Mils – We fight We love

There is a boldness to French outfit Mils which is within every aspect of their sound and invention, a fearless creativity and spirit within songwriting and its imagination, their sound and its execution which makes  We fight We love, their latest EP, one compelling encounter and pleasure.

Based in Montpellier, Mils began in 2008 initially as a studio seated collaboration. The release of their debut album, Man is a lonely Soldier, in 2012 lured strong attention the way of the outfit, especially with its re-energised push the following year through Dooweet Records. Praise carrying reviews and a host of new fans came with its reboot; support accelerated by the single Come Home in 2015 which was the first release with recently joined singer Mélodie alongside lead guitarist Tristan, rhythm guitarist Cerise, bassist/keyboardist Jack, and drummer Ben. Weaving a sound inspired by a host of flavours from varied rock, industrial, electronic, and new wave landscapes, Mils create a proposition as unpredictable as it is intriguing, again the evidence vocal within the Thomas ”Drop” Betrisey (Samaël / Sybreed / MXD) produced We fight We love.

Looking at themes inspired by “the confrontation of man with his own emotions and with others”, the EP opens up with that earlier mentioned single Come Home. The early steely union of guitar and keys is quickly joined by the alluring tones of Mélodie, an engaging growl to her tones matching that of the sound which already reveals an array of spices in its brewing roar. Once hitting its broad stride, electro and rock melodies weave their patterns around the firm kiss of beats, a more intimidating edge added by bass and riffs as things only continue to blossom and evolve. The track is sheer magnetism and easy to see why its potent draw and success as a single as well as the anticipation it nurtured for the EP.

The outstanding start is quickly and as powerfully backed by No Body; it’s opening electronic glide across industrial textures a blend of M83 and Nine Inch Nails. Soon the impressive tones of guest vocalist Duja, from electro rockers MXD, are captivating, his rich darker presence perfectly united with Mélodie’s fiery presence. Carrying a great eighties essence, the track is as thickly compelling as its predecessor, almost lava-esque in its emotive and energetic heat yet masterly controlled and harmonically elegant within its potent smoulder.

It is fair to say that Escape had a hard task to live up to the first pair but soon has the body bouncing with its lively electro shaped, muscular rock ‘n’ roll. Again there is a tempestuous edge to the great vocal presence of Mélodie, an aggressive instinct as tenacious in the broadly textured sound and boisterousness of the song. If it does not quite match up to those before it, it is a paper thin size miss as body and appetite can attest to as they devour its spirit rousing incitement.

A mellower but no less dramatic embrace comes with next up Strange Night; the song’s climate electronically seductive but with a sinister hue pushed by the controlled but rapier swings of Ben. Reminding a touch of Danish outfit Forever Still at times, the track smoulders and boils time and time again across its inflamed landscape, never being anything less than one incandescent proposition.

The EP closes with the equally roasting climate and emotive power of Casus Belli. Though the song has a firmer rein on its fire it persistently singes ears and stokes the imagination; a blaze which may have not lit the fires within as others before it but brings things to a striking piping hot conclusion.

Like for us, Mils may be a prospect which is new to ears. We suggest that you swiftly change that situation through the forcibly impressive We fight We love; and as to those in the know, the band has just grown to major new heights which real attention surely can no longer ignore.

We fight We love is out now via most online stores.

Pete RingMaster 18/07/2017

Copyright RingMaster: MyFreeCopyright

Exploring the roar of The Erkonauts with Ales Campanelli


With their recent signing with Kaotoxin Records, those of us who missed it first time around had the very welcome chance to grab the debut album from Geneva’s The Erkonauts. Quickly devoured on its first self-released outing, the world-wide re-release of I Did Something Bad has allowed those slow to the presence and roar of the band to explore their ferociously diverse and increasingly fascinating tempest of genre varied flavours and sound. The album was a rousing and invasive slab of voracious, the kind of incitement that “heavy duty recommendations swarm to.” As the quartet prepares to create their already highly anticipated follow-up, we eagerly grabbed the chance to talk with bassist/vocalist and ex-Sybreed, Ales Campanelli about the band and their first album whilst looking for clues and spoilers about their next offering.

Hello Ales and thanks for talking with us.

Before we get on to your recently re-released and rather tasty debut album, can you tell us about the beginnings of the band; its seeds and birth etc.

We started really existing in early 2014, so there isn’t much history yet. We come from different bands in Geneva, and the timing was right for us to meet around this project. Everything was very organic. The Erkonauts are a natural free flowing occurrence.

Did you have any specific intent and ideas with band and sound at the start?

I think so yeah. We really wanted this Metal blend with a punkish progish touch. Mostly, we wanted to have fun. And tour. You gotta have tours.

The Erkonauts_RingMasterReviewIt is fair to say that your sound fears no boundaries and hungrily embraces a multitude of flavours. For newcomers how would you best describe it?

Well thank you very much! I like to describe what we do as Progressive Punk. But I guess it can be confusing because we wander in the Metal genre, and all these words have various meaning in the mind of people. We have been placed in so many different categories that we lost track of it. So in the end, full circle…I go back to Progressive Punk, for the oxymoron.

As I mentioned, recently your debut album I Did Something Bad was unleashed again, this time via the outstanding Kaotoxin label. Originally released in 2014 in limited amounts, it is probably fair to say that there has been a horde of appetites waiting to get their hands upon it too. Did you sense this and was it one of the main reasons for its re-release?

We released a second batch in 2015, and this one also sold out, which is fantastic. We were convinced that the album still has a lot to offer, and would benefit greatly from a worldwide exposure, which it did. We discussed it with the indeed outstanding Kaotoxin and they agreed to insert it in their catalogue. In the long run, it keeps the album easily available, and it gives it an “official” touch. It is part of the band history as an official release instead of deluxe demo. So it’s all good things and we are truly grateful.

Tell us about its creation and the premise behind its themes.

We felt the urge to release some no bullshit rock n roll. Without going in too many details, some of our previous musical endeavours became more about complicated and uninteresting stuff than about music. It was boring and hurtful. I Did something Bad is all about tension release. It’s pure freedom. Sincere and heartfelt. The themes are mostly urban, and revolve in many occasions about the need to compare ourselves to others, to reach standards we don’t care for and to live in envy. Of course this isn’t true for all the songs. 9 is better than 8 is about nine being better than eight for instance.

Were songs and ideas all fresh since the formation of The Erkonauts or were there some things going further back which have been lying in wait within the imagination and subsequently woven into the band’s invention for I Did Something Bad?

That’s a very relevant question. The vast majority of the content was new, and created specifically for this album. There is however here and there the occasional riff that I had for a long time without finding a proper use for it. I can recall that it is the case in the beginning of Gog.

You are working on its successor I believe also to be released via Kaotoxin? How far along is the album?

You are very correct! We are currently in the writing process, which should be over soon. The recording will start around the end of spring and will take about two months. We’re going back to the Downtone studio in Geneva, since the last experience was such a pleasant one.

Any spoilers you can offer to whet the appetite further?

Well we don’t have much to say right now. We intend to keep a video journal of the recording and share the whole process. There will most likely be a music video further along the way. Of course the spirit of the band will remain unchanged.

Have you approached the album any differently to its predecessor in the writing or recording?art_RingMaster Review

I don’t think so. We have the habit of working almost every day on the songs. Rethinking and rearranging them constantly, until… we’re too late and have to record them. I joke, but we like to take time for the arrangements to shape the song in a comfortable way. So the process is, at least at the moment, the same.

How would you say your sound has evolved between those first songs and those on the forthcoming release?

I kinda think it’s too soon to tell for that. We’re too involved in it to see that clearly right now. Maybe we’ll know a lot more about that when the rehearsals will start.

What did you learn with the first album which you have employed or pushed further for the new encounter?

We know that we will record in a safe environment which will allow us the possibility to experiment on a few things and even do some last minute arrangements. This is a pure treasure to us.

Can you give any clue of a possible release date?

It’s going to be in 2017, not much else is set in stone I’m afraid.

Other than working on the album what else has The Erkonauts got in store for 2016?

Well the making of the album and rehearsals will probably take most of our summer, but after that, it’s all about touring. We have plans to travel in Europe and Russia in fall, something in Asia seems to be shaping up. And of course, we’d love to visit the US again!

My thanks to you again for sparing time to talk with us. Any last thoughts you would like to add?

Well thank you very much for the interview and the sweet sweet review!

The Erkonauts2_RingMasterReviewAnd finally, give us an insight into the records and artists which could be claimed to have most inspired your own creative life.

Well I can’t talk for the whole band on that matter. We each have our own distinct tastes. But as far as I’m concerned, it’s definitely going to be bands from the 70s. On the top of my head I can think of Uriah Heep or Queen. The album In Trance from the Scorpions is one I consider a timeless masterpiece.  On more recent acts, Suicidal Tendencies, Primus, Faith No More, New Model Army… There are so many. And of course, a Swiss, it is our sworn duty to mention Coroner and Samael 🙂 which both had a huge impact on my childhood.

Read our review of the Kaotoxin Records released I Did Something Bad @

Pete RingMaster

The RingMaster Review 25/03/2016

Copyright RingMaster: MyFreeCopyright

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The Erkonauts – I Did Something Bad

THE-ERKONAUTS__RingMaster Review

Having missed the release of I Did Something Bad first time around, we as so many others will be, are seriously grateful for its world-wide re-release through Kaotoxin Records. The debut outing for Geneva’s The Erkonauts, the album is a ferociously diverse and increasingly fascinating collage of genres and sound. As thick in unpredictability as it is rich in bold imagination, I Did Something Bad is one of those propositions that heavy duty recommendations swarm to. We can only join the crowd and with two additional new tracks to contemplate and devour for all, the album’s return is a not to be missed a second time treat.

Formed in 2014, The Erkonauts consists of ex-Sybreed members in bassist/vocalist Ales Campanelli and drummer Kevin Choiral, alongside guitarists Adrien Bornand and Sébastien Puiatti. Together they expel a sound which is as punk and heavy rock as it is metal, as much progressive enterprise as it is off kilter imagination. Fair to say the band made a hefty impact with the self-released outing of their debut album in 2014, the limited first and second press of I Did Something Bad greedily consumed with the band’s reputation growing in tandem through their live show and touring voracity. Produced by Drop (Samael, ex-Sybreed), the album is now poised to allow the rest of us slow coaches to dive into The Erkonauts bedlam, as mentioned with a pair of new songs recorded last year for extra rich taste.

The Great Ass Poopery opens up the tempest, a gloriously carnivorous bordering on carnal bassline infesting ears initially to be joined by the kinetic swings of Choiral. Alone it is gripping stuff but add the fiercely shimmering guitars aligned to rousing vocals and the air becomes aflame with rumbling attitude loaded rock ‘n’ roll. In some ways like Fear Factory meets Mudvayne with Suicidal Tendencies orchestrating, the punk metal assault is creative rampancy and virulent energy fired down the barrel of a dynamically hungry cannon.

art_RingMaster ReviewTony 5 swaggers in next, its body similarly spawned to that of its predecessor but swiftly sharing its own consuming tenacity. As biting rhythms and swinging grooves embrace the excellent mix of clean and aggressively rasping vocals, the song is a cantankerous affair but with a body of spiralling twists and sonic resourcefulness which makes other’s references to bands such as System Of A Down and Gojira understandable. As the first, the track is a ravenous swamping of ears with superb clarity within its smothering touch for the swarm of progressive tenacity within to equally entice and shine.

There is a greater initial hostility to the following All the Girls should Die, riffs and rhythms angrily badgering ears whilst readying them for the fluid slip into melodic pastures with emotive mellow vocals. Entwining melodic rock fire with alternative metal flirtation as other elements snarl and grumble, the song ebbs and flows in its sonic ire whilst providing a perpetually compelling persuasion. Again there is a rampant directness upon ears at times, the track managing to be simultaneously predatory and seductive before making way for the electro lit, punk fired triumph of Nola. The first invading bassline tells you all you need to know about what is to come; the track flinging hooks and rapier beats around like a dervish whilst expelling a groove infested sonic devilry around them. Vocals again are as varied and impressive as the maelstrom of delicious sound and the increasing imagination of the aural emprise.

A sultry climate comes with Dominium Mundi, its evocative air a suggestive calm for the imagination to expand upon before the heart of the storm breaks with again addictively stabbing rhythms and aggressively hued vocals. Though it brews an inferno of sound, the earlier haunting peace continues to switch and collude with the raging animosity, leaving ears ringing, emotions aflame, and the body exhausted by the persistent breakout of heavily flirtatious grooves. The latter is weaponry which increases its pull in Hamster’s Ghosthouse straight after. With irritable riffery and stalking beats, the track stalks and infests the senses. Its hardcore/nu-metal infused rock ‘n’ roll is pure temptation as it leads the listener into a following progressive garden of melodic and classic rock. As many songs, how they start is no hint to how they depart and certainly their ever intriguing journeys as superbly epitomised here.

The creeping devilment and sonic rapacity of Gog raises the greed in an already eager appetite with ease, its dark character and lively imagination awash with biting elements and imposingly suggestive textures and flavours whilst Your Wife hugs with an acoustic caress shaped by equally warm vocals. The croon does get feistier across its melody and harmony soaked captivation but never relinquishes its elegance and charm.

There is no escaping the great humour that runs through the band’s songwriting and attitude either ,with its boldest moment coming in the punk rage and fun of 9 is better than 8. It is an unbridled riot, simple as that and impossible not to get physically involved in before Machine brings its own commanding incitement to the party. The first of the new tracks exclusive to the release, it is a growling, thrashing slab of metal diversity. Hellacious in its body, infectious in its armoury of hooks, grooves, and anthemic rhythms, the track is as much punk metal as it is extreme metal toxicity and manna to the ears.

Concluded by the tempestuous Culbutos, it a merger of thunderous confrontation and seductive tempting, I Did Something Bad has all the quality and mastery to leave body and soul enraptured. As the intricately and dramatically woven final song, the album is a creative collage of sound turned into a riveting theatre of invention and fiercely arousing adventure that no one should miss out on.

Quite simply, with a new album proposed for later this year, time is ripe for all newcomers to grab your piece of The Erkonauts via I Did Something Bad.

I Did Something Bad is out via Kaotoxin Records from February 12th @

Check out our interview with Ales Campanelli @

Pete RingMaster 12/02/2016

Copyright RingMaster: MyFreeCopyright

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Interview with Bruno Fernandes of The Firstborn

After four years since their last album Portuguese metalers The Firstborn returned this month with one of the most challenging but deeply rewarding releases heard in a quite a while. With a depth and intensity to its sound and creativity that most bands yearn for, Lions Among Men is an openly provoking and formidable release defined with a wealth of focused ideas and compulsive invention. We had the pleasure of showering vocalist and guitarist Bruno Fernandes about the album, the philosophy that themes it and the band itself.

Hello and welcome to The Ringmaster Review, many thanks for taking time to talk with us.

TFB – Hello, thank you for spreading the word and supporting our work!

Firstly may we open with an introduction to the members of The Firstborn?

TFB – Right now we have a stable line-up consisting of myself, Bruno Fernandes, on vocals and guitar, Nuno Gervásio on guitar, Filipe Lima on guitar, Hélder Malícia on bass, Rolando Barros on drums and we can also count on the precious collaboration of Luís Simões handling sitar, synths and sampling.

How and when did the band begin?

TFB – Like most bands, The Firstborn began when a group of bored teenage kids decided to form a band… we were then called Firstborn Evil and went through all the clichés of mid-90’s Black Metal – this was back in 1995 and I was then 16 years old, mind you, so it’s been a while. I’m the sole remaining member from the original line-up, but our bass player Hélder has been in the band since 1998.

What were the influences and inspirations that set you on a passion for music and still drive you on now?

TFB – Looking back, I was really influenced by early 90’s Black Metal, the likes of Samael, Rotting Christ, Mayhem and so forth. I still love those albums, but I wouldn’t consider them an influence to what we’re doing these days… but it was those bands that drove me into wanting to put a band together in the first place, so credit where it’s due. It was actually during a Samael show in 1994 that I found out I could sing this style of music, singing along to “Baphomet’s Throne” – still a great song in my book!

Coming from Portugal, a country with some great metal bands but not really a known scene outside of its borders, is there a frustration as a band you have to deal with which maybe UK or US artists for example do not have to face?

TFB – The main frustration for most Portuguese bands is not getting the kind of recognition foreign artists do here, which is fine when you compare a band like ourselves to a big name like Dimmu Borgir or something like that, but it gets hard to cope when some generic newcomer band on a big label gets more exposition than bands that have been actively working for fifteen years or more… we’ve gotten used to it by now, but it can be demoralising to the extreme for up and coming bands.
As you said, there are great bands around here and we’re quite well-known (by underground standards, obviously) these days, but it took getting some exposure abroad with good reviews to our latest albums and flying out to do some shows and festivals for people to actually take notice. Many bands don’t even get that chance, so they’re confined to borderline obscurity and that tends to take its toll on a musician’s already dwindling motivation.

You have just released your mighty and very impressive new album Lions Among Men, how has your sound and you as a band evolved from previous release The Noble Search of 2008?

TFB – Thank you, first of all, for the kind words. This turn we didn’t go for the massive leap forward, as I believe our previous albums ended up sounding like, and instead chose to refine our sound and aesthetics… the emphasis was, for once, on atmosphere – and that ended up redefining our whole soundscape, coming to think of it.
Also, as a band we’ve become a much more cohesive unit, most of the guys have been playing together for a good 7/8 years now and that starts to show, on all levels.

The album consumes the senses smothering them with a mighty intensity before the defined elements of your songwriting and creativity appears, is this a deliberate intent or something that has been instinctive from the beginning?

TFB – I would say a bit of both, I suppose… we’ve been refining these aesthetics for almost a decade now, so most of the songwriting comes on a very natural, subconscious level. Obviously there are elements that result of deliberation, but for the most part the writing is very natural and organic.
The only guidelines we have in terms of structure and arrangements are the lyrics and what they are trying to convey on a particular moment of the song, but even that has become a very instinctive way of working for us, given its our third album along these lines already.

Do you ever worry people will miss out on your ideas and words because of your wonderfully challenging sounds?

TFB – I wouldn’t call it a concern per se, but we are well aware that a large portion of the people who might adhere to the concept might be put off by the aesthetics of our music genre… we try not to compromise, anyway, since for us it makes perfect sense to combine these seemingly disparate universes.
Still, I’ve had quite a few people into Buddhism stumble upon the band and their reactions range from the intrigued to outright loving it! The good thing about most Buddhists is their inherent open-mindedness and that provides us with, at the very least, a good dose of respect in these communities.

Your albums from your second The Unclenching of Fists, do have a theme and deal with the ideas and beliefs of Buddhism, is this an interest you had as people before the band?

TFB – Speaking for myself, I was always allured by the Oriental world and the mysticism often found in the depictions of it… I fondly remember a trip to the then Portuguese territory of Macao as a child as one of the most exhilarating experiences of my life, although I was too young to fully enjoy it as I certainly would now. Still the colours, scents and flavours of the East stuck to my mind forever since, and it wasn’t difficult to find myself interested in these subjects later in life.

Has your interest in the subject impacted on your personal religion as strongly as well as on your musical thoughts?

TFB – I wouldn’t call it “personal religion”, but my outlook on life has indeed been changed / improved as a result of my research for the band… often have I found myself reading things that simply “click”, thoughts that were always there but hadn’t been fully organised into concepts. This is what Buddhist philosophy gave me – a method, albeit fluid, to organise and process my beliefs.

Are the albums as much an ongoing investigation into Buddhism, its philosophy, scriptures etc for you mentally as much as being strongly flavoured by the subject?

TFB – Absolutely, every album poses a different challenge on a conceptual level – we keep trying to push the envelope further, so as to keep it thought-provoking to the listener / reader. There is a vast range of literature on the subject, and I’m still scratching the surface in regards to the most basic readings.
Obviously there have to be boundaries in regards to the language used, our goal is not to have the concept sealed into itself, but to approach it in terms accessible enough for most people to, at least, understand what I’m going on about… on our first forays into the subject, I used all these wonderful, exotic terms and I believe the message just slipped by largely unnoticed as a result. As a compromise, on The Noble Search I simplified the language somewhat and provided some liner notes for context, but on this album I just tried to keep it to the bare minimum and provide texts people could actually relate to.

Your earlier releases to The Unclenching of Fists did not have the subsequent themes you brought in, what was the trigger to bringing in this new approach and thought process lyrically and musically?

TFB – As I said, I’ve been fond of Buddhism and Oriental philosophies in general for many years now, but I admit our first approach to the concept was purely based on a search for somewhat more “exotic” aesthetics… our sound was then progressing towards what you can hear on The Unclenching of Fists and I felt the need to find a concept that would fit this new musical direction.
Suffice to say that first very superficial approach quickly gave way to a profound concept that ended up having us rewrite most of the material in order to fit the lyrics, whereas the original plan was the exact opposite!

Was the move a unanimous decision or did some of the band need persuading?

TFB – Well, the good thing about being the guy in charge of the band’s destinies and direction for over a decade is that people tend to trust your vision – although often wrongly so! -, therefore it wasn’t hard to persuade them into embracing something new. They immediately saw how diverse and rich the possibilities were and we haven’t looked back since.

If you had not gone down this creative path do you think your evolution as musicians would have been very different or maybe even less  advanced?

TFB – We most certainly wouldn’t have evolved so much in terms of arrangements, composition and an ear for the detail, of that I’m sure. It’s very challenging to try and bridge the gap between the aesthetics of Metal and our subject matter without compromising either.
Before The Unclenching of Fists we were already progressing towards a deeper, more meaningful concept, but very loosely so… but early on we already felt a need have a message that stood out, something other than the usual topics most bands deal with, which are absolutely fine, but simply not enough for us as artists.

How does the songwriting process work within the band musically and lyrically?

TFB – Contrary to what many might expect, in the simplest possible way – if it works with just an acoustic guitar and voice, then you’ll be hard pressed to ruin it when adding more instruments. So we start with the bare minimum and then keep adding more and more layers to it, so we have plenty of stuff to discard come recording time!

Do thought and ideas behind a songs premise drive its creation or does music generally come first?

TFB – We’ve tried both approaches on this album, and the thing is we definitely need, at the very least, a loose concept to build the song around in terms of atmosphere and direction. Whatever we end up writing without that background tends to end up in the bin or, at the very best, only partially used in the final songs… this process is so deeply ingrained in us as musicians that we feel very lost simply writing loose riffs and whatnot.

Your albums have had impressive guest musicians, is Lions Among Men the same and who has been involved?

TFB – This time we ended up not resorting to guests as much as in the past, simply because we felt very little need for outside contribution… from a certain point on in the writing process our vision of how the songs should sound like was so clearly defined that adding an unforeseen element to the equation wasn’t the most tempting of thoughts. Yes, we do have control issues.
Therefore, we found ourselves getting in touch with only two people whose contributions were already planned and accounted for in our songwriting, Luís Simões (Saturnia, Blasted Mechanism) playing Sitar and adding some very interesting synths and samples, and Hugo Santos (Process of Guilt) adding his deep, inimitable growls to some of the songs.

Did Lions Among Men come out of the recording as you envisaged it before entering the studio  or did it evolve as you worked on it from your initial vision?

TFB – A tad of both, I suppose. As I said, we did have a very clear vision of how we wanted most of the things to sound like, but there is always an element of unpredictability to the recording process that you have to make the most of, instead of allowing it to restrain you. As such, I would say about 80% of the album came out as expected, and the remaining 20% we worked on throughout the recording sessions and the mixing, trying to incorporate it into our creation without compromising our pre-established goals.

The album has a rawness and honesty which adds to its quality and power, do you keep elaborate recording processes to the minimum generally?

TFB – We always try to keep the albums sounding as natural and organic as possible, if there is one thing I absolutely cannot stand in modern music is how plastic and overproduced it tends to sound. We prefer to have the listener hear what our true essence, and if it doesn’t come out as polished as you might come to expect from the industry these days, that’s not an issue for us.
Our goal is capture our energy as a band, not to emulate the standard sound most studios and labels prefer to put out these days… gladly, more and more people are beginning to appreciate bands who do exactly that, and I believe the days of the massively triggered drums  and auto-tuned vocals are slowly but steadily getting behind us.

What is next for The Firstborn?

TFB – Who’s to tell? Right now we are focused on promoting Lions Among Men and preparing a special show or three to release it here in our native Portugal, but there is no long-term plan for the band… we’ll very likely start writing new material soon, so if it sounds interesting to us, there might be a new album in the coming future, but we tend to take our time writing so don’t hold your breath!

Are Europe and especially the UK able to see you live in the coming months?

TFB – We’d gladly play every corner of the globe if the promoters would have us, but given the way the industry has come crashing down over the last few years and how very odd we must sound to most people (also known as “general audience”), that’s unlikely.
We are always receptive to offers and playing mainland Europe and the UK is one of our goals for this album, but it’s a decision that doesn’t rest solely in our hands so, sadly, we can’t promise anything.

Once more thank you for taking time to talk with us.

TFB – Thank you for the opportunity to express myself in your pages!

Could you end with words or thoughts to send us away with something to think about?

TFB – Nothing is different, nothing is the same, all Reality is but Perception. We are all but cosmic dust and chance, all equal part of the same molecular pool that has been recycling itself for millennia… therefore, why cling to the Ego, when there clearly is none? You are Me, I am You, we are all One and None at once.

Read the Lions Among Men @

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