Imperial Leisure – Animal

It might not be the summer quite yet but giving its playlist an irresistible first addition is the new single from UK ska punks Imperial Leisure. To be fair, Animal is an incitement for any time of the year, any random two and a half minutes of any day. It is a circus of sound and fun, a carnival of 2-tone inspired ska, pop punk, and hip hop nurtured rock ‘n’ roll; together a distinctive mix creating the individual sound at joyful play within the band’s new gem.

Born out of school friendships, Imperial Leisure has blossomed in sound and reputation across three well-received albums; the last, Lifestyle Brand in 2015 drawing potent acclaim its way. Their live presence has equally honed the band’s music and craft, the band sharing stages with the likes of Ugly Duckling, Roots Manuva, UB40, Less Than Jake, Young Blood Brass Band, The King Blues, Sonic Boom Six and a great many more along the way as well as going down a storm at numerous festivals such as Glastonbury (twice!), The Secret Garden Party and Boomtown Fair. Each year has seen the sextet and its additional brass section rise higher on the British musical landscape; 2017 sure to be another mighty nudge on the biggest spotlights if Animal is anything to go by.

As guitars clip ears, brass flames flicker with flirtatious intent, their combined tempting soon colluding with the passion stoking pulse of the bass as well as the lick of ska seeded riffs and the intoxicating smooch of Hammond-esque keys. With the infectiously captivating vocals of Denis Smith stirring things up even more, the song bounds along with an irresistible swing and mischievous swagger. It is a wonderfully busy affair but every element and seductive flame a clean spice for a swiftly greedy appetite to devour in the whole insightful and instinctively catchy encounter.

It seems like ska and ska punk has the potential of having another heyday such the number of great bands around and emerging with Imperial Leisure leading the way, though all will have to go some to rival the sheer pleasure of Animal.

Animal is out now for downloading and streaming on all platforms with a vinyl release on April 1st.

https://www.facebook.com/imperialleisure

Pete RingMaster 17/03/2017

Copyright RingMaster: MyFreeCopyright

Counting Coins – All That I Need

CC_RingMaster Review

It has been a hectic year so far for UK rockers Counting Coins; live shows and tours across the UK and Europe a source of great attention and praise for the band as well as recent single Don’t Look Down, and it continues with the unveiling of its successor. The second single taken from the Hull based quintet’s forthcoming album, All That I Need bobs along on ska bred riffs and devilish rhythms bound in spicy melodies that incite ears and imagination as potently as the equally effective vocal and lyrical incitement. It is one of those invitations impossible to refuse as it gives body and lust a rousing run out; simply one endearing and energetic romp of premeditated goodness.

artwork_RingMaster Review     Formed in 2009, Counting Coins has grown a seriously anthemic fusion of ska, gypsy punk, swing, and hip-hop over the years. From their first pair of EPs, Take the Ride and Reach for the Sky in 2010 and 2013 respectively, the band has shown a creative tenacity that wakes up the instinct to romp and stomp. Their live presence has only increased their reputation, the sharing of stages with bands such as Random Hand, Sonic Boom 6, The New Town Kings, The Talks, Jaya the Cat, Babar Luck (ex-King Prawn), The King Blues, The JB Conspiracy, and Neville Staple adding to an increasingly acclaimed reputation. A few weeks back Don’t Look Down had bodies of fans and media jumping around physically and in praise, a repeated success well within the creative grasp of All That I Need.

Opening on a lone and instantly enticing guitar, the bass soon adding its exploits, the track is quickly swinging along with a melodic smile and rhythmic temptation. The vocals of Harry Burnby just as swiftly bring another strain of infectious enterprise, his bouncy delivery matching that of strings plucked by Matty Dennison and Rob Green. In full stroll, like The Beat meets Reel Big Fish but with more variety to its hues, All That I Need swaggers with joyful tenacity as flames from trumpeter Will Chalk blaze over the throaty lure of bass and the keen swipes of drummer Sam Burnham.

It is an easy going proposal offered by the song but a virulently captivating one which has feet jumping, vocal chords exercised, and emotions flying with the outstanding encounter. The last Counting Coins single meant that interest of the band’s new album was thick and now with All That I Need doing the tempting, and with a great video in tow, anticipation is full and a touch impatient.

All That I Need is available from November 23rd across a global range of digital platforms including iTunes, Spotify, Amazon Music and Deezer.

https://www.facebook.com/CountingCoins   https://twitter.com/counting_coins

Pete RingMaster 23/11/2015

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Counting Coins – Don’t Look Down

CC_RingMaster Review

Here is another band we could kick ourselves for not discovering before now, well we will once we stop bouncing to their glorious new single. They are Counting Coins, a UK band which in one breath you might call ska, in another gypsy punk, in another…well you get the idea, and their new release is Don’t Look Down, a song destined to turn venues, festivals, and the world into a heaving mass of bodies.

cover_RingMaster Review   The Hull hailing Counting Coins formed in 2009 and it seems took little time in exciting crowds locally before drawing broader attention through debut EP Take the Ride in 2010. With its successor, the Reach for the Sky EP three years later even more successful, the band were soon and hungrily since, lighting up venues across the UK and into Europe, sharing stages with the likes of Random Hand, Sonic Boom 6, The New Town Kings, The Talks, Jaya the Cat, Babar Luck (ex-King Prawn), The King Blues, The JB Conspiracy, and Neville Staple along the way. Equally performances at festivals such as Boomtown, Rebellion, Tramlines, Galtres, and Freedom Festival have only drawn acclaim and seen the band’s reputation gain momentum. With new single Don’t Look Down constantly in our ears alongside a retrospective investigation of Counting Coins, it is easy to see and hear why the quintet of vocalist Harry Burnby, guitarist/bassist Matty Dennison, bassist/guitarist Rob Green, drummer Sam Burnham, and trumpeter Will Chalk are so lustfully supported.

As mentioned at the top, the band’s sound is a weave of styles; ska, punk, gypsy, and hip hop aligned and entangling in Don’t Look Down alone. A brief rally of beats introduces the magnetic flames of brass, they enticing choppy riffs, a pulsating bassline, and the resourceful and magnetic lures of Burnby, his voice just as eagerly backed across the band. The ska swagger of the song is pure temptation, feet and hips soon in tandem, vocal chords a swift addition too. Around them though, the song seamlessly slips in flames of reggae, ska gypsy, and more, it all managing to collude to breed a swing like dynamism. With elements of dub and folk, tango and waltz, and at one point we swear steam punk, the track just continues to roll and twist like a melodic acrobat as it takes the listener and passions on a heady and exhausting ride.

Single of the year contenders is a list longer than a queue on Black Friday and now it is one song richer, an incitement which has more or less jumped the line to stand to the fore of 2015 essential treats.

Don’t Look Down is out now as a digital download on All Our Own Records.

https://www.facebook.com/CountingCoins  https://twitter.com/counting_coins

Pete RingMaster 02/10/2015

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The Talks – Commoners, Peers, Drunks and Thieves

The Talks 2014 photo SJM 2 landscape

You may have already found your feel good encounter of 2014 but it is never a bad thing to keep looking right up to the closing days, especially when as winter opens its eyes you get a treat as irresistible as Commoners, Peers, Drunks and Thieves, the new album from UK ska rockers The Talks. Bringing eleven tracks to infest feet, the body, and the imagination, the release is a stomp of addictive revelry which cannot fail to put a smile on the face and emotions.

Since the release of their debut single Picture This in 2008, The Talks have been on a steady climb with the past couple of years seeing a fevered acceleration of attention for their fusion of ska, punk, reggae, and two-tone. First album Live Now Pay Later! in 2012 awoke a fresh spotlight on the Hull quartet which last year’s Westsinister E.P and singles Can Stand The Rain, which featured Neville Staple from The Specials, and Friday Night swiftly pushed to new levels. Alongside the releases, the band’s live presence has been just as dynamic in garnering acclaim and luring the passions, the foursome of Patrick Pretorius (vocals/guitars/sax), Jody Moore (vocals/guitars/keys), Iain Allen (bass), and Richard Lovelock (drums) sharing stages with the likes of Madness, The Specials, Rancid, The Beat, and The King Blues, as well as playing festivals such as This Is Ska, Mighty Sounds, and Rebellion over time. The previous EP was a highly anticipated encounter with Commoners, Peers, Drunks and Thieves finding itself more eagerly awaited, and again the band has surpassed hopes and expectation with their contagious exploits.

The band’s sound lies somewhere between the provocative roars of The Vox Dolomites, the punk causticity of The Members, the melodic reggae and ska charms of By The Rivers and The Beat respectively, and the virulent devilment of The Jellycats. It is a proposition though which whilst embracing familiar essences develops its own unique devilry as swiftly shown with album opener Don’t Look Behind You. The initial warm embrace of keys has ears and thoughts engaged immediately, especially as riffs chop and rhythms start leaping as keys open up a new inventive flirtation whilst the pulses and strokes of the song work on the passions. Loaded with bait feet cannot resist, the song spreads its seduction further with the mischief of vocals and bass alongside the jagged majesty of guitar stabs, hooks, and beats.

The brilliant start is emulated instantly by recent single Radio, an insatiable two tone fuelled escapade with the delicious whiff of The Selector to it. Within moments its chorus is leading the Picture 156anthemic stroll, the song’s swagger as virulent as the brass flames and exotic keys colouring it. There is a punkish air to the vocals which again reminds of The Members whilst the punchy rhythms consume the vivacious dance of the encounter like an epidemic. The track is aural addiction, a breath-taking protagonist of body and emotions leaving a tall order for the following Tear Us Apart to match up to. With sultry keys and warm harmonies its first breath, the song is soon stirring up ears and imagination with its reggae bred enterprise and melodic summer. It mesmerises with its caressing canter of sound, reminding of fellow Brits Shanty as it floats and immerses the senses in its mouth-watering adventure.

Both Fire and Ceasefire keep the thrills ablaze, the first a muscular slab of ska provocation with bulky bass lines and feisty riffs pouncing on ears with antagonistic intensity and infectious rigour. The track has its nostrils flaring from the first second but the increasingly impressive vocal melodies and dramatic brass hues tempers the roar for another riveting big boned incitement; think King Prawn meets Lazy Habits and you are somewhere near the potency of the song. Its successor which features Jonny ‘Itch’ Fox of The Kings Blues, is an immediate blur of sonic drama and rhythmic provocation, a great dirty baseline aligned to agitated beats the frame for combative vocals and smouldering melodies. Teasing with dub enterprise over a ska crafted canvas, the track bounces with confrontation and climatic resourcefulness, every twist a striking reward for ears and a spark for thoughts to match the lyrical impact.

The gentle warmth and catchy romance of Light Up replaces the previous exhilarating tension of its predecessor, the swaying proposition a melody rich call with keys and harmonies embracing another irrepressible earthy bass temptation. Its masterful charm and joy is followed by the pop punk infused All in a Day, the band regaling the album with yet another thrilling slice of diverse and creative magnetism. A mix of Less Than Jake and Reel Big Fish but unique again, the song bounds along with a recognisable air around a creative humidity which fires up into an irresistible persuasion, especially once the outstanding escape of deranged keys occurs.

It is a track, as all to be fair, which feet and voice of the listener are unlikely to resist, a lure across the album which is no more inescapable as in the brilliant Hacks. New wave soaked pop punk meets the spicy flirtation of Bad Manners, the track is an ingenious enslavement of ears and passions based on a ridiculously captivating rhythmic enticing and spicy guitar tempting, all matched in expression and allurement by the punchy vocals. The song tells you all you need to know about The Talks, their inflamed imagination and diverse sound, it all encapsulated in two minutes of instinctively seductive alchemy.

The equally thrilling Tune In steps up next to seize the passions, its opening jangle of chords the lead into a melodic coaxing straight out of the Martha and The Muffins songbook ,which in turn shares its space with swipes of feisty rock and ska sculpted endeavour. As punk as it is ska and adrenaline fuelled rock pop, the song stalks ears with a predacious ingenuity before making way for the smoky presence of Sam, reggae and indie rock embracing in a humid embrace, which in turn leaves for final track Alright with Me to close things up. The last song has blues flair to its keys and a choppy texture to the guitar enterprise shaping the expressive musical narrative, a transfixing croon to bring the album to a fine end and show yet more of the variety and creative depths of The Talks.

It is impossible to listen to Commoners, Peers, Drunks and Thieves just once in one sitting, and certain tracks many more times on top. As stated at the start it is a feel good album but more than that, it is a release from a band to which invention and uncompromising adventure is as instinctive as the rapturous infectious sounds they seem to have stockpiled up inside them.

Commoners, Peers, Drunks and Thieves is available now via All Our Own Records now @ http://www.thetalks.co.uk/store/4575625721

http://www.thetalks.co.uk

RingMaster 25/11/2014

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Mind Museum – One Blood

MM_SHOOT-1

The potent ascent of UK alternative rock band Mind Museum continues unabated as they release their riveting new encounter, the One Blood EP. Since unleashing their attention grabbing debut EP Rat Race in 2011, the Bristol trio has continued to impress and outweigh other emerging bands with their weave of heart bred passion, riveting sounds, and gripping enterprise. Each release the band unveils takes their presence and reputation up another level and One Blood is no exception, the maturity in songwriting, sound, and simply presence mouthwatering.

Formed in 2010 from the ashes of several bands including most notably I AM THE DOOR and Full Scream Ahead, Mind Museum has persistently presented a proposition impossible to ignore or not find a deep rooted attraction for. Since forming the band has made as big an impact live as they have with their releases, sharing stages with the likes of Young Guns, Twin Atlantic, The King Blues, and The Royal Republic as well as lighting up their own headlining shows. Taking inspiration from bands such as Biffy Clyro, Coheed and Cambria, The Cure, and Placebo, the trio of vocalist/bassist Justin E Percival, guitarist Will Slater, and drummer Chas Bacon have honed a sound which holds a vague familiarity which makes it instantly accessible before taking the imagination and emotions on an incendiary ride of raw angst dripping vocals, rich sonic colour, and melodic passion. Their 2011 Rat Race EP made a potent entrance for the band, one just as powerfully backed up by The Power Of Three EP the following year but the George Lever produced new exploit immediately shows a big leap the band has taken from those earlier releases, confirming and expanding the promise and adventure hinted at by the 2012 single Lie To Me.

The release opens with The Get Go and immediately has a resonating bass note and a tart guitar wash soaking the ears whilst the already OneBlood-EP_ScreenResemotion drenched squalls of Percival wail in the back ground. As expected from the band on past experiences, it is a dramatic entrance but one which regroups into a restrained and melody kissed persuasion which still retains its raw edge but seduces rather than demands attention. It is a riveting enticement, the dark throat of the bass almost prowling the senses, though without menace, whilst guitars and rhythms keep imagination and appetite busy. Intensity and energy all the time are building their intent though, biding their time until the fiery chorus where everything is ablaze with passion and emotive colour. It is a thrilling encounter which finds a band never short on invention anyway, exploring and interlocking stronger varied textures and washes of sound than ever before. The song is thoroughly infectious and evocatively poetical, Percival’s vocals providing potent and at times emotionally desperate feeling hues to further light up the whole narrative.

The title track strides in next, bass and drums again casting a sinew built frame for the guitar and vocals to drape their emotive designs upon. The punchy touch of Bacon transfixes throughout, commanding the course of song and thoughts whilst the heavier rock bred veining from Percival sparks another level of greed for the extensive tapestry of the song. With its predecessor the song shows the full scope of the band, the first a more heads down rock attack and the second a pungent and intense emotional incitement; both soaked in a provocative passion and dramatic intimacy which inflames the thoughts and emotions of the listener.

   Wake Up steps up next, throwing a towering heavy rock weight upon the senses before again flirting with reining in its assault. This is short lived though as the song erupts into an exhausting and scintillating fire of energy and sonic provocation, rhythms and riffs sculpting a tempest of blistering voracity and aggressive entanglement within, whilst all is flushed with the passion and emotive flames which marks out Mind Museum from the pack as much as their sound. It is an exhilarating song setting senses on edge for the next up Lie To Me to sooth and then inflame further. The song smoulders and nestles closely whilst digging in masterful sonic claws from Slater and rhythmic barbs from Bacon, and once entrenched exploding in a climactic fire. The song is one of those which lingers and returns long after it has made its last sear on the ears, a masterful puppeteer of memory and passions, much like most of songs to be fair.

Both Answers and All The Kings Men keep the temptations and impressiveness of the release foaming at the mouth, the first an initially mellow song but one which soon has its nostrils flaring as it aggressively croons and uncages another furnace of emotional and impacting sonic flames aligned to inciting vocals, and its successor a bewitching weave of choppy riffs and anxiety soaked vocals honed and fused to a virulently contagious blaze of imaginative and skilfully explored melodic causticity. It is a sensational conclusion to what is easily the most emotionally imposing and creatively explosive thing from Mind Museum, and the finest.

Actually it is not quite the finish of the EP as the band treat us to very engaging acoustic versions of Wake Up and Lie To Me, and a couple of remixes of The Get Go and One Blood by Icon Roller which are decent enough. Whether the four tracks are something you would return to time and again like the main body of the release commands is debatable but they make an enjoyable extra all the same.

As declared One Blood is Mind Museum at its most powerful and inventive yet plus their most insatiably imaginative, and you still feel there is so much more to come.

The One Blood EP is available via Secret Chord Records now!

http://www.mindmuseum.co.uk/

9/10

RingMaster 17/04/2014

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Candidate23 – Recurring Dreams EP

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Having strongly impressed with their previous EP Stay Awake, UK indie band Candidate23 has just unleashed their new offering to again show how exciting a band they are whilst bringing a vibrant evolution in their already thrilling creativity. As with their other releases the quintet from the North West of the country have sculpted a sound of undefined familiarity but one which employs it in an encounter which leaves the passions gasping and imagination fiery through open originality and carefully honed craft.

Formed in 2010, the Liverpool based Candidate23 have only made good impressions, their allure and temptation growing more potent with each release and live performance which has seen the band alongside the likes of Funeral for a Friend, Young Guns and The King Blues. There breakthrough to the widest national awareness is overdue and deserved but still biding its time, teasing us and them but with Recurring Dreams that lock just might and should have the right key finally. With references to the likes of The Wombats and Foals upon them, to which we would add Placebo, Mind Museum, and in some ways Doves, and sewn within their own distinct sound anticipation of a big year for the band from this EP alone is unavoidable.

The title track is a brief brewing ambient beckoning to introduce the release and draw one into the following mighty temptress of a song in Float Away. The track is a sparkling explosion of melodic colour and winding expressive atmospheres veined by rolling rhythms which cage the ear for the vocals of Will Hayes to gentle stroke forth the lyrical heart of the song. The singer instantly impresses, as he has on previous releases, his words and delivery seductively dancing across the vibrant mingling of tantalising enterprise from guitarists Alex McIntyre and Andy Perrin and those still energetic rhythms of drummer Jono Tringham side by side with the rumbling basslines of Ryan Dennett. The emotive lure of the song is never far away or lost in the energy and steps forward most potently for the closing breath of the track as it passes over to next up Until It’s Cold.

From a gentle wash of emotional keys and the soaring tones of Hayes the song rises to its feet with again the beats of Tringham framing the warmth with rich firm persuasion which invites limbs into the affair as much as the emotions. Though the song does not explode with the same intensity as its predecessor it packs a colourful punch in its superbly crafted melodies and equally compelling harmonies to leave extra hunger in the keen appetite already encouraged by the EP.

I’ve Been Here Before is a slow burning delight, a song which took time to make its full declaration before the senses but emerged as one of the most powerful and lingering gems on Recurring Dreams. A smouldering lullaby for the heart with a rising intensity to its breath and enveloping heat, the track offers familiarity in a brand new guise which covers the senses like an old friend which will never lack a welcome but equally intrigues with an undiscovered emotional depth. As with the whole EP, there is nothing not to love about the song as the band show they are as adept and imaginative in slowly crooning the passions as they are igniting them with an infectious anthemic fuse.

The final pair of songs confirms an already done deal between release and ardour, the outstanding I Want You a stirring almost riotous slice of aural contagion, the virulent call of the chorus the perfect climax to the magnetic verse and the call of vocals and sound which rage with invention and lush beauty. The closing First Steps matches what came before with elegant sonic caresses within its enthralling fascination of energy and rhythmic keenness. Though arguably not the most dynamically capturing song on the release it makes a final declaration of just how impressive and thoroughly pleasing Recurring Dreams is.

Available as a free download by a band generous in sound and invention, their new EP has all the weaponry and class to be the trigger for national domination before taking on the world. Candidate23 has provided the mighty tools for all to enjoy and spread the word.

http://candidate23.bandcamp.com/

http://www.candidate23.com

9/10

RingMaster 07/05/2013

 

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Unleashing truths: an interview with Merc from The Karma Party

Merc

With a snarl and biting attitude which is spawn by and reflects the state of broken Britain, UK band The Karma Party has emerged as a compelling and inventive force with a musical craft and imagination as potent as the uncompromising yet thoughtful lyrical thoughts and often venom they wield. The quartet brews up a unique and irresistible fusion of hardcore, punk and dub-step with flames of electronica which come together for a fiery storm of thrilling and explosive invention. Their recently released Dark Matters EP has caused a fury of acclaim and attention their way and not wanted to be left in the wake we had the pleasure of talking to vocalist Merc about the outstanding release, the band itself, and what inspires the rage and enterprise which drives them.

Hi Merc, many thanks for taking time out to talk with us here.

No problem, thanks for having us!

For all those new to The Karma Party please introduce the band.

Hello! We are The Karma Party from the derelict holiday resort of Blackpool, nice to make your acquaintance.

How did you all meet and how did the band begin?

Me (Merc) and Luke used to be in another band with James who is now in Sonic Boom Six.

For one reason or another that band fell to pieces, after which James helped me formulate ideas and then bit by bit we assembled what is now The Karma Party.

You hail from Blackpool; is the place as run down and far from its former glory as the media portrays?

It’s worse! I mean, I watched 999 What’s Your Emergency? They went easy on the place. A lot of people come to Blackpool as tourists, which is mind boggling enough. They come to see the lights and drive down the prom unaware that one street away people are living in abject poverty. You can see the weight of the place in people’s faces as you walk around. There is a massive problem with violence and drugs and the only the thing the local authorities want to do is to make it more attractive to the booze tourists and hen nights to bring more revenue into the area, which only perpetuates the substance abuse issues.  Most people in Blackpool don’t care about anything anymore; they have become resigned to that lifestyle and believe it is the norm everywhere. I don’t think there is anywhere else in the country like it. Maybe Morecambe…

…And a place to inspire dissent, anger, and lyrical potency for songs?

It’s impossible not to be inspired in a place like that as there is so much material on your doorstep.

I think Blackpool is like a microcosm for the whole country containing every issue the country has, so definitely a main source for the lyrics.

You create a striking and passion inciting sound from blending punk, dubstep, hardcore, electronica, and more. A fascinatingly eclectic brew brought with passion and attitude I think it is fair to say. How would you describe your sound and what are the major influences musically which have had an effect on your ideas and music?

Thank you! We’re not very good with labels but we’ve been called Punk Step and Punk n Bass which kind of sums up a lot of what we do. There is such a massive eclectic taste amongst the band which allows us to see the similarities between the genres. I don’t think it would work as well if we were all into the same music. We love to watch bands utilising electronics properly as it brings another dynamic to the show. It would be impossible for us not to cite Enter Shikari as an influence and one of our favourite bands. Other artists would include: Bad Brains, Gallows, Mike Patton, Squarepusher, Venetian Snares, Reprazent, The King Blues, Sonic Boom Six, Mouthwash, Skindred, London Electricity, Nero, Rusko, Eminem, Lowkey, Clint Mansell, Danny Elfman, Capdown, NOFX and Chris Murray….I could carry on.

Do you see yourselves as a political band using anthemic music for weaponry or a band creating individual and stirring music which just happens to be inspired lyrically by the injustices of the day?Karma Party

One of the main things we agreed on when we started this project was to keep it as real and true as possible. The public have a way of sniffing out lies and if you pretend to be something you’re not, I believe that they can tell. Although I can’t speak for the rest of the band (as it’s not something we talk about) I’ve never been to a protest or voted, I doubt I ever will as I don’t think either makes a difference as all aspects of the game are rigged. I do want to spend the rest of my life trying to make a difference but I think change has to come from the people. They are the ones who are keeping this system in place. We are a tiny part of a massive universe, there is  no past or future, no good or bad and we could change the world in a heartbeat if we so wished. I want people to know they are not insignificant and they are loved…..including politicians.

If everything was perfect, yes a far-fetched possibility ha-ha, would The Karma Party exist?

If everything was perfect I don’t think I would have ever picked up an instrument or have the mind-set that I do now. The famous quote by Victor Hugo springs to mind; Adversity makes men, and prosperity makes monsters. It’s so true in my case.

You have just released your debut EP, the excellent Dark Matters EP. It is for us a five track eclectic feast of sound and invention not forgetting being greedily infectious. I imagine the songs on the release all find an enthusiastic reaction in your live shows such the impact they make on the EP.

Again thanks for your nice words. We’ve just finished the Dark Matters Tour which was our first time on the road and the response has been overwhelming. The shows have been mental, something we didn’t expect first time out. We’ve put a lot of work in making the live show stand up to the recording and from the reaction it seems to have worked. It was crazy to have people singing the words back at us on our first tour something we didn’t see coming and I’ve been humbled by almost everyone we’ve met.

How has Dark Matters been received so far, especially critically?

From our perspective it was such a personal recording that we couldn’t tell if it was good or bad anymore. We were so involved in it that we’d lost all perspective. It has been received better than we ever expected with mainstream press like Kerrang! and Rock Sound giving us great reviews and blogs and websites all over picking it up.

In all honesty we couldn’t have hoped for a better reaction.

You have released it as a free download opportunity for fans, any particular reason for that?

We want everyone to be able to listen to our music whether you can afford a CD or not. In the band we are shameless streamers, torrenters and file sharers, so for us to be precious over our record when we have “stolen” so many other peoples music would be very hypocritical.

How do songs emerge within the band generally?

It’s a varied process, usually we demo and produce a lot of stuff in our bedrooms and over the internet and then take the ideas into the practice room for fine tuning.

Do lyrics spark songs or musical ideas, or is it a mix?

Tricky question…Musical ideas definitely inspire the lyrics in the demo process and then later the track is re-worked around the lyrics. So I guess it would be a mix.

1616807321-1The release contains your two singles Collapse and This Is Britain, both seemingly gained the tag infamous from a great many. Tell us about both of the powerful and lyrically volatile songs.

This is Britain – You’ve got to laugh at what Britain has become. I find it almost impossible to relate to any facet of mainstream culture. So this is our way of poking fun at what seems to be a ridiculous way of life. From the Royal Family to Ant and Dec, from our drinking culture to gossip magazines and from politicians and police to orange girls with Sharpie eyebrows, I don’t fit in anywhere. I didn’t want to whinge about all this so I tried to put myself in the mind-set of someone who loves modern Britain. It’s so sarcastic we were worried people might take it literally.

Collapse – Collapse is almost like the serious brother of This Is Britain. We wanted to talk about the poverty we see in the country. This recession and depression has been brought on by the government and they continue to shift the blame and show us statistics that say everything is ok but you only need to go out in the street to see how bad it’s getting. We want people to know they are the real power in this country and globally and politicians are counting on you to do nothing about it. Your country needs you and it needs you now.

Would you say This Is Britain has become already your musical calling card, the song people instantly refer to in relation to the band?

I really hope so, I think it’s a fine example of what we want to say and do musically. I think we’ll be playing that track for years to come.

Both songs have impressive videos, with the one for This is Britain like the song especially potent. Who did you record them with?

Thanks! Videos are a massive part of what we want to do. James Kennedy from Trifecta Films in Manchester did the This Is Britain video. We brought him to Blackpool for two days. We shot in our local and took him and his team on a sightseeing tour of the grimiest places in town. We had really good fun.

Some bands find it hard to create contagious songs without diluting the message or impact of the lyrics whilst others just concuss with noise to empower their impacting words. On the evidence of Dark Matters you have found the perfect balance. How much effort goes into your balance of both aspects or is it something which is just instinctive for you?

The rest of the band act as editors for the lyrics so when I’m pushing a point too much or what I’m doing lyrically is impacting on the aesthetics of the track they let me know. It’s sometimes hard for me to hear anything but the lyrics so it helps to have a team who know a good track when they hear it. There is definitely a group editing process.

How much impact do you believe artists and music can truly make on people in regard to social and world issues?

Art in general has the ability to change the world forever; it connects more people than Facebook and brings us together in ways we still don’t properly understand. A lot of people would call me naïve but I think doing nothing, putting your faith in political systems and hoping for the best is naïve.

What is next for The Karma Party?KP

Touring in April, May and June with Random Hand and Anti Vigilante. Playing Rebellion festival in August and we will have more new material / videos out later in the year!

Once more big thanks for chatting with us, any last thoughts for the readers and fans?

No worries thanks for the great questions. The only thing we want to say is a massive thanks to anyone who has given us a listen or come to show you are the reason we do this.

Grab the Dark Matters EP for free @ http://thekarmaparty.co.uk

Read the Dark Matters EP review @ https://ringmasterreviewintroduces.wordpress.com/2013/03/05/the-karma-party-dark-matters-ep/

The RingMaster Review 28/03/2013

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