Mammoth Temple – We’re Not Extinct

Having just been introduced to former Thirteen Shots frontman Johnny Rose’s new project in Blast Bomb we now have the new endeavour from its guitarist Lewis Manchip for you. That proposition is Mammoth Temple and they have just released their rather appetising debut EP, We’re Not Extinct. Echoing the band’s name in many ways, it is a lure of heavy boned rock ‘n’ roll worshipping the seduction of the groove and the growl of the riff, a fuzz rich proposal caked in the dirt of grunge and veined by stoner bred tendrils of melodic suggestion. It is also a potent introduction to the band and one which gets more compelling by the second.

Formed by Lewis and vocalist/bassist Dave, Midlands hailing Mammoth Temple is completed by the thunderous swings of drummer Ben. Initially taking their time to hone their sound, the trio have emerged with a live presence which is swiftly luring keen attention and plaudits, and now with a first release which is as thick in potential as it is already flourishing prowess and enterprise.

It opens up with Meat Promotion and instantly entangles ears in a flavoursome groove. With robust rhythms and throbbing bass that beginning is a sign of things to come in song and release. The blend of mellow vocals adds to a Queens Of The Stone Age like hue to the grunge meets heavy rock stroll of the track, the guitar continuing to cast wiry grooves and melodically sharp bait for ears and appetite to get hooked up on. It is a seriously infectious and captivating start which is more than matched by next up Wiping Out. Its psych rock kissed entrance is pure temptation, the skirting shadows intrigue against the vocal prowess of Dave and Lewis’ expressive melodies. With fiery flames igniting across its catchy gait and imaginative body, the song continues to blossom in imagination and craft. It might not be boldly unique but the song as the EP has a freshness and adventure to it which hints of such success ahead.

The mellower caress of Reflections is courted by the great dark shadowed throb of bass and volatility in Ben’s beats which never erupts but magnetically stalks the melancholic beauty of the song’s heart and touch. A song which just grows over time and listens, it brings another enticing aspect to the Mammoth Temple sound which only grows when the track does uncage its muscle.

The EP is concluded by firstly Promises, a distant rumble increasingly consuming ears as it looms closer and incites the imagination as blues rock ivy clings to its tenacious body and scuzzy skin. Another grower, it does not quite match up to those before it yet lingers in the memory with ease through its Jesus and Mary Chain meets Alice In Chains glaze alone.

How We Are completes the pleasure, it needing mere seconds to hook the appetite with its initial Soundgarden-esque melodic coaxing. From there, its simmering fire grows and intensifies with psych and stoner rock winds blowing across its rhythmic kindling and harmonic haze. As ever, there is a darker hue to its depths and emotion contrasting superbly with its brighter easily invited trespasses. The song is superb, a big end to a fine first union with Mammoth Temple.

It is early days but the signs are already hinting at a potent future for the band and rich adventures for us all alongside.

We’re Not Extinct is out now and available@ https://mammothtemple.bandcamp.com/album/were-not-extinct

https://www.facebook.com/MammothTemple/    https://twitter.com/MammothTemple

Pete RingMaster 05/12/2017

Copyright RingMaster: MyFreeCopyright

Exploring the lures of The Lunar Effect

Hailing from London in the UK, The Lunar Effect is a band making a potent impression on the Capital’s live scene and through their debut EP, Strange Lands released last year. We caught up with the band to find out more exploring origins, inspirations, the muse of “demon seductress soul stealing women” and more….

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

Can you first introduce the band and give us some background to how it all started and what brought you all together?

We are Jon, Dan, Josh and Brett and we are The Lunar Effect. It all started with Jon messing around with some solo songs which then developed into a gigging band. Jon’s brother Dan joined, then after a few gigs with other musicians Brett came in on bass. Josh joined soon after that when he answered an advert we put out for a singer. Job done!

Have you been involved in other bands before? If so has that had any impact on what you are doing now, in maybe inspiring a change of style or direction?

Yeah, we have all been in different bands and played as solo artists. You learn from the mistakes you have made in previous bands and try to avoid doing the same thing. It is important finding band members you get along with on a personal level; being a good musician just isn’t enough if you’re also a prize bell-end. If you’re not getting along it can seep into the music you make, then you’ll find it influences the style and direction you take going forwards. That’s why when we put an advert out for a singer we specifically said no dickheads.

What inspired the band name?

A lot of people often think it is because Jon has a daughter named Luna, but the band came first and it’s spelt differently anyway so we can nip that one in the bud. It is actually inspired by the moon and all of the elements in life that its cycles and phases had been said to affect through time, whether true or not.

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

We all just wanted to be musicians and write music, so forming a band is obviously what you do. It has taken a while to find the right people, but now we hope we can offer something a bit different. Basically some really good songs as an alternative to a lot of the rubbish that’s out in the mainstream right now.

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

The goal remains the same. It’s always been about making good music with good people and having a laugh along the way. If we can make money from doing this then that’s a bonus. As time goes on you learn to be more selective with things like which gigs to take and which to pass on. You also learn where the pitfalls and charlatans are and how to avoid dealing with them.

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

When the band first started it was mainly songs that Jon had already written himself that we just tweaked. We had a more lo-fi, grungy sound. As we have settled and grown into the new line up we have pushed ourselves more and found a sound drawing on all our influences.

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

Originally it was more organic, with each of us bringing in new ideas and influences. It just started to flow over time until we felt we were happy with it. Now we try to build on our sound by trying new ideas and pushing the boundaries, experimenting with new styles and noise while still keeping that vintage sound that is our essence.

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

We like all sorts, from 70’s bands like Black Sabbath and Pink Floyd to bands like Soundgarden and Silverchair. There are a load of great bands around at the moment that people may not necessarily have heard of, like The Heavy Eyes, Mars Red Sky, Kaleidobolt, etc. The list goes on.

Is there a process within the band which generally guides the writing of songs?

It varies from song to song, but our latest songs usually come out of refining a jam or a riff. Sometimes it takes us weeks to finish an idea, other times they’re finished quicker than it takes to play it through which is cool. We’re good at criticising each other too, bad ideas don’t last long.

 Where, more often than not, are inspirations to the lyrical side of your songs found?

As far as inspiration’s go we cover the classics; women, drugs, women on drugs, demon seductress soul stealing women, trivial existences, crippling pain and yeah, the classics.

Give us some background to your latest release.

Our last release was an EP called Strange Lands. It’s very much sci-fi themed, from the cover to the lyrics and everything in between. Our first full album should be out by the end of the year. It’s shaping up to be a bit of a belter. You can see us performing a song from it for Hunter Studios Live sessions here: https://www.youtube.com/watch?v=aFrGNrBJXrU

 Are you a band which goes into the studio with songs pretty much in their final state or prefer to develop them as you record?

Generally we like to have the bones of the songs all rehearsed and gig tested. Then we can experiment with different techniques and add more layers to the track if we find something that fits and improves the song as a whole. We make sure we record more than we need, that way we can try out new ideas, see what works and what doesn’t and then cherry pick the best stuff.

Tell us about the live side to the band, presumably a favourite aspect of the band?

Well I wouldn’t say it’s necessarily our favourite part but obviously we do enjoy it. We also enjoy writing and recording in the studio.  We always have fun at live shows though, as hopefully do the people who come out to watch us.

It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods?

No, it’s hard locally as most local venues keep closing and everyone just goes to Wetherspoons. In London it’s the complete opposite. There is an oversaturation of venues which makes it harder to promote, especially with all the high entry fees, though you do learn with experience as we said earlier on. Gigging in Europe is a good idea. The promotion and pay can be a lot better and it’s all generally better organised. They really look after you.

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?

The internet is good for self-promotion and getting stuff out there, though getting people to actually click and listen is still difficult. It would be interesting to know how many of the people that read this interview will then go on to actually check our stuff out. Again, it is a good thing if you have the money behind you to pay professionals to handle the social media side for you, but that goes against what it is meant to be in the first place.

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

Just thanks for taking the time to read this and we hope that you do check us out on Facebook and all the other sites. You never know, we could be your next favourite band.

Check The Lunar Effect out further @ https://www.facebook.com/TheLunarEffect/  and https://thelunareffect.bandcamp.com

Pete RingMaster 06/12/2017

Copyright RingMaster: MyFreeCopyright

SixTwoSeven – Some Other’s Day EP

You cannot just make up real rock ‘n’ roll; it is in the heart as evidenced by Seattle alternative rock outfit SixTwoSeven. You just know it is an instinct in the quartet as their debut EP, Some Other’s Day rumbles through ears to arouse the spirit across four riotous tracks.

Formed in 2016, SixTwoSeven consists of vocalist/lead guitarist Greg “illfunk” Bilderback, his brothers in drummer Matt aka “the Machine” and guitarist Jason aka “J Danger”, and longtime friend Mike “MK Ultra” Knapp. This line-up was actually completed during the recording of Some Other’s Day with producer Jack Endino (Nirvana, Mudhoney, Soundgarden) at Soundhouse Studios, Matt coming in for backing vocals and leaving as a fully-fledged member of SixTwoSeven.

The EP itself opens up with One Single Night, instantly luring ears with a dirty riff soon joined by Greg’s grumbling tones. Bass and drums quickly add their moody touches as infectiousness infests all aspects of the emerging track. The song’s swagger is right there grabbing body and spirit, the creative flames of guitar luring the imagination deeper into its own increasingly magnetic prowess. Altogether it is a masterful persuasion and quickly matched by successor Wreckless Soul. It too has a certain confidence in its gait and swing, vocals a lighter invitation in the grungier nature of the song but loaded with the same catchiness as the hooks and riffs flirting boldly alongside.

Joshua’s Song has a calmer personality which its melodic imagination exploits with emotion and invention. The harmonic blend across the band brings extra light to the song and the SixTwoSeven sound, the band showing the variety in their creativity. Admittedly, the song did not quite light the excitement as its companions but it certainly left a strong air of satisfaction before the EP’s best track brings things to a mighty close.

An aggressive slice of punk fuelled rock ‘n’ roll, Top of the World is a virulently contagious incitement which has body and emotions bouncing in quick time. It snarls and entices, prowls and stomps with attitude and zeal ensuring listener involvement is hooked in no time. One of the reasons maybe that the band has been compared to the Weezer and Foo Fighters, the track alone makes SixTwoSeven a prospect to keep a close ear upon; a thought more than reinforced by Some Other’s Day as a whole.

Some Other’s Day is available now @ https://sixtwoseven.bandcamp.com/album/some-others-day

https://www.dubsevenrecords.com/    https://www.facebook.com/SixTwoSeven627

Pete RingMaster 17/10/2017

Copyright RingMaster: MyFreeCopyright

Andreas S Jensen – Disturbed

To this point in time, Danish born, London based Andreas S Jensen has made a notable name for himself for being a guitarist in Dub Pistols, as a writer/producer whose co-writes with the likes of Kevin Lyttle, Armand Van Helden, and Nate James have sold close to a million copies, and in collaborations as remixer, producer, session player, and engineer with artists such as Dido, Rizzle Kicks, Vybz Kartel, Sam And The Womp, Beenie Man, Nerina Pallot and more. This month though sees the singer songwriter/musician make his own individual impact, expectantly what will be his biggest one yet, with the release of a debut solo album. Disturbed is an ear pleasing, imagination stroking collection of songs combining lyrical intimacy with an alluringly broad brushstroke of sound. It is a release which makes the most seductive company note to ear and then haunts the memory once departed; that in anyone’s book the sign of something special.

Jensen has already enticed praise carrying attention with his first EP Disconnected which was released at the beginning of 2014. Embracing inspirations ranging from David Bowie, Tom Petty, and Elliot Smith to Soundgarden and The Zombies, the encounter was the first step towards the lofty heights now awaiting the senses within Disturbed. For the album Jensen drew on the talent of a group of London session players he has met through his producer and session work including drummer Adam Falkner (Babyshambles/Dido), guitarist Garo Nahoulakian (Nadine Shah), cellist Ben Trigg (Arctic Monkeys, Unkle, Jamie Collum), and Antonia Pagulatos (Gorillaz, Blur) on violin and viola as well as Jesper Lind (Jack Savoretti), Nikolai Bjerre (Lamb), Jack Cowens (Dub Pistols/Bondax) and many others. The result of this union of craft and invention is a record as rampantly catchy as it is emotionally open; each song like a big brother knowingly understanding those moments in life, love, and longing we have all hugged or endured.

Disturbed opens with its new single released a week before the album and fair to say Only Die Once instantly has attention gripped. Jensen’s voice is the first enticement, his warm slightly sandy tones soon joined by a theatre of rhythms and keys as a guitar weaves its own suggestive bait. There is drama in piano and bass too whilst instinctive infectiousness fuels vocals and the melodic coaxing hooking the senses whether in a controlled smoulder or a fiery blaze. As a sign of things to come across the album, the track simply blossoms and grows with every passing second; a crowd of instruments and sounds uniting in a fanfare of imagination and enterprise.

The outstanding start is matched by next up Trust Is My Anchor, a single released earlier this year which had us on board with real anticipation right then for what Disturbed would subsequently bring. Like the first, the song makes a gentle start, acoustic guitar aligning with Jensen’s ever appealing voice and like its predecessor a proposal which just opens up its sound and invention with every breath. Soon it roars with a robust rock pop temptation which sublimely ebbs and flows in intensity whilst increasing its hold on ears and appetite second by second. There is something of Billy Momo to the subdued moments of the track and a hint of R.E.M. in its bolder expulsions; both deliveries as compelling as the other as another pinnacle within the album is exposed.

Take My Heart and Go needs barely a breath to seize ears as a glorious gnarly tendril of sound winds around the senses, a flirtatious bassline and the caress of acoustic magnetism swiftly stepping up alongside. Mixing country flavoured rock and eagerly strolling indie pop, the track has the body bouncing and hips swaying in no time with the imagination employed by word and another rich tapestry of textures and invention. For personal tastes it is probably fair to say that the track just misses the heights of the pair before it but the pleasure loaded grin our faces during its presence each and every time reveals all and alone why with every listen Disturbed  becomes more essential.

Through the electric shimmer of Another Way Of Leaving, a proposition merging sixties psych and eighties pop in its tantalising soulful croon, and the Baroque kissed Unchanged captivation is intense and greedy. The second of the two especially bewitches with its shadowy reflection and perpetually rising crescendo of sound and endeavour, the strings which magnetically colour most tracks voraciously manipulative and rousing before And She’s There calms things a touch with its vibrant canter. It too is a tenaciously catchy enticement all the same though which imagining The Everlys and Walker Brothers born as one and breaking out today gives a sense of this superb slice of contagious pop.

Thought gets the focus over body with the balladry of next up Looking Back For Something New, though it is hard not to sway to its melancholy lined tone and melodically intimate presence, while Run with at first a similar gait brews a contagion which has body and spirit rocking as again eighties funk/pop collude with electronic and creative drama. Both of the songs have a firm hand on ears and lustful attention though each is eclipsed by the bold exploits of Dangerzone, a theatre of rock pop which surely has to be the next single. Some tracks make you greedy for more, this is one for Jensen though one among quite a few to be honest but the show stealer of Disturbed for these ears.

The album concludes with I Carry My Cross, a beguiling dark folk/ country spectacle weaving in strands of gypsy, carnival and Latin rock which with its hypnotic funereal march is reason alone to take a chance on exploring one rousing release.

To be honest as much as we loved the single Trust Is My Anchor a few months back we were maybe expecting Disturbed to just back up its striking presence rather than take things to a whole new level. Boy, were we off the mark, the album a BIG must for all rock, pop, indie fans well everyone who loves boisterously catchy and emotionally honest music.

Disturbed is released September 15th with the single Only Die Once out September 8th.

http://www.andreassjensen.com/    https://www.facebook.com/AndreasJensenMusic    https://twitter.com/andreassjensen

Pete RingMaster 04/09/2017

Copyright RingMaster: MyFreeCopyright

Antigone Project – Stellar Machine

Last year French outfit Antigone Project not only took their sound to a more accomplished plateau with the From Its Room EP but hinted it was just the beginning of a whole new soundscape to their already easily engaging sound. It was a clue now realised by the band’s debut album, Stellar Machine a journey through spatial clouds of invention and diversity but as universes lead into new universes, equally feels like an adventure leading to many more bold journeys.

The creation of Frédéric Benmussa, a multi-instrumentalist, songwriter, producer and no doubt much more, Antigone Project has grown from a solo project in 2002 to be one of France’s most engaging electronic rock/metal proposals. With the talented prowess of bassist Manu Ventre and drummer Fred Monaco alongside Benmussa, the band had its hands on attention with the release of a self-titled first EP in 2015. It was the debut clue to the expansive and expanding sound growing within the outfit, a suggestion taken further by From Its Room a year later and now truly unfurled within Stellar Machine.

Inspirations to the band’s sound and certainly new album range from Soundgarden to Deftones and Nine Inch Nails on to the likes of Depeche Mode, Jean Michelle Jarre, and Devin Townsend. That is enough to suggest the kaleidoscope of flavours making up the band’s album; they all involved with an even richer vein of Muse meets Radiohead like drama. Do not think you have a handle on Stellar Machine just yet though as ears will soon find a far thicker and greater carousel of the band’s own individual invention across its unpredictable body, one placing the listener into “the skin and shoes of a futuristic cosmonaut following the adventures of outer space travellers on a “stellar machine”.”

Climbing on board, ears are fastened into their seats by the powerful creative straps of opener Poison, its electronic/industrial lift off instantly swarming around the imagination. In turn, it leads to the virulent rock ‘n’ roll heart of the starter where riffs and rhythms are swiftly harrying and enslaving body and instincts, the calmer almost floating tones of Benmussa glazing the infectious exploits with a plaintive Matt Bellamy scented delivery. A compelling groove reinforces the song’s hold, the lively beats of Monaco dancing tenacious across the senses as keys bring cosmic scenery to bear on the imagination. Even in its calmer drifts, the song is forcibly infectious, the trio painting their creative canvas with an array of textures within skilfully woven enterprise.

The following Schizopolis needs mere seconds to have the body moving with its heated funk lures and enveloping synth pop enticement. A few seconds more brings a steelier tone and intensive edge to things, Ventre’s bass a darker brooding incitement which continues to lure and court the twisting infectious exploits of the song. Imagine The The meets Nine Inch Nails and the second track feeds expectations before taking them into deeper richer realms, leaving ears and appetite on a high ready for the moodier, crepuscular skies of III. The song’s air is as enticing as its predecessors, but within its emotional and atmospheric twilight a smouldering seduction matched in energy by the similarly calm vocals and keys.

Another fresh climate is brought by Mantra Nebulae, a dirtier rugged rock/metal contemplation over which vocals and melodies glide while Raphe Nuclei surrounds ears with an almost glacially reflective electronic embrace. Neither track quite lit up ears here as those before them but with the snarling dexterity of the first and the emotionally intensive vocals of Benmussa crawling the second, both tracks enthral and increasingly ignite the imagination over time.

In contrast The Black Widow instantly ensnared instincts and the passions, its intrigue ridden, noir coated web of dramatic coaxing as threatening as alluring. Hooks and grooves collude in seduction, vocals prowling with infectious devilry as bass and beats just flirt; a mix addiction was intended for. There is a touch of Fad Gadget to the song, eighties electronic/new wave essences as readily embraced as other more rapacious textures by the band and the increasingly volatile moments of the outstanding proposition.  The song is superb, a major highlight of Stellar Machine which Pretty Pain straight after easily backs up with its Mike Oldfield/ Devin Townsend nurtured symphony. As all tracks, every passing minute is unique to the last yet a continuation of their revealing cosmic travelogue and emotional revelation.

Cardio Machine is simply raw temptation, a fusion of predatory rock ‘n’ roll and synth pop virulence which has a firm restraint on both yet employs their attributes along another highly addictive body of enterprise. There is something enjoyably familiar about the song but nothing which can be pinned down, just simply and greedily enjoyed with every listen.

The album’s title track is eleven minutes of sample built introduction within senses stroking atmospherics, moving into electronic painting and progressive weaving where every minute adds to a flight feeling far shorter than its actual length such the beauty and captivation on offer. The song alone captures the mood and adventure of the theme; playing like a recap but of another past or future heroic planetary flight.

The album concludes with the atmospheric grace and beauty of Sun’n’rain; a rhythmically bold, melodically heated serenade beneath earthly pleasures. Drawing on the strongest Muse like flavours yet, the track with its almost Bond like theatrical lining brings the album to a powerful and more importantly thrilling close.

Stellar Machine confirms that Antigone Project just go from strength to strength, from bolder adventure to adventure yet still you get the feeling we have not come close to their most monumental exploit yet. Another must investigation for you all.

 Stellar Machine is out now through Lazy Freddy Records via most online stores.

https://www.facebook.com/antigoneproject    https://twitter.com/projectantigone

Pete RingMaster 18/07/2017

Copyright RingMaster: MyFreeCopyright

Serenading webs and trapping harmonies: introducing Tali Dennerstein

Tali Dennerstein is a British rock singer, songwriter, and producer who is beginning to lure eager attention with her unique mix of Pop/Folk Rock, Gothic Rock, Grunge and Dark Ambient Music. It is a kaleidoscope of flavours embraced by imagination and invention as evidenced by her latest release and videos. We seized on the chance to find out more by talking to the lady herself, exploring her creative beginnings, her solo project, new EP and more besides…

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

Can you first give us some background to yourself?

I’m an alternative rock singer, songwriter and producer. I’ve always been very passionate about music and from a very early age, I grew up listening to a lot of 80’s and 90’s Gothic and Grunge Rock music, which really inspired me to want to start my own musical journey. I’ve always enjoyed writing lyrics and after being in a few different bands, I decided to become a solo artist, mainly because I liked having control of the direction my music was taking.

You mentioned previous bands. How have those experiences impacted on your own musical explorations?

I’ve been in a few different bands in the past. My first band was a more electronic /trip hop style band and my last band was a heavy rock/grunge band and I think it definitely helped me to decide the style and direction that I most enjoyed working with. I’ve also collaborated with a couple of artists online and recently I’ve also started a synthwave side project, which has been really fun to work on because I love the 80’s electronic sound and it’s been fun to do something so completely different.

Many solo projects decide to go under a created moniker; you?

As a solo artist I decided to use my own name, although I did consider having a band name but I just couldn’t think of anything that was good enough.

Was there any specific idea behind the direction you wanted your work and sound to offer?

I had a lot of song material, which I’d written over many years that I hadn’t really had a chance to do anything with for a long time and I really wanted to get as much of it completed and out there, as possible for people to hear. That was my main reason for starting my solo music. I also really wanted to try and create my own sound by merging both gothic and grunge rock styles together, as those were my two favourite genres of music styles, when I was growing up. I like folk and electronic music too, so I also tried to add some of these influences into my sound as well.

Are you driven by the same creative things and intent from being a fresh-faced musician or have they evolved over time?

As a solo artist, I’ve only really just begun so it’s relatively new for me but I think the same thing drives me as a songwriter and that’s always been to create meaningful music, that people can enjoy and relate to and that helps them in some way.

Since your early days as a songwriter how would you say your sound has evolved?

My sound has evolved quite a bit. I started with a very 90’s indie pop and folk rock and ambient electronic sound but my next album will be much heavier and a lot darker, both lyrically and musically.

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

I do like to experiment with different ideas and sounds, so I try new things to hear how they might add to a song but with regard to changing the direction of my music to a heavier sound that was deliberate because it’s how I felt the songs on my future album worked best and it just felt right. I do still like to write softer more folk rock and electronic tracks, as well but I tend to go with what feels right for each individual song, when it comes to creating the right sound.

Presumably a wide range of musical tastes you have an equal array of inspirations; are there any in particular which have impacted not only your music but your personal approach and ideas to creating and playing music?

I’m inspired by a lot of artists and bands but my biggest inspirations are Curve, Alice In Chains, Soundgarden, and Nick Drake. I love Curve’s Doppelgänger album and the way the guitars create just this huge wall of distorted sound. I also loved the way they used a lot of electronic elements, which merged in with the guitars. It made the tracks sound quite industrial, even though they were considered a shoegaze band. They had a very interesting and unique sound. I’ve also been very inspired by how grunge bands wrote their lyrics. They were often really deep and introspective and really made me think about what message they were trying to convey. I liked the fact that the lyrics weren’t straightforward and were hard to figure out and that everyone could find their own meaning in them.

Is there a particular process to your songwriting?

I always start by recording any melody ideas that come to my mind and I get a lot of ideas every day, so I like to keep my sound recorder next to me no matter what I’m doing. I tend to think of the subject matter usually after I’ve thought of the melody and that’s because I get an idea for the theme, usually based on the feel of the melody.

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

I’ve drawn a lot of my inspiration from some very tough situations I’ve had to face in my life, so my lyrics have sometimes reflected my hopes for things to improve, as well as my need to face the pain and fears I feel each day, due to my situation and to become stronger, despite the circumstances. I’ve also written lyrics based on things I’ve experienced in the past, such as heartbreak or bullying or about things that are happening in the world around me, that I feel strongly about such as war conflict and also about peace.

Could you give us some background to your latest release?

My latest release is a 7 track EP called Live For Tomorrow and I recorded the songs a while ago but I’ve only just recently released them.

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

The first song is called Summertime and it’s a very upbeat pop rock song, with a feel good Summer vibe. It’s about releasing and letting go of negative thoughts and instead embracing all of the small but meaningful and beautiful things that life has to offer, that we sometimes don’t always see, when we’re stuck in a cycle of depression. It’s also about keeping hope alive and just trying to stay optimistic. The second song is called Tonight and it’s a folk rock song. It’s about a girl being led on a journey, to find herself and unknowingly being guided by invisible forces in the right direction who are watching over her and protecting her. It’s lyrically written in a fairy tale style. The third song is called Live For Tomorrow and the track is an indie pop song, about a relationship that just isn’t working out and it’s about just accepting things and looking to the future and letting go of the past. The fourth track is called Hurt. It’s a slow electronic ambient song and is about unintentionally hurting someone you love and feeling guilty about it and how you miss them after they’ve gone. The fifth track is called See The Sun. This one is very 90’s Brit pop, in style and it’s about closing the door to the past and looking forward towards a brighter future. The sixth song is called Skyline and is about being there for someone who’s hurting and telling them you’ll always be there for them. The final track is called Far Away. That song is about imagining a better world, where hatred, greed and fear don’t exist.

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

I usually have some idea of how I think a song should sound and then I use that as a base to develop and add any ideas later on. I also work with a really great producer, and we work together until each song sounds right, so it’s a slow developmental process right up until a song is finalized.

Tell us about the live side to your music?

I love performing but at the moment, due to my circumstances I can’t perform, although I’d really love to. I’ve been concentrating on recording from home, as many songs as I can and I’m hoping sometime in the future, I’ll be able to perform them live.

It is not easy for any new artist to make an impact regionally let alone nationally and further afield. How have you found it?

I honestly don’t know because I usually use social media to get my music heard. I don’t think where I live, there’s much of a music scene.

So the internet and social media has been a potent impact on your music? Some see it as something destined to become a negative from a positive as things progress and grow. How do you see things?

I think social media is a great and very positive way for helping musician’s and bands to get their music heard. It can take time but it’s amazing to be able to connect directly with music lovers from all around the world. I think the only negative aspect is that there are a lot of musician’s and bands trying to promote themselves on social media and it can be hard to get people to click on music links as the market is saturated but it just takes determination and hard work and it is worth being on social media in the end.

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

I’m giving away 3 free songs to whoever signs up to my mailing list, plus an extra free track off of my latest EP.

Explore the music of Tali Dennerstein further @ https://www.facebook.com/TaliDennerstein.music as well as https://talidennerstein.bandcamp.com/album/live-for-tomorrow-ep and https://twitter.com/talimusicartist

Pete RingMaster 13/07/2017

Copyright RingMaster: MyFreeCopyright

Andreas S Jensen – Trust is My Anchor

With a new album due to drop this coming September, musician/songwriter/producer Andreas S Jensen releases new single Trust is My Anchor this month, a song which alone sparks plenty of intrigue for what the upcoming Disturbed might offer.

Moving to London from his native Denmark in 1998, Jensen first started working as a session player with the band Dweeb before concentrating on writing and production and signing a publishing and management deal with Wise Buddah Music. As part of writing team The Funktuary, he co-wrote and helped put together the radio edit/remix of Armand Van Heldens club classic My My My before the team released their own well-received EP. From there he joined Dub Pistols, who he still gigs with, and released a debut solo EP in the shape of Disconnected in 2014 and over the years has worked in various ways with the likes of Kevin Lyttle, Nate James, Stefanie Heinzmann, Dido, Rizzle Kicks, Beenie Man, Nerina Pallot, and Loick Essien among numerous others.

Jensen’s own music draws on the inspirations of artists such as David Bowie, Tom Petty, Soundgarden, Elliot Smith, and The Zombies; essences you can feel more than hear within Trust is My Anchor. A fusion of melodic rock and pop balladry, the song caresses ears initially with a single guitar alongside Jensen’s emotive tones. Both entice the listener into the heart of the track and the waiting muscular roar of the chorus. It is a quickly engaging mix; the minimalistic tone of the verse a blend of melancholy and hope openly sharing the track’s plaintive cries and its sturdier crescendo a defiant response which easily arouses the spirit.

Trust is My Anchor is a firmly satisfying encounter which invites rather than demands attention but easily provides a memorable and increasingly enjoyable experience.

Trust is My Anchor is released June 23rd.

http://www.andreassjensen.com/    https://www.facebook.com/AndreasJensenMusic    https://twitter.com/andreassjensen

Pete RingMaster 21/06/2017

Copyright RingMaster: MyFreeCopyright