Defeat – Rise

A handful of weeks short of two years since the eagerly welcomed release of their EP, You Know What You Are, British electro industrial/synth pop duo Defeat return with new album, Rise. This too, such the highly enjoyable offerings from the band before, has been a keenly anticipated encounter since news of its coming; enthusiasm rewarded with the pair’s most accessible yet creatively imaginative and skilfully accomplished proposal yet.

The successor to debut album [Seek Help] of 2013, Rise is a collection of anthems to dark thoughts, corrupted emotions, and invasive shadows. They are tracks which unleash the most virulent hooks and infectious escapades laced with menace and creative threat like a twisted twenty first century Fad Gadget; indeed there are times where you just feel that if Defeat were emerging in the eighties, Mute Records would have had them snapped up.

With inspirations from the likes of Nitzer Ebb, Depeche Mode, NIN, Front 242, Front Line Assembly, and Skinny Puppy teasing their own ever potent and individual sound, the twosome of vocalist/lyricist Anthony Matthews and keyboardist/programmer Gary Walker have taken the evolution and promise of You Know What You Are and pulled it into another realm of craft and maturity, challenging their songwriting and imaginations along the way.

Rise opens up with The Phoenix; its sound elevating from the breath and ashes of an emotional wasteland. Melancholy honed melodies soon surround a rhythmic throb; the menacing and almost frustrated air becoming a hypnotic stroll jut as swiftly with a swagger and character as much a threat as a defiant realisation and action to its initial corrosive state. With catchy electronic flirtation and salaciously dancing shadows, the song is an easy to succumb to trap, Matthews’s words and tone a compelling mix of challenge and resurging hope.

The following Rage starts as an irritated emotional and physical ember which flickers and flames into an EBM nurtured blaze and again washed with defiance. It never becomes a furnace but instead wonderfully nags at the senses and imagination, stroking and provoking both with its relentless catchiness before The Hurt grows in ears. Its opening lure is almost predatory, laying dark electro seeds which swiftly bloom into another niggling refusing to be ignored temptation. Matthews echoes its shadows with his inimitable vocal prowess and presence; the drama within all aspects blossoming and immersing song and thoughts in contagious theatre.

Dirty/Sick crawls and trespasses the listener next, Matthews’s introspective guise a festering depravity surrounded by the deceitfully tempting sounds and invention of Walker, his melodies licking at ears with a relish almost matching the lustful threat of each trespassing syllable. The track is a grievous seduction and just irresistible while its successor and the album’s title track shares a toxic serenade invading and suffocating the senses with its envenomed mist; an ambush which should not be welcomed and embraced such its sinister intent but surely is.

Following track, The Fatalists sees Walker take lead vocals for the only time within the album. With pulsating electronics and shimmering harmonies, the song shuffles and glides through ears, vocals shaping its honest heart and melodies colouring its electro pop scented landscape. As with all tracks, shadows and light embrace and collude; often challenging each other or as here uniting in solemn and rousing beauty.

Even more galvanic and masterful is Nothing You, a lead single if ever we heard one. As its creative kindling smoulders, there is an air of excited intrigue and magnetic compulsion awoken; anticipation swiftly fed with a kinetic canter of creative virulence. With voracious hooks and grooves woven into one deliciously persuasion, the outstanding song is one virulence driven adventure unafraid to change gait and energy on a twist of a note as it pounds, pulses, and provokes the passions with irrepressible majesty.

The album closes with the melodic croon of Live Your Life, a gentle and darkly tender but still shadow wrapped incitement and reminder to find the strength and believe in being yourself. It is a fine smouldering and seductive end to Defeat’s most impressive and enjoyable encounter yet. All of the potential of their previous releases has been realised within Rise creating something deserving of the richest attention.

Rise will be released April 14th digitally and Ltd Ed CD with pre-ordering available now @ https://defeatmusic.bandcamp.com/album/rise

https://www.facebook.com/Defeatmusic     https://twitter.com/defeatmusic   https://defeatmusic.blogspot.co.uk/

Pete RingMaster 06/04/2017

Copyright RingMaster: MyFreeCopyright

Defeat – You Know What You Are EP

Defeat pic

And so it continues, the emotion twisting sounds of Defeat have returned to voraciously crawl through ears and into the psyche. The UK duo have already increasingly trespassed into and seduced the senses through their previous encounters, each bringing evolution to their music and breaching new creative plateaus whilst suggesting there is more to come. The band’s new EP, You Know What You Are, is the realisation of much of this promise yet in turn it gives the feeling that they have still come nowhere to exhausting their potential, even though it sets the loftiest marker yet for the band in sound and invention.

Hertfordshire hailing union consists of vocalist Anthony Matthews and the master of synthetics Gary Walker, two school friends who have continually played together through previous guises from those days onwards. Each exploit has been a stepping stone to Defeat, and the breeding of a sound inspired by the likes of Nitzer Ebb, Depeche Mode, NIN, Front 242, Front Line Assembly, and Skinny Puppy. As Defeat, the pair swiftly lit attention with the release of their Outbursts! EP in 2012. Its emergence around a year after Matthews and Walker were truly able to concentrate on Defeat, lured an increasingly number of eager ears and appetites, backed by a subsequent remix EP entitled simply Defeat Remixed. It was debut album [Seek Help] in 2013 that pushed the band most forcibly onto the European EBM/ electro-industrial map though with its raw and magnetic atmospheres around angst soaked explorations. It was challenging and infectious, a fusion of dark climates and virulent electro pop digging now taken to even more experimental and striking depths with You Know What You Are. There is still that expected and inescapable catchiness, each track whipping up vivacious energies and anthemic temptation but equally they devour the most imposing and darkest corners of emotion and life.

YKWYA_cover     The EP opens with Want and instantly has ears intrigued and hungry as pulsating bassy electronics rap on the senses before being joined by a fiery melodic coaxing, It is a restrained but pungent start, rhythms quickly building up a head of intent and steam leading to a purposeful stride where the always expressive tones of Matthews invite and provoke. His delivery is part monotone, part dour, and all thick persuasion, the perfect temper and compliment to the bubbling electronic tenacity and haunting shadows respectively. As with previous encounters, the band’s sound stirs up welcome thoughts of Fad Gadget, the fusion of light and dark, invasive tempting and compelling contagion similar as Defeat sculpt their own unique incitement of dark pop.

The following Twist is just as dynamically gripping and texture entwining. Theatrical, gothic kissed keys spark the imagination first, the lure never relinquishing attention as a more caustic electro breeze joins the play. In no time the song is sauntering along with thickly jabbing beats, fizzy electronic tempting, and the narrative shaping delivery of Matthews. Things only blossom further as Walker infuses a great blistering of guitar, its presence adding to the sinister ambience evoked and fuelling the encounter. As its predecessor, there are moments of clear pop within the hazy almost portentous embrace of the track, those enticements boldly seeded in the eighties electro/synth pop which has also been a ripe influence on the band’s sound and songwriting.

Resist comes next and dares you to comply with its title, but to no avail as a Numan-esque smog wraps ears first before volatile electro sounds and rhythms rigorously simmer in an expanding provocative landscape of sour melodic tension and vocal prowling. There is always drama to the sound and narratives of Defeat, but possibly this song is their most incendiary on ears and imagination yet, thoughts especially running with its rich persuasion to create their own dark exploits alongside that of the song. It is a transfixing proposition matched by the outstanding Attention Seeker. This is a predator of a track, every beat carrying menace and each syllable a spiteful leer whilst synths cast a web of diverse colour and enterprise; even its addictive swing and spicy melodies seem to have a carnivorous grin to their tenacity.

The song is an invigorating and intoxicating anthem contrasted impressively by the next up Care For Me, a track uniquely individual but a match in magnetism and invention. Whereas Attention Seeker was open in its antagonistic charm, its successor embroils itself in another intriguing imposing caress of sound and reflective exploration. Spatial melodies seep from keys whilst guitars bring a raw fiery texture to the immersive croon, and within it all Matthews slowly releases deep rooted angst and emotional torment in the dark intimate tale.

The industrial air of Goodbye is an early hook which only thickens its bait as the song and vocals create an aural dystopia within an increasingly more rugged and inflammatory infection soaked stomp. It forces its dance upon feet and emotions, chaining their submissive enlistment into its ferocious staging of riveting sound and menacing intent. The track is a pulsating gem, at its heart pure slice of rock ‘n’ roll and in its increasingly psychotic character, pure inventive, belligerent devilry.

You Know What You Are is completed by a quartet of mixes, Ruinizer bringing the Bye Motherfucker Bye Mix of Goodbye, Paresis offering the Blackened Mix of Want, and Cease2Xist casting their Self Loathing Mix of How Pathetic, a track from the band’s Outbursts! EP. The cream of an enjoyable quartet though is the Shaken Not Stirred Mix by X-KiN of Twist, which features the exceptional vocals of Veronick. It is a gloriously fresh slant on the song with the lady’s voice enthralling as it takes centre stage.

Defeat have returned with yet another impressive step in their songwriting and sound whilst, as suggested earlier, implying that there is plenty more still to be unearthed in their imaginations and creativity. So whilst enjoyment boils over with You Know What You Are, anticipation is already on the rise again.

The You Know What You Are EP is available now digitally and on CD @ https://defeatmusic.bandcamp.com/album/you-know-what-you-are

https://www.facebook.com/Defeatmusic     http://www.defeatmusic.com/

RingMaster 23/05/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard on Reputation Radio @ http://www.reputationradio.net

 

Entwining shadows, breaths, and sound: an interview with Defeat

defeat

The industrial/electro scene in the UK is aflame right now one with emerging creative and imaginatively accomplished bands and musicians of whom, Hertfordshire band Defeat, is one of the most stirring and promising examples. A duo comprising of Anthony Matthews (Vocals) and Gary Walker (Synthetics), the band has released one of the best of year album challengers in the genre with their striking confrontation [Seek Help]. Eleven tracks of immense, sinister, and fire bred tracks, the release confronts the ear with invention spawned enterprise and compelling provocative mastery. Making up for lost time to learn more about Defeat, we had the pleasure of finding out about the origins of the pair of musicians as well as the band, their thoughts on the industrial scene, personal inspirations, and much more with the help of both Ant and Gary. This is what they revealed…

Hi Guys and welcome to the site.

You two have known each other for a very long time, when did you first meet?

Gary: We met in at secondary school when we were 13 in French class. We were both completely uninterested in the subject being taught and just talked about the music we liked; girls and other stuff teenage boys are into.

Ant: Yes, it was a school in Harlow where we grew up. Although, with regards to exactly when, as ever I have to yield to Gary’s fantastic memory on that score!

When did music come into the relationship?

Gary: Almost straight away if I remember correctly. Part of the class involved making up a conversation in French and telling each other about ourselves and what we liked. We found we had the same taste in music then.

Ant: I remember once we had talked music we would swap lyrics written on scrappy bits of paper in school. I think we immediately had a similar sense of humour as well as musical tastes. There weren’t too many people in our school into putting a band together at our age so it was all kinda hush-hush!!

What were your early influences musically and have they remained still a potent inspiration now or has that evolved like your music?

Gary: I got the music bug seeing Howard Jones on Top of the Pops playing all those synths and thought “I want to do that”.  I’d say that was my biggest early influence as I pestered my parents relentlessly for a keyboard for Christmas, and they got me a Casio keyboard. I then taught myself a few chords and scales and learnt to play some songs by ear.

Ant: The early-eighties electronic explosion and new romantics must have subconsciously influenced me. At that age it was all chart music, but I suppose I was looking for something to follow. Howard Jones was that first big inspiration. I never really know what inspired me to listen to darker electro-bands but I always loved a bit of controversy I suppose. I had always followed Depeche Mode but it was when I discovered Nitzer Ebb and Nine Inch Nails that my head was turned to Industrial influences. I was always a collector of vinyl in those days so and once I’d found a band I had to have the entire collection. It’s been a curse ever since!

Your first musical project was Seek Help, where did that name come from and as we made the assumption that your new album also named [Seek Help] was seeded from then, is the album title just a nod to the past or holding a stronger meaning behind it for you?

Gary: The name “Seek Help” originally came from a joke. The track ‘Revenge’ had existed in some form right from those early days, and we didn’t have a name as such then. We had recorded a very rough and basic demo of the track and played it to friends, and their response was “You two need to seek help”. We looked at each other and laughed, and about 10 seconds later said “that’s our name”, and it stuck. For me, naming the album [Seek Help] is just a nod to that.

Ant: This is where I do have a clearer memory of exactly when it came about. A college mate had always added the phrase “Seek Help” to the chorus of ‘Revenge’. We went into our first proper studio sessions in Chelmsford to record our first proper demo as “Who Cares?”, but as Gary suggested it wasn’t a definite. The guy recording the demo heard the phrase and “Seek Help” stuck.

What brought Seek Help to an end and how long was it before Defeat emerged? 

 pic Malcolm Tyler

pic Malcolm Tyler

Gary: A disastrous gig in Romford did the damage. Technical cock-ups and apathy from the (very) small crowd that bothered to show up didn’t help. I basically had a meltdown live on stage and trashed my drum pads. Shortly after the gig Ant and I both came to the conclusion that the name Seek Help had run its course, and because of the sense that we’d been beaten, Ant suggested ‘Defeat’ as a new name. Musically, we didn’t really change anything and we just set about doing stuff under the “new banner”, as it were, a few months after we’d taken stock of what happened that night.

Ant: That was definitely the end for a while. And life, love, marriages and the day job kept us apart for a good few years. I’d just like to say that Seek Help never really ended. The songs from those days are now under the Defeat banner. And adding to the previous question it just seemed apt to name our début album as a nod to that fact. The name Defeat for me was perfect as a negative and positive. Those days it was only the name that changed. I suppose for me Defeat only really emerged fully in 2011.

There was a kind of hiatus for Defeat from its opening breath I believe, what brought that about and what was the spark to reactivate the project?

Gary: Basically as Defeat was starting up, I got married and had kids so my focus and priorities changed. Ant also had his own stuff going on, so although we still met up and dabbled with music a bit, the other things in our lives at the time had taken over. It continued pretty much that way until mid-2011 when I discovered after coming home from holiday that my mother was ill in hospital. She dropped the bombshell they’d found cancer in her liver and six weeks later she had passed away. I was beside her when she died, and although it was (and still is) painful for me, I am so glad she didn’t die alone. My mother was a person who lived life on her terms and did things as and when she wanted, and I remember at the time a little voice in me said “Seize the day. If you don’t do this thing now you never will. Life is too short.”, so shortly after my mother’s funeral I spoke to Ant about starting up properly again.

Ant: Yeah, I didn’t know at the time that Gary losing his mother was the catalyst for him but he was suddenly very prolific with sending me demos. The advent of new technology and social networking meant that we didn’t need to be that close to bounce stuff back and forth. The process was so much more instant and the spark had not gone.

How would you say the two bands differ in sound and in your intent behind them?

Gary: The sound is different, but only because technology and our own tastes have evolved – I would say it’s a natural progression really as we started listening to different artists too. The songs still come together in the same way they always have for me. In terms of intent, that has remained the same for me – to write, record and perform music I would personally like to hear myself.

Ant: I can’t disagree with that. It has always been about evolution. You cannot help being inspired by what you hear. For me it is an outlet. Music without passion or feeling is not music. You will notice that in our live performances. For me it could be a beat or a lyric or a melody, whatever type of music it is, if there is one or all of those elements, and it is well produced then you have cracked it. If we can do that, and I believe we have, then our work is done.

Was there a core lesson you learned with your first project that you took into Defeat to either avoid or embrace?

Gary: In Seek Help I was constantly worried that our songs didn’t sound hard enough, dark enough or industrial enough and may have been too lightweight and poppy. I don’t think that way anymore and if something is lighter in tone, then that’s how it is – I suppose you could say I’ve learned to trust my instincts more.

Ant: From my side of things, lyrically that is, the songs have always been formed in my head. As Gary says, how light or dark they come out is of no consequence. It’s just that most of the time we do like a darker twist! In terms of lessons learned – that implies a failure. I feel we have never failed. It’s just that in the early days we had no time to push what we wanted to do.

166719_571237349577479_1654124329_nThe four track Outbursts! EP was your first release as Defeats on Static Distortion Records. Did you have a particular idea and intent for the EP and its introduction of the band to the country?

Gary: Initially after getting Defeat up and running again in 2011, we’d put together a version of Outbursts for a competition on Side-Line.com. The track didn’t do anything as far as the competition was concerned, but the process of putting it together and actually finally sending something out gave us an impetus to record. So we hooked up with long-time friend Nik Hodges (Chas Hodges Band / Psykelekrik / Deletists) and we went to his studio. Initially it was nothing serious; the idea was to put a few tracks down (and for me also to have a chance to play with lots of lovely analogue synthesizers – lol). I played Nik a few rough instrumental demos and we started fleshing out the production of the songs musically from there – the lyrics were already written at this point.

Ant: I always knew we had some winning tunes. So we went in the studio with someone who knew the tracks and had the same passion as us for the songs. And I think Gary would agree with me that those few sessions in the studio with Nik have had a massive effect on how we work now. To be surrounded by some lovely old analogue kit, combined with new plug-in technology, I think really opened up our eyes. The original intent was for a self-release. In the digital age, once your work is out there it stays. I just wanted what I knew was a great group of songs out there.

How did the link up with Static Distortion come about?

Gary: We’d been noticed on-line by Steve (Fearon) when we posted the track for the Side Line contest, and he contacted us inviting us to join the label. We met with Steve and after an earnest and honest discussion with him, we joined SDR. At this point the EP was still unfinished, so we agreed this would be Defeat’s first SDR release, providing we could wrap it up reasonably quickly. A month after that first meeting, the EP was mastered and delivered to Steve.

Ant: Yeah, social networking and a lot of spamming around on various sites was where Steve heard of us. I was basically searching out any band of a similar style I could find. Outburst caught his attention and he contacted us. The rest is history.

How does the songwriting happen within Defeat and has that stayed the same from day one?

Gary: Although we do tend to have some lyrics as a starting point, how a song develops and comes together is never the same. Some songs we agonise over and we can and sometimes do argue vociferously over certain parts of a song. On the flip side of that, we have written tracks where everything just falls into place, although that tends to be the exception rather than the rule. One example of everything falling into place happened when we wrote ‘Ripcord’. I had a simple beat going in the sequencer and I started jamming a fairly minimal bass line over it. While listening to this, Ant was rifling through his lyric book and found some lyrics he’d written down that fit the vibe we had going on. I added the other keyboard parts while Ant fleshed out the lyrics he had written down, and in around 2 hours or so, ‘Ripcord’ was completed.

Ant: In essence, Gary is the musician and I provide the lyrics. Which way round a track develops is not always the same. As I alluded to earlier, I often write a whole song in my head. But I then need Gary to get it out of there and sometimes that is very simple and sometimes a drawn out process. Other times, Gary will put something together and I will remember a lyric and fit it to it. We haven’t jammed together for a while, as all the songs we have released so far (with the exception of ‘Scars’) were already there, but when we do I know the spark will always be there.

You have just released your excellent debut album which we mentioned earlier, [Seek Help]. It is a record which builds on the EP, its sound and songwriting, whilst lying just as easily alongside it, how do you regard it in comparison?947044_603508886350325_1407494312_n

Gary: I see it as a natural progression from the EP in terms of production. I’m always keen to learn new production techniques and use them wherever possible. A couple of the songs on the album were actually written before some of those that are on the EP, so from that perspective the EP and the album dovetail each other quite nicely.

Ant: You could almost merge the two. When we put the ‘Outbursts! EP’ together we had enough material for two albums but an EP was suggested as our first introduction to SDR. So the album is a direct continuation. I think we have forged a clear sound for ourselves which is evident in both releases; I am hugely proud of them both. To finally get them out there is fantastic.

What is the biggest evolution of change in your sound for you since making the EP to now?

Gary: I’d say we’ve probably got more layers in the sound now, and everything sounds a little bit sharper and brighter on the album compared to the tracks on the EP, as I’ve gained more confidence in using new plug-ins and trying out production techniques I’ve picked up in the time since the EP was released. For example many of the lead sounds I use now are made from several sounds stacked and layered together, rather than trying to make one massive sound on one particular synth. It does make replicating those sounds for live gigs a bit trickier, but I’m more relaxed about the live sound now than I used to be, and providing the sounds I play are close enough to those on the recording, then that’s fine. And I like to think I’m proficient enough to recreate those sounds without too much difficulty.

Ant: I defer all tech-based questions to Gary! But I would like to praise Gary’s growing proficiency in mixing and production. His work will soon be seen in various other projects around the scene.

Do you have a particular method in recording your songs and especially with the album this time around?

Gary: With this album, most of the songs were musically complete as demos from around Christmas 2012. We then set aside time to record the vocals in early 2013. We work very quickly when the ideas flow and we were able to track about 90% of the vocals for the album in a few sessions. We tend to get the music tracked first and then record Ant’s vocals. I also did some backing vocals on this album, unlike the EP where vocally it’s all Ant, and I was able to do those bits fairly quickly in those same sessions.

Ant: Yeah that’s basically it. Like I said earlier, the tracks just needed fleshing out and adding our vocals. Gary puts the tracks down and I will lend an ear. These were long-standing songs for us so I had a lot to say in terms of how they sounded. Two tracks that we thought were a shoe-in for the album were dropped from the album sessions due to us not agreeing on a final mix. But these are finally the definitive versions for us.

The album has a building malevolence to loosely describe its intensity of breath and seeming nature as you venture deeper into its provocative presence track by track. Is this something you see too and was it intentional or a rewarding by-product of the albums natural progression?

Gary: I think it was a bit of both. We always knew the album would start with ‘Fear’. The album actually starts with ‘In Vestri Genua Descendamus’, but this track is in fact made from parts of ‘Fear’ and is the intro we use for live. On the album it could be seen as a longer intro to ‘Fear’. We also knew that ‘Scars’ was going to be the final track and we just had to put the remaining tracks into an order that ebbed and flowed as naturally as possible. It’s that flow, which is part-planned and part-accidental that imbues the album with this sense of building malevolence.

Ant:  I’m glad you picked up on that because I always had a plan to weave a pattern throughout the album. When ordering the tracks we treated it how we would a gig set. ‘Fear’ was always the big intro; ‘Ripcord’ was always track 2 live. ‘Defeat’, again, had been used as a gig opener. ‘Revenge’ through to ‘Cry At Your Funeral’ was always going to be grouped together. ‘Scars’ was originally an instrumental that was always going to end the album.

There also feels, certainly on the album, at times a strong personal element to songs, is this the case? How close to home are the inspirations for songs?

Gary: Everything lyrically is either from a situation Ant or I have experienced, or from an observation we’ve made of the world around us. I tend to leave the lyrical side of things to Ant, although I do write lyrics sometimes. Whenever I do write lyrics I always then give them to Ant, and he will invariably twist them and take them in a different direction.

Ant: Yeah I always get blamed for the cynicism in the lyrics! Gary never complains though! Following on from the last question, the bulk of the album is from personal experiences. If you don’t get a feeling from a song then no-one will connect to it. I don’t apologise for how personal the lyrics are. It’s what I believe is the core to our identity. All the best songs I have ever known come from the heart, however light or dark they are.

defeat coffin  video stillIs there a particular moment or aspect of [Seek Help] which gives you an extra tingle or glow of satisfaction?

Gary: For me, the satisfaction comes when someone else really likes the album or says “that song is great”. For me that’s the greatest compliment. Of course I still get moments when I hear certain elements in a track and I’ll think “damn, I like the sound of that!” One such example is the intricate “clicky” percussion at the beginning of ‘Scars’.

Ant: The compliments have been fantastic. What amazes me is that when I listen to it now there are elements in there that jump out that I’d even forgotten about! For me, that shows that we have produced something that will not get stale quickly. The ominous opening bass on ‘Ripcord’ gives me a great thrill, the urgency of ‘Cry At Your Funeral’,  the fantastic synth lines across all the tracks still excite me. And I was really happy with the vocals. ‘Scars’ was a real treat at the end as it was always an instrumental with one vocal line so to finally get a full track was a huge bonus. Proud is an understatement.

What comes next for Defeat?

Gary: We’re working on putting a free download single for “Coffin” together which will include a few alternative takes on the song. There’s also a video of the track in the pipeline too to coincide with the single release, but we’re not working to a particular deadline on either at the moment. I think after that, we’ll look in 2014 at doing either another EP or the traditionally-labelled “difficult” second album. At the moment I’m also involved with mixing the new album for D.E.P feat. MiXE1.

Ant: 2013 will hopefully come to a close with the single release. A lot of remixes are surfacing now so there will be some form of remix collection. 2014 will bring that second full album. No dates are set but it is going to be an exciting times as new tracks will need to be written alongside some older ideas. We will also be looking to gig a lot more regularly throughout the coming months.

Many thanks for taking time to chat with us, anything you would like to add?

Gary: I’m just very grateful for the chance we’ve been given to get our music to a wider audience – and huge thanks must go to Steve Fearon for giving us that chance. In addition, I’d also like to state for the record that despite the oft-documented drama that occurs in the industrial scene, everyone I’ve come into contact with in the scene since joining SDR have been some of the friendliest and welcoming people I’ve met.

Ant: I echo those comments. I think I’d just like to say that there is a lot of good music out there that we all need to support if we are to keep this scene going. It doesn’t matter if it sounds old-school or like someone else. If it stirs something in you and is well put together then cherish it. Take a risk on something new. You might surprise yourself!

And finally what are the five most important songs or releases that you feel guided or lit your own musical mind-set?

Gary: Oh, that’s a tough one – and this may seem like a cop-out – for me there are just too many songs that have had some sort of influence on me, and the list changes constantly.

Ant: I know it sounds clichéd but for me it is ‘Violator’ and ‘Masses’ (DM), ‘Pretty Hate Machine’/’Broken’/’Downward Spiral’(NIN), ‘Belief’/ ‘Showtime’/’Ebbhead’ (NE), ‘Headhunter’/’Welcome to Paradise’ (242) and more recently ‘Gelb’ (Neuroticfish). Yes, I know I’m old but those were my early dark inspirations! We are influenced every day by what we hear, see and experience. That’s what inspires me to write but all the above artists and more are guiding the feel of the music.

Go download the EP / Album and come see us live soon – I assure you it is worth it! Cheers.

Something we at the RR wholeheartedly agree with. Checkout the review of [Seek Help] @ https://ringmasterreviewintroduces.wordpress.com/2013/05/16/defeat-seek-help/

Questions:  Pete RingMaster

The RingMaster Review 03/09/2013

Defeat – [Seek Help]

Defeat pic

Our first introduction to UK electro/industrial duo Defeat came with their impressive Outbursts! EP, a release which marked the band as having the promise to be a prominent part not only national but the European industrial scene. Since that the release anticipation for their debut album has been keen to say the least but even that hunger fell short in expectation when finally feeling the might of [Seek Help]. The eleven track album is immense, a sinister and sizzling beast which whilst thrilling and igniting thoughts and passion still provides evidence that there is plenty more still to be discovered within the band.

Taking inspiration in the sound and area of music stalked by the likes of Nitzer Ebb, 242, Depeche Mode, and NIN, the pair of Anthony Matthews (Vocals) and Gary Walker (Synthetics) firmly gripped the imagination with their sounds and debut release, the album though shows the band has since taken a major leap forward not only in sound and composition but confidence and stature. Two school friends who from meeting were writing songs together, Walker and Matthews have realised the brewing strength and flavoursome imagination first indicated on Outbursts!, with [Seek Help], the album title incidentally the name of their first venture together, confronting the ear with enterprise and compelling provocative mastery. Seek Help the project, existed from 1992 to 95 with the duo playing several gigs before it came to an end, with Defeat  emerging from its ashes with a new intent and flavour to the already existing and subsequently reworked songs. The EP, released as the album through Static Distortion Records, thrust Defeat to wide attention but the suspicion is that their album will see them on the fullest lips of attention.

The Hertfordshire based pair draw the listener into the album with In Vestri Genua Descendamus, a brief piece of dawning epicAlbum Sleeve Final toned ambience and grandeur heralding vocal harmonies offering religious whispers upon air of cavernous magnificence whilst a seductive falsehood deviously leads right into the hungry jaws of Fear. The track flexes its muscles with a slowly opening swagger, melodic caresses firmly igniting the senses whilst the shadowed more rapacious spine of the introduction intimidates and seduces with equal voracity. Settling into an even pace with the wonderfully raw vocals of Matthews stalking the ear and prowling the lyrical venom, the track ignites emotive connections and flames of passion especially with its sonic eruptions around the chorus and the returning breath of church bred provocation. It is a stunning  track which sets up the rest of the album perfectly though also puts the following songs under pressure such its early benchmark.

Not that Ripcord and Defeat struggle in that respect, both songs offering individual stances with full unity in their contagion. The first of the two initially sizes up the listener with predatory concentration, the pulsating dark shards of electro probing testing the waters before opening up its grip for the emotive ambience and shadowed breeze of the song to envelope ear and thought. With Matthews gently pressing forward the menace of the narrative within the evocative sounds of Walker, thoughts of Fad Gadget easily invade, the conjuring of dark beauty here as impacting and irresistible as in the hands of Frank Tovey. The track soon announces it is one which will not settle in one corner and explodes with a fiery caustic rub to further the danger and malevolence brewing within the shadows, whilst the Tubeway Army sonic teasing which breaks out also only enhances the adventure and pleasure. The following track raps on the ear with thumping sinews whilst a scintillating abrasion threatens to break free, its taunts and grazes within the coarse groove at play challenging the nerve whilst similarly grained vocals leave no atom untested. It is an uncompromising mix of beauty and beast like sonics, a ferocity lurking with rabid intensity just waiting its chance to feed but held in check by the potent melodic toxin pervading the track.

    [Seek Help] does nothing but further impress as the likes of the toxic, lyrically and musically, Revenge, the brooding Tear Me Apart, and the insidious Wish You Dead, unleash their imaginative magnetic poison emotionally and excellence sonically. Though the latter pair do not quite rise to the heights set in place before them there is only the fullest satisfaction and hunger bred from their offerings whilst the outstanding Pedestal soon has the album touching the highest bar again. An industrial scourge honed into an immersive restraint of melodic and electro temptation, the track plays with passions and limbs like a satanic puppeteer, its control and insatiable fascination impossible to resist or not devour greedily.

Both Coffin and Cry At Your Funeral lay an appetising and inflammatory impression deep within inciting and stimulating thoughts and emotions before leaving closing song, the smouldering Scar,  to waltz off with the last ounce of passion yet to be submitted towards the release. Released June 22nd, [Seek Help] is an album which sets the previous thought that Defeat ‘will become a major player in their genre’ in stone making it now a towering undeniable declaration.

www.defeatmusic.com

8.5/10

RingMaster 16/05/2013

 

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