TREP – Lucian EP

Since forming two years back, Welsh metallers TREP has earned potent support and reputation across South Wales. Now they are hoping to spark similar reactions further afield with the release of their debut EP, Lucian and with it offering up five slices of imaginatively woven alt-metal it is not too hard to expect decent success in the intent and hopes of the Cardiff based trio.

Lucian revels in the band’s mix of classic and modern alternative metal, its character nurtured in melodic dexterity and rousing choruses gifted with individual craft. Freshly breathed and individually natured it also embraces inspirational hues of bands such as Muse, QOTSA, Mastodon, Tool and Breaking Benjamin; the first pair openly spicing the EP and its song’s inventive flavouring.

The first of two EPs which together unveil an elaborate story with themes looking at “dystopia, a dictatorship, and the use of technology for a chance at a better world…but at what cost?” the swiftly fascinating Lucian opens up with the single Silence the Crows. Immediately a guitar cast wire entangles ears, winding around their flesh with intimation and dexterity as rhythms gather their bait and in turn the quickly captivating vocal blend of guitarist Rhys Evans and the supporting tones of bassist Sam Green and drummer Max Hill steps forward. There is a flirtatious touch and lure to the song from its first breath but equally a snarl in its melodic almost deceitful smile, an edge which is as much threat as it is sonic enterprise as Evans guitar reveals greater flavouring and invention by the passage.

It is easy to hear why the song made a more than decent lure to attention when released as a demo in 2017, and is now flourishing in the band’s growth in sound and the surroundings of the EP; its rich presence matched by that of next up The Time You Have Lost. There is something familiar to the track which only adds to its swift lure and bold enterprise whilst welcoming an array of melodic and sonic hues to its creative breast. Arguably even more virulent than its infectious predecessor, the song equally has its own volatile instincts which just add to its drama and increasingly captivation.

The EP’s best track is followed by the equally enticing It’ll Never Happen. Rising on a calmer breeze of sound and attack, it strolls with inescapable catchiness but all the while is brewing up the next twist and turn which then breeds another moment of fluid but unpredictable adventure. Maybe more of a grower than its predecessor despite its swift persuasion, the song rises to set down one more highlight of Lucian before another potent bloom in Architect spins its own dextrous and resourceful web around ears. Classic metal spicing accompanies its rise, Avenged Sevenfold coming to mind a little as the song broadens its tempting but also there is something to it which carries an eighties rock/new wave flavouring. It is an essence which teased within earlier songs but is a rich scent here even if a direct comparison still evades our ears.

The outstanding Better World brings the release to a close, the song an alluring mix of melodic metal and stoner infused rock ‘n’ roll with rich grooves and versatile rhythms offering to references to the likes of Mastodon and Red Fang. Again the great vocal mix of the trio is a magnet within the captivation of the sounds set on casting their own adventure and eager temptation.

Impressive from the off and only increasing its stature and potency over time and listens, Lucian is a striking and rousing first proper introduction to TREP; so much so we are already greedily anticipating the next chapter in the sonic story.

The Lucien EP is out now; available @ https://trepmerch.bigcartel.com

https://www.facebook.com/TrepBand/

 Pete RingMaster 21/03/2019

Copyright RingMaster: MyFreeCopyright

Japanese Fighting Fish – Swimming with Piranhas

Photo by Scott M Salt Photography

Photo by Scott M Salt Photography

The highly anticipated third album from British aural dramatists  Japanese Fighting Fish is uncaged this week, a release which not only confirms that there is no other proposal like the London based quartet but shows the band hitting another plateau in their breath-taking sound and invention. There are few with the musical craft and adventure to match an imagination as daring as it is inimitable but Japanese Fighting Fish have it all in abundance and in full enthralling flow within Swimming with Piranhas.

Formed in Leeds in 2009, Japanese Fighting Fish had a great many hooked, including us, by the release of debut album Just Before We Go MAD two years later. A release experimenting with South American rhythms as raw vocals and dirty guitars played, its compelling success was eclipsed by its successor, the punk infused Day Bombs of 2011. Releases and years have seen the band draw comparisons to the likes of Faith No More, System of a Down, QOTSA, Nick Cave & The Bad Seeds, Red Hot Chili Peppers, Primus, and Frank Zappa, but as evidenced once more by their latest triumph,  Japanese Fighting Fish really do stand alone in character and sound. Mastered by Tim Young (Massive Attack, The Clash, Sex Pistols, Nick Cave & The Bad Seeds, Elbow, and The Beatles ‘Love’ Album), Swimming with Piranhas is the band at its most eclectic yet and offering a collection of funk infested, theatrical exploits; quite simply rock and roll with the devilry and boldness of creative insanity.

Inspired in title by the real life wild experiences of vocalist Karlost Thompson and drummer Al Sweetman whilst staying in Ecuador with a Quechan tribe where they took a dip in the Amazon River, Swimming with Piranhas has ears and imagination swiftly gripped with its opening title track. A lone spicy groove teases first, it soon joined by broader sonic sighs and boisterous rhythms as the song increasingly expands into a hip swinging, rhythmically riveting magnet. Once the familiar, ever expressive and captivating tones of Karlost complete the line-up of creative cast, the imagination is taken on a beguiling off kilter ride. With kinetic beats and baroque scented organ shaped theatre adding to the ever shifting gait and mood of the encounter, the opener is sheer captivating as fiery and infectious as it is thought provoking and a great sign of things to come.

art_RingMasterReviewThe excellent start continues and hits another level with Egyptian Sunrise, the song a sultry tango of exotic mystique upon the driving throaty bassline of Matt McGuinness and the swinging bait of Sweetman. Impossible to resist getting physically involved, the song leads the body a merry dance with the imagination caught up in the creative tones and lyrical incitement of Karlost. Also swathed in the equally suggestive invention of Gareth Frederik Ellmer’s guitar, the song is a mouth-watering exploit soon matched in creative theatre by Provocative Cat. Funky with Parisian hues, the song flirts and dances with ears as the bass masterfully groans and Karlost paints the imagination like a vaudevillian showman.

New single For Queen Marilyn comes next, sauntering in on a raw riff and rumbling beats as vocals spread their instinctive drama and ascending energy. Soon its rapacious rock ‘n’ roll is ablaze with intensity amidst a hearty roar, switching between calm and volatile waters before making way for Close The Gate. An encounter which seems to mellow as it reaches climactic moments and erupts when you expect it to slip into alluring calms, the unpredictable song is a twisted treat but one soon outshone by previous single U Ain’t Gonna Win This. An exploration of split personalities also making a “homage to boxing greats like Ali, and Rocky “, the song is a fleet footed shuffle with another deeply contagious gurning  bassline from McGuinness courting the vocal waltz of Karlost and band. Taking addiction to a fresh level, the track mixes sweltering melodies and grungy textures with sonic guitar splatters and a virulent carnival-esque bounce.

Hard To Resist is a matching enslavement of body and appetite, its lazy yet snarling bass swing and gripping croon just two of the irresistible elements in what must be the next single. The track is glorious, reminding of little know eighties band, Zanti Misfitz as it throws its creative temptation around. A slip into a deranged XTC like pasture only adds to the fun and increasing seduction too.

Another funk sculpted adventure follows in the shape of I Got Time; its Red Hot Chili Peppers like romp infused with a Talking Heads like prowess, while On A Fall sonically shimmers as the eager beats of Sweetman fuel the pulsating balladry of voice and Ellmer’s resonating guitar enterprise. Increasingly more provocative and gripping with every listen, the track is yet another thrilling twist in the varying style and sound within Swimming with Piranhas.

The album is brought to an equally exciting and inventive close by firstly Dr. No-Sense and its noir spiced and increasingly bedlamic intensity. It is followed by the similarly deranged but skilfully reined imagination and creative resourcefulness of I Caught You Wandering for a bewitching end to another superb offering from Japanese Fighting Fish. Swimming with Piranhas takes the band and their one of a kind proposition to a whole new plateau, not just for them but for the British rock scene. Why Japanese Fighting Fish is not a name on so many more eager lips already is a bit of a mystery, now they might just be with this beast of a proposal doing the persuading.

Swimming with Piranhas is released 17th June across most online stores.

http://www.japanesefightingfish.co.uk/    https://www.facebook.com/Japanesefightingfishuk   https://twitter.com/jffuk

Pete RingMaster 17/06/2016

Copyright RingMaster: MyFreeCopyright

Eva Plays Dead – Sounds of the Written Word

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UK rockers Eva Plays Dead have been stirring up plenty of attention and praise loaded support over the past couple of years through a potent live presence and a host of songs and debut album fuelled by with impressing adventure and the potential of even greater things to come. The Sounds of the Written Word EP continues the band’s potent emergence and evolution of sound with five rousing slices of undiluted rock ‘n’ roll. It is an encounter which confirms the Nottingham/Derby bred quartet as ones to watch and to find plenty of flavoursome enjoyment with, but also suggests that they are still only at the beginnings of exploring their creative depths.

Formed in the January of 2013, Eva Plays Dead weave inspirations from the likes of The Dirty Youth, LostAlone, Marmozets, Joan Jett, and QOTSA into their diversely spiced sound. Thick strains of metal, hard and alternative rock, and even punk are entangled and fused together as proven by the band’s new encounter, which relentlessly entices and holds attention. Live the band has frequently drawn acclaim too whilst supporting the likes of We Are The Ocean, LostAlone, Max Raptor, Canterbury, and also across their own country wide tours. The band’s 2013 album Guilt Trips & Sins equally drew its plaudits though it took the single of earlier this year, Wonderland to spark and lure in the increasing focus of the likes of Team Rock and Kerrang. The song was a rich taster of Sounds of the Written Word which itself is already creating a bit of a feisty stir since its release via SoundHub Records.

EP Artwork_RingMaster Review     The EP opens with Live Again and a rich torrent of fiery riffs, pungent rhythms, and a sonic enticing impossible to ignore. In fact the whole song is a wall of persuasion, especially once the rich voice and expressive delivery of Tiggy Dee joins the muscular party. Her tones wrap syllable and ears with tenacious seduction yet carries a raw edge which only adds to the aggressively creative enterprise of sound around her. The guitar of Matt Gascoyne is just as lively in its imagination and craft, its melodies and Dee’s siren-esque roar in turn trapped by the masterful and fiercely magnetic rhythmic cage cast by bassist Zach Shannon and drummer Seb Boyse.

The tracks’ bluesy air and hard rock enticing continues in the more predatory Bad Girl, the song with the sinister persuasive lure of a temptress prowling the listener musically and vocally. It is dark, dirty, and a weave of sonic resourcefulness seeded in classic and alternative rock. As its predecessor, the song is firmly infectious whether roaring with full passion or delving into more concentrated tapestries of thick texture and invasive spicing. It easily continues the strong start to the release, though both songs get outshone by Wonderland. From its first dark rumble, the track is sheer addictiveness, riffs and grooves a flirtatious confrontation over the anthemic twist of rhythms and subsequently stalking beats. Dee again sits astride the magnetic drama at play, her voice attitude fuelled yet with a raw regal air as the equally riveting sounds dance around her with bright invention and raucous energy. It is no surprise that the song stirred up ears and appetites as a single as here it pretty much steals the show, though it is quickly rivalled by the closing pair of songs on the EP.

We Ain’t A Family uncages its own virulent hooks and tangy grooves in short time, rhythms showing more restraint amidst the melody rich proposal though again the bass finds an intimidating snarl to drool over. Like the last track, it shows an eagerness to explore an undulating landscape of ideas and evolving sound, crescendos of energy and skilful ebbing and flowing of intensity and passion alone an enthralling tempting.

Final track 1950’s Woman has a similar template to the previous pair but finds its own individual character within a familiar bellow of rigorous sound and bewitching vocal theatre. The song maybe does not define its distinctiveness as much as others on the EP, but when it leaves ears basking, imagination smiling, and emotions hungry for more, there is little more you can ask of it.

There is definitely the sense that Eva Plays Dead has more in the locker than shown on Sounds of the Written Word which only makes their future something to keenly anticipate. This is a band to keep close attention on with an EP to thoroughly enjoy.

Sounds of the Written Word is available now via SoundHub Records through most online stores

http://www.evaplaysdead.com/     https://www.facebook.com/EvaPlaysDead

RingMaster 31/07/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

Soul Fire Saints – Smoke

Soul Fire Saints pic 4

It is fair to say taking inspirations from the likes of Alice in Chains, QOTSA, and Red Hot Chilli Peppers to NIN, Faith No More, and Rage Against The Machine will do no one’s creativity any harm, especially if they align it to fresh and distinctive, equally robust ideation. That is something UK rockers Soul Fire Saints do with captivating success in new single Smoke. The band has been accomplishing such inventive feats for a while now to be fair but this new offering, taken from their similarly impressive new EP Death in Technicolor, sees the band now ready to break into the fore of British rock ‘n’ roll.

With the seeds of the band being laid in boozy stag do celebrations in Prague in 2011, Soul Fire Saints took their time exploring and honing their prospective sound before hitting the live scene in 2013. Their debut came at the MAGNA centre in their home town of Sheffield and in front of a 2,000 strong exuberant audience. It was a first big leap which spring-boarded the band into swiftly descending new spotlights as they proceeded to add supporting Fallen Trees, playing venues such as O2 Academy, Corporation (both sold out shows), and the legendary Leadmill, as well as festival appearances at Tramlines, Mosborough Music Festival, Live at the Castle, and MBMF to their CV. Now the quintet of vocalist Taylor, guitarists Ol and Andy, bassist Jow, and drummer Lee are looking forward to making 2015 their biggest success yet, an intent off to a potent start with the release of Smoke.

Pungent beats rap at ears first, their opening bait accompanied by a spicy caress of guitar. It is a simple but inviting start soon empowered again by the potent vocals of Taylor and the wash of sultry sonic enterprise which swirls and teases in the song’s heated atmosphere. In no time the track is strolling with hefty rhythms and smouldering melodies across the senses, its snarl Rage Against The Machine like whilst it’s sonic adventure comes wrapped in blues rock expression. It is a virulently feisty encounter, raw and instinctive rock ‘n’ roll fuelled by impassioned energy and devilish tenacity, and though it never explodes as you might expect or occasionally want, it has ears happily on edge and satisfaction beaming with its wonderfully musty temptation.

Smoke is an irresistible doorway onto the adventure of Soul Fire Saints, an appetising lead into the Death in Technicolor EP, and a suggestive offering sparking expectations of even bigger exploits ahead.

Smoke is available now via Sneaky Balls Records with the Death in Technicolor EP out this month @ http://www.soulfiresaints.com/discography?id=10087

Upcoming Soul Fire Saints Gigs:

14th March – Heebie Jeebies – Liverpool

20th March – Dove and Rainbow, Sheffield

https://www.facebook.com/SoulFireSaintsUK   http://www.soulfiresaints.com/

RingMaster 11/10/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://reputationradio.yooco.org/

New Model Army – Between Wine and Blood

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New Model Army has never been slow in impressing and stirring up thoughts and passions since forming back in 1980 with their uncompromising and inventive sound, lyrical confrontation, and inspiring stage presence but it is fair to say that the Bradford band hit a new pinnacle with last year’s Between Dog and Wolf album. It showed as if fans needed reminding, that the band has become more impressive and essential with age, the rigorously acclaimed release being rewarded with being the UK band’s fastest selling offering and charting top 30 in UK and Germany. Now the band unleash the similarly outstanding and eventful 2 CD encounter Between Wine and Blood. Made up of six brand new songs on one disc and eleven live cuts of tracks from the previous album on a second, it is an invigorating continuation of the riveting creative plateau set out upon Between Dog and Wolf.

Following the potent release of the last album, NMA set out on the Between Dog and Wolf Tour to equal praise and success. Part two of the tour was scheduled for the spring of 2014 but due to drummer Michael Dean being diagnosed with blood clots in his leg and advised not to play shows, the tour was postponed until this autumn. The break enabled the band to hit the studio and to record 6 brand new songs for the mini studio album accompanying the live CD. The songs are bred from and continue the weighty impressive presence of Between Dog and Wolf, pushing and exploring further its creatively imposing and thrilling emprise. The tracks make for a compelling and enthralling companion to the live portion of the release. Recorded from the first part of the aforementioned tour at venues in London, Nottingham, Cambridge, Cologne, and Amsterdam, the CD sublimely reinforces and the power and impressive stature of the last full-length and the band live, easily capturing the raw and emotive energy which marks their songs and stage presence. Combined the two sides of the proposition makes for one of this year’s most enjoyable and striking incitements from a band as mentioned earlier just get better and better.

The new tracks start off with According To You and needs little time to consume ears in a slow yet heavy and throaty embrace of bass and guitar. It swiftly slips into a pungent stroll of predacious riffs and sonic enticement from the guitars of Justin Sullivan and Marshall Gill, whilst vocally Sullivan imposes himself with the distinctively confrontational yet expressive calm which has always marked his delivery. The grouchy tone of Ceri Monger’s bass brings another breath of drama to the prowl of the track whilst its flowing chorus is unafraid to dabble in rock pop without defusing the intensity and weight of the impressive opener. It is a stirring encounter, but emerging in hindsight as just the tasty appetiser for greater things to come starting straight away with Angry Planet.

The second track has barely time to coax the imagination before raw riffs incite a rampant stroll of anthemic beats from Dean, which in turn are caressed by a gentle but vocal melody and the ever riveting lure of the bass. Exploratory electronic breezes from Dean White enhance the dramatic evocation cast by the song for a stunning challenge where lyrics and vocals work on thoughts as magnetically as rhythms enslave limbs and the inventive sonic weave steals the imagination. Sure to be a crowd favourite ahead, the song builds and boils into a climactic finale driven by the discontent and unrest theming its narrative, ultimately cementing itself as a show and album stopper.

Guessing is equally anthemic in its individual stomp, beats and riffs an irresistible incitement over which melodies and sonic designs twist with flirtatious hues as vocals and the increasingly impressive bass endeavour of Monger, nestle 46f67d33-e5e6-4afa-b8eb-68050a268a25perfectly between the song’s antagonistic rhythmic drive and seducing creative enticement. Another to chalk up as a classic NMA proposition, the song is rivalled by the bewitching Happy To Be Here. An emotive folk embrace wraps ears as a sultry melodic temptation and ambience provides a mesmeric colour to the vocal draw of Sullivan and a courting acoustic beauty. An energetic bounce to the track just as rapidly emerges but is never allowed fully off its leash, the band instead simply breeding it into an infectious swing driving the provocative and intimate adventure.

The new material is completed by firstly the stunning Devil’s Bargain, again a tribal seeded bait opening up the track as keys build a haunting yet engaging atmosphere. It is an instant trap in which feet are unable to stay motionless as the body subsequently succumbs to the baiting. Thoughts and emotions are not far behind in their submission either, keys and vocals leading the resourceful and radiant temptation. As all the songs, there is a potent unpredictability and intrigue to every twist and shift of ideation in the track but skilfully explored with seamless ingenuity and passion. The closing Sunrise, the band’s new single, is a punk folk treat if it can be tagged as anything, which simply oozes irresistible melodies and spellbinding harmonies across a sinew sculpted spine. To be honest it is not the standout song on the release but still an easy choice to lead people into the album.

The live side of Between Wine and Blood just as tightly and swiftly grips passions and appetite, from the fist pumping thrills of the opening Stormclouds through to the closing contagion of Horsemen, band and CD steal total interest in ears and attention. The opening track sets the tone, pulling the listener into the middle of the tempestuous glory of song and occasion, skin almost tingling as ears are immersed in the passion and energy of the night it was recorded.

With every track a roar of intensity and passion delivered with the craft and snarl which has always been NMA, there is no point in the album where you wish to be anywhere else but certainly tracks like March In September with its fiery provocation, the impossibly addictive and brilliant Did You Make It Safe?, and especially the voraciously transfixing I Need More Time take the biggest plaudits. They are rivalled by the excitingly hostile shuffle of Between Dog and Wolf, a classic track and imperious live version in anyone’s book. As said though every song is a transport right into the heat of their recording and the evidence that there cannot be many finer bands live than New Model Army right now.

Mixed by Joe Barresi (QOTSA, Soundgarden, Tool and Hole), Between Wine and Blood is a must for fans and all with a yearning for impassioned and powerfully inventive rock ‘n’ roll, whether from the studio or stage. NMA also have a voice which never shirks taking on the world’s injustices and social wrongs and that as shown by this outstanding release, is just as masterfully engrossing.

Between Wine and Blood is available now on the band’s own Attack Attack label in various packages @ http://shop.newmodelarmy.org/ and https://itunes.apple.com/gb/album/between-wine-and-blood/id907118636

Check out New Model Army’s current tour dates and more @ http://newmodelarmy.org/

RingMaster 02/10/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

Melodic fire and raw passion: an interview with Kyle MacKenzie of 7stbaby

7stbaby - Promo Image

The turn of 2014 saw the unleashing of the debut album from UK rock band 7stbaby. Control swiftly announced a band to keep close attention on with their gripping blend of varied styles into a riveting stoner and grunge veined blast of heavy melodic rock. Garnering strong support and acclaim, the band’s album was a potent statement for 7stbaby and their emerging presence in the UK rock scene. Ahead of the band’s new single Horses, we grabbed the chance to talk with one of the band’s founders and vocalist/guitarist Kyle MacKenzie. Looking at the origins of the band, Control and the new single as well as his and his band members other project, Kyle led us to the heart of 7stbaby.

Hey Kyle welcome to the site and thanks for taking time to talk with us.

Thanks for having us

For those yet to discover the delights of your sound, introduce 7stbBaby to the readers for us.

7stbaby is a project Ben and I (Kyle) had decided we wanted to do several years ago while writing for the first Static Plan EP. There were lots of riffs and song ideas which were not fitting with SP’s style, but that we still really liked and wanted to use. In August 2013 we finally got round to doing something about it, Ben basically moved into my place for a couple of weeks and we wrote and recorded Control. We then asked Greg to join us on drums for the album, and he was happy to be involved. Although we didn’t want to pigeon-hole ourselves genre-wise, we are a project that is definitely coming from a stoner rock viewpoint, just with anything we like thrown in!

Can you give further background to the band too, exploits before and alongside the band for its members.

Hilariously, line up wise 7stbaby is basically Static Plan, so 7stbaby’s background for the members is pretty much exactly the same. Ben and I met years ago while we were studying at university, when I answered an advert for a rock band looking for a vocalist. That then became Static Plan with Jonno on guitar duties, and after several drummer changes we finally ended up with Greg, who changed the dynamic of the band for the better. We gigged our balls off for a couple of years while writing and recording as many demos as possible.

7stbaby then came to the forefront as Static Plan began to wane a bit. Member changes, money issues and health and personal problems stopped us from carrying on the great momentum we had built, but we still wanted to make music and get it out there. So Control was about creating without the pressures we had experienced over the last couple of years.

Your music as evidenced by debut album Control earlier this year, is unafraid to employ a wealth of styles and flavours in its roaring recipe. How would you describe your musical canvas?

7stbaby is about doing whatever we want to do musically. If people love it that’s great, but if people hate it, then so be it. We created a concept album in a very short space of time with the tools that were available to us at the time, and because there was an ‘anything goes’ attitude, we approached it with no fear. 7stbaby’s musical canvas is anything that we want it to be.

It suggests you guys have a wide range of inspirations personally too, what are some of the more potent influences on your sound and ideas?c

Yeah we have quite a diverse range between us I think. I love artists and bands such as Martin Grech, Jeff Buckley, Radiohead, Porcupine Tree, Karnivool, QOTSA, Alice In Chains etc. Honestly there are just too many to list! I am inspired by great songwriting and great musicianship. Ben has a slightly more ‘alternative’ influence list than I have, loving bands like Gorgoroth, Mortiis, Mayhem, Mondo Generator, Sonic Youth etc. By no means are we limited to these bands or genres, I think we both have a healthy appreciation of music and its influence over us.

I read that Control was written in just three weeks, was that the reality or were some songs already around in some form or idea before that?

There were some riffs and parts floating about from writing the SP EP a while before, but the vast majority of the album was written in three weeks

Control deservedly garnered eager praise and acclaim upon release, did that surprise you in some way the vocal support and enthusiasm it received?7stbaby - Horses Single Cover

Ha-ha it did a bit! I think I was expecting it to either get distinctly average reviews or none at all, I didn’t think anyone would understand what we were trying to do! But the reviews were great to read and made me realise that people did understand what the album was about. Some of the reviews were just emphatic, and really brought some joy to me after a difficult couple of years making music.

Give us some insight to its creation and how you fitted it in with your other projects like Static Plan.

Static Plan at the time had ground to a complete halt after a couple of line-up changes. Ben and I had some free time during the school holidays and we just decided to get it done. It was incredibly fun and made us really want to start work on the Static Plan album.

September 26th sees the release of your new single, Horses. Taken from Control, it is one of the album’s biggest highlights for us. Was it an obvious choice for a single?

I think it’s a heavy song on the album, and probably the kind of song that most people can respond to without hating it ha-ha! We debated for a while which song was going to be released actually, and Horses at first didn’t seem like the obvious choice to me, I thought Leave Me To Bleed would be the better single after releasing Somebody’s Bitch. After a while of debating I realised that Ben was absolutely right, Horses is just the right single; it’s much more immediate!

Have you tinkered with it for the single release?

We have not; it’s as pure as it was

Horses, as the album, is out on Got Wrong Records; your own label?

Yes it will be a pay what you want digital only release on my label Got Wrong Records on September 26th. Available at https://gotwrongrecords.bandcamp.com

Can you give us some insight to the inspiration and theme of the song?

Horses is about conquering the power someone can have over you, and breaking out of the cage you confine yourself to when you let them control you. It’s the climax of the album for me

Horses sparked thoughts of Life of Agony for us, its provocative nature and intimate energy reminding of the great US band. Is that something you can feel?

Yeah I can see that. They’re aggressive and melodic, and that’s what Horses is in its simplest form. We really wanted to get the emotion across in the vocals, so hopefully we have done that if you’re comparing Horses to Life of Agony 🙂

The song is accompanied by a great video, who was that filmed by?

The video was filmed with a lovely chap called Sam Sheridan. Ben and I wrote some music for a short film he made several years ago, and we lost contact afterwards. As we were hunting for a director to make the video for Somebody’s Bitch we got chatting and got him involved. He has done an amazing job with incredibly little budget and filming was an absolute riot. Our lead man Alex Netting absolutely smashed it as well, bringing some intensity and humour to the whole thing.

It looked like a fun day out ha-ha; I am imagining that the central character (Alex) drew plenty of attention from the passing throng during filming?

It was a hilarious day for sure! Amazingly every person that interacted with us on the day was very positive; they loved the idea, loved the make-up and loved the character. We definitely got a lot of attention that day.

You guys are in two bands to my knowledge 😉 It is hard for any band to make an impression in the current state of music, so how have you found it juggling and driving forward with your projects?

Yep it’s hard, that’s just the way it is. I think it’s always been hard though. The key is to keep going and enjoy the small victories I think. It’s definitely possible to juggle everything and find the time if you are committed enough; you just have to want it bad enough.

How do you see the current state of music especially the catch 22 effect of the internet with its usefulness and detriment for bands.

I think that even though there are always things we can complain about, bands and artists are in a much better position nowadays for people to hear their music than say 20 years ago. It’s incredibly difficult to earn a living from it, but there’s no change there really. Hopefully in the years to come, with organisations like the Musicians Union working on behalf of musicians, fairer deals can be made on behalf of musicians on the likes of streaming royalties.

10505283_311135829045859_3576936077197922227_nIs it hard to hold your enthusiasm at times, or does the music always hold sway over the emotions?

Personally I go through high and lows on a daily basis. Sometime I can struggle to bring myself to pick up a guitar and other times I can’t tear myself away to go to bed.

What is ahead for 7stbaby?

Not a clue! We’ll have to have to have a chat about that at some point ha-ha

…And from your other projects?

I’m currently working on albums for Static Plan and Outpost Zeta, and Ben is working with Ventenner and Exquisite Ending.

Thanks again for sharing time with us. Any last words you wish to share?

Thanks very much Pete, we really appreciate the support! My last word shall be check out www.gotwrong.com for a free EP/Album from Static Plan, Outpost Zeta and 7stbaby, and spread the word 😉

https://www.facebook.com/7stbaby/

Read our review of Control @ https://ringmasterreviewintroduces.wordpress.com/2014/01/17/7stbaby-control/  and of Horses @ https://ringmasterreviewintroduces.wordpress.com/2014/09/23/7stbaby-horses/

Pete RingMaster

The Ringmaster Review 23/09/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

http://audioburger247.webs.com/

 

 

Mountains Among Us – Commission the Twelve

Mountains Among Us - Cover

Simultaneously a flight into celestial exploration and a drop through virtual pestilential darkness, Commission the Twelve the new album from US Avant/doom-gaze sculptors Mountains Among Us, is an exploration which is as terrifying as it is enrapturing. The five-track release is an intensive and formidable proposition, one to challenge and test but similarly one to provide the imagination and senses with a bracing and rigorously rewarding experience. It is a long-term investment for thoughts and emotions through a compelling discovery which imposes and lingers.

Formed in 2007 by Brandon Helms of From Oceans To Autumn, the North Carolina based band first made their impact and intentions known with debit album True North in 2008. It was a striking encounter and presence pushed further by its successor Believer two years later. The next year or so saw the band working on some experimental recordings/EP’s before setting down to work on creating Commission the Twelve. The new album sees the band creating their finest moment yet, pushing their limits and sounds into new dark and intrusive territories but similarly investigating greater boundaries and reflections of light and emotions within their powerfully expressive and enthralling dramatic soundscapes. The instrumental examination is not always an easy listen, or always offers a welcoming accessibility, but it does cast a seductively blackened canvas and incendiary landscape for thoughts and imagination to unleash their darkest and deepest emotions.

Mountains Among Us consumes ears and senses immediately with Centurion, guitars making the first gentle abrasing before rhythms descend feverishly as those same guitars expand their corrosive yet enticing enticement. It is an uncompromising start which enslaves attention and an awakening appetite before relaxing into a soaring causticity of melodic imagination and sonic intrigue, one still veined with a rhythmic intimidation and the captivating throaty bait of the bass. As with each track, numerous listens sparks varied interpretation from thoughts and emotions, here its heavy textures and dramatic structures the incitement to a myriad of reflections and mental designs.

The harsh but invigorating climate of the song is matched by the following Atonement, its opening touch just as potently acidic and mesmeric in its melodic toxicity, strengthening and expanding its sirenesque persuasion with clearer veining of sonic ingenuity and the ever bewitching bass tempting and call. The enveloping ambience and sludge spawned tenacity of the track leads the listener into a unique exploration aside of its predecessor but both equally feel linked and part of the same demanding and exhaustive journey. It is an epic quest which by the slip into a gentler raw caress mid-way has lungs and senses gasping for breath and by the completion of its twelve minutes, has emotions clawing out for a feeling of security, but with so much going on and twists and corners to be discovered continually the song makes for a riveting study and emotional emprise.

Walls bursts in next and immediately has a raw predatory tone to the riffs and voracious intent to the rhythms. There is a liveliness at large compared to the atmospheric doom drenched bodies of the first two tracks but still with a smothering intensity and exacting uncompromising to its heavy weight metal invention which traps and encases the senses in a portentous and rapacious oppression. The bass yet again stands out, the production giving it room to breathe in its diverse offerings amidst thick tides and colossal winds of sonic causticity alongside the melodically nurtured ambience. Again thoughts and emotions inspired are individual to all and shifting with every encounter but always unreservedly alive and basking in the mutually hostile and vitalising exploit.

The outstanding Mortal Life like the last song also brings a standalone terrain to immerse within, its opening stoner-esque scrub of guitar soaked in the desert bred invention of a Kyuss or QOTSA before the ever expansive post rock imagination of Mountains Among Us ventures into a blistered land of sonic grazing and melodic searing within a poetic atmosphere clad in emotional judgement and inciting observation. The song is a fascinating intrusion and mental inspiration, stirring up different facets of thoughts before the closing Farewell Discourse from a melodramatic opening of piano and distantly teasing chords spreads into an epic and cavernous absorption. Every aspect and twist of the track is a loud declaration of the new experimentation and craft in the composing and sound of Mountains Among Us.

As suggested earlier Commission the Twelve is not always a smooth investigation for ears and emotions, at times the tracks pushing their limits in length though not to any truly distractive issues to be fair, but for experimental rock and metal which takes every dimension of the listener into the most challenging yet rewarding depths, the album is a highly recommended probation.

Commission the Twelve is available physically and digitally from Argonauta Records now and @ http://mountainsamongus.bandcamp.com/album/commission-the-twelve

www.facebook.com/MountainsAmongUs

8.5/10

RingMaster 16/06/2014

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