Bleeding Raven Interview

BLEEDING RAVEN is the aggrotech/dark tek project from Dean Mason of Gnostic Gorilla. Recently he released its debut album via Cleopatra Records. We had the pleasure to chat with Dean about the album, his latest project, a career and life changing set back and much more…  

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

The pleasure is all mine man.

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

In a land…far far away…hahahahaha…Ok, but seriously… I first got the ‘itch’ to record music when I was a teen-ager in high school. Some buddies and I went into a little studio and recorded two songs for a single release. (Dark Hallway/Golgotha) https://www.youtube.com/watch?v=p05YqqTOS_M  https://www.youtube.com/watch?v=047Pk2GhPnY

Thanks to my lovely parents I released a vinyl 45 rpm as just “Dean Mason” with “Lonely Ghost Productions” as the name of the makeshift indie label. I got ‘itchy’ again in 2001 and began looking at music again, but did very little. In 2012, I got right into recording electronic music of a dark bent and scent and thus was born “Gnostic Gorilla” eventually. (I released stuff as The Lonely Ghost Project initially but changed the name to “Gnostic Gorilla”) In 2018, Cleopatra Records released “St. Basil’s Asylum”. (Gnostic Gorilla) In May of this past year, after releasing quite a few albums on different labels (KL Dark Records, Nowhere Now Records, Throne of Bael Records and LGP-ONE) I wanted to pursue something more ‘aggrotech’ in style. That’s when I initiated the “Bleeding Raven” project. Cleopatra released “Darkness Consumed” in October of this year.

How have those earlier impacted on what you are doing now, in maybe inspiring a change of style or direction?

As I mentioned earlier, I started off as just “Dean Mason” as a lad. In 2012, the Lonely Ghost Project was launched (so to speak) and then “Gnostic Gorilla” and from that evolved what we are talking about today…that is…the Bleeding Raven Project. My early music in these other projects was a mix of ‘Goth/Dark Wave/Dark Tek/Industrial’. I really wanted to do something more bizarre and almost literally more noisy and that’s when I initiated “Bleeding Raven”. It’s more aggrotech, but I also call it… “dungeon trash”…hahahahahahahahahaha I even have a shirt with that on it.   https://www.dizzyjam.com/products/157830/ 

The image or character of the ‘raven’ is common in First Nations lore and even spirituality. The raven can either be a trickster or mischievous little critter or it can be sort of a symbol of the soul preparing for death of being taken back to the Great Creator. Different nations/tribes have different ideas and stories about the raven. The ‘bleeding’ part more or less speaks of suffering, of hurt etc. So, like my lyrics however, even with the image, I allow people to have their own interpretations. That said, I think always…DAILY…of my many sisters and brothers in the First Nations communities who suffer immensely because of a racist attitude towards them. There are many…MANY young Native women/girls who have gone missing and the effort to find them hasn’t always been fervent. As well, the suicide rate among First Nation teens is extremely high.

Was there any specific idea behind the forming of Bleeding Raven and also in what you wanted it and your sound to offer?

Well, in the Spring of 2019, I had to be on the road a bit and for some long drives, I acquired on my iTunes a few albums of a more industrial bent. That includes a couple of compilations of various bands. I discovered acts like Die Sektor and Psyclon Nine and I felt very inspired to go in this direction. I sort of started to go in that direction as “Gnostic Gorilla” but I wanted a new project that was mostly aggrotech in style. I came up with the ‘dungeon trash’ (LOL) I released in October and I am very proud of it!

Do the same things still drive you when it was fresh-faced or have they evolved over time?

Definitely evolved over time. So, when I first started off, I was more into a Gothic sound or industrial. And I still love a lot of that stuff. Always will. St. Basil’s Asylum is a classic and I’m just so sad that it’s still not discovered by many yet. But anyway, yeah…things do evolve. That said, I don’t like the idea of being in a ‘genre house arrest’ and being narrow minded in your approach to music. But either way, it’s all over for me in music anyway so…I’ve done what I could.

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

Well, from the really early days, that is from the days of the Dark Hallway release, things really evolved dramatically. First of all, that 45 was like a mish mash of metal/punk pre-grunge I guess. I was heavily influenced by Gary Numan and yet, try as I did my vocal style was markedly different than his. It’s later that I appreciated that. But, see…I love ALL sorts of music. I mean, sometimes I’m just knee deep  into The Doors and more psychedelic shit and other days I’m into Dio and Sabbath and Type O Negative and Ministry and Rammstein. Other days it’s The Cure or Smashing Pumpkins or of course, classic Numan and Japan or Bauhaus. So, a lot of what I do depends on where I’m at and I guess when it comes to music, I’m moody as hell. hahahahahaha

Do you find the changes have been more of an organic movement of sound or you deliberately wanting to try new things?

I’d say the latter, yeah.

Presumably , and you have touched on them already, there is a wide range of inspirations; are there any in particular which have impacted not only on your music but your personal approach and ideas to creating and playing music?

So, I make a distinction between that which has inspired and that which has influenced more directly my own style. The artists/bands that have been inspirations are many. Gary Numan, KISS, Type O Negative, Black Sabbath, Rammstein, Japan (David Sylvian) Ozzy, Manson, Korn, Smashing Pumpkins, The Cure, Bauhaus, Zardonic, Fear Incorporated, Frost Like Ashes, CRIX IIX and the list is endless. As for those who have been influences, while they include some of the names listed already, I’d say Ministry, Skinny Puppy, Psyclon Nine, Die Sektor. As I always do in any interview, the band that will forever be my absolute favourite is The Doors. The Doors and Gary Numan are both at the top of my own personal ‘chart’.

I also want to give a shout out to Tim Muddiman and NOT because of his connection to Gary Numan. Tim has ventured into more graphic arts in recent years and he is doing some amazing work. THAT very much inspires me…or better yet…I honour the man as an artist in every sense of the word…as a true artist.

Is there a process to your songwriting which generally guides the birth of songs?

Yeah, mostly I start off with a vague idea of want kind of song I want to do, Then I begin with beats and drum patterns and bass lines or even synth lines. (it depends) I get a general idea of the direction I want to go in before going far into the track. So, I begin to choose the different sounds and samples/loops that I want as well to give it a mood. More often than not, I manipulate these and distort or whatever to make them unique. Then as the song evolves, there’s the question of whether or not I want a traditional chorus (often not because that’s too pop) and I allow the track to sort of dictate to me where it’s going. Sort of like a First Nations wood carver who allows the ‘wood’ to speak to them as they say. Then when I have a rough demo, I begin writing lyrics and then record vocals. That’s the tough part for many reasons. Lots of hit and miss with that process. I’ve written an entire set of lyrics for a song only to discover that something else would work better and I have to (at times) chop out some of the lyrics. Hard to explain.  Also, sometimes I record the vocals and it sounds like shit. I mean, there is a need for a different ‘style’ all together. After all the vocals are recorded, I go back and add more …sometimes a sample here or an FX noise there or whatever. I’m quite ADD so if there are any sort of ‘blank stare’ moments in a song…that’s unacceptable. It has to be busy. I’m told my music is VERY busy. Then there is the final mix which is a real pain in the ass. Sometimes even at that stage you decide… “nah…this is total shit”! It’s a bit of a drag when that happens though man because you’ve come all the way to a full song and you realize it isn’t happening.

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

First off, good for you for asking that because lyrics are important for me… I realize it’s not what the listener first becomes aware of…but for me, the lyrics are important. Anyway, so…I don’t write any lyrics with any sort of ‘agenda’. In other words, I don’t preach or dictate anything. I like a very poetic approach to the lyrics with lots of imagery. Now, that said, there are certain subjects that inspire me. I often write about religious themes or philosophical themes and often touch upon injustice and hypocrisy and hate and injustice for example. But I do so in veiled/poetic language. I want the listener to decide for themselves what it could mean.

Give us some background to your latest release.

 “Darkness Consumed” touches upon a few subjects…again in veiled language. One of the tracks is called “Pontiff’s Nightmare” which is actually about St. Francis. He more or less spooked the Pope at the time with his authentically radical life style and that Pope had a dream about Francis. Francis challenged the corruption of the time by the way he lived. “Salem Vigil” is sort of… but not completely about the Salem witch trials. The song actually addresses the unfortunate phenomenon of ‘religious people’ oppressing and persecuting people who don’t fit their narrow definition of what it means to be ‘good’ or ‘decent’ and ‘righteous’.  In the end, these arrogant and often ignorant people of so called ‘faith’ are the ones who are truly evil because of the harm they inflict on many borne out of their hatred and unenlightened worldview.  

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

So, “Darkness Consumed”…that very title isn’t a nod to evil or the promotion of ‘darkness’. It’s actually about the fact that somehow, ‘TRUTH’ (light) will ‘consume the darkness’ and overcome it. That’s sort of the idea in brief. As I said, I want people to decide for themselves however what something can mean for them.

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

Going back to the very first single “Dark Hallway”…I had everything figured out (with lyrics) when I presented the tracks to the band. I wrote the lyrics in English class (Dark Hallway) while under the influence of benzodiazepines. Hahahahahahaha We were reading “Death of a Salesman” in that class and it was, to say the least, a rather dark story. hahahahahaha

Tell us about the live side to Bleeding Raven.

I have lost the hearing in the left ear completely and totally. It happened in October…Very traumatic actually. I have to protect the little hearing I have left in the right ear which is at half capacity. I want to be able to hear the voices of the ones I love and the more natural sounds in life. For all intents and purposes…I’m deaf. Music is no longer an option. Especially live music, even if I wanted to do something live with a band. Music has been such an important part of my life obviously…but that’s over. That’s the future.

It is not easy for any new artist/band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods? Are there the opportunities to make a mark if the drive is there for new bands?

You’re correct. It’s very difficult to ‘break through’ in this day and age. There’s just too much out there. I mean, everyone and their cat is putting stuff out. There are so many genres today and so many…MANY indie folks (like me) who have stuff out there and are competing with the ‘big boys and gals’. You have to be creative to get known because sadly, younger people are not interested in new music aside from what they become aware of through video games or TV/Movies. I mean, I’m seriously over generalizing perhaps but it is true that, young people today don’t appreciate music the way people did in the past. They don’t grasp the concept of music as ‘art’ anymore. That’s not their fault. But because of the technology that we have today and with social media platforms…there is too much out there and for younger people, music is just “there for the taking” the way fruit on trees is there to pluck. So, you have to be creative in how you get people to notice you today. It’s not easy.

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?

So, this is sort of a continuation of the previous question. Here’s the thing, the internet and social media and digital music etc. is here and it’s here to stay. We are still trying to adapt to this I suppose. Now, you could lament and dream of the “good old days” but that’s all it will ever be…a ‘dream’. Musicians/artists have to adapt. In many ways, it has been a blessing. Many artists would have never been able to put their stuff out there so to speak were it not for the kind of technology we have today. See, I picked up music again in 2012 but only as a hobby. I then, almost jokingly put some of my stuff out there as an indie/unsigned act and I eventually got a label deal with Cleopatra Records, which for me is phenomenal. I will have three releases with Cleopatra Records by end of 2020. (the last one is another Gnostic Gorilla album) I also have releases with three other labels. So, none of that would have happened were it not for the technology we have at our disposal. I guess it’s sort of what you make of it, like anything else.

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

Thanks again to you for the great (and extensive) interview. Reveal?

Ok…I’m  B A T M A N.  Hahahahahahaha  No but, seriously, I thank the many people who have been supportive of me in one way or another…be it family or friends and certainly Benny at Cleopatra Records. As I said earlier, because of the extreme hearing loss (actually deaf completely in one ear and the other is severely compromised) …I have to pack it in with regards to music. I will promote what I have and will have out soon (already recorded obviously) and perhaps a book of lyrics and that’s it. Cheers.

Dean

https://bleedingraven.bandcamp.com/   https://www.facebook.com/bleedingravenofficial/   http://www.bleedingraven.com

Pete RingMaster 17/01/2020

Copyright RingMasterReview: MyFreeCopyright

Her Despair – Exorcisms of Eroticism

There is no escaping that UK dark rock outfit Her Despair made a major impression critically and on a new flood of fans with their last EP, Mournography. It was a striking and arousing affair built on open craft and imagination which thrust the band before a more international spotlight. Even so, its success will surely only be overshadowed as the ascent of the London band accelerates through the magnificent Exorcisms of Eroticism.

Her Despair’s new EP eclipses its predecessor in every department, the band’s sound a more mature and even more striking proposition as it continues to embrace the essences, drama, and melancholy of gothic rock, punk, and dark metal. Each song within Exorcisms of Eroticism aligns crepuscular gloom and intimate seduction, emotion ravishing shadows and heart bred passion; all within the dark recesses of a world in turmoil.

Pandaemonium opens up the release, the song looming from the dark in a mighty tide of sound which instantly shapes its stride and trespass through the melodic intimation of Toby’s keys. The guitars of Dan and Jord cast a more rapacious side in the emerging song, its voice already rich and broad before calming a touch for the ever magnetic tones of J. Every aspect of the encounter though proved a beacon for attention, the bass of Vikki a dark throaty tempting as the beats of Lee bite yet simultaneously incite. As in previous releases, there is no denying the inspiration of bands such as Fields of the Nephilim and Sisters of Mercy to Her Despair and maybe others like The March Violets in the instinctive infection loaded virulence which soaks every note and spring of imagination but the first track quickly sets the unique tone and individuality which defines the release and each song.

 As mentioned earlier, drama is in full force coating every note and syllable of the outstanding first track, The Exorcism soon following with an equal fertility in all its textures and enterprise. Similarly an inherent catchiness is as bold as the creative theatre shaping the tapestry of light and dark sparking the imagination of band and listener alike. The symphonic lure of keys provides a seductive rapture in the turbulent heart of the song, J’s voice managing to echo both sides in his ever alluring and potent presence.

Though there is open energy in its gait and emotive roar, In That Moment is a siren of temptation, the tempered roar haunting in its beauty and enthralling in its croon while Like A Crucifixion straight after is a cauldron of sonic and emotional tenacity. Akin to a fusion of Type O Negative and Dead Register, the track simply sets another momentous lure in the EP as virulently manipulative as it is emotively invasive.

Beyond The Veil is another gentle haunting, the ballad caressing the senses and thoughts yet with an undercurrent of fiery anguish which erupts enough to scorch the elegance and beauty of the bewitching incitement before Final Rest brings things to a just as captivating close. The funereal gait of the song beguiles alone, the vocals and the words it shares a fascination matched in sound across the whole band. Melancholy is as thick as the rhythms which prowl the senses, enchantment as potent as the melodic weaving of keys and guitars and rich pleasure the result of all.

Exorcisms of Eroticism is glorious; from sound to lyrics, voice to the imagination which fuels it, the seriously impressive EP declares Her Despair as one band the world should no longer ignore.

Exorcisms of Eroticism is available now digitally and on CD @ https://herdespair.bandcamp.com/

https://www.facebook.com/herdespair/   https://twitter.com/herdespairband

Pete RingMaster 08/01/2020

Copyright RingMasterReview: MyFreeCopyright

Slumlord Radio – Gonna Be A Riot

Ever since we found the dial to Slumlord Radio through their Tokyo Roadhouse Sonic Sex Castle EP back in 2013, the Grand Rapids hailing trio has had us relishing and devouring each slice of their dirt encrusted, attitude fuelled punk bred sound. Each subsequent release has only seen the band’s sound grow more striking and irrepressible and our enjoyment more intense and with the release of their new single, Gonna Be A Riot, the trend continues.

The release consists of two tracks, the voraciously rousing Gonna Be A Riot and a just as irritably animated cover of The Stooges’ I Wanna Be Your Dog. It has been four years since Slumlord Radio hit the spot and drew rich acclaim with the uncompromising, bruising, and incessantly dynamic Too Pretty For Tijuana EP, time which has seen their sound find even more belligerence, instinctive aggression, and rebel rousing enterprise as proven by Gonna Be A Riot.

Though bred on the raw seeds of punk rock, Slumlord Radio’s rock ‘n’ roll embraces essences of stoner rock, sludge, metal, and garage punk in its roar. Gonna Be A Riot epitomises the recipe behind their songs whilst casting a whole fresh incitement in its craft and devilry. The track springs an initial blast of noise before strolling through ears with a mischievous catchiness. The beats of drummer “Rattlesnake” Matt Claucherty echo that devilment in their senses rapping swing, the bass of Michael “The Westside Wolfman” Todd a matching encouragement as the dirty tones of vocalist/guitarist Tommy “Capt. Hollywood” Erickson share their grouchy goading.

With every twist adding bold unpredictability to the equally fluid stomp of the song it is the crazed enticement of the gang vocals seeing Myron (Dirty Americans/Workhorse/The Workhorse Movement), Christian Cooney (MOTO), Joseph Henry (The Holy Warheads) and Alicia Adams among the holler, which add the final infectious layer to the quickly proving irresistible encounter.

As much as the band stay true to the heart of the original, Slumlord Radio adds their particular predacious touch and prowling threat to I Wanna Be Your Dog, the song’s intent as toxic as it is submissive. It is a superb version of the classic and as its companion sees Cooney provide a guitar solo, the track also welcoming a similar contribution from Jeff Piper (Dirty Americans/Workhorse/Workhorse Movement) and a great piano teasing from Jeremiah Pilbeam who also produced the single.

Though we as a great many wish for more regular encounters with Slumlord Radio when they come around they are moments which so far have had us gripped in rock ‘n’ roll rebellion; Gonna Be A Riot one more great trigger.

Gonna Be A Riot is available now via White Elephant Records on vinyl and as a name your price download @ https://slumlordradio.bandcamp.com/

https://www.facebook.com/SlumlordRadioMI/   https://twitter.com/Slumlord_Radio

Pete RingMaster 08/01/2020

Copyright RingMasterReview: MyFreeCopyright

Helldown – In Deaths Hands

The release of their self-titled debut EP in 2016 suggested that Welsh thrashers Helldown had all the attributes to ascend the UK metal ranks, a thought accentuated by their subsequent acclaimed single The Watchers a year later. Now that proposal is about to be made a declaration with the release of new EP, In Deaths Hands, a collection of tracks which whilst suggesting that there is plenty more yet to come from the Swansea outfit, that ascent is well under way.

Formed in 2013 and consisting of blood brothers in vocalist/bassist Ben and rhythm guitarist Matthew Evans alongside drummer Ross Thomas and lead guitarist Lewis Larkman, Helldown have forged a sound bred on thrash, groove, and heavy metal. As the new release shows it is a potent trespass with thrash metal its instinctive fuel, one still enjoyably raw in its voice and tone to provide an edge and bite numerous like-minded bands have let escape in their growth. True uniqueness may still be absent in the band’s voracious sound but as In Deaths Hands proves it can be comfortably overlooked in the fresh trespass on offer.

The EP opens with The Unnamed, a track instantly entangling ears in ripe grooves and preying rhythms before launching into a predacious assault. The sonic invasion and enticement of both guitars make for a keen tempting, Ben’s vocals as the sound earthy yet magnetic within the harassment of riffs and rhythmic aggression. The subsequent twists and melodic endeavour that emerges revels in the prowess of their creators, the track a persistent hungry nagging endowed with that bright enterprise.

The EP’s best track is followed by Mortal Shell, another swiftly revealing intent and character with rapacious urgency. If at first paling against its predecessor, the track only grew in stature and appeal as its ravening riffs and grooves joined bitter beats and the heavy dark resonance of the bass to forge another thickly satisfying proposal.

There is a definite surface familiarity between the songs within In Deaths Hands, the beginning of next up Heretic highlighting the thought yet again it is a track which develops its own presence and enterprise with strength and imagination, the bass of Ben a riveting ingredient in the prowl of the ear grabbing encounter.

Flames of Heresy bring things to a close, its spirals of grooves waspish in their sting and barbarous in the subsequent harassment they inspire from across the band. The gang hollers that break out only emphasize the anthemic air and roar of the track, even as it prowls and stalks the senses between raucous eruptions.

It is a fine end to a release which only left us wanting to hear more from the band and reinforced the thought that Helldown has a very healthy future within the British metal scene.

In Deaths Hands is released January 17th

https://www.facebook.com/HelldownOfficial/   https://twitter.com/helldown_uk   https://www.instagram.com/helldownofficial/

Pete RingMaster 14/01/2020

Copyright RingMasterReview: MyFreeCopyright

The Orange Kyte – Carousel

With two rather well-received albums under their belts, Irish-Canadian psych-garage rockers The Orange Kyte have already revealed an individual sound as rich in its variety as it is fascinating in its character. Even so with loose ends connected and its web of adventure extended it is an evolving exploration of enterprise which has now come to a head in new album Carousel.

The Vancouver outfit’s fusion of garage and psych rock with shoegaze and indie inclinations again breeds the tracks making up Carousel but each stands as an individual enticement as much a pop protagonist  as a rock incitement with many more flavours embraced in their fairgrounds of curiosity and adventure. From start to finish, the album dances with the body whilst taking flight with the imagination, its touch dirty and voice haunting but at its core a body of rock ‘n’ roll revelry.

Founded in 2016, originally as a solo project by Dublin hailing singer /songwriter/guitarist Stephen White (Magic Shoppe, ex- Strange Things and Ireland’s House of Dolls), The Orange Kyte inspirations include the broad likes of The Velvet Underground, Syd Barrett, Graham Coxon, The Byrds, Primal Scream, The Who, Death in Vegas, CAN, White Fence, Spiritualized and Super Furry Animals as well as psychedelia and krautrock in general. Many are essences which immediately flavour the heart and endeavour of Carousel as revealed by opener Masquerade!

The instant jangle of Mat Durie and White’s guitars immediately enticed keen attention as rhythms pounced, the psych flames of Matty Reed’s sax only intensifying the tempting. From its first breath quickly after, the song’s stroll is an eager bounce, the animated beats of drummer Dave Mulvaney as encouraging as the dark swing of Pierce Kingan’s bass, it all wrapped in the just as infectious hug of Durie’s keys. Together the ingredients made for a virulent and addictive enticement, one as rousing, bordering on the rowdy, as it was dark and invasively provocative.

The Modern Day Saints follows with a slightly more tempered gait but one again as contagious as the melodic warmth and enterprise making up its infection. As in all songs, Whites tones are a dream coated lure of temptation and lyrical observation within a web of tenacious sound while every element of the track hit the spot with Chris van der Laan swinging the sticks this time, the sax again especially potent before Distractions springs its melodic gossamer upon drum machine beats to beguile and haunt the senses. There is a House Of Love breath to the track at times which only adds to its psychedelic thought and irresistible seduction.

A rapacious appetite comes with the creative promotion of C.O.P., the controlled but boisterous persistence of the song again utter contagion even as vocals and melodic invention continually evolves and accentuates its ear gripping body while the following pair of Little Death Balloon and Demonstration Garden with their respective groove bound captivation and drone scented serenade similarly seized keen ears, the former a glorious slice of the band’s sound and imagination bound in one of the album’s major highlights with its successor, as all tracks, no lightweight in thick enterprise and temptation.

The R/B spun garage rock canter of Infinity Rope equally had attention in the palms of its transfixing surf coated hands to emulate the success of the tenacious garage pop antics shared by Sea Of Love / Ocean Of Hate before it , a constantly growing track again fusing psychedelic and pop exploits in a moment of creative manipulation.

The Chris van der Laan produced Carousel closes with the stripped down offering of Downfall, a sinking into sonic smog as inviting and evocative as it is disturbing and disorientating, and finally the sixties pop lined garage pop of Captain Ron. Both songs echo the diversity of the release, the band’s sound, and the inescapable lure of the creative fertility behind it all.

Carousel is a real joy, a ride of enterprise which effortlessly got under the skin whilst announcing The Orange Kyte one of the leading lights in the next decade of garage/psych adventure.

Carousel is out now on 12″ pink vinyl from Little CLoud Records (US/Canada) and Cardinal Fuzz (UK/EU) and digitally @ https://theorangekyte.bandcamp.com/album/carousel

https://theorangekyte.com/   https://www.facebook.com/theorangekyte   https://twitter.com/theorangekyte

Pete RingMaster 14/01/2020

Copyright RingMasterReview: MyFreeCopyright

Cabinet of Millionaires vs Zion Train – Stop The Coup

As the UK once again went to vote for the next misstep in the country’s political direction, Huddersfield hailing electronic act Cabinet of Millionaires unleashed another of their ear and thought grabbing incitements in the shape of the Stop The Coup EP. It presents a trio of politically-charged tracks centred around the bands lead original assault on Prime Minister Boris Johnson’s campaign for re-election.

Stop The Coup is also the first Cabinet of Millionaires actual artist collaboration, the band linking up with acclaimed dub act Zion Train on the original, known as the Pfeffel Mix, which opens up the release. Embracing potent provocative samples shaping the suitability of and attack on the PM, the track is an electronic stroll embracing thought, opinion, and instinctive incitement. Its inherent catchiness is as ripe too just as the rebellious nature of its voice, each as honest as they are direct, defiant and inviting.

Just as powerful remixes provide the other pair of tracks within the EP, the first from Bristol-based Acid House Therapy a tension fuelled kaleidoscopic take as invasive as it is dramatically compelling with all its twists and hall of mirror like aspects.

The final track is a rock enforced stomp provided by Leeds club night promoter, DJ and producer Mikk Stupp. Funk bound, rock driven, the final version of Stop The Coup is a voracious, verging on the barbarous, electro rock incitement  pouncing on ears, the senses, and its protagonist with creative agility.

As another critical moment in UK political history was upon us Cabinet of Millionaires provided another momentous to mark and challenge it. The Stop The Coup EP is the band and its allies at their best, a reason alone to share one’s voice.

The Stop The Coup EP is available through Chocolate Fireguard Records now @ https://cabinetofmillionaires.bandcamp.com/album/stop-the-coup

https://www.facebook.com/CabinetOfMillionaires   https://twitter.com/cabinetmillion

https://www.facebook.com/ZionTrainInDub/   https://twitter.com/ziontrainindub

Pete RingMaster 14/01/2020

Copyright RingMasterReview: MyFreeCopyright

Desperate Machines – Complet_

It was back in 2014 when in a year of striking releases, American progressive/experimental rock band In Progress left their very potent mark with the album North Atlantic Echoes. The band was the creation of Jake Rosenberg and John Dillon and with a host of guests provided one increasingly fascinating and impressive adventure few rivalled at that time in the progressive rock scene. Since then the duo has seemingly been quiet, evading attention but obviously busy as they have returned with a new project in the shape of Desperate Machines and a debut EP which in distinctly different ways has made the same rich impact on our ears and imagination.

As the three tracks making up Complet_ reveals defining the Desperate Machines sound is never going to be a precise exercise with its tapestries and soundscapes of electronic, progressive rock, industrial, atmospheric and experimental essences and textures but an adventure which will keep imaginations busy and hungry if they herald what is to come ahead.

The EP opens up with Complete and as all tracks within the EP sees Kevin Moore (Chroma Key, OSI, ex-Dream Theater) guesting on vocals as well as providing lyrics. From the shadows the song looms up, its industrial breath springing animated beats and the instantly gripping gnarly growl of Dillon’s bass. Just a rush of seconds in and already the song is a web of flavours and textures, every subsequent twist indeed almost each second the gateway into fresh styles and bold imagination as the captivating tones of Moore rise amongst the synth, keys, and guitar enterprise of Rosenberg and Dillon. The gait of the track is funky, its breath dark with a Nine Inch Nails meets Deftones-esque melancholy and every moment as infectious as it is captivating, indeed haunting.

It is an effortlessly magnetic affair but is still slightly eclipsed by the magnificent Our War. Again from the start rhythms provide a manipulative enticement, melodies caressing and adding to the increasing urging of participation from hips and feet. Alongside Moore, Marjorie Boggs Vazquez adds additional guest vocals, further radiance in the mercurial but relentlessly magnetic encounter. As with its predecessor, every moment offers a fresh surprise with each twist as unpredictable in sound and invention as it is irresistible.

The release is completed by the original demo for Plan B, the song which is said to be the spark bringing Desperate Machines to life several years ago. From an industrial underground, a piano teases the imagination with its intimacy and touch, vocals soon alongside bringing similar intimation and fascination. A hint of a scent in both previous songs, the third strongly reminds of eighties band Comsat Angels and like many of that band’s tracks had us drooling in admiration and desire for more.

Though we had not realised it at the time, there was a gap without In Progress which was waiting to be filled. Rosenberg and Dillon have returned to do not only that but occupy many other areas lacking the imagination and sound which Desperate Machines brings with them.

Complet_ is out now @ https://desperatemachines.bandcamp.com/releases

https://www.facebook.com/desperatemachines/

Pete RingMaster 08/01/2020

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