The Ugly Kings – Darkness Is My Home

Towards the tail of last year Australian blues rockers The Ugly Kings left a rather fertile and extremely tasty teaser for their debut album in the shape of two-track single Promised Land. Now we can reveal that all the hints and intimation offered then of something special coming ahead have been forcibly realised with the band’s first full-length, Darkness Is My Home. The release is a powder keg of muscular rock ‘n’ roll, a cauldron of suggestion and haunting darkness, and most of all simply one of the most powerful creative roars heard in a long time.

From the coarse grain of the delicious bass sound to the suggestive clang of the guitars and from the lyrical atmospherics to their vocal realisation, Darkness Is My Home is pure uncompromising temptation, one as dynamic as it is seductive and as cinematic as it is intimately haunting. In fact it is so much more than that outstanding first single implied, and still offering more after a multitude of listens.

Formed in 2011, the Melbourne quartet soon stirred local and subsequently national attention through their live presence and in turn 2015 mini album Of Sons. The past two years has seen the band share the stage with Rival Sons in Melbourne (2016), support Airbourne on their successful sold out 2017 east coast Australia tour and this year open for Papa Roach on their two shows in The Ugly Kings home city. Darkness Is My Home can only open bigger doors and opportunities, the album thrusting the band into the realm of the big boys without even a knock on the door.

The album opens with the outstanding Promised Land and instantly hooks ears with its initial lure of sultry guitar and vocal expression. Frontman Rusty Clark has a voice which commands attention, a musical orator you just want to listen to and backed by just as compelling sound throughout song and release. The smouldering brooding of the song is transfixing, only escalating its lure as resonating beats and the first of a tide of irresistible basslines across Darkness Is My Home breaks. Igniting into a robust stroll with a searing groove, the track is pure captivation and increasingly so as it repeats its cycle with greater lust and vigour. Rock ‘n’ roll does not come much better as this imposingly infectious and skilfully manipulative encounter though it is undoubtedly matched throughout the album.

The following Black Widow also makes an instant impact with the beats of Andy Alkemade sending ripples of resonance across the senses with every impact before Christos Athanasias’ guitar begins its prowl alongside Clark’s vocal incitement. The earthy growl of Nick Dumont’s bass is just as riveting, the four conjuring a predatory yet seductive dark romance with threat in every note and suggestion in every syllable. Influences to the band include the likes of The Doors, Jack White, Black Sabbath, and Royal Blood, flavours you can sense but as in the first and those to come the track is as unique to The Ugly Kings as you could wish.

The fiery rock ‘n’ roll of Raging Bull has a more animated gait though it comes in an ebb and flow which stabs at the senses with purpose and mischief before being uncaged in a rich blaze of melodic lava while Killing Time borders on the carnivorous with its gorgeously gnarly bassline and romantic with its melodic and vocal reflection. The uniting of contrasting textures is masterful and Dumont’s bass manna for personal tastes whilst the song’s croon is just impossible to resist. Both songs light up ears and imagination, fire up the passions though we can say that about every track within Darkness Is My Home.

Love Enemy with its slow swagger of a stroll brings calm after the clamour of its predecessor but one lined with dark provocative shadows and magnetism as sinister as it is infectious. Its catchiness is inescapable, swaying hips and over worked neck muscles our evidence with the imagination just as involved as words and tendrils of sonic enterprise entangle before You And Me brings is boozier intoxication to bear on ears. The band’s passion for the blues is a constant roar in their skilfully eclectic sound, The Ugly Kings infusing it into their own power fuelled designs, each individual to the next as proven by the volcanic heat and earnest swing of yet another gem.

Another great trait of the album is that every song feels like old friends within a couple of listens, Lazarus drawing vocal chords into play even before it finishes its first influential roar, the ballad a pyre of power and individual intensity.

The album is brought to a just as rich close by firstly Little Birdy Told Me; a cauldron of senses singed grooves and ever welcomed rhythmic trespasses aligned to the striking prowess of vocals and unpredictability, and lastly The Fire. The closer has the heat its title suggests but before it reaches that intensity, simmers and smoulders around vocal melancholy and defiance. When it catches, the track is a furnace of sound and intensity but just as powerful when it’s sonic and atmospheric kindling is just glowing.

Darkness Is My Home is quite simply glorious, a rousing beacon among already a host of great and powerful heavy rock releases. The Ugly Kings better get their passports in order because we get the feeling the world is going to want them blazing away in their backyards hereon in.

Darkness Is My Home is out now via Kozmik Artifactz; available @ https://theuglykings.bandcamp.com/ and http://smarturl.it/DarknessIsMyHome

https://www.facebook.com/TheUglyKings/   https://twitter.com/theuglykings   https://theuglykings.bandcamp.com/

Pete RingMaster 25/04/2018

Copyright RingMaster: MyFreeCopyright

Counterpoint – If Not Now, Why?

Almost demanding attention, UK rockers Counterpoint provide a thumping introduction to themselves with their debut EP. If Not Now, Why? offers five slices of rousing thickly flavoured alternative rock, tracks which has the body bouncing as eagerly as it has the appetite keen to savour plenty more from the Liverpool formed, Manchester based quartet.

Spawned from the ashes of their previous band, Operation: AEON, Counterpoint was formed by vocalist Dominic Lucock and guitarist Martin “Ted” O’Neil in 2015. Numerous ears were enticed by an early demo track in Borrow Your Past, Steal Your Future, including producer Jim Pinder (Bullet For My Valentine) who offered an interest in working with the band on their first release. Cementing a praise earning live presence since then, with a recent show with Crazy Town only pushing their increasing reputation, Counterpoint subsequently joined Pinder and Dan Jeffries in Treehouse Studios with If Not Now, Why? the potent outcome.

It opens up with Leave It All Behind, an immediate tease of sound and anthemic intent which looms up and envelops the senses. Swiftly it finds its muscular stroll, the swinging beats of Ed Sutton inciting alongside the throbbing canter of Mikey Gaffney’s bass and O’Neil’s lively riffs and grooves. At the same time Lucock blends raw and melodic enterprise in his vocal enticement, it all coming together for an inescapably catchy yet energetically imposing proposition.

The great start continues through Honestly, it too gathering its attributes in its initial breath before gripping ears with its subsequent enterprise. Ebbing and flowing in its aggression, perpetually captivating in its resourceful dynamics and imagination, the song creates a tapestry of melodic intrigue, emotive suggestion, and tempestuous energy which just beguiles the imagination. References to the likes of letlive, Papa Roach, Deftones, and While She Sleeps have been offered before the Counterpoint sound and easy to understand why with the EP’s opening pair of encounters.

The following Between You And Me has a great irritability to its heart and raw air which does not defuse its infectious virulence and harmonic prowess; a trait and creative agility which reminds of Reuben in some ways. Every handful of seconds brings a fresh twist and a hungry surge of persuasion, each combining with the other to match the heights of its predecessor’s triumphs, in certain moments eclipsing them before next up DownDownDown boldly swaggers in. It too reveals a skilfully woven mix of rapacious aggression and melodic seduction in its boisterous stomp in creating its own inescapably catchy and stirring incitement.

The EP closes up with One Sided Conversations, a calmer melody tempting serenade with power in its voice and intensity in its heart which inflames the song’s increasing urgency and zeal. It is a fever which soon has the track storming the senses but with the ability to slip into mellower breaths for sublimely captivating moments.

It is a fine end to a striking first listen to Counterpoint, If Not Now, When? a release suggesting a band with all the traits to make a rich impact on the UK rock scene if they realise and develop its bold potential and easy to greedily enjoy sound.

If Not Now, When? is released February 9^th

https://www.facebook.com/UKCounterpoint/

Pete RingMaster 09/01/2018

Copyright RingMaster: MyFreeCopyright

Bad Solution – The War Within

A handful of weeks over two years ago, British metallers Bad Solution seriously impressed with their first EP, Self Destruct. A fiery and inventive roar, it seeded a keen anticipation for the London based band’s debut album; a hunger made to wait but now rewarded with a beast of a first full-length not only confirming that early promise but pushing their sound and writing to a whole new level.

That fresh new adventure tempers the slight disappointment of four out of the album’s ten tracks coming from that first release though such their impressive and highly enjoyable impact there is never a negative hearing them again and again. Their infusion within the brand new tracks on The War Within actually brings other previously less noticeable attributes within the quartet out to join those of their newer companions to create a fully rounded and increasingly riveting proposition.

With originally an all Polish line-up, Bad Solution was formed in 2011 by guitarists Trix and Mariusz Chojnowski. By the November of that first year, British vocalist Alex Willox came in with fellow Brit Joe Patterson replacing Mariusz Burzynski on drums two years later. With the current line-up completed by original bassist Wojtek Suberlak, Bad Solution has gone from strength to strength on the UK live scene, also sharing the stage with the likes of Gallows, The Blackout, and Soulfly across numerous festivals. The release of Self Destruct in 2015 thrust the outfit into a new richness of attention which can only be eclipsed by that generated by the outstanding exploits of The War Within.

Drowning starts things off, instantly confronting ears with rapaciously wiry grooves and hard jabbing beats. It pulls back a touch soon after, relaxing into a more controlled stroll as the guitar weaves a melodic web though still the rhythmic incitement of Suberlak and Patterson brings a bite and lively tenacity. The quickly impressing vocals of Willox are potently backed by the roars of Trix as the song develops a Clawfinger like snarl, it in turn evolving into a just as enticing melody rich cry. The carousel of the song continues to turn, increasingly engaging ears and involvement with very round whilst developing a volatility which only adds to its potency.

It is an outstanding start matched by the equally boisterous and aggressive proposal of Nothing (You don’t know me). Like a fusion of Five Finger Death Punch and Bloodsimple, it is a fiery protagonist grabbing and teasing ears with its muscular and melodically seductive enterprise, Willox again a striking and impressive presence within a maelstrom of ravenous and creatively tenacious magnetism.

Demon In My Bed then follows, beckoning the imagination with its initial Middle Eastern flavoured coaxing, a hue continuing to seduce and flourish throughout the track’s beguiling tapestry of sound and flavours. Once more there is a Clawfinger-esque feel to moments within the song but as in its predecessors, the song soon shows its own individual character in sound and writing as mellow passages beget invasive groove stoked dexterity which begets revolving flames of melodic endeavour.

The melancholic caress of the piano amidst sorrowfully ethereal keys brings Self Destruct into view next, Willox laying his plaintive tones in their arms as darker hues simmer and eventually grow. Veining them are spicy tendrils of guitar and a bass snarl which just intensifies as the song eventually erupts into greater aggressiveness bringing a Papa Roach meets Spineshank air to proceedings. Trix and Chojnowski add additional creative flames with their magnetic guitar craft, the track boiling up with every passing twist and turn for an impassioned climax taking a final bite out of the senses before the calmer presence of Echoes Of The Cry steps forward. With captivating elegance to its melodies and atmosphere, Willox similarly restrained in his tone, the track smoulders and simmers but with an increasing edge which sparks thicker flames of intensity across its lively croon. Though a slow burner compared to those around it, the song simply blossoms over time to one of the album’s truly memorable moments.

The chunky invitation of The Last Lie has ears and appetite swiftly on board whilst adding another strain of refreshing flavouring to the release with its echoes of One Minute Silence. Added to the progressive, slight seventies scented journey of the encounter, it makes for a beguiling and seriously virulent persuasion though still not as addictive as the ever manipulative exploits of Desert Rock. The star of the first EP, it seems to grow with every listen even two years on. It’s also Middle Eastern seeded temptations come backed by a rhythmic incitement which has feet bouncing within seconds. As infectious as they are though, they carry an aggressive bent which strikes almost venomously, the snarling bass matching that ferocity as those early evocative melodies continue to seduce around the addiction stoking chorus. Every band has a track which seals the deal with fans more than any other; this is Bad Solution’s and then some.

The swinging stroll of Dear Sarah follows, a flirtatious affair grabbing feet and hips with its first breath as the imagination comes under the magnetism of tangy sonic tendrils and the vocal prowess of Willox. A fusion of alternative metal and hard rock, the song is as rugged as it is graceful ensuring that the album only increases its grip on ears and pleasure; a hold tightened further by the classic/blues rock hued FOD. A fire of sound and intensity equipped with its own contagious kindling, there is no escaping its creative drama.

The War Within is completed by the equally inflamed White Washed, a track with irritability in its veins and a melodic rapacity in its heart. Suberlak’s bass is a delicious grumble within the flames, though not given enough clarity to groan for personal tastes, whilst Patterson masterfully scythes across the hungry tide of riffs and resourceful web of grooves cast by Chojnowski and Trix.

Though maybe not as impacting as those before it, the track is a fine end to a greed inspiring album. Two years back, the Self Destruct EP suggested Bad Solution were knocking on the door of major recognition. Its opening surprisingly never quite came but no worries, the quintet have just kicked it down with The War Within.

The War Within is available now from most online stores.

https://www.facebook.com/badsolution    https://twitter.com/bad_solution

Pete RingMaster 08/08/2017

Copyright RingMaster: MyFreeCopyright

The unification of diversity: exploring the heart of Divided We Stand

Since forming in 2011, US rockers Divided We Stand has persistently and increasingly grabbed ears and attention with their creative roar and adrenaline fuelled live presence. Quickly making a potent impact locally, they have continued to spread their heavy, rousing sound nationally while sharing stages with the likes of Hoobastank, Pop Evil, All That Remains, SOiL, Mushroomhead, Nonpoint, Papa Roach, and Three Days Grace along the way. As their latest single draws acclaim and appetites globally, we grabbed some of the band’s time to look at the track, the origins of Divided We Stand, what makes them, tick and much more….

Can you first introduce the band and give us some background to its beginnings?

Formed in December 2010, the Knoxville, TN based hard rock band Divided We Stand is a modern heavy rock band that combines haunting melodies, infectious grooves, tightly synched guitar riffs and clean, melodic vocals to create a crowd pleasing experience. Its line-up consists of Mike Russell (Drums), Randy Krouse (Bass), Jake Wilson (Guitars), Phil Zimny (Guitars/Vocals), and Joe Turner (Lead Vocals)

Have you been involved in other bands before? If so has that had any impact on what you are doing now, in maybe inspiring a change of style or direction?

We all have been in past bands with very different sounds. It makes it harder to write because of all the different viewpoints but we have very good songs to show for it. Randy was in a few really heavy metal bands prior to this. Phil and Mike started off playing for their churches and then found other projects later on as their talents grew. Joe started busking while he was in the military and then found some other artists and bands to perform with. Jake has played in various projects as well. We all grew up around music and it’s our life no matter what direction it takes us.

Is there a specific meaning behind the band name?

We have such different views and ideals. While we were in the first phases of our band we had so many different ideas of what direction to go in. Someone said don’t be so divided and it dawned on us “Divided We Stand”.

Was there a particular idea behind the forming of the band and also in what you wanted your sound to offer?

It started out with Mike Russell and Phil Zimny, they had written some songs together that had a heavy but melodic sound. After looking for musicians to fill in the roster they added Randy after a random try out. They liked his heavy edge and his unique double slap bass style. Joe Tuner was just hanging out with the band one night and asked to play a song for us. To our surprise he had a golden voice. We had a few rhythm guitar players leave to pursue other ventures.  Jake Wilson had played in some of the bands we had shows with; his stage presence and clean guitar playing caught our attention and we knew he was a perfect fit for the role.

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

We all came into this band with great talent but little knowledge of the music industry. You earn each step with your failures and your successes. It’s hard to go out on the road months on end and come up with five to ten thousand to record, publish, and distribute each year. But we have determination to make a way. Either you do it or you don’t.

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

Well Phil and Mike had written a few songs. With the addition of Randy and Joe they quickly morphed into full songs. Some changes happen when you add or subtract a member. We started with second guitar player named Trevor Tucker for our first two EPs Civil Unrest and Deception. When Trevor left the band we added Chris Whitt for our newest single New Era and our sound changed. Some songs sounded better with him and some didn’t work out. Next we added Jake Wilson after Chris left and our sound is changing again. You always need to evolve as a musician.

Have changes been more an organic movement or more the band deliberately trying new things?

For us it was out of necessity. We started out writing, then playing local shows, then touring nationally as well as putting out our EPs and music videos out and it takes up a lot of you time and you have to work a job. Trevor moved on to pursue other ventures because of the hectic schedule. So we got a friend who is really good at guitar to try out. Chris was good and filled the role well and recorded with us and toured but he ended up getting really sick. He wasn’t able to play anymore so we had a few fill in guitar players help us out and went on tour dates for us until we found a replacement. We added Jake Wilson and he has got to play a few shows so far.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music?

We listen to music all day long but when we write we try to focus on where our emotions lead us instead of a specific sound or band. There are a lot of musicians we learn from as we grow as a musician. Some of our favorite bands our Stone Temple Pilots, Avenge Seven Fold, U2, Fear Factory, Dio….this list could go on forever.

Talking of songwriting, is there a particular process to it within the band?

We have tried many approaches to writing material for the band. We put everything under the microscope and only the best ideas pass. Recently we have all been writing and we have tons of ideas so we started recording our ideas and if everyone wants to put a layer on the track they do if not we move on to the next one.

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

Joe writes most of his own material. If he has trouble we give him our ideas for harmonies, patterns, poetry, or anything really. If he likes it he runs with it, if not he keeps moving forward until he finds something. A lot of times you can start with a basic idea and build on it.

Can you give us some background to your latest release?

We went to Spider Studios in Cleveland, Ohio for our single New Era. Tony Gammalo was our producer for the track. He has worked with artist like Chimera and Machine Gun Kelly. He even did the Freddy vs Jason soundtrack. It took us a few days to record but it takes a while to get the finished product. We shot a music video with Post Retro Productions. Then we released our single and video to I-tunes, Spotify, Fuse and a million other places. We feel the music industry is starting to gravitate towards singles instead of albums. No one buys physical copies anymore. They want the best songs for their playlist digitally so getting on as many sites as possible is key.

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

We usually have played our song live a thousand times before we record so it is well rehearsed before we go record. Sometimes your part changes in the studio for certain reasons like the producer wants you to do it a little different or you find a slight mistake.

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

We have a high energy performance where we jump and throw our guitars around. Joe has such a great presence as a front man. We put our whole selves into the music and don’t hold back. Before and after we play we love to hang out with the crowd and other bands. We love to travel and perform at such different venues with different sounds and random stages.

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

We live really close to Nashville the music city. There is music everywhere but for metal bands it can be a challenge to find a place to play. Times change and you have to adapt to the sound people want here while keeping your musical integrity. The internet is a big tool for success in the music industry. Getting published and distributed through online service is a must. Social media is another tool to get the word out about all your adventures. Share videos and picture as much as possible. You do have to spend a little money to move forward sometimes. Save up or maybe a loan.

Big thanks for sharing time with us guys; anything you would like to add or reveal for the readers?

We just wanna thank The Ringmaster Review for giving us and all the unsigned artists a shot. It is publications like this one that keeps music alive by giving young talent a voice.

https://www.facebook.com/OfficialDividedWeStand   http://www.dividedwestand.ninja/   https://twitter.com/DividedWeStand0

Pete RingMaster 21/01/2017

Contemplating Leaving Eden

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.

Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

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?

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

Twenty Second Dimension – Self-Titled EP

Twenty Second Dimension is a trio from Columbus, Ohio who have just released their self-titled debut EP, a release quickly grabbing attention. It offers five magnetic portions of the band’s melodic rock, a quintet of songs which bring a swift involvement of ears and feet. Theirs is a sound which nestles easily within a style many others are making successful use of too and in that respect it is not the most unique proposal you may come across with few big surprises involved yet there is no questioning the accomplished body and character of the tracks or the enjoyment each provides.

The band is made up of Eliot Hosenfeld (vocals and bass), Matthew Bowden (guitar and vocals, and Jeremiah Ross (drums), a threesome with CVs which include the sharing of stages with the likes of Limp Bizkit, Rob Zombie, Papa Roach, Sevendust, Theory of a Deadman, Incubus, Shinedown, Marilyn Manson, Five Finger Death Punch, Halestorm, Volbeat and many more before Twenty Second Dimension. It is a background easy to suggest has helped hone the skills and invention of individual members and the band as a whole; the growing of a craft which certainly makes their first release something to find strong rewards in.

Released through Pavement Entertainment, the EP opens up with Afterlife. Making a low key entrance it soon hits a catchy stroll with simmering keys surrounding a great blend of vocals and am equally inviting and throaty bassline. Guitars add their own specific tempting to the swiftly infectious encounter too, especially as the tenacious chorus erupts, though it is the blend of Hosenfeld and Bowden’s vocal harmonies which grab biggest attention. Continuing to unveil inventive twists and turns through the stylish hooks and riffs of guitar, the track provides a potent start, one soon backed with similar potency by the feisty croon of Without You. Whereas there was a more unpredictable edge to its predecessor, the second track shares a more rounded melodic rock persuasion with again vocals and harmonies commanding as melodies take their share of the imagination involved.

An infectious character and tenacity fuels Dreamless next, the track a vibrantly strolling slice of rock ‘n’ roll springing catchy hooks and riffs like confetti around the throbbing bassline cast by Hosenfeld and the magnetically jabbing beats of Ross. As suggested earlier, big surprises are rare but with the track easily whipping up physical and vocal involvement, there is little more to want from the excellent encounter.

Blindside steps up next, its initial guitar enterprise carrying a slight blues tone and subsequent melodies a classic rock feel before the track slips into a prowling gait with dark intimidating shadows. That in turn is followed by a flaming roar of evocative melody and harmony before the sequence is repeated to increasing effect.  That earlier unpredictability is in full swing here too, the song subsequently taking best track honours before Good Enough fires up its imagination to bring the EP to an impressive close. It too takes unexpected turns with a seamless flow, feistily seducing ears and great satisfaction with each breath and lure of invention.

The Twenty Second Dimension EP is a thoroughly enjoyable and striking introduction to the band and a great base for them to search out greater originality from. Such the quality and rousing success of its contents though, another offering from Twenty Second Dimension like this would certainly go down very nicely too.

The Twenty Second Dimension EP is out now via Pavement Entertainment.

https://www.facebook.com/twentyseconddimension   https://twitter.com/22ndDimension   https://instagram.com/twenty.second.dimension/

Pete RingMaster 16/05/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com

Convoluted – Self Titled EP

Providing a potential loaded and quickly satisfying introduction to themselves through their self-titled debut EP, Convoluted is a Swedish rap metal band beginning to make a hefty stir, certainly back home. Formed in 2014 by guitarist Stefan Stajkovic, bassist Michael Bergstrand, and vocalist Viktor Brus, the band has a depth and character to their sound which is much more than that previous tag implies. Merging an array of flavours it stands somewhere between Rage Against The Machine, Clawfinger, and Papa Roach, but additionally shows an open fondness for nineties grunge amongst other spices. It is a potion which going by the evidence provided by their EP, creates a slightly fluctuating but constantly rousing incitement.

With their line-up completed by drummer Oscar Ahlbin, Convoluted have become a potent live proposition on the Swedish underground scene, playing the likes of the Emergenza Festival and with fellow local bands such as Oviraptor Club and Mazed on their growing CV. Earlier this year the single Hospital Bed sparked online attention the way of the band through fans and radio shows alike, a success easy to see continuing as the band’s EP begins sizing up and confronting ears.

Recorded at Arena 305 and mixed at Weird Pony Studios by Bjorn Stegerling, the EP opens with The Doctor, a dark and sinister bellow that is as lyrically enticing as it is vocally and musically gripping. In no time ears and appetite are brewing a hunger for what is on offer; its hefty mix of flavours colluding to create an attention grabbing brawl of sound and creative energy sculpted in metal tenacity and getting the release off to a compelling and impressive start.

  Decide comes next, announcing itself with a bait of tangy choppy riffs which definitely has a spice of Limp Bizkit to them. From there it expels a controlled but energetic stride; the ebbs and flows in its gait adding additional drama to the emerging feisty swagger of the song. The strong voice of Brus leads the antagonistic yet respectful attitude of the track with potent style whilst plentiful grooves and hooks line each aggressive move offered and every wash of fiery melodic endeavour. It is a raw and enjoyable challenge which at times does lose its spark but only for brief moments before re-asserting a pleasingly hostile roar.

The following Get Back Up has a bit of Bad Brains to its confrontation but equally that Clawfinger-esque quality, especially around the vocals and the understanding sounds around them whilst Hospital Bed gets its groove on early with a bluesy/grunge coating. These soon spiral into a sonic weave of enterprise around a sturdy and bracing rhythmic imposing, the blend a rousing tempest to the unmistakable RATM canvas of the song. Excellent when unleashing its volatility but also captivating in its melodic calm, though not always consistently gripping ears as it should have, the track is an attention grabber with a tremendous fury of a climax.

The EP is concluded by the predatory and increasingly adventurous proposal of If There’s A God, an encounter sculpted with tangy grooves and emotive intensity. It is the most unpredictable and thus exciting track on the EP, one which if anything does not go far enough with its unique invention. It certainly brings the release to a strong and magnetic end, with the EP top and tailed by its loftiest peaks of invention, originality, and sound.

Convoluted reveal plenty of potential across their EP and a thick dose of it in certain songs. Theirs is not a sound with its own unique voice yet and the release is not without limitations but both have sparked healthy intrigue and anticipation for what comes next from the band whilst thoroughly pleasing ears.

The Convoluted EP is out now via iTunes.

Pete RingMaster 29/09/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/