The Pink Diamond Revue – Miss Lonely Hearts

The Pink Diamond Revue artwork_RingMasterReview

Carrying a sense of cinematic and provocative drama with every compelling note and rhythmic pulse, the new single from British electro psych rockers The Pink Diamond Revue, is pure aural theatre. Miss Lonely Hearts offers a dark seduction as mischievously flirtatious as it is ominously intriguing. It is a slice of noir lit, fifties and sixties scented suggestiveness, and quite irresistible.

Equally there is a garage rock ‘n’ roll/punkiness to the song, an underlying confrontational edge which adds to the imagery and dramatic sonic painting spun by guitarist Tim Lane and drummer Robert Courtman-Stock. Uniting behind Acid Dol, “a model from another dimension”, the duo entangles modern beats and imaginative devilry with riffs, samples, and vocal harmonies lured from those previously mentioned decades. As Miss Lonely Hearts reveals, it is a combination which simply infects body and imagination

Since uniting, The Pink Diamond Revue has become a magnet on the live scene, infecting venues and festivals to increasing acclaim with their addictively invasive and compelling sound. Alone Miss Lonely Hearts suggests why, the track immediately swamping ears with magnetic yet challenging rhythms as electronics and especially the wiry grooves of Lane wind around ears and imagination. Dark and alluring, inviting and evocatively temperamental, the track is organic rock ‘n’ roll at its most enthralling and in turn rousing.

As melodies seduce, beats lure, and samples conjure, the track additionally courts essences of bands such as Sigue Sigue Sputnik, Calling All Astronauts, and The Avalanches but swiftly weaves its own identity in bold and tempting sound amid aural mystery.

The Pink Diamond Revue takes the listener on an adventure of clandestine intrigue and shadow clad revelry with Miss Lonely Hearts, and boy is it fun.

Miss Lonely Hearts is available now.

Upcoming Live Dates:

August 6th Glastonbelly Salisbury

August 7th Roadkill Camden

August 20th Some Weird Sin Brixton Windmill

September 4th Purple Turtle Reading

https://www.facebook.com/thepinkdiamondrevue

Pete RingMaster 03/08/2016

Copyright RingMaster: MyFreeCopyright

Rousing waltzes and alluring confrontations: talking Calling All Astronauts with David Bury

Calling All Astronauts_RingMaster Review

British electro rockers Calling All Astronauts continued an inescapable trend of releasing some of the UK’s finest provocative and rousing encounters with their new album Anti-Social Network a short few weeks back. An uncaging of snarling and virulent rock ‘n’ roll with a political and emotional bite, the album showed the addictive prowess of CAA in getting bodies bouncing and thoughts exploring. Meaning for a long time to talk with the band, the outstanding album was the spark which made the time to act now. So with big thanks to band vocalist/writer/producer David Bury, we turned the spotlight on CAA and Anti-Social Network with plenty more insights in tow.

Hi David and thanks for sharing time with us.

Before we get into your new album, Anti-Social Network, can you tell us about the beginnings of Calling All Astronauts for those still new to the band? How did you all meet and what became the spark to the creation of the band?

J and I used to be in a band called US:UK together, J then went on to be in the pop-punk Caffeine. Caffeine had drawn to a standstill after numerous tours of the UK and US, we bumped into each other and just thought we’d like to have a jam for old time’s sake. One thing led to another and Calling All Astronauts was born. We originally had Andy the Caffeine drummer, but he went travelling, while he was away I decided to learn about programming drums and keys, and that’s how the sound we now have developed.

As you said all of you in the band now have experiences before and outside of Calling All Astronauts; how much has the band been shaped by those musical adventures either in where you want to go with it or in what not to get involved in again?

You learn a lot about the industry over the years; the good memories, the parties, the massive gigs are the ones you cherish, but the knowledge you gain about how the music business runs really shapes your attitude towards it.

We first caught on to the band through the single Winter Of Discontent in 2012, which was your second? This was already a lively and potent time for the band live, the playing with the likes of Echo & The Bunnymen, PWEI, Sigue Sigue Sputnik and A Place To Bury Strangers amongst your shows, and in making music as well as reactions to those early releases. What was the feeling in CAA back then and how has that differed over time, if at all?

The feeling than was actually pretty much the same as it is now, we always feel both flattered and humbled that anyone likes our music, we are just three guys recording in my lounge, yeah in modern terms that’s a studio, but it’s a lounge nonetheless; we’ve got Sky Sports on in the background, my cats walking through, and we are under the Heathrow flight path, so I regularly have to redo a vocal when a plane has been particularly low. 🙂  We do what we do; it’s a kind of love us or hate us, it’s your choice, we won’t take it personally if we are not to your tastes, but we’ll embrace you as a friend if you get what we do.

Calling All Astronauts Promo PictureSince then singles, EPs, and an impressive debut album has come and gone; all leading to the recent release of second album Anti-Social Network. Following the band over those encounters, your music has clearly evolved and grown over time. From the inside how do you see and hear that change?

I think that is a direct reflection on my production skills. I’ve learnt so much in the last four years about how to actually make a record. We are a Rock And Roll band that works in the manner of a dance act; we pay a lot of attention to how our records sound sonically. We took a long time recording Anti-Social Network because we wanted to make an album that we’ll still be proud of as a piece of art in 25 years’ time.

Apart from personnel, how too as CAA changed mentally in regard to making music and how you deal with the music scene.

I don’t think we have actually changed much, we are all kind of set into the people we are. We do however have an increasing dislike of the mainstream music industry, and how it brainwashes kids into thinking things that are mediocre at best are amazing. If you swallow diamonds your turds with contain diamonds, but they will still be turds.

The band is seems defiantly DIY; your releases for example being uncaged on your own Supersonic Media. Has that always been the intention or just how things have worked out?

It seems that way, as yet, we’ve never sent any demos or any of our releases to any record labels. Actually I lie. I did give a copy of the first album to Brett the radio guru at Epitaph. I met him in LA and just wanted him to know how we sound rather than looking for a deal, so gave him a copy of the album, but that’s about it. We like having artistic control; yes we would be a lot bigger than we are if we were with a big indie or major, but at what artistic cost. I’m doubtful any of them would allow us to make an album as eclectic as Anti-Social Network; they want their artists to make an album of the same track 11 times, all the different variations around the same three chords.

Let us get right into Anti-Social Network now. Did you approach its writing and creation as you have previous releases or try something different in its making?

Yes pretty much, except we had Paul on board for this one. We tend to start with a drum track and built up from there, it’s quite like building a house, and as we all know, without solid foundations you may as well build your house out of straw.

You seem to have woven essences of many of your inspirations over the decades in its sound which was an extra tasty spice for us as I know we share similar favourite artists and songs from the seventies and eighties especially. Was this something you set out to do or just an organic arising from the writing?

Not really, we had a bunch of ideas, and as they grew organically into the songs they now are, we often referenced them using the names of the bands that they had a feel of. All the album sounds like us; I don’t think any of it could be called a pastiche. I think it’s maybe more a case of, band X made some amazing records, let’s see if we can make something that can stand up in its own right against what they did. It would have been the easiest thing in the world for us to make 11 tracks all sounding like Time To Fight Back or conversely Always Be True, but that’s really not what we are about. CAA to us is about making music we like, it’s not some master plan to sell millions of records; we’d rather be Clock DVA than Coldplay every day of the week.

Like many we generally call CAA an electro punk/rock band. As the new album shows, your sound is much richer and varied than that suggests. How would you describe it for newcomers?

It’s kind of like a ride on the world biggest Rock And Roll Rollercoaster. You never know whether it’s going to turn, or drop or go upside down until it’s upon you. Wow that sounds pretentious; ok, just imagine all your favourite left field rock bands since 1976, i.e. Killing Joke, Ministry, PIL, Bauhaus, New Order, Psychedelic Furs, and then getting them produced by Skrillex and Prodigy

Lyrically Anti-Social Network is as biting as ever, something easy to expect from your music, but equally there seems a thicker intimacy to some songs too. Can you give some background to art_RingMasterReviewthe themes of songs and to the album in general?

I have been hoping somebody would ask this, this will be quite extensive but I’ve been longing to go through the album track by track, please feel free to edit this if you want.

  1. Living The Dream

I grew up in a northern town, not a city, and in towns you see people on the local music scene who are the “big cheese”, they walk around like Billy Big Bollocks, they get a little bit of interest from local radio and think all they have to do is move to the big city and world will be the oyster. When the reality is something far different, when you make that leap to pursue your dreams, you have to be prepared for the reality that you are suddenly a shrimp in an ocean of sharks.

  1. Empire

We are very active on social media, especially Twitter, where we have a lot of young followers, and I see their tweets about how in love they are and the next second they are broken hearted. It’s kind of sending the message that broken hearts are only temporary when you’re a teen and that you are going to fall in love many times during your life and that if one relationship doesn’t work out, move on to the next one.

  1. Time To Fight Back

The world and society is pretty much on the brink of imploding; if the majority of us don’t stand up and say, “enough is enough” 1% of the world’s population has 99% of the wealth. There are children dying because they don’t have clean water, how can that be right in 2016?

  1. Hands Up Who Wants To Die?

Is about youth crime and gang violence and how leaving the house with a weapon can lead to a whole heap of consequences due to one thoughtless move

  1. Life As We Know It

This is about envy and how people wish they were somebody else, it’s clichéd but life is what you make of it. If you’re happy in your life, embrace the fact you are happy and celebrate it, if you are not happy, do something about it. Sitting on your ass complaining is never going to improve things, unless you grasp the metal and go for it.

  1. The American Dream

It is not particularly about the US, but as the American Dream has always been held up as a goal for what people can achieve through hard work, I thought it was a good example for society as a whole, and how things have changed from the days that people left school with ambitions of professions or trades. They now want to be YouTubers or famous on Vine, they want fame from zero talent in a narcissistic shallow world.

  1. God Is Dead

God is a metaphor for consumerism; you don’t get consumerism without the word consume and society has become all consumed with the latest product X until they have it, and once they have it, their thirst for the net product X is instantly greater than their joy at getting the latest thing they’ve craved for.

  1. Always Be True

As I mentioned earlier we have a lot of young fans, this is a message to them not to bow to peer pressure. If you don’t like something or don’t want to do something never be afraid to say no, because one day, your day will come.

  1. Look In Your Eye

This is about the cynical people at major labels who only see artists as product and really have no feelings about the long term futures of said artists as long as they have them signed to 360 deals, make a profit and keep themselves in a job

  1. Black World

Is really saying, I don’t have all the answers, but if you listen to what I’m saying in my lyrics and think about them and join us in thinking that the world doesn’t have to be like this, together we can make the world a better place

  1. Divisive

Is about how the media and governments manipulate the news to suit their own agendas. They tell us they are doing it for righteous reasons when it’s all about greed and power and that once you turn to violence it becomes both self-perpetuating and self-defeating; hence the chant of Greed Equals Power Equals War Equals Death repeating almost to infinitum at the end because wars go on and on and only increase the misery.

Do the same things predominantly rile up the lyrical muse or are you adding to the recipe of sparks as years and records pass?

The constant in my psyche is that I don’t like inequalities in society.  I’m not saying that people shouldn’t be rewarded for doing good work or being enterprising but I don’t think people should be forced to live in poverty. I just think people need to keep their eyes open and feel compassion for others, see both sides of every story; never judge people on their race colour creed, religion or lack of it, or their sexual orientation. Judge people on whether they are good people or not. While these things still exist in society, I will maintain my motivation as a lyricist.

Can you give us some insight into the recording of Anti-Social Network; any unexpected dramas and surprises?

There were no real disasters along the way, however it did take way longer than we hoped or expected it would. In all it took 2000 hours to record;, I think that’s maybe on a par with some of the 70’s prog rock bands, but you have to be truly happy with your records as you have to live with them forever once you release them.

CAA_RingMasterReviewFor most artists it is fair to say that playing live is their favourite part of making music. When it comes to writing and recording something though, what is your favourite part or element?

It’s actually when people tell you that they have listened to your record and really got what you’re doing. It’s the greatest feeling in the world to know you are not the only people that think the way you do.

Is there any particular moment in Anti-Social Network which gives you an extra glow of satisfaction?

There are three parts I love; on the intro of Divisive where the combination of guitar drums and keys gives the impression of a weird pitch shift on the drop, it gets me every time. I also love the almost UK Garage drop on the middle 8 of Always Be True, and J’s guitars on Life As We Know that sound like Cellos. But we are very proud of all of it, I honestly believe there are no fillers on the album and that if we released all eleven tracks as singles, we could get radio play on all of them, I could however be delusional.

Tell us about the art work for the album which seems to sum up the air of the great release more and more every time you look at it.

It was amazing, we were trying to come up with ideas, and Paul had googled the word Anti-Social Network and up this came. It’s an actual sculpture by South African artist Maurice Mbiyaki. We contacted him and asked if we could use it on the cover, and he replied “he’d be honoured”; the rest is history. J

What is next in store for CAA fans and the band itself?

We are working on a new live set and will be out and about before too long. Time To Fight Back is set to be released as a single in June with David CAA VIP Remix and a specially recorded cover version.

Big thanks again David for chatting with us; anything you would like to add?

Not really other than a big thanks to you for being so supportive of our releases, we really do appreciate the kind words you have written about us.

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

Blimey, this is a massive question for me; I think I can nail it down to genres rather than actual acts, I’m very influenced by, Punk, Northern Soul, Goth, Metal, 80’s Hiphop, Synthpop, Industrial, EDM, 90s Indie, Post-Punk, Hardcore, Big Beat, Reggae, Ska, and DnB.

Check out our review of Anti-Social Network @ https://ringmasterreviewintroduces.wordpress.com/2016/03/11/calling-all-astronauts-anti-social-network/

http://www.callingallastronauts.com    https://www.facebook.com/CallingAllAstronauts/     https://twitter.com/CAA_Official

Pete RingMaster

The RingMaster Review 16/04/2016

Copyright RingMaster: MyFreeCopyright

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Calling All Astronauts – Anti-Social Network

Calling All Astronauts Promo Picture_RingMasterReview

It is easy to have an on-going appetite for a band but not always as simple to keep the fervour of the enthusiasm for their work burning just as brightly, especially as they evolve and move away from the things which first beguiled ears and imagination. With British electro rockers Calling All Astronauts no such problem has existed to date; with each release as they have grown and experimented, they seem to have sparked even more vivacious praise and greed; a success which will only continue with their new album Anti-Social Network.

The eleven track incitement is the CAA sound at its most rounded and mature yet and equally at its most adventurous and diverse. Recently talking about Anti-Social Network, band vocalist and album producer David Bury revealed, “We wanted to make an album we would buy ourselves, that pays homage to our heroes and many influences whilst still sounding like us. I think we’ve just about got there” Get there they did with tracks with harken back to seventies/eighties gothic and electro pop influences whilst uncaging a modern snarl of rock ‘n’ roll with a political and emotional bite as forceful as the virulence which ensures feet and hips are as eager and voracious as ears.

The successor to heavily acclaimed debut album Post Modern Conspiracy, and in turn the singles and EP which followed it, the band’s eagerly awaited second album is the outcome of “20 months of insane creativity that saw the guys locked in their studio for days on end as they wrote, engineered and produced an album that stretched their creativity like never before.” Straight away it makes a potent impact, Living the Dream bringing the album to ears with a poppy yet shadow kissed invitation. Within it, the dark bass lure cast by Paul McCrudden almost prowls ears as a melodic and infectious swing brightly entices around the distinctive stony vocals of Bury. Feet are tapping within the first round of electronic beats whilst hips soon get involved with J Browning’s spicy grooves, the body seduced by the lively contagion which is slightly reminiscent of bands like Modern English and B-Movie.

art_RingMasterReviewIt is a great start quickly eclipsed by the even more addictive Empire. Released as a greedily devoured single towards the end of last year, it immediately runs its tempting fingers across the senses with the moody bait of McCrudden bass and the mouth-watering hooks of Browning, all within an equally captivating electronic climate. Punkish with an alluring irritability to its twists and a scent of aggravation to Bury’s expressive vocals, Empire beguiles body and thoughts, inciting thick involvement from each before making way for the spiky electro punk defiance of Time to Fight Back. With the additional agitated tenacity to spark any dance-floor, the song has the body bouncing as emotions raise a middle-finger to surrounding ills, a touch of Sigue Sigue Sputnik meets Pop Will Eat Itself doing its successful persuasion no harm.

The already familiar Hands Up Who Wants To Die? is the provider of more energetic and contagious exploits, ripe hooks and flaming guitar enterprise lighting ears as rhythms back the punch of vocals and words with skittish boisterousness. It too has an imposing charm and vivacious resourcefulness hard to resist, as too Life as We Know It which follows with a mellower but no less fascinating and arresting romancing of hips and ears. CAA might take swipes at establishments and worldly corruptions but barely a song goes by without the trio leading the listener into physical collusion with its inescapable dance-ability.

Through the heavier air and rock ‘n’ roll of The American Dream, a track which gives a hint to what Iggy Pop would sound like it he went down the electro/industrial route, and the fiery God Is Dead with its bubbly scathing, attention and thick enjoyment is again firmly taken care of, even if neither quite live up to those before them, whilst Always Be True hugs ears with a synth pop laced reflection. It too might miss the last spark of other tracks for our ears but with Bury adding a great Tom Waits like texture to his enticing tones as the electronic atmospherics of the song come loaded with their own suggestiveness, the Fad Gadget tinged track is a compelling and increasingly potent proposal.

The outstanding Look in Your Eye has ardour blazing again with its conspicuous gothic punk and post punk imagination. Touches of bands like Play Dead and March Violets emerge across the thrilling encounter, but as everywhere, familiar essences and textures are mere strands in something unmistakably Calling All Astronauts. As mentioned earlier, the band wanted to pay homage to their inspirations without losing their own individuality, this track on its own proving their success.

Anti-Social Network is completed by firstly the predacious and again insatiably alluring Black World where a Sister Of Mercy/The Mission like courtship of ears and imagination instantly beguiles and only becomes more intoxicating over time. Finally the band unleashes Divisive upon the passions; its attitude loaded presence spawned from electro punk/metal irritability and infested with devious and rebellious strains of funk and electronic devilment.

It is a mighty close to another powerful and galvanic release from Calling all Astronauts, and the sign that the band is ready to step out of the underground scene and stir up the biggest attention.

Anti-Social Network is released March 11th via Supersonic Media across most online stores.

http://www.callingallastronauts.com   https://www.facebook.com/CallingAllAstronauts/    https://twitter.com/CAA_Official

Pete RingMaster 11/03/2016

Copyright RingMaster: MyFreeCopyright

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CALLING ALL ASTRONAUTS UNVEIL THEIR “ANTI-SOCIAL NETWORK”

art_RingMasterReview

UK goth punks ‘Calling All Astronauts’ have just released their hotly tipped second album ‘Anti-Social Network’ through Supersonic Media.

Calling All Astronauts are a London based, politically charged three-piece who rose from the ashes of ‘US:UK’. Featuring vocalist/programmer/producer David B, ex-Caffeine guitarist J Browning and Marionettes bassist Paul McCrudden, Calling All Astronauts blend electro, rock, post-punk and even dubstep to a sound that ignites and engulfs.

Since their incarnation in 2012, the trio have racked up a slew of accolades including four Number One’s in the Twitter Music Charts (knocking Adele from the top spot), having their latest single “Empire” notch up a three-month stint in the ‘Official European Indie Chart’ peeking at Number 2, and sharing stages with the likes of Echo & The Bunnymen, PWEI, Sigue Sigue Sputnik and A Place To Bury Strangers. The band have also headlined and sold out ‘Alan Magee’s Death2Disco’ at Notting Hill Arts Club.

The electro punks have a prolific output, releasing seven singles to date; this has helped the band pick up a swell of support from all four corners of the globe with numerous rock and alternative radio shows taking the band into their hearts by putting them on heavy rotation. The threesome have been featured on BBC Introducing, and were invited into the studio by Tom Robinson for his BBC 6 Music show. Their underground attitude to video production has also received great praise from many, including Irvine Welsh, who, after viewing the video for ‘What’s So Good About’, proclaimed it as ‘Brilliant’.

Calling All Astronauts now press on with the release of their blistering new second album ‘Anti-Social Network’, which is out now in stores via Supersonic Media and rammed with eleven killer cuts. Look out for festival and summer shows later this year.

www.twitter.com/CAA_Official  www.facebook.com/callingallastronauts  www.youtube.com/+callingallastronauts

Calling All Astronauts – Empire

CAA_RingMaster Review

There is no disguising that we have a definite appetite for the politically charged electro punk/rock of Calling All Astronauts which governs anticipation each and every time a release approaches. It also makes extra demands on the London based trio, breeding a want to be surprised by a sound which is fiercely distinctive to them. The band has met the challenge each and every time with varying but always firm success so far, and with their new single Empire swept it aside with one of their finest moments yet.

Stepping forward from the shadows in 2011, Calling All Astronauts has become one of Britain’s not only tenaciously creative and inventively confrontational bands but a strong supporter of other new and emerging artists. Musically they have been an acclaimed live presence which over subsequent years has shared stages with the likes of Echo & The Bunnymen, PWEI, Sigue Sigue Sputnik, and A Place To Bury Strangers, as well as headline and sell out Alan Magee’s Death2Disco at Notting Hill Arts Club, success backed up by a host of tracks and singles stirring up broader attention. It was with the release of debut album Post Modern Conspiracy though where more intense spotlights were provoked, it spawning further acclaim and support through its subsequent singles, all increasing the wealth of eager ears and fans surrounding the threesome. Last year saw the outstanding Who Wants to Die? single stir even more media and fan hunger, its success emulated again by Show Me Love earlier this year and now Empire, a track easy to suggest as being one of Calling All Astronauts’ very best incitements.

artwork_RingMaster Review     Straight away the song is igniting ears and emotions with its opening flame of guitar, the JJ Browning crafted coaxing aligning with the thick lures of bass offered by Paul McCrudden. Wrapped in the expressive caresses offered by the keys of David Bury, the song is an immediate seduction with a snarl in its heart and a lining of antagonism in its belly, a dark side accentuated by the distinctive and ever enjoyable dour throated tones of Bury. Quickly strolling along with an electro punk tenacity and irritable energy, the song hints at becoming a raging inferno but never erupts, instead holding back to persistently tease and entice as spiky and elegant melodies escape the guitar and keys respectively.

The track is one of those anthems which quickly get under the skin without forcing itself down the throat; its narrative and tone a slow burner of a persuasion infesting the imagination and psyche with consummate and inventive ease. That restraint never threatens to subdue the virulence of its enterprise though, only breeding a contagion of energy and spicy grooves to enlist quick and full involvement of the listener in body and thought. It is a quality Calling All Astronauts has had for a long time but honed it into its finest form yet for Empires.

The single is also equipped with quartet of remixes, each discovering and exploring a new aspect and depth to the song. The Skunxx Remix spreads mystique laced exoticism through its enthralling version whilst the Grover Remix delves into the more aggressive and imposing textures of the track, taking ears into a darker beguiling adventure. There is also the Angerwolf Remix which strips things back to the raw skin of the tracks’ heart before encasing it with dance-floor flirtation and to complete the release, the Pse Remix with its punk infused rock shaped take on the song. Each make fascinating proposals, enthralling and highly enjoyable fresh looks at the jewel in the crown, Empire itself.

Calling All Astronauts continue to impress and excite; similarly growing bigger and bolder and with Empire, again sure to entice another flock of new and eager followers.

Empire is out now via Supersonic Media @ https://itunes.apple.com/gb/album/empire-ep/id1046265145

https://www.facebook.com/CallingAllAstronauts/    http://www.callingallastronauts.com   http://www.twitter.com/@CAA_Official

Pete RingMaster 04/12/2015

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Calling All Astronauts – Red Flag EP

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Following on from their impressive debut album Post Modern Conspiracy, UK electro goth punks Calling All Astronauts confirm their potent presence within British electro rock with the invigorating Red Flag EP. A track which shone upon their full length release as one of the year’s best electro punk anthems, the London based trio revamp and re-ignite its already mighty presence with a full blaze of inventive explorations. Consisting of five full-bodied investigations for the cost of a single track, the Red Flag EP is a magnetic persuasion to inspire all musical appetites.

Since emerging in 2011 the band has sculpted a rich position in the goth/electro punk scene with a lyrical attack and sound which crosses and merges those elements and more skilfully and distinctly, whilst their live performances has pulled in equal acclaim with the band sharing stages with the likes of Echo & The Bunnymen, PWEI, Sigue Sigue Sputnik, and A Place To Bury Strangers whilst also headlining and selling out Alan Magee’s Death2Disco at Notting Hill Arts Club. As shown with previous singles such as Someone Like You and What’s So Good About?, and across the impressively confronting Post Modern Conspiracy, the threesome of David B (vocals, keys, programming), J Browning (guitar), and Kristi Bury (bass) take no prisoners lyrically and musically and Red Flag is no exception. Following the progress of the band has bred the thought that it is time for the band to make the next step up and this EP alongside their recent album might just be the spark needed.

The release opens with the In Your Bass Mix of the title track, a thumping brew of rhythmic provocation and scarring guitar driven by the caustic delivery of David B. There is a schizophrenic breath to the mix, a St. Vitus’ Dance rabidity to the sonic squall and a rhythm casting enslavement to the heavily boned goth rock bruising. It is an excellent start, a version which easily challenges and matches the original cut of the track which follows in its Single Edit form straight after. A more restrained presence is uncaged by the band with a Sisters Of Mercy/Play Dead like throat to the vocals and a deep pulsating bass shadow wrapping the fiery guitar play. Red Flag is a song easily accessible but one taking the listener through almost cavernous resonating realms, whichever version you frequent, whilst a lyrical incitement hits home without over playing its touch. It is a compelling blend, one impossible to resist.

Next up comes the Gothstep Mix and the E39 NYC Club Edit of the track, the first an industrial stalked version which brings a Gary Numan like breath alongside almost bedlamic electro surges and squeals, and the second an incendiary dancefloor stomp which has feet in league with its sonic fascination. Both tracks add something different to the song but neither manages to match the heights of the first two or the following album version of the track. Expanded to its full glory, the final track is ultimately the best version of Red Flag though it is easy to take either of the main versions of the track and give them equal lustful responses.

If the Red Flag is your introduction to Calling All Astronauts there is no finer a way to walk through their creative door and if already a fan, the release makes a stirring and impressive companion to their must have album.

http://www.callingallastronauts.com/

http://callingallastronauts1.bandcamp.com/releases

8/10

RingMaster 04/11/2013

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Calling All Astronauts – Post Modern Conspiracy

Calling All Astronauts CD art_Page_1

There are times when a band fills a gap in a genre or sound with something distinctly unique and impressive but is still wrapped in a mystery as to why it has not been delivered wider awareness and recognition. One such proposition is UK electro goth punks Calling All Astronauts, a band which from its first release has lit up ears and passions with their stirring and incendiary blend of guitar carved alternative rock, gothic soaked shadows, and electro/industrial bred toxicity. It is a stunning fusion which ignites the passions and incites thought led rebellion. So as to why still the Fulham based trio even after a clutch of outstanding singles are still relatively undiscovered just defies understanding but with the release of their exceptional debut album Post Modern Conspiracy, the hopes and feeling that things will surely change are at a peak.

The fourteen track release is a blaze of imaginative and snarling sounds, the band’s potent lyrical attack on society given an CAAimposing and riveting platform of caustic and invigorating rock in which to shell its restraints. Consisting of David B (vocals, keys, programming), J Browning (guitar), and Kristi Bury (bass), Calling All Astronauts has left a searing mark with their tracks since releasing their first two track single Living In The Shadow Of The Red Flag/ Someone Like You. The seeds of the band go back further though with J Browning and the band Caffeine, who he played in, being managed by David (ex-US:UK) whilst Kristi and David were also previously married to each other. Since emerging in 2011 the band has earned strong acclaim for their live performances which has seen them play alongside the likes of Echo & The Bunnymen, PWEI, Sigue Sigue Sputnik, and A Place To Bury Strangers whilst also headlining and selling out Alan Magee’s Death2Disco at Notting Hill Arts Club. A quartet of singles has also fired up greedy anticipation for this debut album within fans and the blogging media alone, an appetite which will be soon breathing heavily and intensely over the impacting triumph the album it shows itself to be. Two of those singles took the band to the No. 1 slot in the Twitter Music Chart to breed further excitement and dare one say impatience to the wait for the long time in the making Post Modern Conspiracy, but there will be no complaints, only feverishly devouring musical jaws upon its exhilarating body now it is here.

The album opens with that previous single track Someone Like You, a song which rips the attention from everything else but its own pulsating invitation. From the first second the bass and guitar snarl at the ear, Kristi offering an intimidating seduction with her dark conjured tones and the guitar of J producing an acidic groove which triggers instant rapture. With heavy dark shadows offering their own vibrant compulsion before the senses there is a distinct eighties wash at work with the likes of Play Dead and Leitmotiv coming to mind as the song prowls and stomps with irresistible potency from first note to last. Virulently contagious and equally magnetic creatively, the track is the perfect and strongest start to the album, an immense beginning soon matched and continued by Freaks and What’s So Good About?

The second track drapes itself in even darker intensive shadows, the beats and electronic invention caustic and magnetic whilst the guitar and bass bring their own individual abrasion to the brooding encounter. More reserved than the starter and with an even harsher lyrical bite, the song places down a gnarly canvas for melodic flames and senses plucking electro scorches to lay their heat and colour. It is a mighty lure driven by the dour yet vibrant vocals of David, the extremes perfectly expelled in a delivery which walks the same shadowed sun as the sounds.

The tracks Scenesters Vs. The World and Politicized – Ignorance Is Not An Excuse attack and evoke attitudes and thoughts with composed and cutting invention in word and sound, the first drenched in a dramatic noir atmosphere around its sinewy exploration and the second locked in an tempest of sonic grazing, coarse riffs, and rapacious energy which provokes and riles up the passions in similar strength to the opener. Through the song and album there is always a loud hint of Sisters Of Mercy spicing things up, essences which are seeded in the early days of that band and filtrated into something which lingers and imprints with thrilling enterprise from the creative ingenuity of  Calling All Astronauts as shown in these songs alone. The mistake to avoid though is to think with these references that band and album are re-treading old sounds and times, but as the likes of the industrial punk fuelled It Could Have Been Lust and the sinister, haunting gothic and bruising ebm embrace of Eye Of God show, that is far from the truth, both songs stunning and riveting unique journeys.

The highlights keep coming track after track, such as in the immense shapes of Simple Man, a song which provokes the senses with thick ambience within which a melodic kaleidoscope sends shards of light and electro seduction into dark corners and the excellent Winter Of Discontent, a confrontation which unleashes another epidemic of infectious and evocative persuasion. The second of the two stands full and bold with an anthemic calling within its premise of dark times, a resonating drone cured atmosphere enveloping the senses and thoughts whilst the emotive vocals and fierce flames of guitar alongside thick bass caresses ensure a forceful and fully inciting treat.

Each subsequent track upon Post Modern Conspiracy cannot resist also capturing and firing up the imagination and passions, Faith In Your Cause and Feel The Pain (Again) especially adding intoxicating fuel to the fire raging within for the release whilst closing track Red Flag confirms again that this is a band of incalculable craft and promise, its invitation of Skids like guitar borne sonic tempting and passion sodden emotion a final irresistible thrill.

Calling All Astronauts as proven by their outstanding album stands before UK rock as one of its most inventive and provocative sparks, and this is just the beginning.

http://callingallastronauts1.bandcamp.com/releases

http://www.callingallastronauts.com/

10/10

RingMaster 15/05/2013

 

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