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

 

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

divided-we-stand_RingMasterReview

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”.

dws_RingMasterReviewWas 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?dws-art_RingMasterReview

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

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

Crossing Rubicon – No Less Than Everything

CR_RingMasterReview

Roaring out of Connecticut, Crossing Rubicon is a band tagged as hard rock but has plenty more to their potent sound as evidenced by new album No Less Than Everything. Entwining incisive strains of metal and variations of classic rock with their own modern rock ‘n’ roll adventure, the Bristol hailing band makes grabbing attention look like child’s play. Their debut full-length is the proof; twelve songs which for the main just leap out. At times they provide a familiar incitement of sound and other moments offer a rich bloom of the uniqueness openly brewing within the band. Throughout though, No Less Than Everything is a sonic charge of passion and craft which demands to be taken notice of.

Since being formed by in 2009 by vocalist Scott Anarchy (Wawrzyniak) when linking up with Pete Ahern (Red China Blue), and soon after drummer Brandi Hood, Crossing Rubicon has been through a few line-up changes whilst emerging as a generally recognised impressive live proposition. Before and since the release of first EP, In Pains Of Sleep in 2012, the five-piece has opened for and shared stages with the likes of Motley Crue, Queensrÿche, Bret Michaels, Tantric In This Moment, Nonpoint, Pop Evil, Saving Abel, Rev Theory and the list goes on. Their live presence has been a reputation building success which, with the band’s potent sound, has ensured No Less Than Everything was a highly anticipated proposition.

Straight from the off, band and release reward that eagerness. The quintet of guitarist/vocalists Zach Lambert and Jesse Near, bassist/vocalist and former All That Remains member Jeanne Sagan, and the pair of Anarchy and Hood, immediately entice ears with Tomorrow Never Comes. Flames of guitar provide the first inviting bait; they quickly joined by punchy beats and a throaty bassline, which in turn welcome the full and quickly impressing tones of Anarchy. Hitting its stride, the thrash tinted, riff driven persuasion has body and appetite hooked, with the imagination gripped by the front man’s rich vocals and emotions grabbed by the great band provided backing vocals and simply the virulent contagion flowing through the opener.

CoverArt_RingMasterReviewA great start is pushed on again by the outstanding Unhinged. Its initial sonic shimmer holds a sinister air which relaxes as the vocals come forward, though the gait and nature of the song remains predatory if skilfully restrained. A mix of vocals, with presumably Sagan one half of the two prong dark temptation alongside Anarchy, adds to the track’s intimidating seduction. It is enthralling stuff which blossoms further as spirals of guitar shared melodic enterprise wraps prowling rhythms, their magnetic alignment ridden by the increasing strength of the fiercely alluring vocals.

Never Again has the hard task of following the great encounter, living up to the demands from its initial lead of Hood’s heavily scything swings before casting its own predacious stalking of the senses. Enticing melodic suggestiveness soon infests the track, though its instincts remain grouchily confrontational before the mellower but still fiery charms of The Fallen and Bittersweet Day step forward. For personal tastes, neither can match up to their predecessors, though both leaves ears involved and satisfaction lively with their accomplished hard rock croon and classic rock blaze respectively.

Grooves create a web of tempting within Cut Deep next, the band weaving alternative metal and stoner-esque spices into the song’s pungent and devilish confrontation of variety soaked rock ‘n’ roll whilst with Who’s Gonna Save You, with a gorgeous growl of bass leading the way, they are back sizing up the listener with a predatory intent. This comes with venomous riffs which crawl through ears and the stirring up of attitude loaded revelry by the ever enjoyable vocals. As for the rhythms, they simply stalk the listener. The track is another major favourite to emerge, especially with the subsequent addition of an exotic mystique courtesy of the guitars, and another of a number of particular pinnacles across No Less Than Everything.

Crossing Rubicon continue to reveal diversity in sound and imagination within the release. Violet Carson reveals itself a track which is almost ritualistic in its dark character and emotive fire whilst Reason to Beg is a slice of sinew sculpted rock ‘n’ roll entangled in searing strands of sonic tenacity and uncompromising attitude, in word and emotion. It would be fair to say that the songs, as the album, create something fresh and fascinating from the use of recognisable flavours on familiar templates at times, but invigorating and enticing it ultimately is as proven again by the classic rock infused, plaintive rumble of Do We Not Bleed and straight after, the similarly woven and magnetic I’m Here. Neither of the pair quite lives up to the major high points of the release, but both potently please before Return to Atlantis brings the album to a close of rich sonic enterprise upon an eighties bred melodic rock landscape.

The track provides an increasingly impressing album with a rich climax summing up all the qualities and infectiousness of the Crossing Rubicon sound and imagination. As the band’s sound evolves, expectations are of bigger and bolder things to build on, what is right now, a thoroughly enjoyable adventure and a thick nudge on the broadest attention, No Less Than Everything.

No Less Than Everything is out now via Pavement Entertainment through most online stores and @ https://crossing-rubicon.bandcamp.com/releases

http://www.crossingrubiconband.com/   http://www.facebook.com/CrossingRubiconRocks   http://www.twitter.com/RubiconCT

Pete RingMaster 28/02/2016

Copyright RingMaster: MyFreeCopyright

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Murder FM – Happily Never After

murderfmcover_RingMaster Review

Murder FM is another band which over recent times has been the subject of enthusiastic talk, their live presence, EPs, and singles sparking increasing awareness on both sides of the Atlantic. Now the band is poised to release their debut album and show all what the fuss is all about. Happily Never After is a rousing proposition, a collection of skilfully crafted and creatively eventful songs that just seem to lure attention back time and time again. It is hard to say that the release constantly set a fire going in the passions or is going to send a major tremor through the metal/rock scene, but there is no escaping that Happily Never After leaves ripe enjoyment whilst making a potent springboard for future and bolder Murder FM adventures ahead.

Hailing from Dallas, the band has persistently enticed ears with their tenacious fusing of varied rock essences and industrial bred metal. Early singles alerted a great and increasing many to their presence, lures reinforced by a reputation gaining live presence and a host of impressive videos, all luring in fan and media appetites alike. Over time the band has supported and shared stages with the likes of Rob Zombie, Deftones, Five Finger Death Punch, Black Veil Brides, Korn, Sick Puppies, Lacuna Coil, Pop Evil and many more across the US and into Europe. More recently the quartet of Norman Matthew (vocals, guitar, programming), J6 (bass, backing vocals), Matt X3r0 (guitar, backing vocals), and Jason West (drums) signed with Famous Records Global for the world-wide uncaging of Happily Never After, easily the strongest step yet in the band’s continuing ascent.

MFMREVOLVER_RingMaster Review   The album opens with Legion, a track which is in no hurry to own ears but instantly springs a web of engaging rhythms and electro bait crowded with enticing vocal roars. It is a restrained yet compelling lure which is soon stirring up a nest of fuzzy riffs and electronic sizzling as vocals prowl and in turn launch the anthemic heart of the track. In no time the song has an air of Korn meets Dope to it but equally has a scent of artists like Marilyn Manson and Society 1 whilst creating what is not exactly unique but certainly an organic character of its own. It is a magnetic and blistering start to the album, a masterful trap which has ears and appetite on board ready for what is to follow.

We The Evil is the immediate proposition, it similarly brewing up an industrial seeded tempest of sound rife with sinew swung beats and grouchy riffs from bass and guitar. Vocally too, there is nothing but attitude as well as great diversity as the band, led by Matthew, all add their individual and eager tones. Even stronger Manson like colouring wraps the track as it stirs up the blood and imagination, powerfully backing up its predecessor without major surprises but plenty of tasty endeavours.

The bruising weight and carnivorous riffery of Last Breath captures ears next, the gnawing of guitar on senses swift infection which only increases as the band imaginatively slips into mellower melodic scenery. With vocals matching the slightly calmer waters, it is a tantalising twist which becomes part of a great revolving surge across the rest of the track through both textured extremes; its success emulated by the punk/alternative metal hued Machine Gun Kisses which again has a Korn-esque feel to its rapacious enterprise and contagious swing.

Four tracks in and Happily Never After is on a thick roll of adventure and persuasion, and as if it ‘knows’ full persuasion is in hand, from this point begins exploring far more boldly varied and unique pastures. Firstly Burn steps forward with a Deftones meets Cold like offering, to be followed by the grungier metal soaked Slaves, both increasing in sheer magnetism over time. The industrial nature of early songs is now a more distant whisper, as Murder FM shows more resourcefulness and imagination in songwriting and sound, it is still not game changing but brings a fresh unpredictability and spice to ears and release.

We get slithers of Black Veil Brides and My Chemical Romance in the classic/modern heavy rock shaped Lethal Lovers next, essences which just seem to work if adding open familiarity to proceedings, whilst Like Glass offers an electronic coaxing and evocative keys initially, before creating its own emotional and musical drama honed from the same kind of template as its predecessor. Neither track matches up to the songs before them but it would be unfair to say they left satisfaction and a want to hear more barren.

With Happily Neverafter and Rainy Day Parade, Murder FM again please without finding the key to stronger reactions, and for personal tastes Happily Never After plays like a release of two halves, the first a storming and irresistible anthem of sound and insatiable energy and the second though arguably the more creative theatre of invention and adventure on the album, after Slaves lacking the kick and incendiary elements to incite the same instincts and thus passions.

Completed by a corrosive remix of We The Evil by Tommy Lee, Happily Never After is nevertheless nothing but enjoyment from start to finish and easy to recommend all taking a good listen to at the very least. We can only think Murder FM will get bigger and bolder with every passing release as the potential in this first album is realised with fresh imagination and originality. A happy thought indeed.

Happily Never After is available from August 7th via Famous Records Global with worldwide distribution by Pavement Entertainment.

https://www.facebook.com/pages/Murder-FM-Official     http://www.murderfmmusic.com/

RingMaster 05/08/2015

Copyright RingMaster: MyFreeCopyright

Radiodrone-The Truth Syndicate Diaries

Radiodrone_RingMaster Review

They have a sound which more than backs up the punch and potency of their lyrical confrontation on the world today, and now US rockers Radiodrone have an album to really stir up attention. The Orange County quartet pulls no blows when it comes to unleashing their take on the social and political ills contaminating the landscape we all battle through and it is fair to say no quarter is given by their debut full-length. That is not to day it is all anger and violence though, The Truth Syndicate Diaries equipped with the thickest contagions, most virulent anthems, and a melodic prowess to give any band a run for its money. Is it the most original thing you will come across this year, probably not, but if looking for one massively invigorating and accomplished proposition, this is a done deal.

Radiodrone began early 2014 and quickly whipped up keen support and awareness for themselves through what has been called a “searing” live presence and tracks like Want it Back and NeverLoution, two early singles sparking acclaim and rich radio play. There is rebellion in the band’s rock ‘n’ roll and as suggested earlier in their lyrical stance, yet it is evolved into something which never gets predictable or is lacking in diversity. The band has been described as being “part schizoid Five Finger Death Punch on the heavy edge, part Foo Fighters rock with the commercial aspects and part hard grooves”, a valid hint which is quickly realised and more by album opener Game Change.

The album is top and tailed by intro skits /provocative commentaries, and every song split by the same, but the release really takes off once Game Change hits ears with rapping beats as its guitars brew up a tasty scrub of riffs. The track is soon into a welcoming feisty stride with the rhythms of drummer Danny Molgaard and bassist Stephen Appel continuing to offer threat and infectious tempting. A hard rock air and swing quickly hits the song as guitarist Ethan Hedayat lays a thick lure with his lead vocals, a strong presence assisted as potently in voice by fellow guitarist Randy Cash and Appel. It is a rousing stomp, stirring up the appetite with heavy rock ‘n’ roll hooks to hang your allegiance on and an anthemic might which easily diminishes any reason to moan the lack of major surprises.

cover_RingMaster Review   The following Want it Back is similarly textured and crafted but quickly filling out into its own antagonistic and commanding character. The bass of Appel is wonderfully grizzly whilst the swinging slaps of Molgaard just seem to get more intensive and effective with every passing rally of beats. The track is a predator yet tempered by again impressive vocal strengths and blends, as well as the magnetic enterprise of both guitarists. You can feel a touch of bands like Seether, Godsmack, and Shinedown to the track, such flavours woven into its own if not unique certainly individual incitement.

NeverLoution is a more even tempered and reserved proposal yet with another throaty bass lure amidst wiry strands of sonic grooving, it blossoms into a tenacious and rigorously persuasive offering. Its melodic side and underlying snarl reminds a touch of Sick Puppies whilst its metallic groaning has a whisper of Nonpoint, and combined both aspects only add to another swift nudge on enjoyment before the gripping Get Your Head Down emerges with an enticing sonic shimmer and melodic coaxing. Appel persistently gives the richest alluring shadows to songs, and here his bass is an entrapping resonance leading ears straight into an infectious tempest making up the body of the song, but a stormy muscular affair built on spicy grooves and melodic flames.

Both Showdown and Massive keep things seriously rocking, the first with dirty blues lined walls around jagged riffs and stabbing beats driven by, as now expected, mouth-watering enterprise from vocals and guitars, and the second through its dusty croon across a restrained yet fiery and unreservedly catchy landscape. In their individual ways, the pair of tracks incites another surge of pleasure whilst impressing more, as the album, with every listen. Despite that potency though, they still have to submit to the best track on the album, the raging roar of Battle Call. Instantly like an old friend back to stir up trouble and anarchy, the song enters ears with a sturdy stride and confrontational attitude. The vocals are an easy conscription to its call alone but backed by the sinew driven rhythms and scything hooks of the track, it is an invigorating storm embracing broader melodic escapades to its vivaciously resourceful and incendiary canvas. Quite simply this is the kind of song the word anthem was composed for.

We’re Alright is a slow burner of a song, its smoulder working away on ears and thoughts with an underlying and unrelenting persistence. It also takes a few listens to find the same level of greed for its creative adventure as other exploits upon the album. Like Pop Evil meets Stone Sour, the song leaves a good impression from the off nevertheless triggering a want to go back for more. That success is aggressively ripe within the compelling and bracing snarl of Double Think, just one more offer upon The Truth Syndicate Diaries to get keenly involved with.

The album comes to a close with Don’t Get Me Started, one final voraciously galvanic and superbly crafted inflaming of emotion and energy from release and listener. It perfectly sums up The Truth Syndicate Diaries, an album which might not flirt with startling originality but out rocks and outshines most contenders, and yes it just gets better and better over time to.

The Truth Syndicate Diaries is available now on ITunes, and Amazon.

http://radiodronemusic.com/   https://www.facebook.com/pages/Radiodrone/1462833703951662

RingMaster 14/07/2015

Copyright RingMaster: MyFreeCopyright

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Pop Evil – Onyx

onyx

Though its veins are not exactly bursting with originality, Onyx the new album from US rockers Pop Evil is without doubt a rigorously compelling and invigorating slab of fiery melodic rock. Every shrug of its sinews and each melodic flame exhaled soak ears with an open familiarity whilst every muscular blaze of emotion and searing of sonic enterprise leaves thoughts and passions greedily content. It is may be not going to set the year on fire but the band’s third album is definitely bringing it a thoroughly enjoyable stomp of aural temptation.

Still under a keen spotlight after touring across Europe supporting Five Finger Death Punch, the band hits the European market and ears with a mighty slab of potent contagion. Released via Eleven Seven Records, the album has a voracity and tempestuous passion to its body which along with inciting melodies and perfectly barbed hooks, simple enthrals the senses and imagination. Having already established themselves on their side of The Pond with their rich tempting sound and albums War of Angels and even more so Lipstick on the Mirror, as well as a clutch of attention grabbing singles, the Michigan quintet are setting their sights on a wider audience and it is hard not to expect a healthy success through Onyx alone. Having also impressively shared stages with the likes of Three Doors Down, Papa Roach, Puddle Of Mudd, Theory of a Deadman, Buckcherry, Judas Priest, Black Stone Cherry, and Seether since forming, as well as going through the obstacles music throws up including line-up changes, Pop Evil have found a fresh and determined tenacity which shines across their new release as powerfully as the craft and passion soaking it. Produced by Johnny K (Disturbed, 3 Doors Down, Megadeth), Onyx is an encounter which does not herald a torrent of surprises but does ensure satisfaction is fat to bursting.

The album gets off to a flyer with opener Goodbye My Friend, an instant attention grabbing encounter which from its initial guitar and bass coaxing awakens a potent appetite for what is to come. Nick Fuelling and Dave Grahs take little time casting a web of riffs and grooves to snare the imagination whilst bassist Matt DiRito brings a predatory growl to the mix to accentuate the immediate potency of the song. It is an enthralling mix to which vocalist Leigh Kakaty adds his impressive tones as the rhythms of drummer Josh Marunde punctuate and frame the thrilling enticement. The track also offers the comparisons which stand across the whole album, its sounds like a mix of Seether and Sevendust with the metallic rapaciousness of Spineshank, the emotive angst of Three Days Grace, and the anthemic craft of Drowning Pool. To be fair though that still only gives part of the picture as shown by the second song on the album.

Bringing a rich colour of Alice In Chains to its striking canvas of sound and gripping narrative, Deal with the Devil prowls and strolls around the senses like a warrior, the guitars and bass crowding ears with forceful intensity and ravenous intent whilst rhythms punch with weighty persuasion. The latest single is a stirring and climactic incitement, ablaze at times with infection soaked melodies and senses entwining grooves for a thoroughly exciting temptation. One not quite matched but certainly thrillingly backed up by previous single Trenches. Holding a defiant air to its body of sound and lyrical call, there is an air of antagonism to the song which only urges the sonic warfare of the guitars to blaze with brighter flames and virulence as additional keys and electronic bait bring extra charm.

The riotous charge of the album takes a break with power ballad Torn To Pieces, a magnetic song which goes exactly where expectations assume but still leaves a lingering and increasingly potent lure in its wake. Kakaty is a powerful and controlled vocalist throughout the album and shows his depth of expression and emotional quality masterfully here to match the strengths of the sounds caressing and at times scorching his words. It is a glorious emotive encounter which leaves the following Divide looking a little pale in comparison. To be fair the song is a feisty and vivaciously striding suasion but lacks the extra guile of say its predecessor or the punchy invention of other songs on the release. Nevertheless it makes a pleasing play upon the ears as does its successor Beautiful, another song which just misses the potency and success of others, but still leaves a flavoursome offering for a hungry appetite to devour.

Things return to the opening plateau with the outstanding Silence & Scars, a song which seduces and pressurises thoughts and emotions simultaneously with imaginative and emotion driven invention. There is a touch of Bush to the song, its grunge spice and melodic weaves absorbing whilst a cathartic essence to its whole picture offers a magnetic radiance. The track is bewitching as is next up Sick Sense, a furnace of a song which is as raw as it is mesmeric, as caustically charged as it is a resourceful seducing. Again it is like an instant friend, that familiar seeding inescapable bait but with a voracious fuel to the backing vocal roars and a nu-metal menace to the ingenious twists within the song, again that Spineshank reference coming forth, the track is an exhilarating proposition.

Fly Away and Behind Closed Doors keep the album burning brightly and at times ferociously, the first an eagerly striding charge of pop rock urgency across evocative textures whilst the second steps into a more formula yet forcibly appealing canter of melodic fire and vocal enticement. Both songs leave a smoking long term bait working away even after their departure, their heat and passion enough to override a slightly predictable design, before the more aggressive and excellent Welcome To Reality has it moment to ignite the senses. It again confirms that Pop Evil are masters at creating songs which might not break away from existing trodden paths but bind the listener up in feverishly addictive and irresistible anthems.

The album closes with Flawed, a striking dramatic and impressive end to Onyx which simply underlines the quality and exciting presence of band and release. Pop Evil is not inventing the wheel, or arguably even redesigning it, but it is giving it a breath-taking and often scintillating soak of explosive colour.

Onyx is available now through Eleven Seven Music with the standard European version holding 3 additional tracks whilst the deluxe version features an extra 5.

www.popevil.com/

8.5/10

RingMaster 02/07/2014

Copyright RingMaster: MyFreeCopyright

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