The Hubris Interview

Could you first introduce yourself/the band and tell us how it came to be?

Jonathan Hohl (Guitar, composition, production) – We are hubris., a post-rock band from the canton of Fribourg in Switzerland. Nathan, the drummer, and I have been playing music together for over a decade, but we first started in a metal band which was heavily influenced by post-rock. Eventually, we decided to give a proper “post-rock” band a go, albeit with our own music influences. On March 13th of this year we will be releasing our third album.

How would you define not only your sound but the creative character of the band?

Nathan Gros (Drums, composition, production) – We try to incorporate literally everything that we listen to into our music. As mentioned, Jonathan and I started our first band in the metal genre but before that we both listened to different genres of music (e.g. my father is an African music percussionist). We end up with post-rock that quite clearly is not post-rock in the stricter terms because it is heavily influenced by so many other styles. What is post-rock is that we start all our compositions with a basic post-rock quartet (i.e. 2 guitars, bass and drums) and that the compositions aim to foster introspection. But then the drum patterns that I usually come up with sound very much like what you would hear in a hip-hop tune for example.

Are there any previous musical experiences for band members and how have they been embraced in what you do now?

JH – Well, yes as we’ve just explained regarding metal music. Also, Matthieu, Lucien – the two musicians that we always play live with – and I studied Jazz. Although they do not strictly have a hand in the composition per say, having played with them – personally for many years – has definitely had an impact on me and the way I understand music or compose it.

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

NG – So far, it’s been nothing but pure chaos. We’ve been trying to improve for every album, but there are always elements that we don’t pay as close attention as we should, and it ends up with us having to kill ourselves eventually to repair the small mistake. For the fourth album that Jonathan is composing at the moment, we are trying to stick to a strict plan, so we do not get caught up with an overwhelming workload towards the end of the production.

Would you tell us about your latest release?

JH – Metempsychosis, our third album is to be released on March 13th of this year. It is very much in the lines of Apocryphal Gravity our second album, although we have tried to incorporate so more styles that we like or play into this genre of music. For example, the track Dionysus contains a disco-like drum pattern for the first riff.

What are the major inspirations to its heart and themes?

JH – The one and only big inspiration that I go dig up for is Greek Mythology. I have studied it at University (i.e. at the time when we first started the band) and it remained this way to this day. I like not to get lost in what is available to me in terms of inspiration and the fact that I can go back to a specific and definite source of inspiration is quite liberating actually. I am of course referring only to their stories or themes but going hiking for a whole day is as inspiring as anything else. I simply make sure that I cater this inspiration to myths.

I am always intrigued as to how artists choose track order on albums and EP’s and whether in hindsight they would change that. What has been the deciding factor for you or do songs or the main do that organically?

NG – So far, we have always tried to have our albums be listened to in one go. It means that all the transitions between the songs have to be flawless and very much decided and/or worked on early in the production process. Sometimes Jonathan would compose a song and use the last few chords of that said song to compose the next one, which then makes the transition somehow create itself. It makes performing live a bit more difficult, because then we have to decide whether we play two songs or more from the same album one after the other or whether we abruptly cut one and place another song in-between.

What do you find the most enjoyable part of being in a band and similarly the most cathartic?

JH – Probably the experiences and emotions you share with your mates on stage. If I could choose to keep doing only one thing in music, it would 100% be to play live. What I think is the most cathartic experience as a musician is having had the best moments composing a song you love and then present it to an audience for the first time. Release parties are always so paramount because almost the entire audience discovers some of the songs for the first time, so you try your best to give out the best of experiences.

NG – I guess most enjoyable part as being in a band is to have something where you can express yourself and your feelings without being judged. I have so much respect and gratitude for my band mates because I know they give their 100% each time we play music, even for a simple rehearsal at 8am after a short night of sleep. I know I can trust them because they are like family, and I know they will always be here when needed. The most cathartic moment must be when our albums get delivered on my doorstep, simply because I know there is no more turn back on the mixes or anything else linked to the album. I mixed the last three albums, and this was probably my last, because I want to be more focused on the music and less on the small details (that actually gives you bad insomnias…) of the mixing aspect.

For anyone contemplating checking you out live give some teasers as to what they can expect.

NG – We try to stick to the album quite religiously, there is not much room for improvisation. The only difference with the album – with the exception that it is ten times louder – it that we usually add a lot more dynamics than the actual songs. Some of the lead guitars are also a bit louder, to make it more interesting live. Most importantly, we literally kill our necks on stage every single time. No exception. We always put ourselves in a performance mood and go as crazy as the music transports us.

What has been your most thrilling moment on stage to date?

JH – Our tour manager in India had been working day in day out to make the tour come to fruition and we did not really know how to thank him as we did not have much to offer except music. It was about 4-5 months before Metempsychosis was to be released, so nobody – except him and the label – had had a listen to any of the new songs. We made the decision the same day of the concert to actually perform one of our new songs live, just for him. We spent hours that same afternoon right after the soundcheck to make sure that all the backing tracks, click track etc. were on point. At about the end of the show, we took the opportunity to say a few words to him and then dedicated this song, Dedalus, to him before we started playing the song. It was the first time we played it live and we had not rehearsed it for weeks since we were not going to play it for the whole tour. Perhaps we did not play it as cleanly as we could, but the energy and emotions were so intense.

NG – I would say it was on our last tour in India when we played in Bangalore at Fandom. We had all the elements that makes a show a great show: good gear, good sound-system, good vibes and the best audience we could imagine. This was the first time I saw people imitating the drum parts, singing the guitar melodies and screaming when we ended a part (not even a song). We were tired and I was sick on that day, but as soon as we got on stage, all the pain went away and who knows how, we played one the best shows of the band’s history.

Do you have live dates coming up?

NG – Yes, a few shows here and there (April in Belgium, May in Germany), but most importantly we have our release party that will take place on Friday 13th of March at Fri-Son in Fribourg, Switzerland.

What else can we expect in the near future?

JH – We are working on our tours for the second part of the year, but we cannot say too much about it just yet. Also, as mentioned earlier, I am already composing songs for the fourth album and we are really confident about the potential of these future songs.

What are the major inspirations to you sound wise and as a musician?

NG – I take a lot of inspiration from artists such as Ólafur Arnalds, Nils Frahm, The Contortionist, Moderat, Young Widows and so many other artists from many genres. This might sound weird, but I do watch a lot of YouTube or Instragram videos from drummers to get inspired. The drumming community is amazing because there are so many people eager to share their knowledge.

JH – The people that influence me the most soundwise are not from the post-rock scene at all. I am a big fan of Queen of the Stone Age’s guitar sounds, but I don’t think fuzz would match that well in our music – I haven’t tried it yet, but who knows. There is that guitar player from Nashville, TN called Jack Ruch who I have been following for quite a while. His tones and ideas are flawless.

And finally, what song or release would you say was the spark to your passion for music?

JH – All the songs that I have looked up that I thought sparked my passion for music where released after I believe my passion for music emerged. So, I don’t really know unfortunately.

NG – I started playing music at 6 because my dad was playing African percussions, and at this time he didn’t have any albums but only songs he would play live with his band in small venues in Switzerland.  My parents bought me a drum kit when I was 7 because I transformed my plastic toy kitchen into a drum set (that got broken after a few days “playing it”). The funny part of this is that I didn’t try on purpose to transform this toy into a drum kit, I was just having fun with something that sounded cool to me.

Many thanks once again; anything else you would like to add?

JH, NG – A massive thank you to anyone who’s supported us over the course of hubris.’ existence. Perhaps our lives without hubris. would be a bit less stressful, but god knows how grimmer it would be too!

Check Hubris out further @

https://hubrisband.bandcamp.com/   https://www.hubrisband.com/   https://www.facebook.com/Hubrisband/

Pete RingMaster

The RingMaster Review 26/02/2020

Copyright RingMasterReview: MyFreeCopyright

The Graveltones – Love Lies Dying

The Graveltones _Reputation Radio/RingMaster Review

If the Devil had his own band it would definitely be The Graveltones, though we suspect the horned one has his dark seduction running through the band’s new hellacious slab of dark rock ‘n’ roll posing as new album Love Lies Dying anyway. The thirteen track hex on ears and passions is the most virulent and incendiary roar of devilish blues rock and dirt clad rock you are likely to hear this, last, or next year, a satanic bargain promising not its but your soul to the dark side.

In a time of some exceptional rock duos, The Graveltones stand boldly to the fore thanks to the creative and musical union of the Australian bred, UK based pair of vocalist/guitarist Jimmy O. and drummer Mikey Sorbello. The band emerged in late 2011, a subsequent adventure resulting from their meeting in London’s Tin Pan Alley and a mutual love of artists as diverse as Captain Beefheart, Howlin Wolf, John Lee Hooker and Queen Of The Stone Age. 2013 debut album Don’t Wait Down stirred up greedy attention and a new wave of lustful fans for their fiery and unique sound whilst live the band was soon sharing tours and stages with the likes of Rival Sons, The Temperance Movement, Boss Hoss, Monster Truck, and Cadillac Three, as well as playing a seriously successful slot at that year’s Download. As impressive as the album was, it was just the first step to the majestic rock alchemy that is Love Lies Dying, an encounter revealing the band and its sound as the inescapable real deal.

The devilment opens with World On A String, a track emerging with a heavy stride of rhythms and a thick blues soaking of riffs. From the first breath it also has a punk belligerence to its character, an attitude which fuels vocals and adds edge to the wine of grooves igniting its anthemic canvas. Like Rocket From The Crypt meets The Black Keys at a salacious stomp hosted by US duo In The Whale, a description which closest fits the whole of Love Lies Dying, the track is pure addictive rock ‘n’ roll setting the whole intoxicating riot off in contagious style.

love-lies-dying_Reputation Radio/RingMaster Review   The invigorating revelry continues just as masterfully in the following Fancy Things, its rhythmic bones bordering on predatory as they bounce on the senses as the guitar sprays flames of melodic spicing. With vocals emulating both aspects with a mix of both intimidating rapacity and infectious temptation, the song brews up an irrepressible stomp around the tangiest of grooves; a template emulated in This Love Is Gonna Break, though the song with colourful keys provided by Carl Hudson walks a more sixties garage rock kind of landscape. It is just as much punk and rock pop too, its cauldron of merciless temptation and a chorus even the dead would be unable to refuse, simply irresistible.

Things take on a slightly more shadowy turn with Running To You next, its scuzzy blues hues and catchy rhythmic bait something close to a stalking of ears, though with a mischief in those same beats and the great vocal dynamics, the song is as vivaciously light as it is menacingly toned. Once more imagination and appetite are inflamed, and four songs in it is fair to say that lustful greed is in the equation too, all swiftly encouraged and fed further by both Never Gonna Let You Go and Can’t Tell A Man. The first of the two is the band’s current single and a little fuzz pit of riffs and searing grooves badgered by another vital rhythmic trap. The song is stirring up major attention for the band and album right now and easy to see why as its creative agitation and frenetic enterprise is just punk ’n’ roll slavery. It pounds the senses as it embroils thoughts and emotions in inventive mayhem, leaving the listener exhausted and alive. Its successor is more of a smoulder in comparison; its fiery blues melodies bourbon running around jabbing beats and the ever expressive and increasingly magnetic tones of Jimmy. It is a barroom croon, sweat and liquor fumes as pungent as the emotive hues of voice and guitar, and just addictive.

In The Throes is of a similar proposal to the previous song, but less dirty and more restrained as it flirts with ears through acidic grooves and rebellious beats. Both songs bring strong variety to the album too, another good essence within Love Lies Dying, and indeed within this track alone things are a perpetual evolution as it gets heavier and darker before making way for the outstanding I’m A Ghost. Like The Stones reincarnated as Th’ Legendary Shack Shakers, the track is a maze of hypnotic beats and vocal incitement but flush with delicious surf punk imagination and garage rock resourcefulness. The song is exceptional, one of numerous pinnacles within the album but another which is sure fire manna for new ears as an introduction to release and band.

Surf seduction reeks in the haunting croon of Back To You too, the mesmeric dark balladry carrying a Nick Cave like hue to its melancholic embrace whilst Kiss And Fuck Off is psychotic brilliance shaped as a psyche/noise rock predation. Ripe with deranged imagination and masterful discordance, not forgetting rhythmic disturbance, the song forcibly hits the sweet spot which Come And Find Me stirs up even more with its aggressive and commanding rumble. Riffs snarl with alluring causticity whilst beats with a more controlled purpose prowl fuzzy air, contrasting elements uniting perfectly as the song twists and turns through varied creative scenery, including a passage of QOTSA like grooving.

Upcoming single Big Money steps forward next, slowly crawling over ears and imagination with boozy melodic vines with vocals from Jimmy to match. The relaxed percussive courting of Mikey is just as enticing, becoming punchier when the song erupts in a furnace of intensity and impassioned energy from time to time. It is not maybe the most obvious of single, compared to others within the album, but its smoulder is intensive and persuasion a lingering potency so that the song joins the major peaks of Love Lies Dying.

Together Again brings everything to a close, its low key melancholic finale a blues rock hug to drift off with until the urge to start the album all over again, which to be honest is a matter of seconds. Someone elsewhere said that The Graveltones have come of age with Love Lies Dying and you can only agree as the album song by song establishes itself as one of the thrilling irresistible proposals of 2015. There is still the feeling though that this, like its predecessor, is only a step towards even greater glories, an excitement as powerful as that bred by the album itself.

Love Lies Dying and latest single Never Gonna Let You Go are out now via Lagoon Dog Records @ https://itunes.apple.com/gb/album/love-lies-dying/id978331780. New single Big Money will be released in July.

http://www.thegraveltones.com/  https://www.facebook.com/thegraveltones

RingMaster 11/06/2015

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

 

Allusondrugs – MyCat/Fruit

Allusondrugs

Providing a sultry tease which toys with and triggers the passions, UK alternative rock band Allusondrugs confirm and build upon the promise set by their debut release with the thrilling new double A-side single MyCat/Fruit. Two tracks of riveting fuzz lined vibrancy with a sinewy bass to hang it all upon the release is a further impressive step in the emergence of one refreshingly exciting band.

Hailing from Castleford in West Yorkshire, Allusondrugs formed in the autumn of 2012 and took little time in honing a sound which drew potent attention and acclaim through the quintet’s live performances locally.  Constantly spreading their presence especially through debut single Plasters, the band now stands poised to work upon the rest of the country with the new release and a tour across the north of the UK. Released as its predecessor via Clue Records, MyCat/Fruit is a magnetic feast of mischievous sound, one with a seductive embrace and a steely temptation.

    MyCat opens with a scuzz coated hand on the shoulder of the senses, an almost industrial caress rubbing attention into action a0975362780_2before thumping beats and electronic strikes punctuate its lure. It is a powerful invitation taken into irresistible climes when the track explodes with a stoneresque acidic groove and a heated intense vibrant energy. The harmonic vocals soon after instantly complete the virulent bait of the song as does the brief caustic explosions which equally grip the arisen appetite for the sounds offered; it is a riveting persuasion which has feet and emotions dancing and the imagination soaring. Across its impressive body the song sparks thoughts of Queen Of The Stone Age, The Pixies, and Hot Hot Heat, though there is something wholly distinct to Allusondrugs, a core which sets the song and them enjoyably apart.

The song also holds a shoegaze quality, if one with a want to devilishly bruise simultaneously and that essence makes a stronger tempting on Fruit. The song from a discord kissed single guitar beckoning stretches its arms with a grunge spiced stomp, riffs and rhythms a hungry recruiter of the passions. Settling into a compelling stride the track then taunts assumptions by smoothly slipping into a gentle melodic flight, a candescent passage bringing a mix of My Bloody Valentine and Felt into view before switching back and forth with the previous Foo Fighters like charge. It is a glorious slice of imagination, its persistently twisting and engaging adventure addiction sparking beauty and contagious feistiness united for a thoroughly scintillating encounter.

As the brilliant combination of MyCat and Fruit massages and riles up the passions it is hard not to anticipate Allusondrugs growing into and creating one of the more exciting and spellbinding presences within British rock over the upcoming horizons. We for one cannot wait…

MyCat/Fruit is released as a 100 strong limited edition CD and download

https://www.facebook.com/Allusondrugs

10/10

RingMaster 14/11/2013

Copyright RingMaster: MyFreeCopyright

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

http://www.audioburger.com

The Lost Souls Club: High Noon EP

The Lost Souls Club pic

    UK rock band The Lost Souls Club has earned a strong reputation and acclaim for their commanding shadowed rock n roll but as yet has not ignited the awareness they deserve. Whether their new EP High Noon will be the trigger only time will tell but it will not be for the want of quality and compelling invention. The release is a fiery and bruising encounter which offers no pretence nor makes demands but provides fuel for a raging fire of pleasure for its impressive offerings.

The Southampton quartet of Jon Tufnell, Simon Jackson, James Freemantle, and Jon Lamont, merge heated essences of varied rock flavours from alternative and psychedelic to melodic and indie with extra spicery from shoegaze and garage rock. Formed in 2010 the band takes influences from the likes of Led Zeppelin, The Jesus And Mary Chain, Placebo, Nick Cave and The Bad Seeds, and Black Rebel Motorcycle Club, to name a few, into their own distinct recipe of scuzzy rock n roll. Musically the band carry heavy whispers of the aforementioned bands so at any point a reference easily springs to mind but it sculpts it into an inspiring and raw gift of its own.

The release opens with the irresistible Romeo, a track which immediately feels like an old returning friend in new and inspirational The LSC - High Noon EP coverclothing. The initial rich guitar lure is soon joined by ripe rampant beats and expressive earnest vocals, the combination as the bass offers its darkened menace, a compelling and inciting intensity upon the ear. The prime riff persists with its addictive resonating grip to fire up the passions the longer its feeds on their hunger and once the track breaks in to a punk rock storm of coarse energy and insidious seduction, the track needs persuade no longer to the calibre of its impressive presence.

The following Kiss Away The Sun caresses with a blistered enveloping ambience, its wrap veined by raucous guitar provocation and again emotive vocals which tell their own unique tale. The bass and drums bring a sinewy frame to the song and its dreamy if intimidating atmosphere, the union leaving a mesmeric invitation which is hard to refuse. A mix of The Jesus And Mary Chain, House Of Love, and The Mouth Of Ghosts with the raw edges of Birdland, the track induces another belt of rapture with its diverse and equally delicious enterprise and monochrome light.

Shoot Me Down bristles with menace and confrontation, the fuzzy guitar resonance and devouring bass evocation a charred encounter which is in no rush to claim its victory. Though brief the track commands attention and soaks the senses with a brooding and ravenous intent whilst musically the equally grave emotive wash lights a Nine Inch Nails/Queen Of The Stone Age smouldering in its sententious heart. Lyrically song and EP is themed by conflict between opposites within oneself and like the music creates evocative and seducing connections to the listener.

The release is completed by We Are All Gonna Die Anyway and I Know I Spoke Too Soon, the first another energised romp for the senses, its familiar tone and devices refusing to reveal their sources but vibrant with recognisable irresistibility. It is a punchy anthemic slab of feistiness which contrasts and introduces perfectly the closing simmering glories of I Know I Spoke Too Soon. Mellow and emotively magnetic the track is a psyched melodic dream which pervades the ear and beyond with elegance and flames of passion which sear at the touch.

High Noon is an excellent release which deserves to set the band on the path to the widest recognition. If it will time will of course reveal but The Lost Souls Club can hardly do much more to sway the listener.

https://www.facebook.com/thelostsoulsclub

8/10

RingMaster 13/03/2013

Copyright RingMaster: MyFreeCopyright

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

www.audioburger.com