Cynical Existence: Come Out And Play


Released on February 22nd via Alfa Matrix, Come Out And Play the debut album from Swedish band Cynical Existence has been a highly anticipated proposition amongst fans of harsh EBM/industrial/dark electro fans. Last year saw two EPs from the band which lit up the genre and ventured to the darkest corners of the human condition through a melodic abrasion which was as refreshing and enthralling as it was imaginative and emotive. The solo project of Fredrik Croona, founder and one half of the excellent aggrotech/industrial act Project Rotten and former vocalist of dark electro/industrial band Menschdefekt, Cynical Existence has delved deeper in to its heart to create its darkest engagement  yet, a compelling caustic encounter which provokes and evokes the sharpest reactions alongside the fullest pleasure.

A Familiar Kind of Pain, the first EP from Croona, rampaged and stomped over the senses with a near viral infectiousness to a presence drawn on the personal heart and shadows of the artist. It was an impressive introduction to the project which was then equalled by second EP Ruined Portrait, a collection of tracks which breathed with a darker shadow than its predecessor without losing the contagion rife on the first record. It also suggested what is realised on Come Out And Play, a further depth of reflective inspirations which have evolved into a more intense and malevolent creativity. The album is challenging and arguably less infectious than previous releases but with a maturer energy and craft is just as contagious and impressive. It is an intriguing release which asks for more attention than maybe one initially expected but offers even greater rewards.

As the dawning opening atmosphere on A Scar On My Mind envelops the ear there is an immediate sense of darker energies emerging The vocals of Croona are less caustic than expected initially before his usual pleasing squalls of emotion are unleashed. It is an instant variation which grabs the attention and adds depth to the presence of the track. Melodic beckoning caresses weave their way through the chilled ambience of the song brewing a rich mix of light and dark aurally and emotionally. The sonic manipulation through addictive hooks and melodic teases are more of a loud whisper than an open invitation and makes for a fluid and thrilling veining to the track.

The following Deception is a lighter chord of inner investigation, its airy melodics and sun fuelled glow a warm expanse over the waiting shadows. It is with the glorious and unexpected ‘nintendo dance’ which breaks out that the track just soars further in the heart. It is an imaginative and again intriguing pleasure, an open sensation marking the evolution in the composing and invention of Croona. Without the denseness of the first song the track also declares a diversity to Come Out And Play which was possibly missing on the previous EPs and leaves one greedy for more.

The variety is continued through songs like I’m Broken which fuses the crystalline flavours found in New Order to an angst driven dancefloor expulsion of emotion, GDI, and the serpent spawn Face Of God. The middle song of the three licks the senses with its sonic tongue to intimidate and ignite the deepest rapture whilst offering an insidious and compelling melodic wash which command feet and passion. It is the perfect companion to Face Of God, a track which leads one on a dance of sinister intent and vibrant violation. Again light and dark is the invading emotion and once more the track is an angelic evil which leaves one drooling in hunger and desire.

The further in the release the greater the heights of ardour sparked. Pick Your Poison is another where Croona mixes his vocal delivery wonderfully and unleashes a raptorial elegance which is as corrosive and dangerous as you could wish but equally warm and reassuring. The outstanding Reign Supreme and The Sexual Game both leave their tortured touches on the senses with magnetic charm and disturbed emotion, the pair leaving one enlightened and shadowed in personal emotive thoughts, with the latter song inciting within a pair of familiar tracks. We make no apologies for drooling over Paradox and Insecure, two songs which first made their appearance on A Familiar Kind of Pain and stand as our favourite conjurations from the man, though they are seriously challenged elsewhere on this album. The duo return to unleash their hypnotic mordant dazzling and captivating anthemic riots adding a familiar but again open variation to the release.

Ending with a final tempestuous molestation of delicious sonic foment in Seeping Through, the album leaves one on a high and with an irresistible itch to dive back into the cathartic encounter once again. Cynical Existence just gets better and better and one wonders if it will eventually be a bigger beast than the ‘day job’ for Croona. Released as a single album or limited carton box with a second full album of remixes, Come Out And Play is an essential investigation for all electro/EBM/industrial fans and especially those of bands such as Suicide Commando, SITD, Grendel, and Virtual Embrace.

RingMaster 17/01/2013

Copyright RingMaster: MyFreeCopyright

TheDevilzWork: Floodlights

A release to crush skulls and overload synapses, Floodlights the latest album from Australian industrial rock band TheDevilzWork leaves nothing but wreckage in its wake. The album is an eight track corruption which violates and blisters every sense and emotion, an insidious aural decay using sonic manipulation as a weapon and evocative breath.

Formed in 2008 the band was soon firing up crowds across the regions of Melbourne and Australian Capital Territory, as well as releasing a self produced 11-track demo Bad Moon Rise. Shows supporting the likes of Voices of Masada and MzAnnThropik increased the awareness and following for the band, which with the release of Floodlights and some deserved fortune should see greater acceleration in its growth.

The album is a devastating tempest of industrial terrorism brought with malicious strains of diverse agitations from metal and death metal to harsh EBM and cyber crust. The result is as venomous and dangerous as the band name suggests and just as diabolical.

The opening Monochrome immediately seduces and obliterates the ear, its crunching march a delicious intrusion and the melodic whips of sound it unleashes an acidic wash of pleasure. Sounding like a fusion of Sepultura, Young Gods, Suicide Commando, and Skinny Puppy distilled through a sonic wind tunnel, the track ruptures the air with pure abrasive intensity. It is as hypnotic as it is caustic and leaves the senses pulsating and smarting in raw pleasure. The vocals of Tobias and Nailhead crawl and scrape the edges of its recipients as keenly and deeply as the sounds, making for a fully impactful and addictive pleasure.

The following Bulldozer continues the assault with equal heavy malice, its grasping grip twisting and pulling the senses in every direction whilst its overall presence rubs its serpentine sonic salt into the already opened wounds from its predecessor. The vocals rasp and strip the air of any safety whilst the sounds and beats consume with rabid intensity and spite.

The album continues to show no mercy on its victims but does pull back on the oppressive assault with Machine Says No, though it is only for its opening breath. Into its full rampage the track is like a fetid brewing storm devouring every pore, its energy a burning touch to leave further scars of delight. The album like the track is a raging fire of noise and demonic passion which gives equal pain and greedy content.

Through the likes of the sonic bleed that is The Pit and the corrosive instrumental Gibbet, the release explores and unleashes further devastating soundscapes of misery, malcontent and gratification. With acidulous grooves and even stronger ruinous energies the album is not an easy listen at times and one which many will fall before by the time the release is only getting into its stride, but it is so rewarding if one survives its immoral spoils.

With the early Killing Joke/Ministry like Scab and the treacherous melodic seduction of Hive continuing the staggering heights of the opening pair of tracks, the album ignites only deep satisfaction. Every track on Floodlights is staggering and though some steal the highest platforms of acclaim, as a whole the album is a white hot scorching grazing to revel in, and a sonic storm which shows TheDevilzWork as a band where no sound or emotion is off limits to deconstruct and twist to their own sadistic intent.

RingMaster 03/09/2012

Copyright RingMaster: MyFreeCopyright

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Ghost In The Static: Fallout

Pic – Wicked Boy Photography

Already having garnered a strong and eager fan base as well as strong acclaim for their previous album and EPs, it is not pushing the realms of credibility to predict Ghost In The Static will put it all in the shade once their new album Fallout hits the world on September 1st. The album is quite simply immense, a magnificent explosion of electro industrial metal  which takes the senses on a massive thrilling ride. If you were impressed by their previous work and who could not be with its vibrancy and cutting energy, Fallout will leave you in rapture.

Formed in 2009 by frontman Steve Fearon, Ghost In The Static explored, experimented with, and evolved an evocative and stirring sound which was impossible not to connect with. Their Open Eyed Dreamer Part I: Revelation debut album of 2011 fully impressed as it showed a band still evolving but already creating compulsive inciteful sounds. Earlier this year two EPs The Infection Vol. 1 and Vol. 2 gave a teaser to what was to come and certainly ignited great anticipation though neither gave real warning of the incendiary levels of invention and  imagination to come. The new album has more muscle and intensity thrusting through its sound though the band has not neglected their electronic and melodic side. They have evolved it all into a striking consumption of emotional blistering and concussive energy. Think Celldweller and Suicide Commando in a riotous union with Nine Inch Nails and most of all Pitchshifter and you get a sense of the storm of creativity which envelops and brings climactic pleasure to a head.

Still within the world of post-apocalyptic struggle which themes their music, the new album is not so much a united series of songs as on the last album though all are linked by an overall  vibe to stand powerfully individually or as part of Fallout. This gives it a better balance than its predecessor in many ways but no less expansive in its atmosphere and depth. It is also more direct and intrusive, the attack a perpetual and sustained insistence from the first full track to the last lingering note of the release.

Starting with Armageddon, a brief intro setting the landscape the album is set in, the release slams into the ear with the title track, a stirring electrified rub of energy upon the senses. There is an immediate hunger to the song which takes no for an answer as the guitars of  Gareth Stapleton and Lewis Collins score the senses with sharp and impactful riffs and melodic surges. The synths of Collins sizzle like acid on flesh across the air of the track to disrupt the already riled energy pervading every pore, whilst the edgy basslines of Mike Fearon simply leaves one looking over their shoulder. A step into a graceful melodic aside gives brief respite though even there the tinge of destruction is whispering in the ear. The track is openly infectious and bustles thoughts and emotions in to a sense of something even more special to come.

      Another Day builds on the excellent start to raise the temperature even higher. It is a provocative and challenging slice of invention which straight away evokes imagery and emotions. A distressed ambience opens the song with the fear and desperation of someone lost calling through the sonic distortion. The plea is smothered as the track erupts into a boiling maelstrom of energies and aural disruption. The rhythms of drummer Martin Rogers echo and pulsate within bone as the song ignites the caustic air with its contagious tarnished melodic enterprise and insistent niggling synths. It is the triumphant brassy jazz sounds though which provide the match to full rapture which lingers long after the closing return to the lonely voice.

The muscular and venomous IWTMT  brings a fluid union of metal and electronic craft to keep things stewing perfectly whilst the ferocious stomp of Saviour and the corrosive breath of Rapture just give further abrasive charges of electrified pleasure. Each and every track leaves nothing but awe in their wake but when it comes to Not Enough and Fallen Gods it becomes something almost illicit. The first is simply infection gone wild, the rampaging energies and hooks barbed with addiction making melodic poison as it sweeps limbs and senses up into a brawling and insatiable tornado of sound and passion. Once bitten the song remains within forever, a companion in sleep, thought, and those intimate moments though its rhythms make a great pace maker. Fallen Gods is the same, a song which refuses to leave without an exorcism. Like a rampant Rabbit Junk, the band teases and molests with more of their adoration baiting melodies and inspirational imagination and both confirm what a strong vocalist Steve has become. Both carry a more electronic gait in contrast to the harder earlier songs though all are perfectly unruly and powerful.

With two vocal guests in MiXE1 on Lost and Cease2Xist  in Everyone, a couple of emerging industrial/electro powers, and the closing dark elegance of Judgement Day, the album is the fullest feast of experimentation, imagination, and irresistible energy. The pleasure does not stop there though as the CD version alone contains the brilliant and slightly punky YDNTL plus the equally stunning Nihilism III, which to our mind makes the download redundant such their greatness, but do not tell the band we said that.

Fallout is one of the best albums to come out this year and within electro industrial metal possibly the very best so far. Ghost In The Static has come a long way since those early days and just keep getting better and better. Whilst you mark that release date  off on your calendars we are off for a cold shower, phew!

To find out more, pre-orders etc go to

Listen to Ghost In The Static tracks from Fall Out on The Bone Orchard podcast from The Reputation Radio Show

RingMaster 16/08/2012

Copyright RingMaster: MyFreeCopyright

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Interview with Steve Fearon of Ghost In The Static

UK electro industrial metal band Ghost In The Static has captivated our and the genre’s ears for quite a while now with their vibrant and striking sounds. Their music is powerful, thoughtful and loaded with irresistible hooks and melodies alongside exhilarating and intrusive direct intensity. They stand as one of the bands at the fore of UK Industrial music and  with their recent Infection EP’s one which is giving it a new heart, something their new album later in the year is promising to endorse and beat louder with. Long overdue we finally got down to grabbing some of  band founder and vocalist Steve Fearon’s time to find out more about Ghost In The Static, their music, and more.

Hi and welcome to The Ringmaster Review. Many thanks for talking with us.

Firstly could you introduce the band?

We have myself, and the main vocalist, Gareth who is our rhythm guitarist, Lewis who is the lead guitarist and synth player, my brother Mike who is our bassist and Martin our Drummer.

How did Ghost In The Static begin?

The origins of the idea behind Ghost In The Static came about in about 2003-4 when I was still at uni and I began working on the idea of a music project with a deep universe within which it would sit. Me and my good friend Marcus used to brainstorm ideas about the storylines that could be involved and what the music would be trying to evoke.
However neither of us really knew anything about recording or programming so it stayed a mostly theoretical project.
I kept the flame of the idea within me for years afterwards but never really acted on it until Lewis and Gareth (who were playing in another band at the time) suggested it might be fun to actually try and make some Industrial Rock music.

Despite knowing next to nothing of the processes involved, or the techniques used by many Industrial musicians, the writing process was very easy and I think we had the majority of ‘Prophecy’ (opening track on Open Eye Dreamer Part I) down after the first session.

So industrial metal has not always been the area your music has been based in?

Not really, we have all come at this from other projects, and have differing influences. We have to a large extent all come from a more mainstream alternative (oxymoron?) background with Metal and Punk, but have all gravitated towards the variety and challenge that electronic music can provide.

Many industrial metal /electro bands only have a full line-up for live shows, the studio work and creativity coming from one or two members. What is your set up in both areas?

Originally the band was built around me, Lewis and Gareth, with Mike and Martin effectively coming in as live members.

However, over the course of writing ‘Fallout’ (our 2nd album due 2nd half 2012) we have involved them more and more to the point where Mike comes into a lot of the writing/recording sessions now and Martin creates midi files for the drums to help create a more accurate and live feeling sound which has had a big impact.
Everyone also gets a say in the mixing process so I would say at this stage it is as collaborative an effort as we have ever had, and the plans for album 3 intend to develop that even further.

Your music has echoes of the likes of Gary Numan, Celldweller and Suicide Commando but where does the harder edges sounds come from, thoughts of Fear Factory and Rabbit Junk come to mind but you are quite unique in that area. Does this side basically come from your work/tastes before Ghost In The Static?

I would think that is fairly accurate. Whilst we have all listened to FF previous to GITS, I would probably say it would be bands like Metallica, Tool, Disturbed & Rammstein that give us the heavier inspiration, certainly on the riffage side of things.

One gets the impression Ghost In The Static is about putting on a show in all aspects whether live or recording wise, every aspect deliberately and thoughtfully created. Is that the reality?

Definitely. Long before the music was written, we had a very strong vision of what we wanted to achieve.
We wanted to create a musical landscape that could take the listener out of their seat and into a new reality.
Movies were a big inspiration, and we wanted to capture a bit of that by having a cinematic style to our music, and our first album was very much built on the concept of each track being a scene in a larger tale.

Our approach to live music has always been to make it into a real show, with our costumes, face paint and projections. We wanted to recapture a bit of the wow factor that has been lost in recent years with so many bands wandering onto the stage in band shirts and jeans.

Everything we do has a lot of thought put into its purpose, desired effect and quality, and we hope that comes across.

..and it has always been like that, that thought and intention the seed from day one?

As mentioned earlier, the rough idea and vibe had been developing for a long time, and before we even sat down to write the first song we had discussed what we want to achieve and how best to do so.

One of the things that keep us focused is the depth and planning in every track.

How has your sound evolved to your mind since the beginning?

I think as we have learned more about production/mixing and electronic music in general, we have improved at being able to blend the rock and electronic aspects in a more effective way. We are not interested in being a synth metal band or an EBM band with guitars, we want to use the most effective tools in the right situation, and with each song we write we get a little better at developing that blend.

Also the musicianship of everyone involved has improved from the first album to the next; everyone has more to offer now in terms of what we can achieve in new tracks. I think vocally we are all much stronger now than when we started, and the mastery of our instruments is something that will only get better as we go.

Same question but regarding the actual songwriting?

Well the first album was essentially planned out like a script due to the conceptual nature of the tracks.
Certain tracks had to be big and fast and others slow and subtle, in order to reflect the mood we wanted to convey at that part in the larger story.

However we took a break from that approach on the 2nd album, which whilst still deeply embedded in the concept, took a more freeform approach.

We intend to return to a stricter concept album from album 3, albeit with a more organic approach to song writing, as we are intending to write a lot of material in the practise room as opposed to sat by a computer, which will be an interesting change!

We came across you by your debut album Open Eyed Dreamer Part 1: Revelation, though I believe you had an earlier track out? Tell us about the theme behind the album?

Open Eyed Dreamer Part I: Revelation was our first full release, we had put out a couple of demo EPs (Fatalism being the main one I can recall) but really this was the first ‘finished’ article.

The theme is built around my love of dystopian sci-fi, and post-apocalyptic struggle. In a future where invisible powers control every aspect of human life, one man wakes up one morning and finds he suddenly understands the system, and can see the puppet strings everywhere.

We allude to chemical controls, curfews, martial law, and corporate governance.

There are a lot of political undertones to it, perhaps in my clumsy way to emulate Orwell or Philip K Dick, but I feel there are a lot of parallels within the concept to the way this country is run, in fact as time goes on, increasingly so.

From the album and as shown from subsequent releases there is a lot of thought and planning behind the songs lyrically, musically and their union. What comes first generally, words, music or the concept idea?

Concept always comes first.

When writing a new track, I will usually already have a rough idea of what I want to convey within the track, be it a protest to authority (‘Lost’*, ‘Hope’ or ‘Resistance’), a introspective character monologue (‘Forlorn’, ‘Journey’ or ‘Judgement Day’*) or a more plot based scene setter (‘Pursuit’, ‘Change’ or ‘IWTMT’*)

Usually the music will then come into it, and finally the words.

*denotes tracks from the next album 🙂

How does the songwriting process work for you?

For me personally, it will usually start with an intro, be it a guitar riff, synth progression or a rhythm.

I tend to put a lot of thought into how a track will start, as I often find if you are going to hook someone into the world you are creating, you need to build the atmosphere.

Then I work section by section as it comes to me, it is usually a quite natural process, with one idea flowing into the next…but it isn’t always that easy.

Things will work slightly differently going forward as we are trialling the idea of ‘jamming through’ song ideas in a practise studio in an attempt to keep things fresh and give album 3 a more organic and different vibe to the coming album.

Musically it is a full band involvement in the creation of a song?

It is nowadays yes. Quite often it will start as an idea, progression or riff suggested by a band member, and then we will throw ideas at it as a unit.

We have the motto ‘give it a try’ and we have had some hilarious, horrific and genuinely surprising ideas come up from the most random suggestions, but it keeps the process democratic and keeps things fun.

What inspires your creativity and ideas?

There are probably 3 main areas that influence my personal approach to writing:

  1. Personal Experience – First world problems am I right? Some songs I write to channel some frustration, same as most people I would imagine, although I try to hide my personal agenda or emotion behind a concept-relevant façade.
  2. The World – in particular politics, war and religion. There are a lot of things going on in the world that are so blatantly greed or power driven that I channel my frustration into giving it form in the Open Eyed Dreamer’s world.
  3. The Future – I have a fascination with what is around the corner. Channelling my love for films such as Equilibrium, The Matrix, Logan’s Run, Soilent Green, Akira etc into exploring this desperate world.

As you say you bring a definite Sci-Fi flavouring to the songs but find relevance with reality and our world. Is that a defined aspect to your writing and think we connect to that easily because our lives and world is becoming more like a science fantasy?

I think dystopian sci-fi has always been linked to what was happening in the real world. Was Orwell’s 1984 really predicting the CCTV nation we have become, or did he simply interpret correctly the way the country was headed?

Books like ‘1984’ and ‘Do Androids Dream Of Electric Sheep’ deal with the reality that our decadence and apathy will lead us to a shallow and limited existence at the hands of a ruthless ruling class.

Were they wrong?

A lot of bands bring their political opinions/agendas etc directly to the listener whilst others address things with a more dare one say artistic and welcoming substance. You are in the latter camp with any ideas and opinions you wish to present. Is this deliberate or just the way you naturally are?

There are plenty of people I would like to grab and shake until they saw things the way I did, but I know from political doorknockers, evangelists etc that if someone TELLS you something is wrong/right, the initial reaction is to tell them to do one.

No one wants to be told, they have to discover it for themselves. The problem is that this country has been in an apathetic slumber for so long that people don’t dig for the truth anymore, they just taking the easiest to reach approximation.

We simply try to provide a few questions, in the hope that it will lead the listener to ask more themselves.

The biggest tragedy of our generation is that we have stopped asking questions.

That’s why journalists are more interested in what Cheryl Cole has to say than the hundreds of thousands dying in the Middle East or the covert dismantling of the NHS.

You started the year with your latest release The Infection Vol 1. led by the excellent track Not Enough. Tell us about the song?

‘Not Enough’ was one of the first songs we finished for ‘Fallout’ and I think it was a sigh of relief. OED Part I was a lot of hard work due to our inexperience, and the amount of ideas we were trying to convey.
We decided early on that we weren’t going to plan this album to the same extent, and were just going to focus on writing strong individual songs that fit into a larger theme.
‘Not Enough’ was us basically saying ‘let’s write a straightforward, riffy barn stormer that will be fun to play live’.

In terms of the concept it’s a look at the world after the apocalypse, and thinking this is all we have left now…and it’s not enough.

In terms of the meaning behind the lyrics, it is the idea of looking around you and saying ‘No, I am not happy to just work a dead end job for 60 years only to have the banks squander my pension, No I am not happy to vote for a political party and then have them change their promises as soon as they are elected, No I am not happy to see schools and hospitals closed and sold off to fund the building of nuclear warheads’.

The track is accompanied on the release by remixes of the song by the likes of Cyvergence and Witness The Apotheosis. Was the addition of these tracks always in mind or came about from the great work these people did?

Cyvergence had remixed us before, and he is an amazing producer, so it was always hoped he would get involved. Witness The Apotheosis I had spoken with previously when myself and Mike were producing the ‘Incoming Fire’ Podcast for Grave Concerns Ezine, and they showed an interest in getting involved. I knew that they had a very original sound to them and were very creative so I knew they would come up with something very different.

You made the lead track a free download off the release rather than the additional material. Seems over generous, what was the reasoning and do you fear it makes the other tracks seem more important?

I must confess that was my mistake! I made the EP as a whole available for free, but didn’t make all the individual tracks free, meaning you could get all of them for free, but only ‘Not Enough’ individually for free.
So it wasn’t my intention!

The idea was always to use the ‘Infection’ EPs to remind people that we were still around, and to keep us in the forefront of the scene as much as possible whilst we finished ‘Fallout’.

Vol 2 followed early this year comprising of remixes of the song Saviour, this a complete free download release. Tell us about the actual song they are covering?

Well ‘Saviour’ was a track we wrote for the ‘Electronic Saviours Vol 2’ compilation, but we decided to update it and give it a different mix and use it on the album (hence the ‘Ghost Mix’ on the EP).

This one has a very aggressive, dance vibe, almost early Rammstein like, and has me taking a more aggressive approach with my vocals.

Lyrically it is all about finding strength within yourself, and not relying on family/friends/God/Government to do everything for you.

As you said you are working on your new album.

Yes, we will be releasing ‘Fallout’ later this year, we are just in the final stages of the album production, with our good friend Steve Alton of System:FX coming as us Co-Producer to help us make the tracks the best we can.

We shall be announcing the launch date VERY soon and will be releasing it on digital and CD formats on my label Static Distortion Records (

What treats will it have in store for us, and does it take the band into new areas?

This album is a more immediate and sustained attack of an album, with each track playable in its own right.
We have eased up on the storytelling for this album, preferring more of a general vibe to a specific story before returning to a heavily storyboarded album 3, due in 2013 😉

I think there are a number of tracks that will surprise people, a couple of vocal cameo’s from some of the UK industrial scene’s hottest artists, and some really catchy songs on there, so there is a lot to look forward to!

Will it have some sort of theme or concept too?

This album is a themed release, each song has a vibe, and general feel to it, without being tied down by specifics. This is a much more easily accessible album than OED Part I in my opinion.

You are on Static Distortion, your own label. Tell us about the idea behind the label?

Well, I have always been interested in the workings of the music industry, and I get frustrated by the rather blinkered approach that a lot of the big labels have these days.

I wanted to create something that was up to date, community based and focused on trying to bring alternative electronic music to people beyond the narrow confines of industrial.

Was the starting your own label forced upon you simply to get your music out there or is it the natural next step in your ideology as an artist and musician?

Well its true what they say these days, every band is effectively a record label if they sell their own music. But I saw an opportunity to gather together several artists and get us pushing together in the same direction. Cross promotion and word of mouth is the best way to promote music unless you have a million pound budget per album to spend on bribing radio ‘gatekeepers’ to play your tracks on mainstream radio.

I love music, and I love working with talented driven people, and I believe my skill set allows me to help those around me. All I did essentially was formalise this ideal and call it a label.

Do Labels have a future? Not in the traditional sense, I think most people can see its going to be more about building relationships with customers than selling them products, and when the industry changes I intend to make sure my artists benefit from the music ‘renaissance’ that I believe is coming.

Apart from the band, who else is there on the label that people should take a deep interest in?

Well at the moment I am fortunate enough to share the label with 3 other artists J

MiXE1 is a well established artist with an unmistakeable sound and is possibly one of the best songwriters I have ever had the pleasure of working with. He blends the raw energy of rock music with the power and majesty of electronic music. We are lucky enough to have him featuring on a track in ‘Fallout’.

He has an EP due out on June 16th titled ‘Module 02’

Digital Deformation released one of the best independent albums of last year ‘No Signal’, and is a real creative force in industrial music. He can find melodies and rhythms where no one else would, and weave them in an organic and powerful statement of political intent.
He is currently working on the follow up to ‘No Signal’ and its sounding HOT!

Finally I come to our most recent acquisition, Digital Diktator!
Based in Slovenia, these boys have a similar love of sci-fi and concept albums and have produced their first EP in quick time!
They have a real sense of atmosphere and scale, and they will be going places before long.
Their EP ‘At The End Of The Universe’ is available from May 4th.

I am also in negotiation with some very exciting artists at the moment, so watch this space!

All of these releases are available at

You have big gigs coming up I believe, can you give some details?

We are fortunate enough to be supporting Dreams Divide on the 5th May at Electrowerkz in London, which is great as we are big fans, and Synchotrax Promotions are one of our favourite promoters.
We also are playing as part of the Music 4 Mental Health Festival in Reading on May 19th which is for a good cause and has a big line up of awesome acts.

Other than the album and events what is next for Ghost In The Static?

Once we have ‘Fallout’ released and have tired of whoring it to everyone twice, we will be writing and recording ‘Open Eyed Dreamer Part II :  Ashen’

In terms of the timeline involved it goes: OEDPART I > OED PART II > FALLOUT

but we like to be difficult. How does the world go from a faceless dystopian city in OED Part I to a post-apocalyptic wasteland in Fallout? You will have to wait and see 😉

Again a great thank you for talking with us, it has been a pleasure.

Would you like to leave us a last thought to get our minds into?

Just the usual musician/label thoughts really…

If you like an artist, buy their music, support the little labels, and go to gigs.
Everyone complains that they don’t hear enough new music or new directions but they are out there, you just need to spend some time looking around!

We will continue to develop the Ghost in The Static Universe, and push the envelope for Electronic Rock music, as we believe it’s a genre that is woefully under explored.
Come explore it with us!

…and finally you know we have a kind of problem with remixes here haha, their purpose etc, so would you like to end by explaining their validity and what we are missing in trying to understand them?

Well Remixing is a nice way to get other artists introduced to new audiences, and to show how a song could have been made if it went in a different direction.

Its not always done right, but the best re-mixers can take a song and turn it into something beautiful…we have had several remixes done where we complained that it was better than our original version *shakes fist*.

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The RingMaster Review 29/04/2012 Registered & Protected

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