Tense Men – Where Dull Care Is Forgotten

Tense Men promo

    Bringing a primitively lustful tingle inside with its post punk bred fusion of noise and psyche rock, the Where Dull Care Is Forgotten EP from UK band Tense Men, is one of those delicious treats which flicks all the right switches. Band and release is a ripe proposition for those with a strong appetite for post punk, repetitious discord, and minimalistic adventures of noise and maybe less tasty not for those with different appetites, but we would suggest still a rewarding encounter leaving a lingering mark whatever your penchant.

    Tense Men was formed in 2011 by Cold Pumas guitarist/vocalist Oliver Fisher and singer/drummer Richard Phoenix of Sauna Youth. Combining drums, guitar and a loop pedal the duo made people stand up and notice with a clutch of live performances before recording the six track Where Dull Care Is Forgotten. Since its recording the Brighton band has expanded with the addition of Omi Palone bassist Liam O’Neill. Now with its release via Faux Discx on 12” vinyl and digital download, the debut EP from Tense Men is poised to push this union of craft and noise sculpting into an eager awareness, its success on the strength of the release something hard to doubt.

    As soon as opener Stages Of Boredom scars the ears, imagination and an already assumptive hunger are lit as guitars lash the Layout 1air with sonic persistence matched by a rhythmic enticement. The first piece of insidiously addictive weaponry is unleashed within seconds, a repetition driven groove entwining the senses with seductive potency as the vocals of Fisher offer a mutually monotone seeded suasion. Into its full drone bred swagger, the track baits the emotions with a mix of The Gaa Gaas like psyche temptation and the post punk causticity and repeating moroseness of Joy Division. It is a magnetising provocation which worms itself under the skin with an insatiable toxicity and an intensively powerful lure into release and band.

    The following RNRFON resonates through bone as its rawer body presses on the senses with a bass cast coaxing rapidly joined by equally unrelenting rhythms. Across their flanks shards of caustic guitar sear the air before the vocals join the affair with a sombre wishful tone to their delivery. The track reminds of another English band; The St Pierre Snake Invasion with its rawer punk lent persistence, again restrained torrents of repetition veined by squirreling guitar leading the passions into another ardour clad response. With a coat of discord to the jangling swipes of Fisher’s strings in dramatic contrast to his vocals and the low hum of the track, Tense Men has imagination, theirs and ours, tightly clasped in their hands.

     Lie Heavy (Desperate Times) has a thicker rapacious throat and presence to its sound, Mary & Jesus Chain with a touch of Birdland coming to mind whilst the enticing jagged guitar melodies add a touch of The Fire Engines to the abrasive incitement. Though the song does not spark the same depth of greed as its predecessors it still leaves satisfaction basking in a resourceful web of noise which the title track tries to exploit further with its slow and patient consumptive breath. The dark wash of the track almost swarms as it offers its doomy pressure, the drone preying on body and thoughts and in a different guise repeated through the equally potent Nonentities. The track has a slightly lighter atmosphere which also ventures into a Reid brothers inspired premise as its predecessor, but still allows no respite from the intensity and mesmeric call that unbridled reduplication brings.

    The EP ends on a riot to match the incredible start of the release, Opiate Glow the dramatic treat. The rawest punk spawned track on the album with post punk voracity, the tempest emerges from a two barrelled incitement into a ridiculously contagious stroll, rhythms and vocals simultaneously beckoning and taunting before expulsions of furious guitars and energy savage the air. It is an outstanding trap which has more than a whisper of Wire to its devilment, in fact the song like a close relation to the legend’s track 12XU, just a few generations on in the family time line.

     Where Dull Care Is Forgotten is a fabulous release, a scourge of nostalgic and modern smothering which ignites the passions from start to finish. Whether Tense Men will have to bide its times as its members return to their day jobs we will see but already the anticipation for their next offering is impatient.

http://tensemen.tumblr.com/

http://fauxdiscx.bandcamp.com/album/where-dull-care-is-forgotten

9/10

RingMaster 10/03/2014

Copyright RingMaster: MyFreeCopyright

 

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The Black Black – One Blunt Death Party / You’re A Danger

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Creating a sound with a schizophrenic edge to its virulently contagious imagination, The Black Black has instantly thrust themselves to the heart of the fullest attention with their new double7″ single, One Blunt Death Party / You’re A Danger. It is a compelling, ridiculously infectious three track excuse for the passions to show some lust and a release which makes the Brooklyn trio a band to keep a close eager eye upon.

Formed in 2011, The Black Black brew up a distressed dance of sound bred from a mix of post punk, psyche rock, and punk. Latched to grooves which are epidemically riveting, it all combines for a presence which leaves a hungry appetite in the ear and passions.  Released via Money Fire Records, the single takes little time in stealing the fullest focus and appetite for their offering, the opening bass growl and similarly voiced guitar of first song You’re A Danger an immediate rich temptation which gnaws at and snatches the listener’s focus from anything else in the vicinity. Once settled in an invitingly repetitive but irresistible swagger a melodic guitar starts to entangle its sonic tendrils gently around the core of the song, its enticement matched by great harmonious vocals. The track is like a mix of Baddies and The Passions with a spice of The Gaa Gaas and Scars added for extra invention and as it continues in its romp with restraint but open energy and fevered passion, the song sculpts a highly potent declaration veined with discord kissed enterprise and melodic bewitchment, hypnotic persistence and sonic causticity also as equally ripe and convincing.

One Blunt Death Party continues the scintillating start; again a raw gnarly opening softening up the ears before sonic scythes of guitar and vocal intimidation parade their welcome barracking. As with its predecessor the rhythmic probing is inevitably thrilling, predation soaked beats and bass riffs alone caging and enslaving thoughts and hunger whilst making the perfect canvas for the guitar to unveil its mouthwatering narrative. The song has a garage punk like glaze to its sound at times, a raw and scuzzy surface which is pierced and punctuated by the imagination of the songwriting, a complete lure which offers thoughts of the likes of Wire and The Strokes a place to make suggestions. Like the first the track it is impossibly infectious, totally commanding in its presence, and simply an ingenious suasion.

Closing up the release is Cleptogina, a track which steals the show even against the brilliance of the first two slices of sonic alchemy. Taking that previously mentioned schizophrenic air into full on aural bedlam, the song is a spiteful but wholly enthralling web of rhythmic lashing and sonic acidity, again discord and uncompromising adventure raging within a honed vitriolic blaze of fury that mutually seduces and withers the senses. There are whispers of Alien Sex Fiend and early The Horrors spiking throughout the ferocious engagement but also from within the tempest a corrupted melodic acerbity which toys with the ears and brings excited hues to the aural rabidity. The closer shows the depth of the songwriting and along with the other two songs stretches the promise and further possibilities within The Black Black to highly anticipated climes.

The One Blunt Death Party / You’re A Danger single is an exceptional base for one exciting band and an introduction which you suspect will make for a great many The Black Black a new plaything for their passions.

http://theblackblack.bandnada.com/

https://www.facebook.com/theblackblack.nyc

10/10

RingMaster 01/11/2013

Copyright RingMaster: MyFreeCopyright

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Bête Noire – Shut Your Mouth

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Of course everyone has spent a moment to wonder what a merger between Joy Division, The Pixies, and Eighties Matchbox B-Line Disaster would sound like right? But ponder no longer as UK band Bête Noire brings you the answer with their debut release Shut Your Mouth. Unveiling much more than that trio of essences suggests, the two track single is a thrilling and potent introduction to a band which is almost as new itself as the release is to the world.

Hailing from London and consisting of vocalist David M Hargreaves, guitarists Danny Defalco and Billy Bloom, bassist Andrew G, and drummer James Whitfield, Bête Noire has been existence for around six months though listening to the songs you hear a maturity which leads one to believe their musical exploits could stretch back further. Taking influences from the likes of Chameleons, Magazine, Pixies, Stereo Lab, and Serge Gainsbourg, the quintet create a post punk stemmed sound soaked in dark shadows and chilled ambience but equally littered with hooks and deceptive melodies which only captivate in their worst moments and seduce at their heights. The single is a stirring marker for the band which though you could suggest right now their sound lacks a little originality you feel time and evolution will solve that minor ‘issue’.

Shut Your Mouth is the lead track and needs only the brief moment that it takes for the opening beats to be joined by the wonderful coversnarl bitten bass to secure full attention and draw a lick across the lips of the passions. As the steely jangle of the guitars coax in the excellent expressive vocals of Hargreaves the Joy Division vibe is instantaneous but only a strong flavour in a vibrant mix. Whilst the song wraps its cold engaging charms around the senses with flushes of warmth contradicting and elevating the core of the song through the hooks and sonic caresses, there is a feel of early Devoto led Buzzcocks peeping through and a noise rock shimmer bringing remote comparisons to bands like The Gaa Gaas and Engerica. It is an outstanding brew that issues distrust and persuasion with open hands whilst rising the temperature of the psyche and hunger into a greedy recipient.

Its companion Out and Proud is a similarly bred song but with more restraint in its deliberate prowl of the ear, the guitars crafting a sonic narrative to spark upon ear and thoughts whilst the bass kindly stalks their colour within a firm rhythmic frame. Once more the vocals tantalise with the great expressive delivery of Hargreaves coated in a hollow effect and pointing to Ian Curtis in likeness. With the bass offering throatier bait as the song progresses and the chorus providing the road to addictiveness, the song is like its predecessor a potently appealing and compelling encounter.

The single simply impresses from start to finish. It flows with such promise and enterprise that expectations of major things ahead from Bête Noire are already flourishing. Possibly it is too early to make such assumptions but as Shut Your Mouth holds the ear in its creative palms again, there is no betting against it.

http://betenoiremusic.bandcamp.com

https://www.facebook.com/betenoiremusic

9/10

RingMaster 22/08/2013

 

Copyright RingMaster: MyFreeCopyright

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Shevils – Necropolis EP

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Earlier this year, Norwegian hardcore band Shevils blew us and a great many others away with their single We Walk On Shattered Glass, a song which is deviously addictive with its flame of abrasive enthralling noise. The recent release of the band’s previous EP Necropolis in Indonesia, and it has to be said to a full flood of hunger and acclaim, gave us the excuse to take a look back at the four track confrontation and a wise move it turned out to be.

The Oslo quartet consists of vocalist Anders Voldrønning, guitarists Christoffer Gaarder and Andreas Myrvold also bass, and drummer Anders Emil Rønning, a group of musicians who seem to have an instinctive touch when making noise and abrasion seduce and invigorate whilst it scars and bleeds dry the senses.  Formed in 2010 the band has entrenched their unique brand of sound in the psyche of their homeland through debut album The Year Of The Fly, the singles Is This To be (Our Lives)?, which also opens up Necropolis, and the aforementioned We Walk On Shattered Glass, the last we suggest the trigger to the widest recognition as the band works on their second full length release.

The EP tumbles onto the ear with a clutch of beats before unleashing the full burn of sonic enterprise within Is This To be (Our a3674181538_2Lives)?  The guitars scorch the flesh of the ear to raise the temperature and impact upon the senses with vocals equally abrasive with their intensive squalls. The band is tagged as hardcore but there is much more to their presence and invention, the song alone a tempest of punk, noise, and sonic discord weaved into a hardcore ferocity making bodies stagger back and thoughts grip to any sanity as they search for the eye of the battering storm which never comes.

It is a tremendous start immediately surpassed by the title track. Again the drums of Rønning open up the initial provocation but are soon joined and wrapped by the blaze of guitar fire and bass intimidation, as well as of course the vocal maelstrom of passion and energy from Voldrønning. The sinews of the track have a twisting flexibility to their intrusive incitement which entraps and cuts off any sign of escape, not that you will want to, whilst Myrvold and Gaarder rub and graze the psyche with their exhausting and rapacious riffs and sonic invention. The only thing wrong with the track is the too brief a presence it offers though that is soon forgotten once the rabid destructive breath of Sleep-Waking careers over the senses. As its consumes and aggressively launches it sonic tirade, the track provokes an emotive if violent narrative for thoughts to fall before though to be honest such the intensity of the vicious torrent of sonic spite they barely have time to spark into life before being numbed by the exhilarating assault.

Closing track is a remix of Necropolis by Tiikeri, a version which flirts intriguingly and impressively with noise and psyche rock, the result a mix which sounds like a cross between Pitchshifter, early Killing Joke, and The Gaa Gaas and almost rivals the stature of the original.

The Necropolis EP is sonic manna, which though their last single still holds the passions the tightest follows a mere breath away in its wake. Roll on the Shevils album is all we can impatiently say, it promises to be epic.

www.shevils.com

9/10

RingMaster 11/06/2013

Copyright RingMaster: MyFreeCopyright

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Velcro Hooks: Gymnophoria

Photo by Nat Bevinshttp://natbevins.com/

Photo by Nat Bevins
http://natbevins.com/

With a history almost as intriguing as the tempest of innovative and startling sounds they create, UK indie noise manipulators Velcro Hooks have released one of the best and thrilling albums this year in their debut Gymnophoria. It is a seven track sensation, a release embroiled in sonic teasing yet seductive with its unpredictable and mesmeric ingenuity, and one which offers something distinctly different with each mischievous slice of imaginative enterprise.

The Bristol based band finds its first seeds with the chance meeting between Vancouver musician Jenner Blank and Bristol offspring Thomas Mason in the city of Quetzaltenango, Guatemala. A fortnight of ‘escapades’ ended with each gent returning to their respective countries and a year doing their own thing, which according to the promo sheet for the release consisted of beans and plants. Then Blank turned up in Bristol and the pair began experimenting with aural creativity soon aided by the addition of local talents in Dominic Mitchison and George Garratt. Since then it seems to have been a constant rise for the band, a year of playing free shows where ever they could led them to the attention of Howling Owl Records. That took the band to supporting local bands such as Towns, Weird Dreams, and La Sera, and the release of their first single The Surfing Song and an accompanying video, both finding a strong and eager reception. Now with the release of the magnificent Gymnophoria, it is hard with its outstanding content not to expect the band to wake up the UK as a whole to their immense inventive presence.

Musically the band offers a riotous mix of post punk, noise pop, garage punk, and fuzz rock not to mention plenty more hungry spices. There is admittedly a strong Pixies feel to their sounds but wrapped in flavours which provoke thoughts of many more bands whilst still standing strong as something unique to Velcro Hooks. The release opens with A Love Song For T.S. Eliot and instantly the scythes of guitars has the senses simmering with content. As the vocals enter and the song spreads around the expressive tones that Pixies comparison is rife, especially when discord soaked melodic scarring ensues. There is much more to the song though, the guitars at times bringing a breath which recalls the sharp melodic play of Television and the energetic surges spills essences of Buzzcocks in to the mix.

It is a striking start easily matched and elevated by the following Wasabi Colonel, a song which crawls over the ear with a wicked glint in its eye and the hunger to light up the passions in its heart. From the slight Frank Black like vocals and fiery hooks the song weaves a blend of feisty punk rock and smouldering melodic caressing to bring thoughts of Max Raptor and The Fratellis into the equation though again it must be emphasized the results is something wholly unique to the band.

The album has a variation which can only be admired, a diversity which links every track to another all the same whilst standing clearly and inventively apart. The excellent Wildman with its pulsating bass line and clashing guitars bursts through the ear with the outstanding potent simplicity of The Fall and swagger of the Arctic Monkeys whilst The Prerogative Of Daniel Potter is simply a dark vaudeville delight, both showing the impressive expanse of ideas and sound to the band. The first of the pair is a wonderfully blistering rub of punk with the psyche vocals as unbridled as the maniacally carved sounds, its charge irresistible and imagination a twisted and compulsive contagion, whilst the second collects all the shadows possible to entertain them with unbalanced keys and slight sonic squalls behind the spoken narrative and bedlam dragged screams. Imagine The Shanklin Freak Show meets the Cardiacs and you have a clue to its majesty.

The best track on the album comes in Girlfren, a song which spills its psychotic breath on to relationships for a storm of noise rock which just lights the strongest adoration its way. It is brief, too short to be honest as you feel so disappointed at its conclusion, but in its exhilarating crusade it lays a maelstrom of The Gaa Gaas, Devo, and Innercity Pirates to spark an orgasmic ardour.

Gymnophoria is completed by the just as impressive Yesterday’s Man, a song which is arguably the most straight forward on the release with its postpunk/Joy Divison pop croon, and the mighty Grandpa, No. The closer returns to the more open Pixies soaked sounds which were at large in at the beginning of the album and leaves one wanting so much more as its final sonic wave disappears into the smouldering sunset of the album. It is a staggering release which just leaves thoughts and senses drooling. Velcro Hooks are destined for great things and the album their first great triumph.

https://www.facebook.com/velcrohooks

RingMaster 16/11/2012

Copyright RingMaster: MyFreeCopyright

Super Luxury – Mystery Thriller Teen Drama EP

You can hear so much promise and potential within the debut EP from UK band Super Luxury that it is hard not to be excited about them and their future.  The three track Mystery Thriller Teen Drama EP just bristles with energy and musical contempt let alone mischief to ignite a strong eagerness to follow their evolution and creativity ahead whilst sparking real pleasure in the now.

From Leeds, the quintet of Christobel Jacobs, Hamish Samsonite, Ace Nodwell, Si Cartwright, and Charles C. Bell, formed in the merging weeks of 2010 and 11. They could be classed as punk, rock, garage punk, noise or…but to be honest they do not slip wholly into any category yet involve all in their abrasive rock n roll sounds. Their influences are listed as bands such as AC/DC, Big Black, Jesus Lizard, Minor Threat, Black Sabbath, Frank Zappa, Ween, and Laughing Hyenas, and you can hear those seeds in their sounds but they offer much more of their own conjuring. Their music like the release is raw and relatively lo-fi, an unpolished gem, and you can only hope no one does come along and adds a sheen or gloss to the band to surely dissipate their potency and uniqueness.

The title track steps into view upon bold consistent beats spearing light scythes of guitar and discord with keys bubbling behind lying in wait. The brew is soon agitated into a riot of vocal squalls, caustic guitar abrasions and hypnotic rhythms, and as a spidery groove scampers over the ear the song expands its reach. Scorched discord dipped guitars send shards of sonics across the song as the bass and drums control the cage of sound one is willingly sucked into. The song never explodes into the storm it suggests yet is all the better for the defined restraint holding back its hunger. The track is well crafted and deliberate without sounding at any point contrived or forced, a impressive and compulsive start.

The following Kellogg’s Wasps starts off with a classic rock swagger and group shouts to stir up attention before exposing its veins of niggling guitar manipulations which buzz around the head in the suggested manner of its title subjects. Lyrically one can only interpret the intent, its intrigue as striking and open to thought as the aural narrative and provocative sonic stings alongside.

Ghostesses completes the release just as impressively as the other tracks stated their case. It is a blistered rant of persistent beats, expressive slightly desperate gaited vocals, and fiery guitar play. The track sits more in the noise arena than the other pair, its acidic rushes bringing a full whisper of bands like The Gaa Gaas and Raised On Replicas but with a stronger raucous garage air.

It is a fine finish to an excellent first release from the band. Admittedly the production is too low key for the songs and they maybe lack a fuller punch considering it is a five piece, but it does not detract from the obvious quality and promise of the band. Super Luxury have the skills and imagination to evolve into something quite special with every step going on the evidence of Mystery Thriller Teen Drama, going to be a unpredictable and eagerly followed joy.

Get your name your own price copy of  the EP @ http://superluxury.bandcamp.com/

http://superluxuryofficial.blogspot.co.uk/

RingMaster 09/10/2012

Copyright RingMaster: MyFreeCopyright

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Interview with Gavin Tate of The Gaa Gaas

The Gaa Gaas Brighton Aug 2011 by Katherine Missouri

The Ringmaster Review ever since being seduced by The Gaa Gaas debut single Voltaire has eagerly and persistently tried to convert all and sundry to their psyche punk/post punk beauty through word, voice and with the kind help of The Reputation Radio Show. Neglectfully we have not actually got the band to sit down for an interview so we remedied that by grabbing the time of singer/guitarist Gavin Tate from the band to catch up on all things The Gaa Gaas as well as look back on their early days.

Hello and welcome to The Ringmaster Review

Please introduce the members of the band.

Huurah! We’re the artists formerly (known) as Gavin, Chris and Mark.

How did The Gaa Gaas begin?

It all started in my Mum’s garage, got some amps and a drum kit in there and put loads of posters over the walls and ceiling (a couple of nude lady ones as well, I’m not going to lie much). We began just jamming as an instrumental trio and then soon found a poor excuse of a P.A system for the vocals and that’s when the Police started showing up every night!

What inspired the band name?

A psychedelic prog group from Germany called Gäa. We started off as a messy garage band and I thought (that) The Gaa Gaas really suited what we were doing and still does.

Was and is there a vibrant music scene over in Jersey? 

Yes but it’s long gone now, an amazing garage punk night called BOMP kicked off around 2002 held at the best venue in Jersey which was called The Q Bar now The Live Lounge. It was a 7 night a week place and BOMP was on Thursday nights; they would bring some really good bands over and have local support. There were a few other great nights there as well, an indie night called Moroccan’roll and some great Drum&Bass/Motown/Reggae nights.

There seems to be a more frequent emergence of strong and very diverse rock bands from Jersey in recent years, besides yourselves we have come across Top Buzzer and Hold Your Fire to name a couple. Is there less distractions to take youngsters away from music there than elsewhere in the UK for example do you think?

I think most towns with not a lot produce the best bands and I’ll be honest in saying Jersey didn’t offer a lot to musicians aged 17 – 25 apart from a long fight to play your own material in clubs, most club owners always wanted bands to play covers which was rubbish if you wanted to play your own songs to people. In a way it made us want to escape!

You moved away from the island, relocating to Brighton. Was this a necessity for you and is for all bands really hoping to make progress?

You can’t do anything more than play the big local festivals in the island. You’ll get promises but they never happen. The only way you can do it properly is to move somewhere else, not just the UK. I know bands from Jersey who have started up in Europe and are doing really well; it just takes a lot of ammunition and a few massive guns!

As distinct as your sound is anyone who hears it can name some of the influences, for the record though what are the major influences musically which have shaped or flavoured your creativity?

There are so many. I’d say The Fall has really shaped us, I love every era and they’re still producing great records to this day!

Many I have introduced your music to fail to notice the ‘Almost Red’ era Killing Joke sounds whereas it seems obvious to me, is it them or me? Haha

We’re always getting compared to either Killing Joke or Bauhaus and when I told my Dad about it he said (in a scouse accent) “Think of it as a massive compliment Son” so I think you might be right on that one! ;)

There seems a definite revisiting back to the post punk era with bands recalling inspirations from the likes of Joy Division, Wire, Pil, Gang of Four etc, do you think you may have instigated that a little yourselves?

I hope so, when groups like Neils Children split up I was really gutted because there wasn’t many bands trying to maintain their own sound by using those types of influences. There were lots of bands just trying to sound exactly like Gang Of Four because it was in at the time. I thought the Neils boys were really on to something and had produced a great sound that was their own. There are some other really good bands instigating it at the moment like… Wild Palms, O.Children and Disconcerts.

Do you still see yourselves as part of an underground movement with this new emergence of bands?

We’ve never really felt part of any movement. We originally started because of bands like The Eighties Matchbox B-Line Disaster and the whole garage revival so if we’re part of anything I think it would have to be that. It’s been slow for us being from Jersey and having to relocate but I’m happy with everything we’ve done so far and the debut album is going to be a reward to everyone who has helped us along the way!

Your debut single Voltaire was unleashed in 2010 on The Playground Records, how was that initially received?

People couldn’t believe the transformation of the band. We were always trying to look like a band and always ranting about being in a band but after the single was released we actually had it written in stone. There were 8/10 reviews, some reviewers hated my voice and some loved it but I think the statement was made and I always wanted the first release to make a strong impact!

The single was produced by James Aparicio (Nick Cave, Mogwai) and mastered by Robert Harder (Brian Eno, The Slits) , how did those link ups come about?

We were put in touch with James Aparicio through our former record label and when we signed to The Playground team we were introduced to Robert who we plan to continue working with, the man is a genius!

I mentioned Voltaire as your debut but there was the Repulsion Seminar EP before that. Tell us about that and are the tracks are still available in some form?

The only hard copy releases we have are the Voltaire 7″ vinyls that we had to get pressed up ourselves as we were messed about by the label. There were 200 copies of each of the EP’s but they sold out pretty fast!

You took a long time to release anything officially was this down to the band striving for the exact sound you wanted or merely lack of opportunity and finance?

I think a lot of it was to do with relocating. Brighton isn’t the easiest place to get known. When we first arrived there you couldn’t get a gig, demos would be put to the bottom of the pile and we were looking at a 3 month wait just to play The Prince Albert but soon we managed to gig quite vastly and the name was getting more popular in London, it was a case of waiting for the press to take notice and then soon label interest started. We didn’t have the funding to be D.I.Y; I was stealing food every day to exist and putting my equipment in Cash Generator to fund touring. I don’t regret any of it though we’ve had some amazing times!

You have also had tracks featured on various compilations, with a new one out right now I believe?

Our first ever release was a psyche-garage cover of Plastic Bertrand’s “Ca Plane Pour Moi” released by Filthy Little Angels Records. It was for a compilation titled ’1978′ with lots of bands covering songs from that year. Our cover got the best reviews and is a signature to our early sound. The Peter Out Wave compilation CD was released last week on Swedish label Peter Out Records, a 17 track album by bands from all over the world. They asked us if they could include Hypnoti(z)ed (Alt Version) on the album and we gave them the nod!

How does the song writing work within the band?

It’s made up of jams mostly. We got heavily in to The Stranglers ‘The Raven’ album and loved the improvisation they had so we started working on songs with the same analogy and it’s really worked out. I think bands that just go in to a room with a song wrote 2 hours before at home are really missing out on the musicianship that can be worked. Listen to (The Stranglers) and throw your Libertines albums in the bin.

You are almost veterans of festivals not only in the UK but in Europe, which has been the most rewarding and pleasing to return to?

Drop Dead Festival was an amazing experience. Great bands and great ideologies! We’re due to play Fave Rave in Berlin again, that was one of my favorite European ventures, such a great city!

Do you get a distinct audience for your hypnotic and intrusive sounds or is it generally varied at shows?

A lot of the people that come to our shows are dark wave kids. They like the darker element of our sound and the groove that goes with it but we’re trying to mix it up a bit. The album is going to have a dance feel to it! The dance element in bands needs to come back and we’re hoping to revive that!

What have you lined up for the rest of the year gig and festival wise?

We’re relocating to London and starting to write and record the album in full, having a bit of time off over the summer but will begin playing shows again in August starting with a festival appearance at Vale Earth Fair in Guernsey with bands such as Roots Manuva and then we’re due to play some come back shows for a certain band later on in the year. We’ll announce a 12 date UK tour at some point as well, really looking forward to getting back out there!

Is performing live the most rewarding aspect of the band for you?

It’s definitely the most fun part of being in the band but I’d say the most rewarding aspect is when we have written a track, recorded it and hear the response from the fans. It’s all about the fans, they’re what keeps us doing it as well as our own passion to write, record and play. If they don’t like it then we give them a massive slap! ;)

Going back to compilations, I think you will correct me I am sure, it seems that your songs have been on more compilations than your own releases. Is that right and was it planned or just how things worked out?

Yeah I’d say that is true but I think it’s a good thing, I don’t know many other bands who get asked to be on a 2000 pressed compilation CD released in Europe without an album out. We’ve been quite lucky in that respect, completely fluked it!

What is next song wise in regard to releasing something?

Our next single is called ‘(SYS)’ and it sounds like the second chapter of Voltaire which is what we were striving for. It’s a faster pace and it’s a bit Twisty, people are gonna think of bands like Joy Division on this next release. The B-side will be Statues, a song we made available as a free demo download but has recently been mastered by Robert Harder who has made it sound FAT.

Any chance of an album or multi track EP sometime soon?

We may release another EP but we’re concentrating more on writing the full album, we want to get it out there next year for our 10 year anniversary, god we sound old!

Many thanks for talking with us, much appreciated.

Have you any words for you’re the readers?

Learn about cooking, baking, meal planning, cuisines, entertaining, holidays and more with Allrecipes’ informative articles and step-by-step photo tutorials - allrecipes.com

And finally tell us the song or tracks which made the deepest impact on you as people leading to the choice of music as your life.

Gavin: The Count Five – Psychotic Reaction

Chris: Black Flag – TV Party

Mark: Led Zeppelin – Ramble On

www.thegaagaas.co.uk

Listen out for an upcoming special Bone Orchard show from The Reputation Radio Show featuring the new remastered by Robert Harder version of Statues.

www.reputationradioshow.com

The Ringmaster Review 22/06/2012

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Houdini/Frau Pouch: Split EP

Houdini

May 28th sees the return of an irresistible friend and the reason for a new bout of infatuated stalking. Let us elaborate. That date is when the simply stunning new split EP from UK bands Houdini and Frau Pouch is unleashed upon the world and it is destined to leave ears and hearts blistered and awash in salacious wanting. Houdini is a trio which are no strangers to RR and a band who without fail always ignites the hottest fires with their scuzz punk creations. Frau Pouch though are completely new in name and sound here and easily the sexiest and most essential conjurors of sadistic dirty post punk scratchings heard in a very long time, and the instigators of energies and wicked desires that we never knew existed.

To say the EP is impressive is an understatement, alone the duo of songs from each band would bring excitement and heaps of enthused attention but together it creates a release which shows the deep quality within UK indie music if you go beneath the artificial surface.

Houdini set a flurry of ears and emotions blazing with their brilliant second single Smokers Cough though their first release What A Fire, and its more singular punk sound was not exactly slow in announcing the promise of the band. Smokers Cough was stunning, an instant contagious pull into their inventive and addictive garage punk scuzz rock sound which still has the same magnetic power two years on. The following Deadlines EP only confirmed the acclaim their debut release deservedly earned but with the two songs on the new EP the band has brewed all their invention and ability into a blitz of garage/punk rock triumph. Don’t Look Down leaps upon the ear with vindictive riffs and intimidating rhythms, guitarist Greg Webster, drummer Tom Bonner, and bassist Giles Barrett all taunting with energy and intent whilst crafty melodies wind themselves around the senses from underneath the powerful and muscular attack. Once more the band find a chorus and line of hooks as infectious as any germ to make a mockery of what most pop punk bands come up with.

The siren pull of that song is replaced with a bristling cloud of electrified scuzz in Your Dog Is Not A Horse. With a meaner heart and darker intensity the song mugs the senses with heavy riffs and smog like energy to outstanding effect. Imagine Reuben, The Fall and first generation Faith No More and you get an idea, it is immense.

Frau Pouch is a different beast entirely though from the same overall stable as their partners in crime. Another trio in the irrepressible shape of Joe Wise (guitar/vocals), James Thompson (bass), and Suzanne Freeman (drums), the band incite all the wrong feelings and mischievous intent, and it is wonderful. The best way to describe them is as the bastard evil offspring from an illicit intrusion between The Fall and The Victorian English Gentlemens Club with some fingering from The Cramps and Turbogeist. The band thump and bruise the senses with highly charged melodies and belligerent riffs all soaked in vintage discord and infected defilement, the result pure magic. Their first song Sexy Architecture quizzes and attacks synapses with unbridled choppy serpentine riffs and insane melodic scrapings lighting them up like fireworks whilst the  vocals come over like an over exited Mark E Smith as they tease and twist the words through the ear.

Second track Sexy Mittens is even better as the band add some psyche punk to the mixture. The song prowls and sways with hypnotic posture, its energy a wanton violation upon the ear with tempestuous acidic ingenuity. Still reminding of the previously mentioned bands you can add some mesmeric noise tease from the likes of The Gaa Gaas and Engerica to the frenetic bedlam of discord. With both songs barely seeing two minutes in their binoculars it offers up the only gripe as one could listen to this for hours and not find a lull in the pleasure.

If there is only two bands you check out over the weeks ahead make it these two. Houdini and Frau Pouch have combined for one of the most stirring and invigorating, not to mention brilliant releases so far this year and most likely for the months and months ahead

http://houdinisaur.bandcamp.com/

http://www.facebook.com/FrauPouch

RingMaster 25/05/2012

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