High Moonlight Interview

From São Paulo, Brazil, High Moonlight recently gave us the pleasure to talk about and get to the heart of its unique sound…

Hello and thanks for taking time out to talk with us.

Can you first introduce the band and give us some background to how it all started?

The band High Moonlight was formed in the late 90s among some friends of the school. All we wanted was to play a good old rock in roll as high as possible, that’s what united us in the beginning. The grunge scene was high at the time, bands like Nirvana, Alice and others dominated the rock scene of the time, we did not like that sound and we wanted to play the good old Heavy / Rock of all time.

We heard Dio, Sabbath, AC / DC, Rainbow … so they were the bands that inspired us. At first we were just a trio, guitar, bass and drums. Like all bands, we used to play several covers of bands we used to sing (Uriah Heep, Dio, Rainbow), but the goal was always their own songs.

Have you been or are involved in other bands?

No, I’ve never been involved with other bands. My focus has always been High Moonlight.

What inspired the band name?

I have always enjoyed mystical, magical, supernatural and related things. That was precisely what I wanted to address in my lyrics. And the moon is a very mystical symbol, both for wizards, enchanted beings, wolves and Lycans, so I chose it as the name of my band and added the word “High” to magnify it even more. High Moonlight is a tribute to this historical and mysterious symbol that is the moon and all the mystical beings that exist or existed and are part of our history.

Do the same ideas and intention still drive the band from when it was fresh-faced or have they evolved over time?

Yes. I still preserve the same principles, the same ideals and the same goals since when I decided to take the music and the band seriously. The initial change was in relation to the members that have been changing over the years.

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

At first I made heavy metal with a mix of progressive, the songs were longer. Over time, I have been refining my playing technique and understanding the type of sound I wanted to play. Today my music comes down to an authentic heavy metal and a lot of quality and good taste. All my songs revolve around many original and creative riffs.

Has it been more of an organic movement of sound or more you deliberately wanting to try new things?

No. My sound is defined and based on heavy rock or simply heavy metal, some call it Hard rock but I do not consider it that way.

You have already mentioned some inspirations; are there any in particular which have impacted not only on the band’s music but your personal approach and ideas to creating and playing music?

At first I listened a lot to Rainbow and Ronnie James Dio. This did not impact my sound but it always helped me a lot when composing, because I always wrote or composed my songs wondering what it would be like to have Dio, as a vocalist that is, singing my songs. Blackmore also showed me how to create things out of the ordinary inside Rock n Roll.

Is there a particular process to your songwriting?

First I create the riffs, then I compose the whole song and then I write the lyrics on top of what I just played. Nothing too complicated or different. This is my creative process.

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

I do not hear much heavy metal when I’m in the process of writing. Instead I prefer to listen to Eastern culture or classical music.

Could you give us some background to your latest release?

Our first EP that is available (for now) only on SoundCloud and as a demo, is a compilation of seven compositions that define well the High Moonlight, both sonorous and thematic. It is a Heavy Metal / Rock n Roll of the best quality possible and really innovative. It’s a way of telling people that it’s still possible to make quality music and good taste and that Heavy Metal, Rock n Roll still has a lot of firewood to burn, you can believe!!! I’m sure that after hearing “Arcturians”, “Storm” or “Inovaya” for example, many will say, “Dude, what’s this sound ?! I’ve never heard anything like it” or else: “Rock is still alive, that’s very good!!!”You can be sure!

Give us some insight to the themes and premise behind the songs.

The lyrics deal with mystical themes, conspiracies and adventures. The sound is based on creative riffs with great melodies and beautiful guitars solos. Worth checking out, yes!

Do you go into the studio with songs pretty much in their final state or prefer to develop them as you record?

Yes. I’m already in the studio with the songs developed in their final stage, practically defined.

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

Simply play and do shows. This is the living side that motivates us to move on. We do not play for money or fame, we just like to play and period.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it?

I do not intend to please anyone with my music. Touch, compose and record for personal satisfaction. That’s what keeps me going as a musician. I’m happy when people share the same musical tastes that I hear and hear, sing and praise the band.

My space as a band is still searching and it is through communication vehicles like this that things happen little by little. Whenever I can try to spread my work around the world anyway, I just need people to pay attention to what I’m talking about and start listening to my songs so they can know and evaluate the work.

How has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success or is it more that bands struggling with it are lacking the knowledge and desire to keep it working to their advantage?

I think that ended with creativity in general. But unfortunately it was the way that humanity resolved then I followed what? We need to adjust to these new conditions if we want to play our songs, there is no other way, but this for me is only degrading music in general.

Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?

I thank you for the opportunity of this interview and I hope that people who read this can give a check on my work. I’ll leave the link here:

https://www.facebook.com/High-moonlight-1969283040044628/

SoundCloud: https://soundcloud.com/user-478894939

YouTube: https://www.youtube.com/channel/UC9zSetoGXolPDAtl9eM5PWw

Pete RingMaster 12/04/2019

Copyright RingMaster: MyFreeCopyright

Indya – Strip Me Down

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Having burst through ears with an introduction which as good as stopped you in your tracks, that being the outstanding single Harder Faster, British rockers Indya follow up with another highly flavoursome slice of heavily seductive rock ‘n’ roll in the shape of Strip Me Down. Their new single is a bordering on salacious web of tangy grooves and rapacious riffs guided by the temptress tones of vocalist and band founder/songwriter Natalie Indya West; an encounter which wraps its tenacious and muscular body around the senses like an erotic dancer.

The character and moves of the single in many ways echo a part of Natalie’s earlier life. Hooked on music from a young age with the sounds of her Mother’s eclectic taste in bands ranging from indya-art-strip_RingMasterReviewFree and Bad Company through to David Bowie and Rainbow fuelling a brewing passion, Natalie studied music at the Performing Arts & Technology school in Croydon before moving on to study at the Colin’s Performing Arts College in Essex. On a 50% scholarship, Natalie had to fund the remaining of school fees and subsequently worked as a pole dancer in a gentleman’s club. The single physically reflects that environment with its twists and turns whilst, as many of her songs, the dark time she also experienced at that period of her life is equally evocatively touched.

With a touch of the now demised Karn8 to its personality, Strip Me Down is instantly a lure of grooved temptation, the guitar of Maxime Raguideau-Obadia weaving a seductive yet invasive entangling of ears as the stalking rhythms of drummer Andrea Rapisarda prowl hand in hand with the rapacious groan of Raymond Tagnola’s bass. There are many familiar textures at play within the drama honed song but all with freshness and an imaginative spicing which magnetically slips in with the band’s own invention.

Their first single stoked the fires of attention towards the 2015 emerging outfit; the Dan Baune produced and James Lerock Loughrey mixed/ mastered  Strip Me Down now keeps that blaze burning very nicely whilst showing another flavoursome flame to the rich body of Indya’s rock ‘n’ roll.

Strip Me Down is available now.

http://www.indya-band-official.rocks/    https://www.facebook.com/Indyaukmusic    https://twitter.com/IndyaOfficial

Pete RingMaster 07/10/2016

Copyright RingMaster: MyFreeCopyright

Indya – Harder Faster

Indya_RingMasterReview

Need something to put some spirit rousing energy and vitality into your day? Then we suggest checking out the new single from UK band Indya for a swift and highly agreeable shot. Harder Faster is a virulent stomp of rock ‘n’ roll with the anthemic prowess of Andrew W.K., the pop infectiousness of Gwen Stefani and No Doubt, and the inventive dexterity of Pryti; a rebel rousing, thigh slapping slice of devilment just as happy to add some flavoursome glam to its hard rock bred adventure too.

Indya is led by vocalist Natalie Indya West, a songwriter/musician who was in the arms of music from an early age through her Mother’s keen and eclectic taste for artists such as Free, Bad Company, David Bowie, Rainbow and many others. From school, Natalie went on to study music at the Performing Arts & Technology school in Croydon before going on to study at the Colin’s Performing Arts College in Essex. Having to fund a large part of her schooling herself, she eventually took up a job as a pole dancer in a Gentleman’s Club, an experience which saw her fall in with the wrong crowd and into a subsequent debilitating habit. It is a time though which gave a spark to her songwriting and the often raw lyrical themes explored within that cathartic release.

Indya art_RingMasterReviewPerforming as a singer and professional dancer over recent years, Natalie eventually pulled together the band which is Indya last year, recruiting the talents of guitarist Daniel Baune, bassist Raymond Tagnola, and drummer Tobias Miorin to help bring her life bred songs to life. Combining inspirations from the likes of Rainbow, Deep Purple, Bowie, Madonna, and Amy Winehouse into their hard rock seeded rock ‘n’ roll, the band is looking to make a potent impact on ears and attention in 2016, and if Harder Faster is a sign of things to come, it is hard to see them failing.

The song opens on a great blues meets glam rock groove, beats badgering its lure with their own feisty bait. Things soon settle into an infectious canter as Natalie’s vocals flirt with and dance on ears and the imagination. The virulence of its energy and rousing bounce alone has hips and appetite gripped, the dexterity of vocals and melodic enterprise only adding to the easy going yet heavily dynamic proposal. The song is pure rock ‘n’ roll, but equally prime pop with a touch of punk to it too and quite irresistible.

Providing the thrilling lead to Strip Me Down, their new EP, Harder Faster has all the temptation to bring the UK music scene to the point of no return with the name Indya on its lustful lips.

Harder Faster is out now.

http://www.indya-band-official.rocks/      https://www.facebook.com/Indyaukmusic   https://twitter.com/IndyaOfficial

Pete RingMaster 25/04/2016

Copyright RingMaster: MyFreeCopyright

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Nightblade – Crisis has no Prejudice

Nightblade - Band pic (1)

Formed in 2010, it is fair to say that UK‘s Nightblade has been a pungent force of muscular hard rock and NWOBHM inspired tenacity which with its increasingly potent evolution in sound, has been a presence locally and increasingly further afield, commanding keen notice. The tail end of last year saw their finest offering yet in the shape of magnetic EP Crisis Has No Prejudice. Consisting of three tracks that impressively fed an ever broadening spotlight on the band, it is now being reinforced by the release of its title track on February 9th.

The emergence of the Kidderminster hailing Nightblade has been ripe with successful shows alongside the likes of Snakecharmer, Diamond Head, Graham Bonnet(ex-Rainbow, Iron Butterfly), and Uli Jon Roth(ex-Scorpions) amongst many. Alongside that, the quartet has unleashed a clutch of highly persuasive encounters, from debut album Servant To Your Lair in 2011, through its successor Closer To The Threshold two years later to their current temptation Crisis has no Prejudice. All have found an eager welcome not only at home but across the metal world, as well as with its media. The latest EP is another step forward in their ascent and its new single, a big lure into their accomplished and stirring sound.

The track immediately has ears bound in a tangy grooved and crisp rhythmic persuasion, one courted by a just as potent and sturdy bassline. Within a few breaths, a melodic web is adding its thick tempting as the equally magnetic vocals almost prowl with the song’s narrative. There is a great rawness to the certainly melodic tone of the vocals; an edge which matches the predacious stride of Crisis has no Prejudice and its anthemic but stalking presence. It is fair to say the song, and in many ways the band’s sound is not worrying the boundaries of originality, clasping faithfully the essences of their inspirations, but with a fresh breath and creative adventure of classic metal enterprise, sits enjoyably apart from much of the crowd offering similarly sculpted bait.

2015 has the potential to be another big year for the quartet of vocalist Mark Crosby, guitarist Dave Parish, bassist Bill Fitzsimmons, and drummer Eddie Neale; it has certainly got off to a powerful start with Crisis Has No Prejudice.

Crisis Has No Prejudice is released on Feb 9th 2015 via the usual digital outlets with a physical copy of the EP also available @ http://www.nightblade.co.uk/music.php

http://www.nightblade.co.uk

RingMaster 07/02/2015

Copyright RingMaster: MyFreeCopyright

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Mausoleum Gate – Self Titled

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Though the band’s self-titled debut album does not grip the passions as rigorously as it might, there is plenty about the new release from Finnish metallers Mausoleum Gate to recommend and breed a healthy appetite for. Spawned in the inspiration of the seventies/eighties heavy metal scene, the band’s release and sound is a skilfully accomplished and magnetic proposition which from an underwhelming start grows to be a potently enjoyable and intriguing encounter within their captivating release.

Formed in 2008 by guitarist Count L.F. and bassist/keyboardist Wicked Ischianus, Mausoleum Gate recorded their debut EP Gateways For The Wicked in 2010, with vocalist V-P. Varpula part of the band’s line-up by this point. After playing that year’s Metal Warning Festival alongside the likes of Sarcofagus and Cloven Hoof, a change in personal saw the current line-up in place with the addition of guitarist Kasperi Puranen and drummer Oscar Razanez alongside the founding pair and Varpula. Last year the band released the well-received Obsessed By Metal 7” with a cassette version of Gateways For The Wicked following whilst 2014 has seen Mausoleum Gate sign with Cruz Del Sur Music for the release of their debut album.

It is a release which makes an impressing statement for the band but starts off with a less than convincing offering in Magic of the Gypsy Queen. To be fair it is more likely personal tastes dictate its failure to persuade but from the gothic caress of keys with haunting child spawned chuckles, the track makes a strong but unsure proposition. Its full entrance grips ears with ease, riffs stirring up attention as grooves flirt with their own baiting. With a heavy bass lure and crisp rhythms and a flourish of keys on board too, it is a captivating engagement but soon losing its edge and tight hold as the vocals of Varpula come in. It should be noted that the singer is an impressive presence but the mix sets him apart from the rest of the song to disrupt the fluency and potency of the song. The music is compelling, especially the excellent guitar enterprise colouring its lure, and vocals alone are strong but together they clash more than work. It is a shame but something which finds a much better balance from hereon in.

The following Demon Droid prowls the senses and imagination with an intimidating pose and ominous breath, riffs and beats predatory before it all erupts into a fiery and antagonistic blaze of heavy metal contagion and adventure. 8032622210712Punchy and with hooks which are as addictive as the melodies are fiery, the song explores its own depths with a progressive breath exploited by the searing invention of the guitars. It is an instant step up for the release which is not quite maintained by the power ballad Lost Beyond the Sun, though it too is equipped with an atmospheric radiance from the keys and the continuing to impress craft and imagination of the guitars. Again there is little to dismiss but just the absence of the spark igniting its predecessor and the next up Mercenaries of Steel which leaves it in their shadow.

The fourth track emerges from rhythmic shadows and a cold ambience to crawl through ears with an intensive examination from riffs and a binding of sonically scorched grooves. This in turn is just a passage into the adrenaline fuelled heart of the song; an Iron Maiden/ Rainbow like weave snarling over and seducing ears. Vocals croon and roar with refreshing expression and harmony as the bass tempts with a throaty growl whilst a seamless switch into a slow progressive exploration by the guitars just bewitches ears and emotions before twisting back into an insatiable and thrilling rampage.

The Kuopio quintet closes the album with its title track, almost twelve minutes of old school heavy metal ingenuity which merges classic genre balladry with a raw and hungry intensity. It is an appealing canvas brought to stronger life by the rich vocal hues and individual musicianship of the band, all combining for a tapestry which spreads and evolves with every minute into an epic and deeply satisfying journey.

Mausoleum Gate, song, album, and band are propositions which worm themselves pleasingly into the passions with every partaking of the accomplished offering. It is not a classic but a release to invite and inspire good attention to a band which has the potential to strike bigger and major heights ahead.

Mausoleum Gate is available now via Cruz Del Sur Music

https://www.facebook.com/MausoleumGate

RingMaster 08/10/2014

Copyright RingMaster: MyFreeCopyright

 

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Voodoo Highway – Showdown

VoodooHighway1

The album Broken Uncle’s Inn when released two years ago set Voodoo Highway apart from many other similarly clad heavy melodic rock bands, its acclaimed appearance drawing excited responses from fans, media, and notable exponents of the genre such as former Rainbow/Black Sabbath/Gary Moore bassist Craig Gruber. It was a thrilling and hungry release which ignited strong interest of people beyond the confines of classic rock. The Italian quintet now returns with the follow-up and it has to be said that Showdown takes all the great things on the debut to greater accomplished heights. Again it offers so much to lure in and keep the passions of the widest appetites alive just this time with even more devious craft and magnetic enterprise.

Founded in 2010, Voodoo Highway has been showered with eager recognition, even being called “the new Deep Purple”. Their stage presence and destructive stage tendencies has left a trail of acclaim across Italy and their sounds the same throughout the radio veining of Europe, South America, USA, and Japan, with Broken Uncle’s Inn the focal point until now. Showdown is another big step forward, one which again can be argued is not setting new boundaries for classic rock but undoubtedly is invigorating it with a heart and energy it has debatably been long missing.

Released via Dust On The Tracks Records, the new album stands proud as it storms the ear with opener This Is Rock’n’roll, CD BookletWankers!, riffs rhythms, keys, and vocals rousing up the senses with anthemic might and infectious melodic temptation. It is exactly what its title declares, a riotous brawl of middle finger poised rock with flames of precise fiery guitar enterprise and equally transfixing organ weaves within a bruising yet passion igniting confrontation.  The track has a swagger and balls to the wall intensity which recruits limbs and voice for a full engagement, a triumphant and irresistible start to the release.

The following Fly To The Rising Sun with its heavy bulging basslines and thumping riffs continues the compelling call of the album whilst Midnight Hour builds on the already impressive start by soaking the ear in seventies cloaked melodic persuasion and an imagination capturing intensive groove flanked by the ever growling bass of Filippo Cavallini. It is an excellent piece of familiarity entwined within inventive mystique and compelling aural adventure, the guitar of Matteo Bizzarri, as throughout the album, continually changing the face of the song whilst the drums of Vincent Zairo snap the head back on a well-used neck with a firm and hypnotic provocation or beckoning, usually both simultaneously.

Both Could You Love Me and Wastin’ Miles secure thoughts and hunger with their accomplished bodies, the keys of Alessandro Duo’ especially making enticing suggestions in the first though he again is never less than mesmeric across all tracks, and the continuing to impress vocals of Federico Di Marco driving the heart of each song with masterful expression and passion. Neither reaches the heights of those before or of the following pair of Church Of Clay and Mountain High, but never have less than a strong grip on attention and the ability to satisfy. The first of their successors is the biggest highlight of the album, the song from resonating heady bass prods and ambience stirring guitars stalking and ravaging the senses with greedy riffs and predatory rhythm whilst keys and vocals light the surface with melodic blazes which smoulder and burn alternately. Playing with and upon thoughts and emotions, the track paints a colour rich picture with the lyrical and melodic narrative whilst the sounds soundtrack its arrival with skill and contagious imagination. Mountain High follows with similar intent, its sinews making a target of the ear whilst the keys and sonic endeavour eases the scarring. As with most tracks its touch is easy and from a familiar well but it just adds a warmer addictive hook to be caught upon whilst the ingenious extras like the gothic occult rock like wash of the keys in this song throwing an wonderful unexpected spanner in the works of assumption.

From this point in many ways the rest of the album does lack the same punch and attention gripping strength already attained but certainly tracks such as the insatiable Cold White Love and A Spark From The Sacred Fire only give full pleasure and high octane fuelled adventure. Completed by the very decent Prince Of Moonlight and two bonus tracks in the shape of Till It Bleeds and the ever brilliant Broken Uncles Inn, you have an album sure to exhaust the passions of all melodic rock fans. Showdown is an excellent storm of rock n roll which from within the art work wrap of graphic designer Storm Thorgerson, brings an impossible to resist rampage to the year, the claws of Voodoo Highway digging deeper than ever.

https://www.facebook.com/WhoDoHighway

8.5/10

RingMaster 30/04/2013

Copyright RingMaster: MyFreeCopyright

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