body and voice into union with its own twisted exploits.

The following Brother Man warmly grabs ears next like a collusion of Ruts and 12 Stone Toddler; its stalking groove and melodic coaxing a delicious mix soon embracing a reggae and metal induced tempest in turn proceeding to entangle all earlier aspects within its similarly and seriously catchy landscape. The further into its depths the more deranged twists show their voracious enticements as too mellower melodic but no less certifiable essences. Thorough captivation, it is more than matched in aberrant adventure by Dead Duck Dock. The song also follows those before it by making a relatively gentle melody woven entrance but also one soon showing argumentative discord in sound and intensity as its groove metal instincts rise. With hues of Slipknot and Society 1 to its growl, the song is a roar of creative irritability and intrigue never resting for long in one flavour or mood.

The outstanding Become Nothing is a loco romp revelling in a sound and imagination something akin to again SOAD  this time in league with Kontrust while What!! infests ears and satisfaction with a Skindred/American Head Charge scented escapade though as every reference used as a hint, it is a potent hue in a Ninjaspy bred roar.

The sweltering infection fuelled funk of Jump Ya Bones soon spins its own particular tapestry of rich flavours and various styles as it flirtatiously bounds through ears before Grip the Cage provides a more even tempered shuffle though it too expels moments of incendiary emotion and energy. They both equally push the diversity of the album and songs, that ten years of writing and maturing giving birth to Spüken skilfully shaping their varied designs.

The melody rich and increasingly agitated Azaria stretches that variety yet again, the song deceptively straight forward initially, luring ears into its own expectation defeating maze before Slave Vehemence brings it all to a thrilling close with a cauldron of capricious invention and impulsive ideation wrong-footing and exciting ears at every turn.

It is a fine end to an increasingly pleasing album unveiling new nuances and moments with every listen even after double figure plays. It is a release sure to harass global attention the way of Ninjaspy but more so leave new legion of fans lusting for their sound and presence.

Spüken is released April 14th

http://www.ninjaspy.net/    https://www.facebook.com/ninjaspy/    https://twitter.com/ninjaspy

Pete RingMaster 12/04/2017

Copyright RingMaster: MyFreeCopyright

Contemplating Leaving Eden

le-3-11-16_RingMasterReview

It is quite simple. Leaving Eden is a band which demands attention with a sound and creative flair that persistently captures the imagination drawing an ever growing following simultaneously. Their ear catching and thought provoking music has help lead the band to sharing stages with hundreds of the biggest national bands in the world and tours across numerous countries. We managed to grab some time with Eric from the band to learn more about Leaving Eden and what makes them tick…

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

Can you first introduce the band?

Hi, great chatting with you also.

Eve: Lead Vocals

Ryan: Manning Drums

Johhny V: Bass

I’m Eric Gynan: Guitarist, vocals, Keys.

Have you been involved in other bands before? If so has that had any impact on what you are doing now?

Yes we’ve all been in various bands along the way and learning from the past always gives you a jump on the future.

What inspired the band name?

Leaving Eden came to be simply that this planet is like the Garden of Eden right, with all of its corruption; wouldn’t it be nice to take off and go somewhere else to visit? Lol.

Was there any specific idea behind the forming of the band and also in what you wanted it to offer and does that intent still drive the band or has it evolved over time?

Definitely we have evolved. I think you have to in order to change with the times so long as it’s better. It’s important though to maintain your individuality. For us we set out to be different. Quick story here, we went to this huge studio once where bands like Seven Dust, The Rolling Stones and Boston recorded. The person there brought out a white board in the conference room and drew a box. They said you are here, pointing outside the box and you need to be here, pointing inside the box. I immediately said wait, are you telling us we need to be in that box?  They said well yes I guess I am. I said thank you very much and got up and walked out. I get it, if you wanna ride a wave and be like everyone else on that moment of time, they can easily slip you into a genre. For us though it’s hard to just slip us in to any particular genre. We won the best Hardcore act in New England and I thought that was funny because they couldn’t find the appropriate Genre for us. We stay true no matter what the times may change to our roots, Rock Music.

Since your early days, how would you say your sound has evolved and has that been an organic movement or you guys deliberately heading in certain directions?

I think being a recording artist, endlessly recording and working with some incredible recording engineers like Johnny K (Disturbed, Pop Evil) you learn what it really takes. When they say they will go through your music with a fine tooth comb, they mean that literally that down to the 64th beat your music will be scrutinized for perfection. Ya know good bad or indifferent, when you listen to the radio, you may not like the band you’re listening to but aside from that, you will NEVER hear something that’s not polished. It’s gotta be perfect or you’ll never make it to the radio. With this on mind, you take this knowledge of being tight to the live performance and it makes all the difference in the world. This is why some bands may record a great album but when you see them live, it’s just not the same. We try and stay true to our recordings.  We also evolve in that area after the recording we may change it up live where we may think we’ve built upon that foundation.

art_RingMasterReviewPresumably 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?

I think all of us are inspired by what we like as far as taste in other bands music. For us what greatly inspires us is that organic sound that manifests itself in a way that is kind of like connecting the dots. We feel that Leaving Eden learns from the past, encompasses the present and forges the future. Any band that has been in the gutters not in the limelight, they’re the ones whom always forged the future. This is why we named our last album Pinnacle…Because it’s at that pinnacle where trends will be forged.

Is there a particular process to the band’s songwriting?

Sure. For me I connect with the Universe in a way that opens my mind to listening. I use my fingers as kind of line antennas to pick up the frequencies, as strange as that sounds, if you listen, you can hear the music that lyrics, melodies and harmonies completely produced. Just gotta transfer that info to the recording. Then the rest of the band puts their stamp on it and presto, there’s a new song. I’ve even felt the influence of dead poets coming through. Sometimes I feel like I really can’t even take credit for the songs as they’ve come from somewhere else. It’s a deep meditative state of mind that brings these ideas into fruition.

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

Great question… Our songs speak from experience, life’s experiences…Sometimes good but mostly bad lol. Bad in the way of getting screwed, for instance our song Tied and Bound comes from the frustration of the music industry; “We’ve been screwed overcharged underpaid and abused, exploited avoided and falsely accused, we’ve been cut down let down fucked around tied and bound, but nothing can take the music away”

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?

Pinnacle released by Rock Avenue Records USA, was completely written before we got to the studio. We like to do pre-production first, be prepared so to speak, so that we aren’t wasting valuable time and money. Pinnacle is really an eclectic array of song themes and music. We tried to keep it again organic so you won’t hear all these extra vocal harmonies for instance that we could never do live. Yes there is harmony, but it can be done live.

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

That is where one should shine right?  I feel it is our live sound which is one of our trade marks. It’s so hard in the studio to capture that live performance primarily because it’s a one sided energy exchange. When you have a crowd, that’s where the sharing of the energy happens, therefore it really helps to put you on top of your game. You can’t see the band for instance when listening to an album, so that performance is so necessary.  Can the band reproduce that sound live? With Eve in front, she is clearly universal and really takes control of the room or festival, really just connecting with the crowd.

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?14195978_1274693589207580_3294288122701219788_o

Correct. We’ve been fortunate, lucky, graced, whatever you’d like to call it. Our motto has always been that we will play anywhere, anytime, any way we can so long as we can. This philosophy has led us to share the stage with some of the biggest bands in the world with;  Lacuna Coil, In This Moment, Black Sabbath (Heaven & Hell), Ronnie James Dio,  Rob Zombie, 5 Finger DeathPunch, Disturbed, Marylyn 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 Micheals, 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) and many more..  This has led us to Winning The New England Music Awards & The Pulse Magazine Worcester MA Music Awards and Touring The USA, UK & Canada. If we didn’t get out there we would have never found these opportunities. There’s usually someone there that can help move you forward.

Are there the opportunities to make a mark if the drive is there for new bands?

Absolutely…In fact I believe bands who haven’t “made it” have more of an opportunity. Let’s take a band that has made it whether it was one song or many. As time passes, for whatever reason, they stopped making hits. It’s very rare for them to have another hit song or even get on the radio. It’s very strange but true. As a new artist you have more of a chance because again you’re at the pinnacle forging ahead.

How has the internet and social media impacted on the band to date?

I find this very interesting. In a moment you can be heard all over the world. It’s absolutely amazing. Back in the day I feel bad for the artists before the internet that never had that chance. Shit, back then you couldn’t even stay connected with different states via phone. It was too expensive to make a phone call so you were quite limited as far as how far you could reach. Now, our music is flying through the airways, our unreleased song Out of the ashes says; digging deeper underground faster than the speed of sound

I can see the light of day, darkness fades away”. This just says as a band that’s not superstars, they are basically underground in the gutters spreading like swill in the harbor of slime lol. God some of the venues we’ve played have been the scum of the earth. Shit when we went to UK, there was a dirt floor. But in order to really appreciate where you may end up you’ve got to crawl through the slime in the gutters. If I for instance just started a band, had lots of money, related to someone big in the industry, getting signed immediately and becoming famous overnight, how then could I appreciate where I came from? When you come from the bottom of the barrel and make your way to the top, you never forget where you came from.

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

This was fun. Please excuse my unorthodox replies here and appreciate your time. Leaving Eden will be touring the USA, Canada and Europe. Hopefully South America as well, where our management/touring Co. Alpha Omega/Darkside Entertainment has offices in Europe, USA and South America we feel honored to be part of the family there. We hope to see all of you soon!! For all Leaving Eden Info go to http://www.leavingeden.com

And see us on Facebook Leaving Eden and Peace and Harmony to all!!  I say harmony because this planet, the universe, everything in it works in perfect harmony accept one species, Humans. WTF is that about right? Let’s make it happen.

https://www.facebook.com/bandleavingeden

Pete RingMaster

The Ringmaster Review 01/12/2016

Copyright RingMaster: MyFreeCopyright

The Last Ten Seconds of Life – The Violent Sound

tltsol_RingMasterReview

Having beat up on and seduced the US metal scene, Pennsylvania hailing The Last Ten Seconds of Life are abut to do the same to a global attention with new album The Violent Sound. It is a success not too hard to imagine almost expect as the release unleashes twelve brutal alternative/nu/groove metal furies that just grip and excite ears and imagination. The band’s sound has plenty more in its arsenal of flavours and temptation but a mix of Korn, Mudvayne, and Britain’s own Anti-Clone is a fair indication to the downtuned tempest the Mansfield based quartet uncage.

Formed in 2010, The Last Ten Seconds of Life has risen through the local and national US metal scene, earning a potent reputation for their fearsomely impressive live shows and releases like debut album Know Your Exits of 2011. The past year though has seen the band evolve their sound into a whole new and striking adventure with new vocalist John Robert C. coming in, his irritable grouchy growls and impressive broader versatility seemingly, on the evidence of The Violent Sound, just bred for the band’s evolution in songwriting and imagination.

Engineered by Grant McFarland and produced by Carson Slovak (August Burns Read, Texas in July), The Violent Sound is the first offering from the new line-up and pretty much goes straight for the jugular as Little Black Line opens things up. Its initial lure though is the clean tones of John Robert, enticing within brewing discord honed tempestuousness which blossoms into a predatory stroll that as good as stalks the senses. The harsh rhythmic tenacity of drummer Christian Fisher is bound to the barbarous groove and tone of Mike Menocker’s bass, both a formidable invasion of ears as the guitar of Wyatt McLaughlin creates a sonic smog of portentous temptation.

Though the song never brutalises, its intent and weight takes no prisoners, setting the listener up for the intensive examination of The Drip. That Korn-esque texture to the band’s sound swiftly seduces ears within the encounter, interrupting a primal trespass equipped with scything grooves and vocal antagonism around rhythmic animosity. The track is glorious, another aural predator further impressing in melodically bred moments of emotive resonance before Bloodlust lives up to its name in tone and emotion. It is a savage uncompromising affair but again one with twists into unpredictable and sinister passages which even if only brief draws the imagination further into the violating tempest.

cover_RingMasterReviewThe following Six Feet is just as diverse in its attack and simply imperious, its volatile climate and grievous intensity skilfully contrasted by the melodic and harmonic swoops upon ears; the two colluding in bewitching espionage before the track is back devouring all before. As much death metal seeded as any of the flavours previously suggested, the track is a carnal incitement igniting an already keen appetite with the album’s title track reinforcing its increasing hold. The Violent Sound roars with sonic spittle lying upon vocal ire as rhythms pounce with animalistic predation, a vicious stalking leading to the calmer melodic and cleaner vocal enterprise of the band which is as virulently infectious as anything escaping the crushingly relentless ferocity.

A Marilyn Mansion air accompanies the flirtatious swagger of Casanova, an irresistible track with all the grooved swerves and salacious moves of a venomous pole dancer while Bag of Bones worms into the psyche with a niggling groove prone to discord fuelled expulsions of sonic unpredictability. Around it, the track brews another fury which buffets and abuses the senses, every swipe and incursion eagerly welcomed as the track swings like a hungry hound with a creative deviousness just as eagerly abound within successor Switch, a volatile fusion of metal and heavily boned rock which either licks at the psyche like a demonic lecher or presses in on the senses like a murderous vice.

That sanguine essence is even more prevalent and zealous within next up Blind Faith but equally the band’s harmonic imagination is a rich lure, so much so that you do not know whether to bow to its seduction or run for the hills, the former ultimately the only reaction to the brilliant protagonist.

It is a success and creative endeavour matched by that within Wise Blood, The Last Ten Seconds of Life again creating a concussive, sublimely seductive siege of ears and senses, trapping the imagination with exotic grooves and spicy melodies amidst vocal dexterity before Social Suicide casts a paradox of contrasting textures which simply captivates with ridiculous ease.

With the groove entangled, sinisterly shadowed Last Words completing the ferocious proposition, The Violent Sound is destined to push The Last Ten Seconds of Life firmly into the broadest metal scene. If not, there is something seriously wrong.

The Violent Sound is released by Siege Music on October 21st.

https://www.facebook.com/thelasttensecondsoflife   https://twitter.com/TLTSOL?lang=en

Pete RingMaster 20/10/2016

Copyright RingMaster: MyFreeCopyright