Calling All Astronauts – #Resist

The voice of celebrity can sometimes rightly and wrongly have a highly persuasive impact on essences of society and political apathy. Equally arousing as proven decade by decade can be the assertion and roar of musicians and their vociferous sounds. They can be a rich echo of the issues and divisions in the world and a rousing ‘call to arms’ to their refusal. UK goth punks Calling All Astronauts have been a creative thorn in a world of indifference, bigotry, persecution and more for the past seven years but maybe one of their releases has never been more relevant and impactful to what is going around them as well as being simply striking than new album, #Resist.

Since emerging in 2013, Calling All Astronauts has regularly entrapped ears and praise with their fusion of goth and electro punk, but a sound never afraid to stretch its landscape and enrich its snarl with fresh enterprise and creative venom. It is fair to say their debut album, Post Modern Conspiracy, that first year immediately gripped attention as it enticed acclaim, both escalating as single and EP led to and surrounded 2016second full-length, Anti​-​Social Network. Each encounter has seen the band grow and intensify the adventure of their sound, each flourishing in evolution which #Resist now basks in.

The seeds for the trio of David B (vocals, programming, keys, producing), Paul McCrudden (bass, guitar, keys), and J Browning (guitar) go back to their time in seminal rap-metallers, US:UK. After its demise, J went on to form pop-punkers Caffeine while Paul joined Goth outfit The Marionettes. A chance meeting though reunited David and J with Calling All Astronauts the result, the threesome back together when Paul linked up as the band set to work on that ear gripping second album.

Mixed by Alan Branch (Depeche Mode, NIN, U2), #Resist took little time to spark an already in place appetite for the band’s sound to date but equally evoked keen anticipation for new development and extension as The Holy Trinity opened things up. Keys immediately surround ears bringing drama and intrigue swiftly echoed in the surges of guitar. CAA have bred an identity and sound which is unmistakably their own and again it envelops song and persuasion as David’s equally distinctive tones lyrically provoke and highlight. With rhythms a similarly dark place of intimation as the fusion of melody and sonic tension around them, the track is a gripping start to the release.

Divided States Of America strolls in with matching strength and tenacity, every aspect built on sharp imagination and persuasive muscle yet it soon reveals taunting hooks and fiery grooves which easily slipped under the skin. Like a fly on the  wall to the state of its concentration, the song unveils a host of compelling twists and turns, all lined with virulent hooks and melodic enterprise with eighties synth pop hues. The track is superb, epitomising the creative growth and imagination in songwriting and its realisation before Give Them A Leader stamps its own authority over attention and enjoyment. David’s dark tones bring an edge to songs which alone court keen heed and regard, here a magnetic shadow across the marching sounds, with Paul’s bass a unique tempter in their midst, sharing a creative flourish just as captivating.

The likes of Ministry, Mindless Self Indulgence, and New Order are regularly touted as hints to CAA’s music, all relevant clues yet as Rapture proves only suggesting shades of their music as it infests the senses with its fusion of eighties gothic rock/post punk and industrial incitement, the track carrying something akin to Alien Sex Fiend meets KMFDM/ Nitzer Ebb in the lining of its uniqueness while New World Disorder shares another electronic hue in the album’s kaleidoscope of imagination. Seduction and trespass align in its body, again essences across recent decades courting originality in its haunting presence.

As Fifteen Minutes and Resist share their individual offerings so the album only gripped all the tighter, the first a punk fired incursion which the release, not for the first time, shares something of an Amen-esque grievance upon ears within. The second in turn nags and harries the senses with its defiance fuelled uprising, the trio enlivening both with their united invention and craft with next up Post Truth World matching their thick temptation with its synth pop saunter and indie rock punch.

Finalising a favourite moment within #Resist has proven impossible so far, every minute of every track a persuasive suggestion but Reason persistently lurks around first thoughts with its animated contagion and enslaving catchiness. Bass and guitars again just ignited greed with their imaginative enterprise, one only escalated by keys and David’s cajoling tones before Welcome To The Black Bloc had the body bouncing and pleasure aflame as thoughts are stoked once more by band and release.

Completed by Not In My Name and brought to a boisterous conclusion by its snappy moves and dark manipulations led again by the devious resonance of Paul’s bass strings, #Resist is the finest and most compelling outing with Calling All Astronauts yet.

In a world of change enforced and desired but one where the worse in man seems empowered by its leaders, a voice for all wrongs and equally something to find pleasure in it’s a hungry desire, Calling All Astronauts and #Resist provide both.

#Resist is out now; available @ https://music.apple.com/gb/album/resist/1513156706?app=music

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Pete RingMaster 11/05/2020

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Calling All Astronauts – Anti-Social Network

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It is easy to have an on-going appetite for a band but not always as simple to keep the fervour of the enthusiasm for their work burning just as brightly, especially as they evolve and move away from the things which first beguiled ears and imagination. With British electro rockers Calling All Astronauts no such problem has existed to date; with each release as they have grown and experimented, they seem to have sparked even more vivacious praise and greed; a success which will only continue with their new album Anti-Social Network.

The eleven track incitement is the CAA sound at its most rounded and mature yet and equally at its most adventurous and diverse. Recently talking about Anti-Social Network, band vocalist and album producer David Bury revealed, “We wanted to make an album we would buy ourselves, that pays homage to our heroes and many influences whilst still sounding like us. I think we’ve just about got there” Get there they did with tracks with harken back to seventies/eighties gothic and electro pop influences whilst uncaging a modern snarl of rock ‘n’ roll with a political and emotional bite as forceful as the virulence which ensures feet and hips are as eager and voracious as ears.

The successor to heavily acclaimed debut album Post Modern Conspiracy, and in turn the singles and EP which followed it, the band’s eagerly awaited second album is the outcome of “20 months of insane creativity that saw the guys locked in their studio for days on end as they wrote, engineered and produced an album that stretched their creativity like never before.” Straight away it makes a potent impact, Living the Dream bringing the album to ears with a poppy yet shadow kissed invitation. Within it, the dark bass lure cast by Paul McCrudden almost prowls ears as a melodic and infectious swing brightly entices around the distinctive stony vocals of Bury. Feet are tapping within the first round of electronic beats whilst hips soon get involved with J Browning’s spicy grooves, the body seduced by the lively contagion which is slightly reminiscent of bands like Modern English and B-Movie.

art_RingMasterReviewIt is a great start quickly eclipsed by the even more addictive Empire. Released as a greedily devoured single towards the end of last year, it immediately runs its tempting fingers across the senses with the moody bait of McCrudden bass and the mouth-watering hooks of Browning, all within an equally captivating electronic climate. Punkish with an alluring irritability to its twists and a scent of aggravation to Bury’s expressive vocals, Empire beguiles body and thoughts, inciting thick involvement from each before making way for the spiky electro punk defiance of Time to Fight Back. With the additional agitated tenacity to spark any dance-floor, the song has the body bouncing as emotions raise a middle-finger to surrounding ills, a touch of Sigue Sigue Sputnik meets Pop Will Eat Itself doing its successful persuasion no harm.

The already familiar Hands Up Who Wants To Die? is the provider of more energetic and contagious exploits, ripe hooks and flaming guitar enterprise lighting ears as rhythms back the punch of vocals and words with skittish boisterousness. It too has an imposing charm and vivacious resourcefulness hard to resist, as too Life as We Know It which follows with a mellower but no less fascinating and arresting romancing of hips and ears. CAA might take swipes at establishments and worldly corruptions but barely a song goes by without the trio leading the listener into physical collusion with its inescapable dance-ability.

Through the heavier air and rock ‘n’ roll of The American Dream, a track which gives a hint to what Iggy Pop would sound like it he went down the electro/industrial route, and the fiery God Is Dead with its bubbly scathing, attention and thick enjoyment is again firmly taken care of, even if neither quite live up to those before them, whilst Always Be True hugs ears with a synth pop laced reflection. It too might miss the last spark of other tracks for our ears but with Bury adding a great Tom Waits like texture to his enticing tones as the electronic atmospherics of the song come loaded with their own suggestiveness, the Fad Gadget tinged track is a compelling and increasingly potent proposal.

The outstanding Look in Your Eye has ardour blazing again with its conspicuous gothic punk and post punk imagination. Touches of bands like Play Dead and March Violets emerge across the thrilling encounter, but as everywhere, familiar essences and textures are mere strands in something unmistakably Calling All Astronauts. As mentioned earlier, the band wanted to pay homage to their inspirations without losing their own individuality, this track on its own proving their success.

Anti-Social Network is completed by firstly the predacious and again insatiably alluring Black World where a Sister Of Mercy/The Mission like courtship of ears and imagination instantly beguiles and only becomes more intoxicating over time. Finally the band unleashes Divisive upon the passions; its attitude loaded presence spawned from electro punk/metal irritability and infested with devious and rebellious strains of funk and electronic devilment.

It is a mighty close to another powerful and galvanic release from Calling all Astronauts, and the sign that the band is ready to step out of the underground scene and stir up the biggest attention.

Anti-Social Network is released March 11th via Supersonic Media across most online stores.

http://www.callingallastronauts.com   https://www.facebook.com/CallingAllAstronauts/    https://twitter.com/CAA_Official

Pete RingMaster 11/03/2016

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Calling All Astronauts – Empire

CAA_RingMaster Review

There is no disguising that we have a definite appetite for the politically charged electro punk/rock of Calling All Astronauts which governs anticipation each and every time a release approaches. It also makes extra demands on the London based trio, breeding a want to be surprised by a sound which is fiercely distinctive to them. The band has met the challenge each and every time with varying but always firm success so far, and with their new single Empire swept it aside with one of their finest moments yet.

Stepping forward from the shadows in 2011, Calling All Astronauts has become one of Britain’s not only tenaciously creative and inventively confrontational bands but a strong supporter of other new and emerging artists. Musically they have been an acclaimed live presence which over subsequent years has shared stages with the likes of Echo & The Bunnymen, PWEI, Sigue Sigue Sputnik, and A Place To Bury Strangers, as well as headline and sell out Alan Magee’s Death2Disco at Notting Hill Arts Club, success backed up by a host of tracks and singles stirring up broader attention. It was with the release of debut album Post Modern Conspiracy though where more intense spotlights were provoked, it spawning further acclaim and support through its subsequent singles, all increasing the wealth of eager ears and fans surrounding the threesome. Last year saw the outstanding Who Wants to Die? single stir even more media and fan hunger, its success emulated again by Show Me Love earlier this year and now Empire, a track easy to suggest as being one of Calling All Astronauts’ very best incitements.

artwork_RingMaster Review     Straight away the song is igniting ears and emotions with its opening flame of guitar, the JJ Browning crafted coaxing aligning with the thick lures of bass offered by Paul McCrudden. Wrapped in the expressive caresses offered by the keys of David Bury, the song is an immediate seduction with a snarl in its heart and a lining of antagonism in its belly, a dark side accentuated by the distinctive and ever enjoyable dour throated tones of Bury. Quickly strolling along with an electro punk tenacity and irritable energy, the song hints at becoming a raging inferno but never erupts, instead holding back to persistently tease and entice as spiky and elegant melodies escape the guitar and keys respectively.

The track is one of those anthems which quickly get under the skin without forcing itself down the throat; its narrative and tone a slow burner of a persuasion infesting the imagination and psyche with consummate and inventive ease. That restraint never threatens to subdue the virulence of its enterprise though, only breeding a contagion of energy and spicy grooves to enlist quick and full involvement of the listener in body and thought. It is a quality Calling All Astronauts has had for a long time but honed it into its finest form yet for Empires.

The single is also equipped with quartet of remixes, each discovering and exploring a new aspect and depth to the song. The Skunxx Remix spreads mystique laced exoticism through its enthralling version whilst the Grover Remix delves into the more aggressive and imposing textures of the track, taking ears into a darker beguiling adventure. There is also the Angerwolf Remix which strips things back to the raw skin of the tracks’ heart before encasing it with dance-floor flirtation and to complete the release, the Pse Remix with its punk infused rock shaped take on the song. Each make fascinating proposals, enthralling and highly enjoyable fresh looks at the jewel in the crown, Empire itself.

Calling All Astronauts continue to impress and excite; similarly growing bigger and bolder and with Empire, again sure to entice another flock of new and eager followers.

Empire is out now via Supersonic Media @ https://itunes.apple.com/gb/album/empire-ep/id1046265145

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Pete RingMaster 04/12/2015

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Calling All Astronauts – Show Me Love

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If there is one band which persistently ignites a healthy dose of anticipation with their releases it is UK electro/alternative rock band Calling All Astronauts. Early singles set that template in regular motion but it was firmly drilled into place with the release of their debut album Post Modern Conspiracy in 2013; is it really that long ago? Time really does fly when you are enjoying yourself, and thick contentment is again an inescapable reaction to the band’s new single Show Me Love. Though a cover rather than an original, the London based trio once again light up ears and give pleasure a healthy workout with their distinctive Calling All Astronauts makeover to the Robin S dancefloor classic.

Previous EP Hands Up Who Wants To Die? as the album before it, reinforced the band’s presence and impressive sonic adventure last year, luring a new flock of hungry fans to their punk infused electro bred sound. Now ahead of their second album, the threesome of vocalist/programmer/producer David Bury, guitarist JJ, and new bassist Paul ‘Buzz Saw’ McCrudden, formerly of The Marionettes, are stirring up attention and appetites all over again.

Synths immediately tease and tantalise from the single’s first breath, an immediately spicy and magnetic invitation offered. As swiftly the pungent bass seduction of McCrudden pulsates away with an almost devilish manner, a thick tempting within a sparkling and emotive embrace of keys. Alongside and through their union the guitar of JJ weaves its own sonic tapestry of enterprise and provocative colour, and like the other strengths of the song take a recognisable encounter to new and intriguing areas.

As well as a new texture of sound, there is a darker reflective nature to the band’s version compared to the original, a more solemn yet vibrant character pushed by the rawer and ever pleasing expressive tones of Bury. This in turn is expanded by the immersive and evocative atmosphere cast by synths, whilst it all colludes to create one thoroughly captivating and satisfying proposition.

As much as there is always a hankering for something original from any band, Calling All Astronauts has turned a well-known song into something if not their own, definitely redressed as something distinct to them. Anticipation of the band’s forthcoming album was already brewing nicely but thanks to their new single and its tasty appetiser, it is now in full flight.

Show Me Love is available now via Supersonic Media @ https://www.7digital.com/artist/calling-all-astronauts/release/show-me-love?origin=480

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RingMaster 25/03/2015

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Calling All Astronauts – Red Flag EP

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Following on from their impressive debut album Post Modern Conspiracy, UK electro goth punks Calling All Astronauts confirm their potent presence within British electro rock with the invigorating Red Flag EP. A track which shone upon their full length release as one of the year’s best electro punk anthems, the London based trio revamp and re-ignite its already mighty presence with a full blaze of inventive explorations. Consisting of five full-bodied investigations for the cost of a single track, the Red Flag EP is a magnetic persuasion to inspire all musical appetites.

Since emerging in 2011 the band has sculpted a rich position in the goth/electro punk scene with a lyrical attack and sound which crosses and merges those elements and more skilfully and distinctly, whilst their live performances has pulled in equal acclaim with the band sharing stages with the likes of Echo & The Bunnymen, PWEI, Sigue Sigue Sputnik, and A Place To Bury Strangers whilst also headlining and selling out Alan Magee’s Death2Disco at Notting Hill Arts Club. As shown with previous singles such as Someone Like You and What’s So Good About?, and across the impressively confronting Post Modern Conspiracy, the threesome of David B (vocals, keys, programming), J Browning (guitar), and Kristi Bury (bass) take no prisoners lyrically and musically and Red Flag is no exception. Following the progress of the band has bred the thought that it is time for the band to make the next step up and this EP alongside their recent album might just be the spark needed.

The release opens with the In Your Bass Mix of the title track, a thumping brew of rhythmic provocation and scarring guitar driven by the caustic delivery of David B. There is a schizophrenic breath to the mix, a St. Vitus’ Dance rabidity to the sonic squall and a rhythm casting enslavement to the heavily boned goth rock bruising. It is an excellent start, a version which easily challenges and matches the original cut of the track which follows in its Single Edit form straight after. A more restrained presence is uncaged by the band with a Sisters Of Mercy/Play Dead like throat to the vocals and a deep pulsating bass shadow wrapping the fiery guitar play. Red Flag is a song easily accessible but one taking the listener through almost cavernous resonating realms, whichever version you frequent, whilst a lyrical incitement hits home without over playing its touch. It is a compelling blend, one impossible to resist.

Next up comes the Gothstep Mix and the E39 NYC Club Edit of the track, the first an industrial stalked version which brings a Gary Numan like breath alongside almost bedlamic electro surges and squeals, and the second an incendiary dancefloor stomp which has feet in league with its sonic fascination. Both tracks add something different to the song but neither manages to match the heights of the first two or the following album version of the track. Expanded to its full glory, the final track is ultimately the best version of Red Flag though it is easy to take either of the main versions of the track and give them equal lustful responses.

If the Red Flag is your introduction to Calling All Astronauts there is no finer a way to walk through their creative door and if already a fan, the release makes a stirring and impressive companion to their must have album.

http://www.callingallastronauts.com/

http://callingallastronauts1.bandcamp.com/releases

8/10

RingMaster 04/11/2013

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Calling All Astronauts – Post Modern Conspiracy

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There are times when a band fills a gap in a genre or sound with something distinctly unique and impressive but is still wrapped in a mystery as to why it has not been delivered wider awareness and recognition. One such proposition is UK electro goth punks Calling All Astronauts, a band which from its first release has lit up ears and passions with their stirring and incendiary blend of guitar carved alternative rock, gothic soaked shadows, and electro/industrial bred toxicity. It is a stunning fusion which ignites the passions and incites thought led rebellion. So as to why still the Fulham based trio even after a clutch of outstanding singles are still relatively undiscovered just defies understanding but with the release of their exceptional debut album Post Modern Conspiracy, the hopes and feeling that things will surely change are at a peak.

The fourteen track release is a blaze of imaginative and snarling sounds, the band’s potent lyrical attack on society given an CAAimposing and riveting platform of caustic and invigorating rock in which to shell its restraints. Consisting of David B (vocals, keys, programming), J Browning (guitar), and Kristi Bury (bass), Calling All Astronauts has left a searing mark with their tracks since releasing their first two track single Living In The Shadow Of The Red Flag/ Someone Like You. The seeds of the band go back further though with J Browning and the band Caffeine, who he played in, being managed by David (ex-US:UK) whilst Kristi and David were also previously married to each other. Since emerging in 2011 the band has earned strong acclaim for their live performances which has seen them play alongside the likes of Echo & The Bunnymen, PWEI, Sigue Sigue Sputnik, and A Place To Bury Strangers whilst also headlining and selling out Alan Magee’s Death2Disco at Notting Hill Arts Club. A quartet of singles has also fired up greedy anticipation for this debut album within fans and the blogging media alone, an appetite which will be soon breathing heavily and intensely over the impacting triumph the album it shows itself to be. Two of those singles took the band to the No. 1 slot in the Twitter Music Chart to breed further excitement and dare one say impatience to the wait for the long time in the making Post Modern Conspiracy, but there will be no complaints, only feverishly devouring musical jaws upon its exhilarating body now it is here.

The album opens with that previous single track Someone Like You, a song which rips the attention from everything else but its own pulsating invitation. From the first second the bass and guitar snarl at the ear, Kristi offering an intimidating seduction with her dark conjured tones and the guitar of J producing an acidic groove which triggers instant rapture. With heavy dark shadows offering their own vibrant compulsion before the senses there is a distinct eighties wash at work with the likes of Play Dead and Leitmotiv coming to mind as the song prowls and stomps with irresistible potency from first note to last. Virulently contagious and equally magnetic creatively, the track is the perfect and strongest start to the album, an immense beginning soon matched and continued by Freaks and What’s So Good About?

The second track drapes itself in even darker intensive shadows, the beats and electronic invention caustic and magnetic whilst the guitar and bass bring their own individual abrasion to the brooding encounter. More reserved than the starter and with an even harsher lyrical bite, the song places down a gnarly canvas for melodic flames and senses plucking electro scorches to lay their heat and colour. It is a mighty lure driven by the dour yet vibrant vocals of David, the extremes perfectly expelled in a delivery which walks the same shadowed sun as the sounds.

The tracks Scenesters Vs. The World and Politicized – Ignorance Is Not An Excuse attack and evoke attitudes and thoughts with composed and cutting invention in word and sound, the first drenched in a dramatic noir atmosphere around its sinewy exploration and the second locked in an tempest of sonic grazing, coarse riffs, and rapacious energy which provokes and riles up the passions in similar strength to the opener. Through the song and album there is always a loud hint of Sisters Of Mercy spicing things up, essences which are seeded in the early days of that band and filtrated into something which lingers and imprints with thrilling enterprise from the creative ingenuity of  Calling All Astronauts as shown in these songs alone. The mistake to avoid though is to think with these references that band and album are re-treading old sounds and times, but as the likes of the industrial punk fuelled It Could Have Been Lust and the sinister, haunting gothic and bruising ebm embrace of Eye Of God show, that is far from the truth, both songs stunning and riveting unique journeys.

The highlights keep coming track after track, such as in the immense shapes of Simple Man, a song which provokes the senses with thick ambience within which a melodic kaleidoscope sends shards of light and electro seduction into dark corners and the excellent Winter Of Discontent, a confrontation which unleashes another epidemic of infectious and evocative persuasion. The second of the two stands full and bold with an anthemic calling within its premise of dark times, a resonating drone cured atmosphere enveloping the senses and thoughts whilst the emotive vocals and fierce flames of guitar alongside thick bass caresses ensure a forceful and fully inciting treat.

Each subsequent track upon Post Modern Conspiracy cannot resist also capturing and firing up the imagination and passions, Faith In Your Cause and Feel The Pain (Again) especially adding intoxicating fuel to the fire raging within for the release whilst closing track Red Flag confirms again that this is a band of incalculable craft and promise, its invitation of Skids like guitar borne sonic tempting and passion sodden emotion a final irresistible thrill.

Calling All Astronauts as proven by their outstanding album stands before UK rock as one of its most inventive and provocative sparks, and this is just the beginning.

http://callingallastronauts1.bandcamp.com/releases

http://www.callingallastronauts.com/

10/10

RingMaster 15/05/2013

 

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