First impressions are not always the most accurate barometer to people and indeed bands but they can give a strong intimation when you are on to a good thing; a suggestion the debut EP from UK metallers Godstone strongly makes. Offering five tracks fuelled by a sound which is not maybe overly unique, the band’s music lying somewhere amongst the likes of Alter Bridge, Shinedown, and Stone Sour, Monument Of One hits the spot with individual enterprise and a rousing breath.
From the south west of England, Godstone linked up with John Cornfield to record their first EP and from its first moments, Monument Of One makes for one magnetic proposition with its tapestries of ear entwining grooves, imagination stoking melodies, and spirit rousing muscle.
Over the Line starts things off, the song immediately setting the scene for the release with its rapacious air, imposing touch, and create weave; a delicious groove bursting with zeal from the initial coaxing upon a swinging gait. Guitarists John Kenward and Alex Goodrich quickly have attention keen as the punchy beats of Matt Davy hungrily collude with the dark grumble of Matthew Pascoe’s bass. Once the strong tones of vocalist James McDonald rise to add further lures, nicely backed by the melodic throat of Kenward, the song is in control of ears and body whilst providing a familiar yet certainly fresh slice of metal incitement.
The following Tear It All Apart offers its own striking invitation, again a guitar making the creative beckoning before the band unites in an infectious rumble as imposing as it is magnetic. With wiry grooves and a compelling conspiracy of hooks and twists, the song soon has ears firmly locked in feeding on its cosmopolitan melodies and aggressive dynamics. As suggested earlier, there is something familiar about this and other songs yet it has a character and style to its roar which sets the band apart from most.
A gentle almost melancholic caress brings next up The Way You Are into view, McDonald soon joining the inference of guitar and sombre twang of bass. The track’s eruption into a fiery trespass is fluid and resourceful though the song still retains a leash on its aggressiveness which only enhances its temptation. Potent first time around and even more compelling by the listen, much as the EP itself, the song adds another firm hand on ears and pleasure before Breathe crafts another rich moment within the release with its grunge/groove metal natured roar. Predacious yet seductive as its body and sound reveals a mercurial nature the song makes a strong play for best track.
Swiftly showing its candidacy too is final song Full Circle, it also a composed yet raucous holler of metal and heavy rock woven with grooved enterprise and melodic dexterity. It provides a strong and indeed fine end to a release announcing Godstone a band attention is bound to be good friends with. Uniqueness may still be in the brewing stage in the band’s sound but the potential is there and with encounters like Monument Of One the wait should be rather enjoyable.
Five Mile Smile is a duo from Belfast in Northern Ireland, The Truth About Dogs and Wolves their new EP and highly infectious proof that the band creates some rather tasty blues lined rock ‘n’ roll.
Originally formed in 2000, Five Mile Smile split up three years later after a time playing extensively around Ireland and recording some well-received songs. Connecting again through Facebook, the band reformed as a trio in 2014, initially just for fun. In no time though they began writing new material and played a few small private gigs. Things have continued to grow, culminating in the release of The Truth About Dogs and Wolves; an encounter which mixes familiarity with fresh passion and mischievous adventure.
The EP opens with Brawlin in Belfast, a track “about local boxing, and small time boxers making it big.” From the announcement every boxing fan gets a tingle from, the track stomps into view with bold rhythms and a hungry tide of riffs. Quickly it slips into its rock ‘n’ roll stride, vocals roaring from the midst of the swiftly contagious proposal as fifties and sixties rock ‘n’ roll collude with fresher essences to wrap attention up in the song’s swinging antics. It is an excellent start to the release, a slice of almost feral infectiousness veined by ear enticing guitar and rhythmic craft.
Call to Arms comes next, the second track making an equally alluring start as vocals harmonically unite against the more aggressive but no less enticing jab of beats and the sonic glaze of guitar. There is a heavier gait and swing to the song compared to its predecessor and a darker air seemingly to its intent which only adds to its drama and though it does not quite match up to the heights of the first song it leaves a keen appetite for more which Beg Borrow or Steal with its dirty rock ‘n’ roll soon feeds. Again it is a song unafraid to embrace sixties inspirations, The Rolling Stones an obvious but invigorating hue in its highly enjoyable nagging infectious roar.
The lively almost salacious exploits of Working Man and the licentious deeds of Drinkin All Day keep the record rocking and body rolling; the first a raw and firmly catchy offering with highly flavoursome melodic flames licking at its virulent infectiousness. Its successor is sandwiched between a great burst of cigarette nostalgia, blazing away with blues rock passion and energy not forgetting creative enticement. Both tracks challenge the first for best song honours, the first swinging it.
The EP closes with Touch the Lightning, a song which hints at and promises more than maybe it delivers even with its eventful twists, never quite following through their boldness, but still does nothing less than please and add to the potency of a release which may not be obviously unique but has plenty to get into and more importantly really enjoy. Check out the band’s other new track This Is Not a Drill too on their Bandcamp page for more blues rock goodness.
Like a series of dark fairy tales, Enchiridion of Nightmares the new album from dark rockers Sharone and The Wind captivates, seduces, and haunts. Each of its notes, let alone songs, comes with a shadow to their beauty, melancholy to their light, and intimacy to their grandeur with it all colluding in an adventure which just steals the imagination from everyday reality.
Hailing from Denver and emerging from the solo project of vocalist/songwriter Sharone (Borick), Sharone and The Wind is one of those propositions impossible to ignore or forget however their similarly striking songs appeal to personal tastes. Enchiridion of Nightmares is the successor to their well-received 2017 album Storm but sees an almost completely new line-up alongside Sharone. It was an emotionally traumatic time for the songwriter; the departure of her band inspiration within the new album fuelled by the emotions she became embroiled in; Sharone admitting “Writing this album was therapeutic to say the least. Before I began writing, I had just gone through one of the most difficult changes of my life and I felt more alone than ever. I felt angry, scared, and hurt, and I took everything I could from the experience as a lesson that allowed me to grow as a person as well as a songwriter.”
There is a rich cinematic and theatre-esque feel to Enchiridion of Nightmares which equally adds to its captivation; indeed its songs entwine an influence of horror movies, vintage and modern, into their personal nightmares. With just as richly layered and dramatic sounds to its exploration, the album is a persistent unveiling of new twists and shadows listen by listen. On our first meeting intrigue soaked the pleasure, through a couple more captivation, each subsequent listen leading to the inescapable bewitchment these words spring from.
The album’s piano nurtured atmospherically chilling Intro sets the tone alongside Sharone’s painting of words; its poetic scene setting the portal into the dark charms and cold breath of the following Graveyard. Once more the piano of Michelle Bailey captures ears and imagination as richly as the powerful and imposingly graceful tones of Sharone, both aligned to the infectious rhythmic manipulation of bassist Zach Barerra and drummer Anthony Hester. With sonic flames from the strings of guitarist Alex Goldsmith adding to the captivation, the outstanding track immerses the listener in dark magnetic theatre where whether calm and seductive or aroused and burning the senses, it engulfs the senses and imagination.
It is a rich success repeated across the release the following Haunted House instantly transporting ears and thoughts into its foreboding setting, anticipation looking through its piano built windows to find the melodic and infectious weaving of the band dancing to the song’s rhythmic swing. Again fluid passages of energy and emotional intensity flow through ears, the band’s multi-flavoured rock simultaneously gothic, symphonic, and melodic woven into another entrapment of creative suggestion and emotional release.
The initially punchier presence of Demons lures the listener into even darker depths and self-exploration, to places we have all felt in degrees. It is an intimate proposal with broad arms, an invasive entrapment of seduction and agitation brought with real craft and creative animation before managing to still be eclipsed by the gorgeous Music Box. An innocence lined melody caresses ears first with unsurprisingly intimation lining its charm before piano and guitar set their individual threads to the song’s vocal and musical reflection.
Elegant smoulders and fiery flames arouse the haunting might of Mirror Ghost next, emotive intensity and melodic drama soaking successor Zombie, both songs creatively and emotionally enveloping body and mind masterfully while Fire twists and bursts like its namesake within its dark carousel of temptation and seduction. The track is like a mercurial lover, coaxing and seducing before igniting in primal intensity and quite superb as it provides the inimitable pinnacle of Enchiridion of Nightmares.
Throughout the album the whole band simply impresses, spinning a web of dark fantasy and close to home intimation with the dexterous fingers of Bailey and the vocal prowess and majesty of Sharone steering the creative emprise, the power ballad Cursed another basking in the songwriting imagination and the quintet’s invention.
The final pair of Exorcist and Death of a Clown brings their own cabaret of invention; the first, featuring guest vocals by Hannah Maddox, an instinctively catchy yet thickly dramatic maze of shadow woven enterprise and macabre kissed seduction, its successor a melancholy spun serenade with beguiles as it haunts. Both leave ears captivated and the imagination engrossed and as the album just getting further under the skin by the play.
A unique tapestry of varied shadow bred rock, Enchiridion of Nightmares is a one of a kind adventure and tempting awash with emotional turbulence turned into cathartic beauty as compelling as it is magnificent.
Enchiridion of Nightmares is released via Syndicol Music on April 13th, pre-ordering now available @
Trials and turbulences are no strangers to most bands but few as acute as that which impacted on British outfit The Tuesday Club and almost brought it to an end. Now though they are poised to release “unlikely album 3” in the shape of Art Is Magic, a slab of multi-flavoured rock ‘n’ roll which certainly gets under the skin in no time but an itch which just gets more delicious and addictive by the listen. It is their finest moment built across ten bold devilish tracks embracing old and new sounds with a unique imagination and their inimitable touch.
Formed in 2011 in Walmington-on-Sea, the renowned setting for British legendary comedy Dad’s Army, The Tuesday Club was an eight piece extravaganza of sound and creative revelry embracing the sights and mischief of their home town’s TV heritage. Their sound blossomed with the punk nurtured DIY attitude and inspiring sounds of the late seventies yet from day one cast its own aural image as proven by debut album See You Next Tuesday in 2013. It was a proposition though which was evolving from that first release and in open exploration by the band’s second album which was released as a quadrilogy of four EPs.
Devastation hit after the release of the first EP when drummer Terry Super Cockell tragically died. Though the band completed the album’s unveiling it was obviously without zeal; as they say the following EPs released in a ‘daze’, with the band falling to its knees and closing in on demise as members subsequently left. It was a challenging, life questioning and changing time which was not so obvious to the outside world at the time such the quality of those releases but maybe now best understood by checking out Reverse Family’s current project 365 days of songwriting, the band the solo project of TTC’s founding member Andreas Vanderbraindrain though he goes by Dermot Illogical for it. It is a still on-going colossal collection of tracks written across those times released as an EP a week for a year, many of its songs spawned from the darkness he personally fell into through those times.
TTC did survive though, its remaining members regrouping and finding a new breath and energy, stripping away “much of the old ‘glamour’ replacing it with a new urgency and directness.” Alongside vocalist Vanderbraindrain, the band now consists of guitarist Dave Worm, bassist/keyboardist Rogerio Marauder, and drummer Blairdrick Sharpely. As they suggested, the quartet has stripped back the TTC sound and brought forward its raw breath and instinctive imagination whilst broadening yet honing its creative flavourings and adventure.
Art is Magic opens with its title track, slipping in on a rhythmic coaxing until a lash of sound sparks a post punk lined stroll led by Vanderbraindrain’s distinctive tones. The song prowls the senses, keys simultaneously providing a melancholic yet mystique lined caress; it all uniting in an infectious swing and call to join its arcane devilry. Captivation was swift and only escalated as the track tempted and teased with its seventies lent enterprise.
It is a thickly potent start to the album keenly backed by the poppier rock exploits of Always taking things too far. It bounces around like a mix of Athletico Spizz 80 and Mammal Hum, a fusion of new wave and art rock which poked the appetite initially, whetted its lips further before thereon in fully teasing eager greed by the listen. It is a trait of the album as a whole, making an attention grabbing first impression but spawning lustier reactions by the play though some songs like Soulless City Syndrome had us instantly drooling. Its opening noir tinted intimation simply nurtured intrigue, the following electronic and tenacious punk ‘n’ roll of the song sparking the passions as it cantered lustfully through ears. The best track on Art is Magic, it twists and lures like an Adicts meets Zanti Misfits inspired dervish wearing a cape woven with threads of The Monochrome Set for one unique and gorgeous encounter.
It is a hard task to follow such a pinnacle yet Fruit Salad Girl with its spiky pop rock makes relatively light work of it, the infection loaded romp a nagging rock ‘n’ roll roar which had the body bouncing and vocal chords blaring in no time before Drowning My Sorrows allowed a breath to be taken with its folk pop saunter. Not that it is a dormant on the catchiness, its easy going but boisterous swing leading feet and hips away like a collusion of The Farmer Boys and Swell Maps.
Put your Faith in what you can control similarly has a laid back but tenaciously catchy gait and demeanour, again the band’s lo-fi instincts breeding a richly appetising temptation as rhythmically persuasive as it is melodically and lyrically sharp. Thus eager involvement was swift and as forcibly recruited by the bolder rousing punk ‘n’ roll of We are the Team, a song which is the band announcing they are undefeated and returning with new vigour and invention whilst creating a personal declaration for all to embrace.
It would be a shock not to have the scent of early Adam and The Ants somewhere within a TTC encounter, Let the kids run the country the irresistible moment within Art Is Magic as the band source their own earlier traits and another influences’ for a greed brewing slice of aural virulence before the darker tone and shadows of Rock and Roll’s not a science infests ears and psyche like a viral infection you cannot shake off, or in this case want to. The song reminded of short lived Welsh punks The Table at times but again TTC spin a web of sound and addiction all their own.
The album concludes with Who and youz army, a rhythmically tenacious and infectiously barbed slice of punk rock which would have aroused air punching crowds back in the day just as now. Its hooks are familiar yet inescapable and its character old school with the irritability of today; ingredients ensuring Art Is Magic goes out on a major high.
Listening to their album just hits home what we would be missing without The Tuesday Club and how lucky newcomers will be now discovering them through such a glorious romp.
Driven by infection loaded scowls, hungrily rousing sounds, and rock ‘n’ roll roars, Death, Skulls, Satan is one of those encounters you not only want but need to set the day swinging. The second album from Swedish outfit Nale, it is a rowdily explosive, physically manipulative stomp echoing by all accounts the band’s renowned live energy and prowess.
Formed in 2007, Stockholm hailing Nale released their self-titled debut EP that first year with its successor, From Shit to Salvation uncaged two years later. Critical acclaim met the band’s first album in 2012, Ghost Road Blues recorded with producer Lawrence Mackrory (F.K.Ü, Darkane). The Zombieland EP since has only pushed their growing reputation as too a potent live presence which has seen the band playing the likes of the Getaway Rock Festival, Sabaton Open Air Festival, and Wacken Open Air as well as headlining their own tour in India. Death, Skulls, Satan is Nale’s fusion of rock and metal in full holler and at a whole new level of adventure and persuasion, one of those encounters you just cannot tuck away and move away from.
Slither kicks things off, immediately gnawing and inflaming the senses with its instinctive swing and prowl. Voracious rock and grooved metal unite, riffs harrying and rhythms biting as the track rips through ears. There is a great Static X essence to the Pantera meets King Hiss like song, more so from the vocal contagion of Mathias Blom and a flavouring which pursues the appetite across the multi-hued release. The track continued to writhe and trespass, quickly getting under the skin and thereon worming itself deeper by the second.
The excellent start is forcibly backed by the raw and concussive antics of Filth, the track a predacious confrontation crawling across the senses with ill-intent in its devilry. A touch of Devildriver lines the beast, the song almost leering and drooling over the listener with its nagging riffs and salacious grooves; guitarist Tomas Åkvik laying down sonic pheromones. Its primal temptation moves over for the blues lilted, stoner dusted Dead Man’s Song. As its predecessors, it is a web of grooved and rhythmic tenacity merging the familiar with wholly fresh imagination and invention. It did feel the least original proposition within the album yet it certainly emerged as one of the most captivating.
The album’s title track is contagion, feral rock ‘n’ roll as irritable as it is virulent with Blom a rascal ringleader to the inescapable rhythmic swing of drummer Anders Ljung and the snarling mischievous bassline of Johan Risberg. With Åkvik similarly whipping up spirit and imagination, the track is superb leaving the body breathless and spirit elevated ready for the heavy weighted arousal cast by Exit. Ljung pounds the senses like there is no tomorrow but with purpose and craft whilst Risberg’s bass growls with carnivorous intent. Riffs in turn match its antipathy as Blom crawls over the damage caused; the united proposition another fiercely catchy intrusion with a tinge of Powerman 5000.
Blues and muscle strung hard rock colour the following No Escape, it another adrenaline driven, inventively woven escapade while for fifty odd seconds Drive power drills into the senses with punk discontent and grooved metal toxicity. It is a glorious assault just far too short though its lack of length is more than compensated by the ear entangling, groove twisting seduction of The Black. Dark and sinister, the track writhes over the listener fingering every weak spot until submission like a flirtatious grim reaper.
Hell’s Wrath has the body back bouncing within seconds after, rhythms and grooves alone enough to spark eager participation with Smasher after leading the imagination into dark contemplation. The first just barrels through ears with its voracious rock ‘n’ roll whilst the second takes a more considered attack weaving an array of flavours into its tapestry of temptation.
Final track Pigs mixes both assaults, flying at the senses at times and stalking ears in between but all the time teasing and inflaming an appetite for bruising rock ‘n’ roll. It is a fiery conclusion to an album which ok maybe lacks true uniqueness at times but excites ears and ignites the spirit from start to finish.
Repetitiously providing some truly striking times with their own songs, UK trio Calling All Astronauts do it again by giving an insight into the sounds and artists which have lit their individual fires through their new release, the Influences EP. Offering four tracks simply echoing the EP title, the threesome of vocalist/programmer David B, guitarist J, and bassist Paul McCrudden take on four highly familiar, indeed legendary songs with their instinctive imagination and sound. The result is a hell of a lot of fun and a release which pays enterprising homage in unique style.
West London based, Calling All Astronauts create a fiery mix of alternative rock, electro punk and numerous other flavours in a sound which is truly individual to the band. The question for us when news of their new release broke was would it transfer to songs which pretty much everyone knows and so many idolise and more so could they give them a new character rather than just replicate like so many bands do with covers. The answer was soon escaping the speakers with pretty much a loud vocal yes. Certainly the band has not dissected and reassembled the songs in their own ‘image’ but each has been given a deep makeover which sparks the imagination.
Described as more of a quadruple A-side single, Influences opens up with a glorious version of Tubeway Army’sAre ‘Friends’ Electric?. From its first breath there is a sense of urgency to the track if one initially restrained. When it does free its shackles, it brings a drum and bass meets metal contagion to its zealous stroll, though keys still shimmer with the original’s elegant yet melancholic gait; the contrasting attacks perfectly merged by CAA in one delicious encounter. You cannot say that the band has eclipsed Gary Numan’s creation but they have certainly given it a new energy and breath which deserves to be pushed as a full standalone single.
Following it is a take on the T-Rex classic Metal Guru. Here CAA has taken the essences of the song and immersed them in their own atmospheric invention. Whereas they pumped up the first, its successor has been slowed to allow its shadows and dark shades to dance with the imagination. We will admit that at first the song did not quite catch with ears but over time it has made a compelling persuasion and will surely emerge as a favourite for a great many within the release.
With a song like Scary Monsters it is hard to redesign what is an almost perfect template so CAA don’t but they do inject Bowie’s gem with their own dark intent and electro instincts to elevate its raw captivation and rock rabidity resulting in another thumping slice of rock ‘n’ roll with a fresh tang and organic energy where shadows seem even more alive.
Finally the release sees CAA give an electro/post punk work out for Deep Purple’sSmoke On The Water. To be honest this is a song which never lit our fires but CAA have more then made it far more palatable with the flames of J’s guitar searing the growl of McCrudden’s bass and the electronic infused punk ‘n’ roll both court.
We always love to hear influences taken on by artists, a treat which seemed to grace many a B-side back in the day, just a shame so many do not try to bring something of themselves to them just as Calling All Astronauts have magnetically done.
The Influences EP is released March 30th via Supersonic Media.
Having been hooked on The Hellfreaks and their horror punk/psychobilly bred sound way there was certain sadness when the band split up four years ago. Thankfully it was a short lived demise but their return brought an evolution in sound and new excitement and intrigue towards the quartet. We had the pleasure of catching up with the band recently so they can tell us more about times past and present, and all things Hellfreaks.
Hi all and thanks for taking time out to talk with us.
Hell there, thank you for having us!
Can you first introduce the band and give us some background to how it all started and how you all came together?
We are The Hellfreaks, a 4-piece punk-rock band from Hungary, Budapest, which is quite in the middle of nowhere in the international rock world. But somehow, with a bit of luck and hell lot of work we managed to play way more shows over the border, than in Hungary. Since the foundation in 2009 we have played over 200 gigs across Europe and also made it over the big pond and toured in the US.
In 2014 the original band split up for a while. But it looked like Sue’s (our singer) destiny did not agree with that decision, as one of her biggest dreams just arrived via email right when she started to accept the situation: an invitation to play in the USA. At that time she decided to stitch up the wounds from the past and to restart the band with a new direction and new band members. This is how the new generation Hellfreaks, the one you have right here, were born. Our bass player, Gabi, and our guitar player, Tomi, had known each other before they joined the band, but in the end it was the band itself which brought all of us together.
Have you been involved in other bands before? If so has that had any impact on what you are doing now?
All of us played in different bands before, and all of these bands have been very different – but also, all of them have been rock bands. So we’re all true to our roots and just do what we love at the same time. However, none of us had ever had a band like The Hellfreaks, as this 4-piece-group never played together before. It’s a combination you couldn’t duplicate.
What inspired the band name?
To be honest, the birth of the band name did not happen yesterday. Sue was more or less a kid when she formed the band. The only thing she can clearly remember is that she came up with the idea when she was working at one of her very first working places, at a rockabilly bar, where she didn’t even earn 2$ / hour, so far from home that it was almost impossible to get back late at night. So the birthplace of the band was quite a hopeless place and compared to that we’re very happy about how far it went!
Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?
Our founding band member, Sue, literally grew up with this band. She never expected to tour regularly across Europe, to have a video clip with over 4 million views or to have this as her main life-project for the last 10 years. It all started in an old, dirty, wet cellar as a rehearsal room without even having a window – so we guess a band couldn’t get started more underground. There wasn’t even a goal, we didn’t even have proper equipment; it started just as a hobby thing without any plan.
That might be the reason why this band has changed so much from the start in absolutely every aspect. Our musical style has changed a lot – from a horror-punk billy influenced band, we turned into a punk-rock band, our sound developed a lot, we even changed the upright bass to a normal bass, had many line-up changes …so it has become something more, from starting without a plan to having plans and a goal.
But anyway we think that “change” in general is a good thing, nothing to be afraid of, because only change can bring development: and we’re just not the kind of people who can stand still, we love to work hard on our skills, we love to see how we’re able to make one step after the other, even when it comes by way more effort than most of you could imagine.
Do the same things still drive the band when it was fresh-faced or have they evolved over time?
We grew up, we have changed and our goals have changed with us. Especially as we collected our little “rewards” step by step over the years: touring first abroad, touring regularly, playing with some bigger bands, touring over the big pond, recording album, getting signed by labels etc. So it’s a natural process, that our goals have changed, otherwise nothing would push us forward.
But it’s important, that the main point – the fun and exciting process of writing songs, the feeling of getting on stage and playing for those who came there only to see you… that is the best thing ever! All that never changed, and all that make it worthy. Fun and happiness is the core of passion, and nothing could ever change that.
Since your early days, how would you say your sound has evolved?
We would compare our sound at the beginning to a stinky, forever-alone, home sitting, but totally lovely daydreaming teenager who with the years turned into a no-risk-no-fun adventurous world traveller who is a bit better-dressed. Our sound has changed so much! In the early years we were so much focused on playing billy influenced music, belonging to that genre and that subculture, which we loved by the way. But after a while it was not satisfying anymore. The limits of the genre totally killed our creativity, it was more or less impossible to do something new, because that genre was more about being stuck with those musical roots and in the past. Which has its own magic as well – but as an artist, it wasn’t “giving” anymore, it was more a ‘taking” thing.
So in 2014, after a short break and reorganisation of the line-up we just decided to do whatever we want, which turned out to be more punk rock than expected, but it was like taking a huge breath after being way too long under the water. Luckily it turned out that our fan base was still with us, and became even bigger after we decided to walk our own path. And as we are already working on our new album, we can promise, that this road we started to walk has still not come to an end.
How much of that step towards more punk nurtured adventure was just organic and how much the band deliberately trying new things?
It comes with a lot of work, but it is also a natural process, that we hate to repeat ourselves. We like change, we like to work hard to get better, we like to see things developing, and we definitely don’t like to run the same rounds again and again. It’s a good thing when you know that you are able to push your limits, it makes you feel alive and strong.
Presumably across the band there is a wide range of 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?
There are no influences on purpose, so of course we all had and still have influences but we try to use them as inspiration and try to find the sweet spot of our common musical taste. If we had to list what kind of music we listened to during the writing and recording process of our last album, you would get a list from A to Z. We think that is one of the key features that makes us able to create something unique in the end. We don’t want to walk along a well-trodden path, we don’t like being someone else – which is only possible if your creating process is not lead by someone else.
Is there a particular process to the band’s songwriting?
All of our albums had a totally different writing process. Just to have a few words about our last release Astoria: Absolutely everything was different and new. New people, looking for a new sound. So there is nothing we could compare to the past. Besides that, these songs were more like written outside the rehearsal room: we made many many demos at home and some of the lyrics were not even written in the same country as in which we wrote the music! At that time, Sue was moving back from Berlin to Budapest, but she had to go back to Berlin for some weeks in the middle of the writing process. For example, the lyrics of our song Why Do You Talk was written while she was working.
Where do you, more often than not, draw the inspirations to the lyrical side of your songs?
Sue writes all the lyrics of the songs, and it’s hard to summarize what they are about. At the very beginning, the lyrics were more tale-like, not selling her sorrows, more like kind of entertaining ones. But as time passed, Sue grew up and realized that she was heard by way more people than she had expected, so she decided it was better to be brave than to be nothing: so right now she is really going naked in her lyrics – you find and read a lot about her thoughts and feelings in and between the lines.
Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?
We don’t want to kill the magic of music for the outsider, but the truth is, that recording an album is an extremely expensive process. It always takes us a longer time till we have the necessary financial background to start recording, and we have to spend every cent of it wisely, to make sure to bring out the best of it.
It would be a dream for us to have the possibility to work in a professional studio from ground zero. But right now recording-wise we need to have a 100% finished plan and concept before we even step into a studio.
Tell us about the live side to the band, presumably the favourite aspect of the band?
We are a very honest, loud power package on stage … this kind of music is just made to be spread by huge boxes, so it’s just where it naturally belongs.
It is not easy for any new band to make an impact regionally let alone nationally and beyond. How have you found and achieved it?
And again we might destroy some illusions, but the only thing we truly believe in is hard work. And that’s all that any new band can do to get wherever they want – to work your a** off and – it’s the worst cliché ever, but it’s just so right – not to give up. There is an endless number of people out there who are telling you to do it, but just don’t listen to them, go on and stay on your ground.
There are sooo many great musicians and singers out there – the only way to be better than the rest is to work more and to believe that one day it will be worth it.
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?
We have seen both. Personally we have grown out of the MySpace times. Our first concert invitation from abroad came via a MySpace message: so we were there when MySpace was the-place-to-be for a band, we were there when Facebook became the big thing, and we will be there and prepare for the next step as well.
For us personally, it’s a wave that we like to ride, but only because our singer is working as an online marketer as well, and she is really much into all these devices. So we accepted and also learned a lot about the platforms we can have as a band. But we see many many other bands who are struggling, because they are not into social media, they have no sense of marketing, and if they don’t find help from the outside, they are getting lost pretty quick.
But it definitely has its problematic side – if you want to be a musician, it’s not enough anymore to be a musician. In one person, you have to be your own CEO, your own sales department, your marketing department, your web designer, your graphic department, and of course, while you are all of that in one person, you still have the struggle not to lose your artist in yourself – and the artist is exactly the opposite of all of that I have listed before and that makes it quite hard.
Once again a big thanks for sharing time with us; anything you would like to add or reveal for the readers?
Thank you so much, hope to see you at one of our upcoming shows!
The following Tear It All Apart offers its own striking invitation, again a guitar making the creative beckoning before the band unites in an infectious rumble as imposing as it is magnetic. With wiry grooves and a compelling conspiracy of hooks and twists, the song soon has ears firmly locked in feeding on its cosmopolitan melodies and aggressive dynamics. As suggested earlier, there is something familiar about this and other songs yet it has a character and style to its roar which sets the band apart from most.
The album’s piano nurtured atmospherically chilling Intro sets the tone alongside Sharone’s painting of words; its poetic scene setting the portal into the dark charms and cold breath of the following Graveyard. Once more the piano of Michelle Bailey captures ears and imagination as richly as the powerful and imposingly graceful tones of Sharone, both aligned to the infectious rhythmic manipulation of bassist Zach Barerra and drummer Anthony Hester. With sonic flames from the strings of guitarist Alex Goldsmith adding to the captivation, the outstanding track immerses the listener in dark magnetic theatre where whether calm and seductive or aroused and burning the senses, it engulfs the senses and imagination.
The excellent start is forcibly backed by the raw and concussive antics of Filth, the track a predacious confrontation crawling across the senses with ill-intent in its devilry. A touch of Devildriver lines the beast, the song almost leering and drooling over the listener with its nagging riffs and salacious grooves; guitarist Tomas Åkvik laying down sonic pheromones. Its primal temptation moves over for the blues lilted, stoner dusted Dead Man’s Song. As its predecessors, it is a web of grooved and rhythmic tenacity merging the familiar with wholly fresh imagination and invention. It did feel the least original proposition within the album yet it certainly emerged as one of the most captivating.
Was there any specific idea behind the forming of the band and also in what you wanted it and your sound to offer?
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?