Mr. Strange – Contact

Even with the familiar uniqueness that comes with the Mr. Strange sound each album from the Isle Of Wight band has sought to explore new flavours and a fresh creative character and successfully so to date. That eclectic adventure and imagination was shown in its glory in the band’s 2019 best of album, WTF. Now the UK outfit has their sixth full-length poised to provoke the imagination, evoke the body, and interrupt complacent thoughts; an intent which Contact succeeds in with almost effortless ease.

The brainchild of vocalist/songwriter/keyboardist Mr. (Saul) Strange, the band has not only released some of the most striking and contagious releases over the past decade or two but become one insatiably devoured live proposition.  Completed by bassist/guitarist Ant Strange, and drummer Damian Strange, it is this live side which is at the heart of Contact, Mr. Strange wanting to bring its spirit to the album as, in their own words, they wanted to “make a record that actually sounded like a band, rather than a producer with a laptop.” Listening to the album it is clear across its multi-flavoured adventure that the intent found success though organically or instinctively the trademark electronic prowess and theatrical production touch of their fertile imagination still found an eager place. The combination works a treat as from maybe the expected industrial/electro rock which fuelled their previous acclaimed releases the band has launched its uniqueness across a fresh and rich tapestry of new eclectic styles.

The album opens with Alien and the introduction to the arrival of a visitor to this complicated planet but as across the album it is a premise which can be just as firmly translated to any misfit, freak, emotional extra-terrestrial feeling out of place in this world. It is a secretive emergence, a calm glide into view which breaks into a rhythmic stroll before an inimitable Mr. Strange like carousel lit saunter takes over. The narrative of the vocals is soon as magnetic as the sounds lighting its observation, the unsurprising catchiness of the band’s swinging electro meets psych rock incitement infesting ears and body alike.

It is an irresistible start to the release which the album’s following title track taps into just as eagerly. A cinematic sample triggers a sizzling groove across a manipulative surge of rhythms, the song proceeding to grow its web of tempting laced with funk, surf, and glam rock spiced threads, the track a quickly and increasingly contagious affair with keys dancing on the electric wiring and around rousing vocals to escalate the addiction.

Jungle intimating rhythms open up Animals next, tribal and primal instincts escorting our infestation of the natural world as a fusion of King Trigger, Thompson Twins, and Talking Heads essences unite to glorious, enthralling effect though the song is soon eclipsed by the feral rock ‘n’ roll of Piggy. Punk, electro, noise rock all collide in its attitude exhorting roar, the track as predatory as it is seductive within a galvanic roar of sound and voice.

The enthralling Play the Game is next up, another track which almost stalks ears and attention. Its twisted psyche and fuzzy breath is lit up by Mr. Strange’s vocal prowess and a surrounding harmonic elegance, dark and light colluding in the embrace of shadow wrapped self-reflection while Rumours steps in with an Oingo Boingo crossed with Marilyn Manson swing which breeds an only richer and broader tapestry of flavours and enterprise. Both tracks were under the skin in no time, their unpredictability as potent as their eclectic weave of sounds though again two great tracks found themselves outdone by a third as Paralysed stomped in with bold tenacious beats and rapacious riffs while a ragtime nurtured piano teases. It proved intoxication as thick as the call at the heart of its lyrical declaration, the album continuing to hit pinnacle after pinnacle.

The Pursuit of Something Better emerges next as sinister as it is irresistible; guitar and synth joining together in pure temptation as vocals add their similarly potent coaxing. With a breath akin to something like Wall Of Voodoo meeting Gary Numan in the shadow of Skinny Puppy, it is haunting arousal which also applies to its successor Southbound for different reasons. A slice of classic meets desert rock with a Queens of the Stone Age instinct, the track is a heavily stepping, creative limb swinging incitement again impossible not to boisterously participate in.

Both To The Center and Finale make for captivating proposals, the first a melancholy scented dark psychedelia lit croon which becomes more robust and fiery by the minute; its subsequent gripping declaration imposing and dramatic while its successor offers a tantalising and sublimely alluring ballad as crystalline as it is again melancholy coloured, and unapologetically infectious.

Contact concludes with Hello! (Epilogue), a grinning piece of creative kindling with a great ICP meets 12 Stone Toddler mischievousness to it that as, its predecessors, had the body swaying and appetite licking greedy lips.

As most of their albums, Mr. Strange had us hooked from the off with Contact only seeing us more hungrily dancing to its tune thereon in but it is a whole new beast from the band and even with those references to give you a clue is as unique as anything you are going to find out there, as contagious, and quite likely as irresistible.

Contact is released February 14th with pre-ordering available now @ https://mrstrange.bandcamp.com/album/contact

http://www.mrstrangemedia.com    https://www.facebook.com/Official.Mr.Strange

 https://twitter.com/MrStrangeTweets   https://www.youtube.com/user/MrStrangeMedia

Pete RingMaster 06/02/2020

Copyright RingMasterReview: MyFreeCopyright

Bleeding Raven Interview

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

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

The pleasure is all mine man.

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

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

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

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

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

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

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

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

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

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

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

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

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

I’d say the latter, yeah.

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

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

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

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

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

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

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

Give us some background to your latest release.

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

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

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

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

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

Tell us about the live side to Bleeding Raven.

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

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

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

How has the internet and social media impacted on the band to date? Do you see it as something destined to become a negative from a positive as the band grows and hopefully gets increasing success or is it more that bands struggling with it are lacking the knowledge and desire to keep it working to their advantage?

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

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

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

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

Dean

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

Pete RingMaster 17/01/2020

Copyright RingMasterReview: MyFreeCopyright

Crawling and romancing the shadows with Gnostic Gorilla

Hailing from Toronto, Canada, Gnostic Gorilla is a dark electronic project which wears unpredictability as easily as imagination in its ear gripping sound. Recently we had the chance and pleasure to talk about the solo project with creator Dean Mason, exploring its origins and music amongst many things as well as picking at Dean’s thoughts about music in general.

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

Thank you. My pleasure!

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

Sure. As a teenager, I began exploring the idea of recording music. I was of course a major day tripper…I mean…day dreamer. Hahahahaha! So I ventured out to record two songs, Dark Hallway and Golgotha for a single. I had some excellent musicians join me in the studio (Dave Davidson, Tony Bourdeau, Shaun Saunders and Chris Byrnes) and with the help of my parents I released the 45 rpm under the so called label name “Lonely Ghost Productions”. That was my first experiment with recording music. I left it at that and went to school to find some sort of career. In 2012, I returned to recording, as a hobby and recorded exclusively electronic music with a dark bent. (Gothic/Dark Wave/Industrial) I released a few singles on iTunes etc. and then in 2015 I released the first album (St. Basil’s Asylum) using the project name “Gnostic Gorilla”. Before that I was using the project name “The Lonely Ghost Project” but that changed once I learnt there was an American band called “The Lonely Ghost Parade”. I wanted to avoid confusion. So that’s a brief history of “Gnostic Gorilla”.

What inspired the name “Gnostic Gorilla”?

As I mentioned earlier, initially my project was called “The Lonely Ghost Project” but I changed it to “Gnostic Gorilla”. I had a song called Gnostic Gorilla (now renamed Eye for a Lie) and I decided to use that name for the project. The idea behind the name is a sort of convergence of two world views: the religious ‘creation’ story and Darwin’s theory of evolution. “Gnostic” means “knowledge” or “to know”. That is a reference to the “tree of knowledge”. Obviously, “Gorilla” is in reference to the idea that we evolved from some sort of ‘ape’ species (not specifically the Gorilla of course) and here we are. “Gnostic Gorilla” is not about Gnosticism as some may think.

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

In many ways a lot of it was allowing the creative process to dictate where I wanted the project to go and how I wanted to sound. I started off doing simply instrumental/soundtrack type recordings. Then I decided to try and do a complete song with lyrics/vocals. The first song I did as part of this new electronic music pursuit was a song called Requiem for the Prophet of Doom which was a tribute to Peter Steele of Type O Negative who passed away in 2010. There were two versions of that track. https://www.youtube.com/watch?v=YEnSgqaI3JA & https://www.youtube.com/watch?v=V0N7Uxzg7ac

That was released under the name “Dean Mason of The Lonely Ghost Project”, as singles. Soon after this, I began to really become more interested in a sound that was more industrial and Gothic or Dark Wave and eventually after a few more singles I recorded St. Basil’s Asylum which is now rereleased by Cleopatra Records. Most of my music has been industrial or Gothic since then.

Do the same sparks still drive the project or have they evolved over time and equally since your early days, how would you say your sound has specifically evolved?

Sort of continuing on from the previous question…yeah…there was definitely an ‘evolution’ of sorts. I look back on what I did in 2012 and some of it doesn’t send me far, with the exception of Nietzsche’s Cyborg. I will always be proud of that song. It was a game changer. It’s on St. Basil’s Asylum even though it was recorded in the fall of 2012 and St. Basil’s Asylum was released in 2015 and then rereleased by Cleopatra Records in 2018. But back on track here, I guess for me, I became more interested in an abrasive and weird industrial sound. (Psalm for the Lost was actually more of a retro Goth/New Wave type deal though) My latest album, Freak’s Mind is in my opinion one of my strongest in many ways. The next album to be released by Cleopatra Records (Shaman Rave) will blow your socks off! Promise!

Has it been more of an organic movement of sound or more you deliberately wanting to try new things?

A bit of both… I don’t want to be boxed into a specific genre to be honest. So, I go through phases where I really like menacing and weird industrial and then other times I prefer a more velvety Goth or Doom Psychedelic type mood in my music. I have been inspired not only by other artists but also by some soundtracks like, the soundtrack for Sinister which is absolutely mind numbing! So sometimes I watch a movie like that or like Queen of the Damned and it gives me inspiration. So, yeah, there is an evolution of sorts but I never deviate too far from being a dark electronic act.

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

Well, one of my first inspirations would be Gary Numan. I mean, I was a huge KISS fan when I was still in diapers hahaha …but Numan was the one that inspired me to consider doing my own thing in music. That said, I don’t write and record in the style of Numan. I owe more to Ministry, Skinny Puppy and Rammstein as far as recording style goes. I also am very much inspired by Peter Steele of Type O Negative and Jim Morrison of The Doors, especially for their unique lyrical style. Did you know that the first time the term ‘Goth or Gothic’ was used in reference to a rock band was when someone did a review of The Doors, the day after (or close anyway) that Morrison had met Andy Warhol? Anyway…I owe a lot of gratitude to Nash The Slash for being an inspiration as an indie artist as well.

Is there a certain process to your songwriting?

I usually begin a track with a general idea of the kind of mood/style I want to pursue. Then, usually, the song ends up being something totally different than want I first imagined. I usually start with either synth riffs/loops and/or beats/drum patterns and build from there. Kind of difficult to explain how a song evolves and usually I look back and think, “how did I even come up with this”?

… And where do you draw the inspirations to the lyrical side of your songs?

Many of my songs address the human struggle. I never write ‘love’ songs or ‘sex in the corvette’ songs…there are ample of those so …why compete right? I usually write in sort of ‘mystical’ story form. I use a lot of imagery and I allow the listener/reader (of lyrics) to decide for themselves what it means to them, even though I may have a specific idea in mind. I often use religious imagery and also imagery of ‘battles’ or ‘war’ but not in the sense that they are LITERALLY about armed combat. The imagery of ‘battle’ is more of an emotional/psychological journey of that inner struggle. I use a lot of religious imagery, but I don’t push ANY sort of religious point of view…for or against. Again, I let people decide for themselves what any song could mean. I address the issue of mental illness and depression and even the tendency for despair. I don’t encourage ‘despair’ but that experience of wondering where there is hope is quite universal. As well, I often, in veiled language, address the ‘tribalism’ that we humans seem to cling to. I have a real personal distaste for hatred of any kind and the world is full of that. Religious people bashing and rejecting others for being ‘different’ or of the ‘wrong tribe’ and all the bigotry and racism and all the phobias that still exist in a so called ‘evolved’ modern world. That ‘tribalism’ isn’t just from those of a religious persuasion but it also exists among ,many ‘atheists’ and ‘secularists’ who can be just as hateful towards those of the ‘other tribe’. We just don’t know how to leave each other be do we?! Hatred of any kind is for the birds. Wait…not even the birds want it!

Give us some background to your latest release.

The latest release is Freak’s Mind. It’s very abrasive and weird and even at times ‘gothadelic’ (a term coined by Peter Steele by the way). That album is the album that wasn’t supposed to be. I never really wanted to record anything new but one song at a time, and I ended up recording an album’s worth of dark wave/industrial/Gothic madness and I’m really proud of this album. It touches on all those subjects I mentioned earlier. Womb To The Tomb is one of my favourites on that album. It’s a strange combo of wild 60’s psychedelic with raging industrial sounds. Veil is a powerful song, which was recorded in 2013 actually. It’s a good album and I’m not the type that easily says things like that about my own music.

Could you give us some insight to the themes behind it and its songs?

Womb to The Tomb is about the cycle of life more or less, but also looks at the life of a corrupt village and all its citizens, including the powerful who take advantage and the victims who are taken advantage of. It’s kind of inspired by modern day events, without being specific. Chaos Frankenstein is sort of a ‘mystical’ telling of conflict and chaos and suffering and deception. Finally, (I won’t dissect every song) Freak’s Mind, the title track, is more or less about someone struggling with some sort of psychological or emotional turmoil.

Tell us about the live side to the band?

At present, Gnostic Gorilla is not planning on any live shows. I’d need to lasso a bunch of musicians to do that and I don’t see it happening. I don’t think so anyway…Maybe a one off someday.

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

You’re so right. It’s not easy. I mean, as far as having an impact is concerned. It’s a different world… a different industry and there are many factors that make it very difficult to make a dent anywhere, even locally…especially if you’re in a bigger city. Technology and the age of communication (social media) make it so that anyone can set themselves up and do music and even videos and put it out there. It makes for a VERY clogged reality in cyberspace. There is SO much out there. Everyone wants to be considered the next big thing…Fair game. But here’s the thing, it’s all been done. After KISS and Sabbath, and Manson and Depeche Mode and Numan and NIN, Slipknot, Cradle of Filth, Madonna, Lady Gaga, Ice T, Eminem, Shaggy, Run DMC etc. …how does one come up with a unique style? I don’t want to be a pessimist but let’s be realistic. It’s VERY difficult to make a dent because it’s almost impossible to snap people out of an oversaturated “yawn…I’ve seen it all before” mindset. You can’t impress people easily. You can barely shock people unless you are involved in some sort of controversy or are pretty like a Barbie/Ken doll. Legends/pioneers are no longer being made and I know that would piss a lot of people off to hear that, but it’s true. As for my own situation, I must confess that as I proud Canadian, I am very unimpressed with the way I’ve been treated by the reps/labels in Canada. I have a label deal with Cleopatra Records (LA) for two albums, a deal with KL-Dark Records in Germany and Nowhere Now Records in Australia and have never even received a reply from the Canadian labels I sent music to. Kind of disappointing but I guess they’re all waiting for the second coming or RUSH or Justin Bieber or Gordon Lightfoot.

How has the internet and social media impacted on your project to date? Do you see it as something destined to become a negative from a positive as the project grows and hopefully gets increasing success or is it more that bands/artists struggling with it are lacking the knowledge and desire to keep it working to their advantage?

As I said before, the world has changed dramatically in more ways than one. The internet and social media have forever changed MANY things, not just music. Look at what it’s done to the world of politics! (not always for the better) Even the Pope has a presence on social media. Hahahaha. But more specifically related to the music industry…it’s a mixed bag I suppose. It’s great to promote one’s music/art but also you’re not the only one doing it. Millions are doing it. With regards to the reality of ‘streaming’ though, as an example…that too is a combination of blessing and curse. What’s happening is people don’t feel like buying music is even a concept. It’s not their fault. It’s the way things evolved. (There’s that word again…hahahaha) Younger people grew up knowing nothing else and so, even the concept of music as art is kind of challenged. It’s rarely seen as ‘art’ and just part of the regular noise and scenery of cyberspace all mixed in with the latest ‘app’. It’s like music is there for the taking the way fruit on trees is there for the taking…it’s just a part of the way life goes. It’s all there to snatch and rarely pay much more than a standard monthly fee or something and have unlimited music. Hey, I do it myself, so I’m not criticizing. Also, it needs to be said, with reference to struggling artists: there are also different organizations that promise ‘hi-fi mega stardom’ for a fee! Some of these take advantage of artists, even some of the big labels have jumped on that bandwagon. Don’t get me wrong, there are some decent, honest organizations that genuinely want to assist struggling artists, but there are also a lot of vultures out there cashing in on Wendy and Charlie’s dreams of “making it”. I guess in the end, like anything else, it’s what you do with it right? Maybe it’s just another challenge for artists to be creative, even with regards to promoting and marketing.

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

It is I who thank you! All I can say is that if you are a struggling artist…be true to the art, to being creative. I know that sounds like hippie bullshit, but it’s true. As soon as your goal is to become a ‘celebrity’ you’re setting yourself up for deception. Don’t dream about being a ‘star’. Instead, be creative and express yourself and be true to yourself…regardless of who does and who doesn’t approve. The rest will follow because in the end, authenticity speaks louder than the need to be ‘worshipped’. That’s what I believe.

Explore Gnostic Gorilla further @ https://www.facebook.com/gnosticgorilla/

Also grab your copy of the Various Artists Compilation album, Nowhere Now Volume 2 on Nowhere Now Records @ https://nowherenowrecords.bandcamp.com/album/nowhere-now-volume-2    featuring Last Call (Heed The Drones) by Gnostic Gorilla

Pete RingMaster 12/04/2019

Copyright RingMaster: MyFreeCopyright

Sparks and passions: Calling All Astronauts 2018

Calling All Astronauts have been no strangers to attention and acclaim for their multi-flavoured and adventurously eclectic electro punk nurtured sound; albums and singles sparking eager ears and support with persistent success. They have inflamed the senses and zealous praise yet again with new EP, Influences; the London trio sharing some of their keenest inspirations in their own inimitable way. Thinking it was high time we caught back up with the band to talk about the EP, a new album and plenty more, we had the pleasure of grabbing some of vocalist David Bury’s time….

Hi and welcome back to The RingMaster Review.

It has been almost two years since we last talked with you, around the release of your album Anti-Social Network. Could you bring us up to date with all things CAA?

We released loads of singles from Anti-Social Network, all of them were really well received, as per usually we did loads of remixes and our ubiquitous low budget videos. We actually wanted to release every track as a single, but in the end didn’t want to be accused of flogging a dead horse, so there are still some absolute gems, that only people who bought the album will know

You have just released the Influences EP made up of a quartet of covers. What was the spark to its idea?

We started writing our next album early last year, however, my wife and I (David) had our first baby in August, so time was kind of against me, but we really wanted to release something new, so we thought it would be a good idea to record versions of four tracks, this then evolved into the idea that we’d make it a “Quadruple A-Sided” single, so we made videos for all four tracks, and had them staggered two weeks apart on the streaming sites and YouTube, having to send promo out on four releases two weeks apart has been crazy, and really not something I would recommend to anyone J

Would you talk a little about each track for those yet to hear the release?

First of all is a drum and bass meets metal version of Gary Numan’s (Tubeway Army) Are ‘Friends’ Electric?, we managed to get synth sounds that are quite similar to the original, but it’s now at 176PBM, with noisy guitars all over it, next is a stripped down version of T-Rex’s Metal Guru, we’ve really slowed it down, to an atmospheric post-industrial type sound, thirdly we’ve taken on the legend that is David Bowie, and put own stamp on his song Scary Monsters; far be it from me to say our version rocks more than the maestro’s original, but you can if you want J, and last but definitely not least, we’ve absolutely brought Deep Purple’s Smoke On The Water screaming into the 21st Century, it’s like Skinny Puppy, Rammstein, Ministry all rolled into one, according to the reviews; I’m not sure it is, but I’m happy if that’s what people are saying.

Many bands play covers but most just seem to approach them in the same way the original artists did and maybe hope their own sound comes across. You seem to have gone far deeper into the songs and taken the CAA imagination to certain aspects; the result tracks which are as much yours as their creators. How did you approach each track and decide what way to go with them?

We approached them exactly like we do when we are writing our songs; we kind of got an idea of how we wanted to do them, started off with drum patterns and then layered everything on top of the drums, we didn’t really have any trouble with any of them, the fill before the verse on Scary Monsters was a bit of a challenge, but I came up with that kind of dubstep drop and it all came together nicely.

Obviously the theme to the EP is in its title but in its case is it the songs which were primarily the influences or the artists, and if the latter why these particular tracks from their arsenal of persuasion?

I think it was a bit of both; they are four artists that we liked as kids, and still as adults, in fact Gary Numan’s two most recent albums are awesome, I can’t recommend them strongly enough. I was a big T-Rex fan as a kid and regularly drive past the spot where Marc died; there are so many of his songs to choose from, we wanted to pick songs that we liked but were not too obscure, you know. If we’d done Fad Gadget, Cabaret Voltaire, Japan and Psychedelic Furs tunes, they would still have sounded like us, but only people of a certain age would know the originals, so we picked four tunes, we felt had been significant to us that other people would know.

For us it was a brave move to take on four not only well-known but legendary tracks which virtually everybody knows and so many reveres. It has obviously proved a great move as fan and critical praise has quickly gathered but did you have any doubts at any point in taking on such classics?

We did obviously worry that we could face a backlash, or just get dismissed as, “another rock band doing covers” but after finishing them, we felt that we had, as they say on TV talent shows, made them our own, however unlike TV talent shows, I don’t think we have ruined any of them, I hope we have given a modern flavour to them, that will hopefully make some of our listeners revisit or even visit for the first time the artists that original wrote and recorded these songs.

Has the buzz, support, and acclaim for the EP surprised you in its swiftness and richness?

It’s truly been astonishing, we have honestly never done so many interviews before on any release, I’m feeling there isn’t the stigma associated with covers that there used to be (The Dickies excepted); people seem to have embraced it in the spirit that it’s intended, and for that we are very grateful.

Was there any specific intent in unveiling the four tracks within Influences one by one over a handful of weeks rather than as a single entity?

The original idea was to just release it as an EP, but when we got them back from Max, our mastering engineer, we were like, these are just too good to promo as a group; tracks are going to get lost. We thought it would be a shame if that happened, so we came up with the idea of 5 different release dates, 1 for each single and a final one for the EP as a whole, I’m glad we did it this way, because different DJs have had different favourites, so we’ve ended up getting an amazing amount of radio play

Tell us about the videos accompanying each song.

Here we are, confession time, as you know we have very small budgets, so we commissioned two of the video’s on Fiverr, the Scary Monsters lyric one and the Smoke On The Water one; for Scary Monsters, we just sent her the lyrics, told her we’d like it to be scary, paid her $12 and that’s what she came up with. The SOTW one, cost a little more, $30 I think, we gave the director carte blanche to do what he wanted and what he came back with, though quite surreal, works perfectly. Are ‘Friends’ Electric? was a little different. We have a friend called Stevie Mac, he makes animations for video games. He had a short story of around 90 seconds that he’d done, that wasn’t owned by any of his employers. He kindly said we could use it, so I cut it together with royalty free footage that Paul found online. Metal Guru is a whole other story. A Twitter friend of ours in Texas offered to make us one for Metal Guru, he was making a stop animation video for us but as release date loomed it became obvious he wasn’t going to get it done in time, so he came up with this one. He did go back and re-edit it as there where a few scenes towards the end that were quite disturbing, but all in all to come up with four videos for less than fifty quid, is a right result J

Was there anything about recording the EP which was more difficult than creating your own music?

I wish I could say there was something, but Paul and J are such accomplished musicians, they got their parts down really quickly and everything just fit into place. The mixing is always the hardest part for us, because we always have bass, kick drum, sub bass and bass synth sitting in the same part of the audio spectrum, so a lot of use of lo-pass and hi-pass filters is always needed.

Is there a possibility of an Influences Part 2 in the future?

Without a shred of a doubt, we will revisit this; we’ve just had so much fun with it. Don’t ask me when, there’s album three to finish first

Any hints to songs or bands which might be considered, I know you guys have eclectic tastes and inspirations.

We have tried a lot of other songs; we did Adele’s Someone Like You [but] my vocal was so out of tune, I cried with laughter’ I’d like to cover some things that nobody would ever expect us to, maybe The Shirelles’ Will You Still Love Me Tomorrow? or The MVPs Turning Your Heartbeat Up. Who knows, we will just have to wait and see.

As you mentioned, the band is working on their third album. How is that actually coming along and have you a timescale to its release?

We have 16 songs so far in various stages. It’s sounding enormous, and as eclectic as you would expect from us; it goes from drop D metal circa Lamb Of God to expensive anthems almost reminiscent of early Simple Minds. The 16 songs we have so far will probably not all end up on the album; we will undoubtedly write some more, amalgamate some of them, and probably save some for singles B-Sides

I also heard there could be a release for a previously unreleased album from J’s previous band Caffeine on your label, Supersonic Media; could you tell us more?

They had a couple of albums which are now on Supersonic from when they were touring with the likes of The Offspring, AFI, New Found Glory etc. Alain their original single left and the recruited Scott who is now in the Candle Thieves, they recorded an album with Andy Hawkins from Midget producing. It’s a fantastic album that never got released; it’s quite reminiscent of Jimmy Eat World or Alkaline Trio. For fear of sounding like Trump, it really is fantastic, super, terrific, maybe it’ll do well in Mexico J

Our big thanks David for taking time out to come chat with us; anything you would like to add?

Thank you for having us.

People can check out every aspect of our new EP at http://smarturl.it/Influences-EP

Explore Calling All Astronauts further at:

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

Pete RingMaster

The RingMaster Review 06/04/2018

 

Copyright RingMaster: MyFreeCopyright

King Satan – King Fucking Satan

mde

In a world bent on self-destruction from the intimacy of relationships through to the broader intolerance of religion and the greed of those governing it up front and behind the scenes, never has there been a more suitable and insidiously compelling soundtrack to it all than the new album from King Satan. Recently released by the  Finnish outfit, King Fucking Satan is a ten track devouring of the senses and an insatiable trespass of the psyche as flirtatious and contagious as it is emotionally pestilential.

Originally a solo project for vocalist, multi-instrumentalist, and producer King Aleister Satan (aka fra. Zetekh, the frontman of Saturnian Mist) when it emerged in 2015, the band has subsequently expanded due to live show demands with Kate Boss (vocals, synths, piano), John Oscar Dee (guitars, bass), Martin Shemhamforash (synths, bass), and Magister Demaniac (beats, additional instruments, programming) completing the current line-up. Musically King Satan creates and fester a senses consuming, body inciting fusion of black and death metal with dark electro, EBM, aggrotech and more besides whilst lyrically and emotionally, nothing is left out from being invaded and violated; the album exploring themes “found within occult philosophy, psychological mind-fuck and even sociological satire hand in hand with renegade rock ’n’ roll spirit that surely bows to nothing and no one!”

Dance With the Devil pretty much sums up the experience of listening to the album as well as providing the title for its opener. As a dark atmosphere crowds around ears, a vocal trigger brings hungry beats and synth cast temptation upon the senses. Equally predacious and alluring, with increasing addictiveness and virulence as melodies and hooks play, King Aleister Satan’s vocal trespass bullies and harries, every syllable explored and sharing primal instruction. Like a mix of God Destruction, Skinny Puppy, and label mates Barathrum, the track infests and incites, its infectiousness and inviting hooks as loaded with viciousness as its boldly direct animosity.

It is a great manipulative start soon matched and overshadowed by As Above So Below, a song managing to be even more primordial and catchy as nagging rhythms pound and synths cast their toxic melodies and hooks; an infectious trait matched in the swing of the punk/black metal scarred vocals. Within moments bodies are bouncing and hips swinging, something we have seen in close attention, as thoughts are twisted and stretched by the corrosive vocal and lyrical intrusion. Addiction appears inevitable so be warned as indeed in regard to Enter Black Fire which though not quite having the body as firmly in its puppeteer grip keeps things feverishly pulsing as thoughts are taken on a tour of ascending oppressive power and its escape.

Psygnosis has everything lustfully involved and enslaved next too, its musical psychosis the fuel for more unstoppable infectiousness and lyrical humour honed drama. Physically exhaustive and imaginatively tenacious refusing to leave the listener alone with its creative bordering psychotic enterprise, the track is superb, a new major highlight though instantly eclipsed by Sex Magick. Stomping over the senses with every beat a haymaker and each synth nurtured sortie of ears a rebelliously sexual coaxing, the outstanding track grows into a relentless and licentious tide of industrial/ EBM contamination adding J-Pop like ingenuity with the vocals of Boss glorious and a devilry akin to something Mindless Self Indulgence might expel.

The predatory instincts of Satanized course ears next, its infectious electro canter a bold niggling of the senses around the raw air and tone of vocals and word before Of Internal, Eternal & Spiritual War, with its haunting Cimmerian crawl through an ominous atmosphere woven around darkly whispered vocals and harmonic siren cries, envelops the senses.

Recalcitrant causticity gets its head in the electro punk epidemic of Spiritual Anarchy straight after; defiance and vocal antagonism a potent contrast to the quenchless dance and devious endeavour of synths and guitars while Destroy the World is a calmer but cancerous embrace of the senses. Suggestive melodies vein an invasive smog of sound and intent which dowses the listener in emotional and sonic malignancy.

The album closes with a similarly toxic climate and reflection, though Kali Yuga Algorithm has a thicker sinuous texture to its layers and black industrial, rancor coated wake-up call. The track leaves a lingering imprint on the senses as pretty much all within King Fucking Satan, a release which enthrals on the verge of rapture and provokes to the point of brutality for seriously one of the most rousing and enjoyable stomps this year so far.

King Fucking Satan is out now via Saturnal Records and available @ https://saturnalrecs.bandcamp.com/album/king-fucking-satan

http://www.kingsatan.net/    https://www.facebook.com/kingsatan616/

Pete RingMaster 20/06/2017

Copyright RingMaster: MyFreeCopyright

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

The Silverblack – The Grand Turmoil

TheSilverblack_RingMaster Review

Starting with a core blaze of industrial metal and twisting and stretching it thereon in by infusing a horde of rampant flavours, styles, and waves of imagination into its roar, Italian rockers The Silverblack have come up with one thoroughly enjoyable trespass of the senses in The Grand Turmoil. The band’s new album is a physical and creative holler of sounds, new and familiar, that captures the imagination and exhausts the breath across a volatile landscape, and though it might be pushing it to say that The Grand Turmoil is the best industrial metal incitement this year, it is firmly amongst the leaders in pure enjoyment.

The Torino hailing band is the brainchild of multi-instrumentalist and producer Alessio Nero Argento (NeroArgento, The Stranded) and vocalist Claudio Ravinale (Disarmonia Mundi, The Stranded, 5 Star Grave), the pair forming The Silverblack in the opening weeks of 2014. Live the band becomes a quintet with the addition of bassist Ivan King, drummer Rob Gaia, and keyboardist Nisha Sara, but for the album it is the founding duo exploring ears and their own invention alone with just a couple of guest solos for extra spice.

It opens with its title track, a stomping beast of a proposal with a sonically fetid atmosphere and pulsating electronic scenery crowding a stalking gait. It is immediately intensive and busy on the senses as the band springs a trap of agitated rhythms and great fiery and openly varied vocals, the raw emotive roars of Ravinale balanced skilfully by cleaner tones courting their confrontation from the background. With keys and guitars jostling for attention, each getting equal share as the track casts its maelstrom of adventure, the song makes a dramatic and heftily alluring start to The Grand Turmoil, though bigger and bolder things are on the horizon.

cover_RingMaster Review   The following Anymore with its vibrantly lighter breath and shadowy presence follows and if not one of the bolder tracks certainly whips up ears and appetite with its Dope meets Celldweller parade of electronic enterprise and vocal magnetism. It is not a song stretching the imagination or finding major originality but it does leave an energetic satisfaction and hunger behind which the outstanding King-Size Vandalism pounces on with virulent and ravenous prowess. Bursting in with robust rhythms and a joyfully warm melody, the song becomes a boisterous romp sizzling with the energetic tenacity of a Pendulum and grouchier lilt of a Combichrist, whilst vocally variety reaps a slight scent of Marilyn Mansion at times. The track quickly infects feet and emotions; it’s an electro rock anthem soon having the body bouncing as high as its own.

Retaliation comes next, its immediate heavy predacious gait a thick intent that defies the effort of the keys to lighten the ambience and mood. Nevertheless they shimmer and tempt engagingly as the song prowls through an early Rammstein leering towards an electro pop chorus. The band’s eagerness to venture into unpredictable turns and styles is a stirring quality in the album but for personal tastes not as potently impacting here with the track’s ‘nice’ pop essences, though it does not stop ears being more than content overall and ready to leap on the kaleidoscope of sound and light that is Make It Worth The Grime. Dirty and melodically glowing, the song is a great fusion of dark and light that loosely comes over like a meet up of Hanzel und Gretyl and KMFDM yet sculpts its own identity along its compelling length.

The fiercer tempest of As Good As Dead raises the levels of addictiveness next; its blended contrasts of emotive rapacity and antagonistic sounds with vocal harmonies and warm infection a perfectly crafted union whilst Attic Hime straight after quickly eclipses it. With a great vocal weave within a climate which at times is like a still warm melodic day and in other moments a blustery sonic wind that ebbs and flows to distort and enhance the drama of the song, it provides an ever evolving and constantly gripping parade of diverse sound. The track leaves ears on a lofty high; a plateau extended by the blistering examination of Pyromanservant, a track drawing on as broad a canvas of metal as it does electronic invention. Like Die Krupps, Powerman 5000, and Skinny Puppy blended, the song incites and engrosses as it takes top song honours within The Grand Turmoil.

The initial gentle shimmer of Great Expectations allows a catching of breath before it too uncages a dark and contagious theatre of emotion and enterprise, an angrier and bitter version of Gravity Kills coming to mind as yet another excellent and lingering encounter within the album exciting ears.

The release is brought to an end by firstly the pleasingly sonically thick and physically volatile Might Get Worse Before It Gets Better, a song brawling with the senses as it lays down its ultimately successful persuasion, and lastly Fragmentary Blue, the darkest, most melancholic offering on The Grand Turmoil and one of the most forcibly compelling even as its departure leaves a sense of unfinished business. It is a fine end to a richly enjoyable offering which as suggested has all the invention and adventure to be, for a great many, deeply entrenched amongst their favourite 2015 industrial releases.

The Grand Turmoil is out now via Sliptrick Records.

http://www.thesilverblack.eu/   https://www.facebook.com/thesilverblack/ https://twitter.com/silverblackband

Pete RingMaster 29/10/2105

Copyright RingMaster: MyFreeCopyright

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

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

 

Tactical Module – Before Crisis

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You can never tire of being impressed by the growth and almost visual evolution of certain artists and one who seems to inspire increasingly potent acclaim is Tactical Module, the one man project of Michael Davis. Across his last trio of incitements alone, the British musician/composer has magnetically enthralled and excited with his fusion of industrial metal, digital hardcore, and EBM. Each encounter has shown new and often dramatic steps in the growth of the band’s sound and songwriting and new EP Before Crisis is no exception. Arguably it is not a big step forward from the last album Into Exile but certainly there is an even greater balance and fluidity between the raw and confrontational side of the vocal and sonic ferocity and the melodic and infectiously vivacious elements which so contagiously mark out songs. Increasing maturity and experience comes with every release of an artist and certainly Before Crisis is embracing an impressing wave of it through Davis.

Forming Tactical Module in 2010 to unleash a creative freedom restrained by being in bands and to explore darker and more aggressive electronic music, the Poole hailing Davis was soon sculpting a handful of digital EPs and remixes to increasing attention. Inspired by bands such as Nine Inch Nails, Ministry, KMFDM, Godflesh, Gary Numan, Skinny Puppy, Killing Joke, and Depeche Mode, Davis made a potent breakthrough with the Dead Zone EP in 2012. It swiftly gripped appetites and a more serious spotlight upon release, marking out Tactical Module as an emerging force and talent. Both the feverishly grasped single Where Angels Rise and first album World Through My Sight in 2013 reinforced his growing reputation whilst the Resurrection EP that same year and its successor Into Exile early 2014, found Davis breaching new plateaus with striking experimentation and emotional voracity. Released as 2014 closed its eyes and evolved into the New Year, Before Crisis cements the stature of Tactical Module in Britain’s electronic underground scene whilst as mentioning earlier showing an even more honed and masterful resourcefulness to Davis’ creativity.

The instrumental Awaken sparks the imagination first, its slow dawning of rhythmic enticement an intrigue loaded lure before synths spin their emotive sonic web. There is a portentous air to10261995_786876598003130_5830102883858603546_n the opener and a prowl of dark shadows which bring a stark and threatening edge to the melodic charm of the piece. It is a magnetic lead into the EP and the following equally intimidating presence of Poison Within. Growing within a synth woven cage of gentler persuasion, the song eventually steps forward as an electro punk provocateur but an antagonist unafraid to employ the flavoursome melodies and sonic expression which coaxed in ears and appetite initially. As stormy in its disturbing quieter moments as in its open musical and vocal rages, the track ebbs and flows masterfully, waves of hostility feeding the appetite again and again within the equally imposing charm of the song.

Next the EP’s title track steps forward offering an immediate infectious shuffle of agitated rhythms under another brooding electronic sky. Davis as expected unleashes a cutting narrative with pleasing abrasing tones soon after whilst around him guitars add a caustic spice to the brighter revelry of the keys. It is a light to the song which as across all tracks, is held in check by the thick smog of angst and heavy shadows which fuel vocals and sounds alike. Here though it is given a longer leash which allows a diversity and tempting aural colour to have their just as potent say on the imagination, as repeated in the excellent To the Skies of Oblivion straight after. A song first found on the Resurrection EP, its bounds through ears and into the passions with a devilish tenacity and energy. It has an inescapable infectiousness which even aligned to the almost rabid furies in voice and menacing rewarding lulls which stalk the song never misses a step in its thrilling march.

The raw atmospheric opening of Assemble is an immediate temper to the previous devilry, its great stark and cold opening spreading an oppressive ambience which in turn courts an abrasion of hip hop spiced electro rock. Vocally too Davis briefly toys with a slither of rap enterprise to match the eventful adventure flirting within the invasive climate of the track’s electronic landscape. It is a slow burner in comparison to other tracks upon Before Crisis but emerges just as striking and enjoyable.

The final new song on the release is What Lies Beneath, another coming in from a distant pasture to embrace ears in drama and a blend of creative antagonism and melodic grandeur. Also a slower persuasion, the song is a compelling narrative of sound and emotion but just lacks the indefinable spark of earlier tracks and misses igniting the passions as successfully.

The EP is completed by a trio of remixes, the song Before Crisis being redefined by Ruinizer and Assemble receiving creative treatments from Cease2Xist and Dali, the latter of the three working the psyche with particular deftness and all offering captivating dimensions to the originals.

Tactical Module has again shown itself to be a bright and imposing spark in the UK electronic scene through Before Crisis. It is a release little to find an issue with, though just as an experiment we would like to see Davis being more adventure into his vocals ahead, and a tempest of invention fans will devour greedily.

Before Crisis is available now @ http://tacticalmodule.bandcamp.com/album/before-crisis

https://www.facebook.com/TacticalModule

RingMaster 07/01/2015

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Concrete Lung – Tolerance & Dependency

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If fans of Concrete Lung thought their uncompromising sound could not get any more corrosive and emotionally destructive then new EP Tolerance & Dependency is going to leave them shell-shocked and blissful. The six track provocation is a scourge of sonic voracity and imaginative violation, the duo of Ed Oxime (vocals/guitars) and William Riever (bass) finding new imagination and despair in their creativity and music to explore. As ever a Concrete Lung encounter is not for the faint hearted but for a tempest of industrial grindcore and death metal veined hardcore, it is pure ruinous manna.

Since signing with independent label Armalyte Records in 2010, a year also seeing the Manchester, UK hailing band’s debut EP Waste Of Flesh, Concrete Lung swiftly garnered critical and fan acclaim with their Ministry, Skinny Puppy, and early Pitchshifter inspired provocation. Live too the band only impressed and ignited the passions, the sharing of stages with the likes of The Young Gods, Funker Vogt, Leæther Strip, Grendel, Agonoize, and Front Line Assembly gracing their first few years. First album Versions Of Hell in 2011 reinforced and accelerated the band’s emerging presence whilst the Die Dreaming single the following year, and the Subtract Nerve in 2013 put the band under a fiercer spotlight and into the nightmares of an increasing fan base. As suggested, Tolerance & Dependency is the band corrupting another level in their sound and extreme aural hostilities generally, a continuation of its predecessor in theme and intent but reaching into the darkest corners of their rage, animosity, and merciless creativity.

Though both its members are now located wide apart, Australia and Sweden to be exact, Concrete Lung feel even more bonded and vindictive in sound and emotional rancor, opener Engine CL_TD_Cover_ArtVein swiftly stirring up ears and attention with its initial sonic lure and lead into a heavy handed prowl of ravenous yet seductive enterprise amidst predatory rhythms. The first impacting move in evidence is the live drums on the song and release which replace their until now ever present drum machine. It gives the track a spite and intensity, which was never lacking in the band’s sound previously, more bite and bad blooded ferocity. Soon the prowl slips into a just as menacing stroll, beats and riffs as imposing as ever and Oxime’s vocals raw and compelling venom. As it plays with its assault and expels a horde of inescapable hooks, the track has ears ringing and psyche cowering, its black heart exuding pained expression and emotion.

It is a pungent and striking start but just the appetiser for the dual brilliance of Die Dreaming Pt. II and Chemical Muzzle. The first crawls over the senses with an opening guitar snarl and a scuzzy bassline which has a flavour of early Wire to its very dirty temptation, the first of a torrent of baits band and track ensnare the passions with. The death seeded scourge of the Concrete Lung sound has the main voice as the song smothers and oppresses thoughts and senses, yet a nagging groove and barbarous baiting equally ignites lustful hunger for the infestation of sonic and impassioned malevolence. It is a brute of a proposition, primal and insatiable, as well as simple addiction, whilst its successor from a similar canvas of intent and maliciousness casts its own distinctive violation. It is arguably the track with the thickest toxin of punk to it, vocals and bass bruising the senses with a wall of intimidation from its first breath but with a contagiousness which only has the listener embracing it with willing submission, the track is a rabid seducing of jaundiced tempting.

   Self-Shriek (Self Murder) with its sonic and emotional detestation keep thoughts and feelings ruffled and engrossed. The crawling demonic tone of the vocals play with post punk shadows and doom soaked ambience within a unrelenting suffocation of sound and intensity. It is a riveting, hypnotic drama and trespass of the senses as well as further thick evidence of the band’s bold exploration of themselves and sound. Its erosive smog seeps into the portentous and cavernous depths of the following Plastic Mind too, but rapidly immersed into an industrial swamp of abrasing enterprise. As the last, the exceptional track is a slow smother of ears and beyond, its serpentine breath and sonic acidity a hope swallowing animus creeping note by note, syllable by syllable.

     Tolerance & Dependency is brought to a close by Closed Mouth, a track with the kind of infectious simplicity which historically has bred nursery rhythms at the heart of another unstoppable oncoming of an emotionally loathing and aurally consumptive wave. The track is quite simply an unavoidable intrusive seduction for those with a penchant for cruel invention.

Concrete Lung leaves every emotion ransacked and sound twisted upon their new violation, their most potent and violently compelling triumph yet. They just get better and nastier with each release, which after this makes the next equally as appetising and fearsome.

Tolerance & Dependency is released via Armalyte Industries @ 12am UK time Sunday 30th November and will be exclusive at http://concretelung.bandcamp.com/

https://www.facebook.com/concrete.lung

RingMaster 28/11/2104

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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