Mind Museum: Lie To Me

If you have already been impressed by UK alternative rock band Mind Museum and their previous single Rat Race and the following The Power Of Three EP of last year, than new single Lie To Me is going to blow you away. If the Bristol trio are still new to you than the single simply is the perfect way to introduce yourselves to one of the best emerging bands in British rock over the past couple of years.

Comprising of Justin E Percival (vocals/bass), Will Slater (guitar) and Chas Bacon (drums), Mind Museum has been on a steady and determined rise since its formation in 2010. They have impressively shared stages with the likes of Young Guns, Twin Atlantic, The King Blues and The Royal Republic to go alongside their well received and acclaimed releases, as well as picking up strong airplay from the likes of Total Rock, BBC Introducing, and The Reputation Radio Show and having their videos hitting great viewing figures and exposure through the likes of Kerrang TV.

Lie To Me is another step forward for the band in sound, songwriting, and stature as there have not been others to unleashing a song as potent and emotively dramatic over recent months to rival Mind Museum. Within a couple of notes the song grips tight and whispers with emotion before raging with passion though, they master the aggression and intensity and turn it into a potent energy rather than an angry assault, the impressive trade mark of the band. The guitar invention of Slater is mesmeric within the song, his incendiary play a smouldering burn on the senses whilst the vocals of Percival are the most emotive and deeply reaching to date to bring the reflective heart of the song to passionate life. His pulsating basslines are as rich as ever alongside the impressive rhythms of Bacon, and taking the song as a whole it has to be said the band has found their own unique breath to leave their rivals behind.

A band which layers their songs with passion and shadows as powerfully as they do sounds and imagination, Mind Museum have evolved into the great band they always promised, the hard work starts here as they build even greater heights for themselves.

www.mindmuseum.co.uk

Check out Mind Museum on The Bone Orchard podcast from The Reputation Radio Show

RingMaster 04/09/2012

Copyright RingMaster: MyFreeCopyright

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Union Starr : Everything We Say & I Can Feel It

It may have taken ten years to reach our ears but the incredible debut album from Union Starr earlier this year was a definite worth waiting for event. Falling Apart Together is a magnificent collection of melodic heartfelt songs which simply turn any sky into one of blazing sunshine. The new double A-sided single from the album offers two of the ripest melodic fruits within its vibrant body and for those yet to discover the delights of Falling Apart Together makes for a very tasty introduction.

Formed by Roger Wells and Jason Applin with ex-The Sundays drummer Patch Hannan coming in not long after, Union Starr is a collection of musicians who know and understand how to mould melodies and emotion into something which plays and entices the heart. The tracks which make up the release alone offer two of the finest emotional caresses upon the senses you could imagine and enjoy. Released through Woodenhouse Records, the single graces our ears from August 13th and brings views and ideas from the band on love and its experience. As marks their music on the whole both songs explore an elegant mix of warm pop and singer songwriter sounds of the seventies with a British awareness and craft. There is also a strong eighties indie feel to their sounds which bring to mind just as vividly the likes of The Lightning Seeds and The Bluebells as they do Crosby Stills and Nash.

Everything We Say is a mesmeric weave of stirring heated guitars and heart driven emotiveness through songwriting and vocals. Its touch is warm and smooth yet with an edge which offers up the whole story which comes with every real love. There is a definite Skylarking era XTC feel to the song for a secondary enchantment to the already sirenesque pull of the song. With a subtle but strong infectiousness the song is a summer day delight, its premise conjuring eager whispers of couples within the rays of the sun and heart to thoughts. The song has a sound which arguably only English bands can conjure no matter their influences; its presence caring, touching, and openly delicious.

Second song I Can Feel It provides the ear with another golden field of warm and contagious sounds. There is a folky pop air to the song to offer a different bewitching to its companion though both bring a dreamy almost meditative atmosphere upon the senses. The song is a soft and gentle romance of infectious melodies and beautiful harmonies which remain just as fresh after the hundredth listen to how they do on the first aural kiss.

If you are yet to discover Union Starr than the double delights of Everything We Say and I Can Feel It is the most majestic doorway to their wonderful world of sounds. Catch the songs on The Reputation Radio Show too on Fridays nights from 9PM in the UK.

https://www.facebook.com/pages/Union-Starr/303985109621182

RingMaster 10/08/2012

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The Inner Sanctum 22

Persistently striving to find new heights and never settling on what is easy The Reputation Radio Show last week unleashed its first full episode of The Inner Sanctum. Never a show for the faint hearted but for all with a heart for the best new music this was an event which flew on full boosters and unbridled mischief.

Hosted by the unpredictable talent of Johnny Summers aided by the simply indecipherable Pete Ringmaster, The Inner Sanctum left scorch marks in its tracks with some of the finest new sounds and artists yet to be featured on Reputation Radio Show as a whole, which with their pedigree and impressive finds shows the quality of what was unveiled alongside favourite new and older independent classics.

The show also featured live a persistent offender musically and comically on the show in drummer extraordinaire Paul Holden and new victim rock guitarist Matthew Meadows. With two artists as unable to contain their enthused banter as the host of the show it was a car crash made in heaven and irresistible listening. What emerged from within the mayhem was an enthralling update firstly from Paul about where he was musically. With the demise of the band Nowhere Fast, the drummer unveiled the reasons for its end and where he was looking in regards to the direction of his musical career. He also talked about the cover band he plays in, The Djinn which knowing the thoughts and aversion to such things by half of the Reputation crew was a brave move, who said drummers had no sense of humour.

Matthew Meadows had no problems with bands though one feels he would in many ways like to at some point in a positive way. The show was let into the early life of Matthew as the man talked about his days as a ballet dancer, the move to being a guitarist, computer programming, and his sexual relations with R2D2 and his carnal knowledge of a dalek. Ok the last two might be more our imagination as due to mic problems his end he sounded occasionally like Robby the Robot on a washing machine so we are making assumptions of what he might have said. Seriously though it was enlightening to learn more about the man who perpetually confuses people before it dawns on them where he is coming from with his striking videos and eager to impress sounds.

On the music front the show was no less thrilling as it brought to its audience for the first time the simple mesmeric beauty and charm of the music of Holly Walker through her song Modern Life taken from her brand new EP Bedroom Bangers and the surging rock imaginations of The Secret City with a track from their new self titled album in the shape of A Call. Both went down a storm with requests to hear the tracks again on the same show which unfortunately time did not allow but Johnny and Pete had already decided such their own enjoyment and impressed responses to both songs there would be more airings on future shows.

The show also featured an exclusive play of the title track from the just released Eloquently Violent album  from electro/industrial band Illustrial whose Baz Badrock joined the show in the chatroom as did the band and tour manager of another band to be featured especially on the show Our Innocence Lost. Taken from their latest album Like A Complete Unknown, it was the first time the song End of Time was played on the Reputation Radio Show and it also went down a storm with the audience. The play was also enhanced by the fact the band who were playing a gig that night were listening in through the wireless set up of Manager Rog in their tour van outside the venue whilst the event was going on. Such their enthusiasm to hear they hid from the venue staff until the very last minute just so they did not miss the song and then proceeded to blow the venue, audience, and the other bands away with the powerful performance of which they are renowned.

With additional great music from the likes of Tim Bennett, The Escape,  Slam Cartel and The Shanklin Freak Show, to name just four of the multitude played, it all added up to a brilliant and enjoyable show. It was not as confrontational, dangerous, and in your face as before…no it was even more so and all the better for it. On every Friday from 9PM UK time, The Inner Sanctum looks like being one show which no one will want to miss and if they do they have the podcast of the show to greedily unleash their inner mischief with anyway.

Check out the podcast of the show @ http://www.spreaker.com/user/reputationmedia/innersanctum22 and tune in live each week @ http://www.reputationradioshow.com/

Find out more about the artists featured @…

https://www.facebook.com/hollywalkersongs

https://www.facebook.com/pages/The-Secret-City/270623946291067

https://www.facebook.com/ourinnocencelost?ref=ts

https://www.facebook.com/pages/Illustrial/104161896358

https://www.facebook.com/matthew.meadows

https://www.facebook.com/paul.holden1

RingMaster 09/07/2012

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Project Juggernaut: Ink Sonata

The long awaited new album from Canadian industrial metal band Project Juggernaut is not for those with a weak backbone. Scared of what creeps in your personal dark and reluctant to explore your own shadows, then stay clear as Ink Sonata goes there and beyond across its fourteen intrusive and challenging at times nasty lingering soundscapes. The album opens the doors to their and your demons with sounds as malicious and conniving as the presences whispering malcontent from the dark. Simply it is an outstanding pit borne storm of destructive and inciteful blackened imagination.

Ink Sonatais not an easy listen from beginning to end but it is fully rewarding and one of the most exciting industrial

artwork by @richardbriceland.

releases to emerge this year. It tests the senses with the clear intent to awaken and ignite emotions and thoughts which should lay dormant, the striking and violating sounds spawn from the darkest breath and passions. The follow up to Technoir of 2010, the new album finds the band evolved not only in quality and songwriting but in their ability to twist and wind up the psyche with blistered and captivating invention. It is an album you will remember if not for any particular track or moment but for its persistent and fully expansive manipulation of your emotions.

Since forming in 2009 the London Ontario trio of vocalist Jay Cromie, Jeremy Chaulk (The Vaya Project) on programming, and guitarist RobbieK, have brought distinct elements of industrial, electro, and metal into a maelstrom of inventive and dehabilitating emotional riots brought with a melodic scorching. The new album finds them with a deeper caustic touch and vindictive nature and is quite glorious leading one to declare as much as previous work was impressive it pales next to Ink Sonata.

The album unleashes the darkness from the first notes of opener God Less, the track enveloping with a shadowed awakening and electric scuzzy energy which sears the ear immediately. Once the vocals of Cromie surge with annihilatory intent the track just grasps the senses with a devious yet enlightening ambience, even if it is into shadows best left untouched. With serpentine whispers and scathing electronics scraping every cell it is an epic start. It is not particularly catchy it any point but wholly infectious throughout like the strongest most dehabilitating virus.

The great start is elevated with the excellent Psychotic. The song treats the ear with a guitar beckoning at first which as beats and subdued vocal inserts fill the air leads like a piper into the heart of the track. The song then sends eruptions of a raging disturbed mind/energy cascading through the senses matched by the anthemic pull of its chorus and ruptured sensibility in the teasing probing electro additives. It all leads to one to wonder if such poison should be so irresistible, the album continually gives its indisputable answer.

Across the release some tracks emerge with a greater hold on the heart than others though never is there a moment when things slip below the initial high quality, either matching or rising beyond. Songs like the filth caked rocker Dirty Sister and the spiteful Lemon Face take one down vindictive corridors to test the evil and tolerance of thought and emotions. They are insistently provocative and ensure the journey is treacherous to sanity and heart but are a rewarding match to the more accessible songs, if one can use such a word on such an overall hellacious masterpiece.

Sahara all shadowed Eastern promise and sinister fascination is a song which ignites one of the hottest fires within. Hypnotically beautiful whilst criminally abusive the track is a murderous gem which alone shows how much stronger the band has ignited their cruellest and most mesmeric creative fire. To be fair every song deserves a mention such the quality and invention they offer. A deeply diverse and perpetually twisting animal beneath its exacting surface, Ink Sonata never for an instant leaves one sidetracked by outside interference with each visit to its black heart more revealing and rewarding.

Tracks like the aural emotional toxin Abuse, the acidic warmth fuelled title track, and the colossal brute that is Daedalus, all leave one gasping for air beneath their stunning enterprise and intensity whilst Open My Eyes is just magnetic malevolence and a definite favourite.

Project Juggernaut has returned with their finest hour and a major addition to the genre which leaves many other releases quaking in their wake. Ink Sonata is a quite delicious masterful ruin of your mind and emotions. Who knew abuse could be this brilliant.

https://www.facebook.com/projectjuggernaut

Watch out for tracks from Ink Sonata on future Bone Orchard shows from The Reputation Radio Show

RingMaster 02/07/2012

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Illustrial: Eloquently Violent

Fuelled by emotional shadows and darkened energy the new album from UK electronic/darkwave project Illustrial brings forth a reflective journey born of its creator whilst being the inspirer of personal involvement and feelings. Eloquently Violent is an album which offers a journey through heartbreak, inner loneliness, and slightly destructive dark essences of life. It is vibrant though bringing as much hope as resignation to evoke thoughts and feelings which all can interpret to their own struggles and blistered highlights.

Formed in 2006, Illustrial is the solo electronic project of Baz Badrock (aka Neformore). Early EP Discipline the Devil’s Country drew good responses to the project though it was with the link up with London-based artist Strobegirl a more concentrated attention came their way through songs Don’t Look Back and a cover of California Dreaming. 2010 saw the Genesis EP to be followed a year later by third EP Darkness Falls and a returning full collaboration with Strobegirl on the enthusiastically received album Glitter and Twisted. The same year also saw Badrock team up with another vocalist on two songs Lost City Ghosts and Dream again to very favourable responses. Eloquently Violent is the first full length solo release from Illustrial and easily marks itself from the outstanding sleeve artwork from OneTwoTree Designs through to the sounds within as the best individual and mature work the artist has produced.

The album opens with Xciter, a pulsating electro pop dazzle upon the ear. It has a definite early Fad Gadget feel to its air without arguably the pop infectiousness but is still a satisfying treat. As with the majority of his songs Badrock brings a minimalistic presence to the track allowing its ambient whispers and atmosphere to give service to the passion and emotive heart. The original intent for the album was for guest vocalists on some of the songs but as the release developed Badrock fell into an ease and rapport with the music and his own style to end up taking on the role himself. The opener shows it was not a bad move and again offers up the Frank Tovey comparison here and at varied times during the album.

Heartbeat follows and is a more reserved manipulation of electronic weaves. It brings splintered pulses and fractured melodic twists and only really finds a full appeal when it raises its temperature through an eager and driven energetic surge. It is still a strong and appealing song though showing the variety to the album as well as a firm yet rippling consistency which never leaves one drifting elsewhere in attention.

The title track has a similar feel and intent as its predecessor though seemingly carries a more personal heart for more intensity which ignites further the searchlights of melodic enterprise. It is quite mesmeric as it envelopes the year and continues the strong start commendably. Coming in its wake though is Tribal Dance which did not failed to inspire similar responses though it is as much down to expectations from the title than the composition itself. Expecting something primitive in energy and raw the track is a quiet and one means quiet, measure of beats and electronic whispers. It feels like an interlude to be honest but with a beefier production would probably have made a bigger impression.

From here on in the album brings a fine mix of ideas, textures, and sounds, from the sultry Gothic Fantasy and wonderfully distressing aural violation of My Distortion on to the likes of the New Order influenced The Silence and the haunting darkness that is Dark Night Of The Soul. The release consistently treats the senses to invention and imagination and though at times this exploration does not always quite come off as well as in other parts but it is never less than intriguing.

The latter half of the album unveils further thoughtful and evocative songs as the sinister Horrorgasm alongside the melodic caress of Breeze which inspire responsive feelings to the aural triggers. Eloquently Violent is an album which graces with expressive and satisfying sonic tapestries for the ear to immerse within. It maybe is lacking a raw edge and anger at times to break up the unerring shadowed smooth fondling of the ear but it is a release which effortlessly leaves one in thought and reflection.

https://www.facebook.com/pages/Illustrial/104161896358

Check out tracks from Eloquently Violent on The Reputation Radio Show

RingMaster 02/07/2012

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The Self Titled: Defaced

With the greatly impressive song Mr Nobody a constant presence on the daily playlist here and recently featured on The Bone Orchard podcast from The Reputation Radio Show, the anticipation for the debut album from UK rock band The Self Titled was an eagerly growing itch which only the release could alleviate. Sometimes such eagerness ends in disappointment such the expectations placed upon something but with Defaced, the band not only matched but easily surpassed those hopes. The album is a bruising slab of rock power brought with quality craft and invention. It has no pretence towards or delusions of breaking down boundaries but if there has been a better and more exhilarating collection of pure rock n roll tracks it is hard to bring them to mind over the past year with only the Trucker Diablo album able to match what The Self Titled have unleashed.

From Kent the quintet of vocalist Mark Campbell, guitarists Darren Towner and Dan Wright, bassist Steve Hobbs, and Paul Brander on drums, has become one of the most prolific and sought after bands across the UK, their dynamic stage performances leading them to supporting the likes of Kobra and the Lotus, Forever never and Jezabel Deva and thrilling festivals alongside bands such as Status Quo, The Damned, and Gun. Defaced was due to be recorded in April of 2011 but such the demand for them on the live circuit the band had to be put it back due to lack of time to give it the attention it deserved. Now they have been able to find that space and have unveiled an album which is deeply rewarding and pleasing. One doubts the band would ever put out something rushed or substandard but the album is of such might it proved the decision to wait was correct. Last year also saw the band lined up to sign with Blaze Bayley Recordings, the label set up by the man himself and would have been one of his first signings but things as happens did not quite work out and the band decided not to follow that link up.

The Self Titled has a sound which ignites all the best elements of rock and metal to combine them into a feisty force of infectious and compulsive sounds. There is at times a trash tendency which reminds of latter day Metallica but the Americans for all their good songs have never excited as much on their recent albums as the Brits easily do on Defaced. The album is not only impressive in its sound and songwriting but in the extremely high consistency from the opening triumph Soul Control through to the closing piece of might The Silence. The opener emerges on a sonic scraping of the ear to immediately explode in to a riotous surge of busy and hungry riffs and eager rhythms. The guitars flash and thrust with dramatic energy and the bass of Hobbs is a prowling brew of delicious contempt, whilst the vocals of Campbell with admittedly a more than slight Hetfield tone rasp and draw the lyrics perfectly. The song is an immense and undeniable start.

From here on in its simply impressive track after track, the likes of the following Twisted with its incisive rhythms from Brander alongside the mesmeric guitar play and the insatiable Stomp leaving one breathless and eager for more without reservation. The second of these two is a blistering storm of imaginative melodic rock and greedy riffs which is irresistible. If infectiousness could be bottled this track would be its advertising soundtrack, a nonstop exercise in perfect rock n roll.

Evert track is a highlight on Defaced but there is always a soft spot for My Nobody. The song within seconds lights up the ear with guitar and bass beckoning as irresistible as the vocals are brooding. It is another rampaging riot upon the senses with everything about it instinctively siren like, though the most muscular one you are likely to meet. With jabbing beats, bustling riffs, and brewing atmosphere building up to incendiary and wonderfully concussive crescendos it is one of the best songs unveiled this year.

The rest of the album though does not ever pale against the song with those previously mentioned and songs like the inventive Warped and the final song The Silence a quality match. The first is a clever blend of teasing grooves and again irrepressibly infectious riffs with intelligent provocative atmospheres and ingenuity, especially in the unexpected aside mid song. The last track is brings an outstanding close to the album to rival the outstanding start. The song bustles and presses the ear with an inciting air and power to leave one drained yet desperate to dive back in to the album right away.

    Defaced is truly outstanding and though there was a belief it would be good it swept those aside with something far more impressive in stature and quality. UK rock and metal has never been healthier with The Self Titled leading the way.

http://www.theselftitled.com

Tune into The Bone Orchard as it brings choice cuts from Defaced over the weeks ahead

RingMaster 26/06/2012

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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 taking a look back on their early days.

Hello and welcome to The Ringmaster Review

Please introduce the members of the band.

Hoorah! 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?

We were a bit off the rails in our younger days, so when deciding on naming the group, The Gaa Gaas seemed like the ideal title and it still has relevance even now.

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. I was gutted when groups such as Twisted Charm and Neils Children split up ‘cos there were lots of bands just trying to sound exactly like Gang of Four because it was in at the time, though I thought both those acts were really on to something and had produced a great sound that was their own by experimenting with those type of influences. 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″ vinyl 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 Arctic Monkeys 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 ‘Statues’ 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 Chinese Stars and Moving Units on this next release. The song has recently been mastered by Robert Harder whom 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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