CIRCLE OF REASON – Announce ‘Whatever’s Clever’ March UK Tour
Having stormed into 2014 with the release of their video single Themes Amongst Thieves, Southampton’s alternative rock sculpters Circle Of Reason announce live dates for their forthcoming Whatever’s Clever Tour.
With further UK tours and festival appearances still to be announced for this summer, Circle Of Reason will be bringing their rock show to northern England and Scotland this March. Frequently compared to musical giants such as QOTSA, Biffy Clyro, The Smashing Pumpkins, Coheed and Cambria and Deftones, Circle Of Reason’s prog-tinged hard rock riffs, intricate song dynamics and melodic vocals are gaining the band loyal followers world-wide. Building upon their reputation as one of Britain’s most exciting emerging new rock acts, Circle Of Reason have garnered early support from the likes of Kerrang! TV, Scuzz TV, Power Play & Big Cheese Magazine. With numerous UK Festivals and tours already under their belt, the South West UK quartet have previously earned their place on stage supporting the likes of InMe, Feed The Rhino, Landscapes, Neck Deep and many more
Catch them live at … Mon March 17th – Mink Rocks, Middlesbrough Tues March 18th – South Sea Live, Sheffield Thurs 20th March – Grand Central, Manchester Fri 21st March – The Black Bull, Castleford Sat 22nd March – Vintage Rock Bar, Doncaster Sun 23rd March – The Towler, Bury Wed 26th March – Bannerman’s, Edinburgh Fri 28th March – Monty’s Bar, Dunfermline Sat 29th March – The Box, Glasgow
If like us you were excited by the debut A Favour For A Stranger EP from UK alternative rock band Circle Of Reason, you are going to be grinning from ear to ear with their new release, the These Hands And This Mind EP. The five track EP realises all the promise of its predecessor and more. It is a release which aligns itself with thoughts and emotions with reflective and evocative potency whilst coaxing the passions further with sounds which caress, rumble through, and energise the ear with a maturer imagination capturing craft. Hopes of greater things from the band in the wake of their previous EP were inevitable and rich but the Southampton quartet now makes it feel like we short changed their potential with the outstanding release.
Since forming the foursome of vocalist/guitarist Simon Osman, guitarist Gary Slade, bassist Sam Cogher, and drummer Andy Milwain, have earned a strong reputation through their live performances alone which has seen them play with the likes of Feed The Rhino, Marmozets, Girlschool, Lafaro, Fighting With Wire, The Smoking Hearts, Landscapes, Inme, Zico Chain, Attention Thieves, and more. Their video singles and the A Favour For A Stranger EP equally built up their stance, garnering acclaim and widespread national coverage from the underground media to the likes of Big Cheese Magazine, Scuzz TV, Kerrang TV, and Lava. Already having earned comparisons to the likes of Coheed and Cambria, Soundgarden, and The Smashing Pumpkins, Circle of Reason are now ready to step onto higher levels and with These Hands And This Mind they have made an impressive first step.
Released Monday 29th July, the EP steps forward first with the single from the release Don’t Be Still. It is an instantly appealing mix of punchy rhythms and fiery guitar caresses around the ear, the air soon heated and thick from the sonic and passionate endeavour. As the again impressive tones of Osman stand astride the creative sounds with rich expression and emotive potency aided with the equally notable backing vocals of Cogher, the song wraps its sinewy intensity and melodic flames tightly around thoughts and passions. With only the disjointed break midway a minor niggle the song leaves a starting to stir ardour smouldering in its wash though it takes the following pair of songs to truly ignite its hunger.
Next up Home is a slowly burning triumph; its initial vocal and guitar welcome a glorious tender lure which only suggests you should share its company, though this persuasion is soon heightened as the bass of Cogher offers darker shadows and the beats of Milwain frame it all with rhythmic concentration. It is when the track erupts and expels its fullest sinews of energy and passion though, subsequently merging both aspects into a scintillating progressive adventure, that the song rips full submission from the heart. It is a mountain of a piece which alone shows how far the band has come and evolved in sound and songwriting whilst still offering a promise of much more. As with the first EP, there is a strong feel of eighties band The Mighty Lemon Drops to Circle of Reason, vocally and emotionally which is most apparent in the equally stunning Themes Amongst Thieves. Riffs and rhythms carve out a terrific flight of metallic excellence which leaves lungs breathless whilst vocally once more Osman swoops across the rugged landscape with a grace hand in hand with the melodic elegance that permeates every breath the song takes. The two songs easily steal top honours on the EP and do not be surprised if they, and especially the second of the pair, turn up as the next single.
The following Novel also has a vigorous presence to its structure with guitars coarse flames across the cage of rhythmic demands but equally it explores its heart and emotive depths with a melodic and progressive adventure which is mesmeric and passion driven. Like all songs and the EP as a whole, the track just gets better and better with each dramatic engagement and leaves the appetite for the band verging on feverish.
The closing Sleep is a slow croon which captivates musically and vocally. It does not quite spark the passions as powerfully as other tracks but still leaves the richest flavour on the appetite and provides further evidence of the evolution of the band already and ahead.
These Hands And This Mind has marked Circle Of Reason as one of the most thrilling emerging bands in UK rock and with you feel so much more to come. Really it is hard not to be excited about this band.
UK band Escape The Ocean may not at this moment in time have a sound to break down boundaries or set new fires of individuality, but as it pleases and entices within debut EP Internal Landscapes you cannot stop feeling that there is something extra within the craft and imagination of the Kent based quartet which will see them finding their distinct personal voice at some point. The release is an enterprising and accomplished piece of progressive and math rock fusing which leaves a strong depth of satisfaction in its vibrant wake.
Formed in the beginning of 2011, the foursome of vocalist/guitarist Lee Morrison, bassist Glen Savage, guitarist Lewis Monks, and drummer Liam Foy have taken inspirations from the likes of Coheed and Cambria, The Fall of Troy, At the Drive-In, Glassjaw, The Smashing Pumpkins, Tool, Karnivool, The Butterfly Effect, and Primus and created a sound which maybe has a familiarity at times but is undeniably inventive and skilfully crafted. As mentioned Internal Landscapes has something which catches the ear and thoughts and that ignites a definite promise for the band ahead and pleasure now.
From the brief Entry To An Interior, a melodic intro so short it is merely an appetiser for and leading into the following All Signs Point To Yes, the first full track immediately soaks the ear in strong vocals and fiery melodic enterprise from the guitars, their touch acidic around the great vocal delivery of Morrison a strong appealing blaze veined by the rhythmic sinews of Foy who in turn is aided by the throaty prowl of Savage. As the song proceeds and the progressive flames of Morrison and Monks explore the air you feel loud whispers of Mars Volta amidst the impressive venture being craved out. Not the most instant and infectious of the tracks making up the EP but it is nevertheless a strong and inviting start.
One Sided Dice gently enters in next, the elegant caress of guitar a simple yet full persuasion before the emerging twists of invention increases the lure with a less dramatic but still an At The Drive In like similarity. Once again the vocals are a strong factor, the expressive tones of Morrison and the overall emotive narrative finding mutual understanding in the restrained yet potent sounds and energy surrounding its call. The temperature of the song undulates and increases the nearer to its climax you go but at no point is the sweltering breath and touch of the track less than tempting.
Mesculine Vigil and Exit Wound complete the release, the first like its predecessor a more reserved but passionate encounter. The guitars again cast a colourful sonic painting over the rhythmic canvas, their invention sparking surges of emotional flaming and descriptive evocations whilst the closer from again a Mars Volta like mesmeric start, builds an intriguing weave of arousing textures and potent endeavour. It is a fine end to an equally enjoyable debut. Escape the Ocean may have a way to go to develop their unique voice but for craft and imagination no one is left wanting by Internal Landscapes. This is a band and release which definitely should be checked out.
RISING ALTERNATIVE ROCKERS CIRCLE OF REASON RELEASE NEW EP & VIDEO!
Bursting out of the South West of England, Circle of Reason cunningly weave together their own brand of Prog-infused Alternative rock that is unmistakably unique and individual. Intensely merging considerate, visceral guitar parts, ear-shattering drums, and warm, alluring vocals, they create something sweepingly fast-paced and melodic that is at once compelling and supremely appealing. Their highly engaging sound is very much their own, though they have received affectionate comparisons to the likes of ‘Coheed and Cambria’, ‘Soundgarden’ and ‘The Smashing Pumpkins’.
Circle of Reason have a genuine affinity for touring and performing live, and have already played alongside bands such as: Feed The Rhino, Marmozets, Girlschool, Lafaro, Fighting With Wire, The Smoking Hearts, Landscapes, Inme, Attention Thieves and Steak Number Eight. Besides a hefty touring schedule, the four-piece are also amassing a solid release output. Last year, the rising quartet’s debut EP ‘A Favour For A Stranger’ racked up impressive underground acclaim and national magazine coverage, with Big Cheese Magazine praising the band: “This is truly hard hitting material for a debut EP”. The EP also spawned a series of music videos which all garnered TV coverage from the likes of Scuzz TV, Kerrang TV and Lava.
The band stride forward once more with the release of their killer new EP ‘These Hands And This Mind’, out this July. The EP is loaded to the maximum with diverse guitar riffs and glowing vocal lines that truly soar, from the pounding riffery and stomping groove of their forthcoming single ‘Themes Amongst Thieves’, to the anthemic guile and craft of their current single ‘Don’t Be Still’. The foursome’s indisputable talent prominently shines throughout the whole of the EP, with each track dispatching its own unique feel, drive and vigour.
Before then check out their brand new video for the track Don’t Be Still below.
When an album leaves one feeling good inside you know it has to have something special about it. Such is the case with Meridia from US rock band Ellis Ashbrook. The release, the third album from the band, is a mesmeric collection of swirling and heated songs which captivate with ease and infectious imagination. It is an instant friend to the ear and an eager perpetrator of heartfelt delights with its irresistible weaves of invention and passionate melodic enterprise. A series of varied peaks without any lows in between Meridia is simply one enormous pleasure.
The Brooklyn based quartet of John Barber (vocals, lead guitar), Natalie Lowe (vocals, keys), Jonathan Granoff (bass), and Alex Major (drums, electronic percussion), draw in influences across multi genres to create a rock sound rippling with diversity and shimmering beauty. It is feisty when it needs to be and as funky as your hips could dream of and the overall blend is a perpetually engaging and fresh pleasure for the senses. With two previously well received albums behind them in their self titled debut of 2006 and Assemblage in 2008, Ellis Ashbrook has taken their sound to a new level with their latest album to be reflected in the what one expects will be even greater acclaim going its way.
The album immediately infuses emotions with full enthusiasm through opening track Accelerator. With a dawning electronic breath the song unfolds its arms to envelope the senses with a mighty indie pop feast of elegance. From the initial voice of Lowe there is an immediate Blondie lilt to the song before it evolves into a more rock orientated flow as the vocals and excellent guitar of Barber join the party. Electronic bursts and spotlights of sound keep things wonderfully warm and casual alongside the firmer thrust of the song which by this point and as it approaches its climax ripples essences of Oingo Boingo.
Second song Slide takes no time in showing the variety of the album and music of Ellis Ashbrook in general. A pacing melodic tease split with sharp guitar play and surges of muscle the song is a hypnotic fusion of Alice In Chains/Nirvana and classic rock brought with a breath of psychedelic warmth. Again vocally the song radiates infection and class whilst musically the band turns contagion into an art form.
As the album continues to envelope the senses songs like the jazz funk flight of magic which is Cat Song, the brilliant hypnotic tropical treat PeripheralDeclination, and the crystalline shimmering No Please, Don’tWatch, leave the heart desperate for more. PeripheralDeclination is especially irresistible and a rival to the opening pair for best song on the album, its magnetic Mike Patton crossed with Beck craft impossible to stay away from.
As mentioned there are varied heights of excellence on the album but there is never a time the album leaves one merely satisfied, songs like Climax, the folk rock gem Unbreakable, and the emotive Bottomfeeder, leading thoughts and emotions on a sensual experience as rewarding as the more boisterous and irrepressible tracks elsewhere. As Meridia progresses its air evolves from an urgent and energised beginning into a mellower and more passionate atmospheric ambience especially over the latter six or so tracks, though it still offers plenty of stirring bursts as in the closer 22 to compliment and invigorate the pulsating beauty and impressive songwriting.
Taking extras spices found in the likes of Talking Heads, Led Zeppelin, The Smashing Pumpkins, Ween, and Pink Floyd to name a few, Ellis Ashbrook manipulates them into their own unique sound to offer something which is as we said at the start rather special. Meridia is a gift for the ear, time to treat yourselves.
Though our introduction to Boston electro/industrial metallers Virus Cycle started with the remix album Return to Zombieland and moved backwards to their debut Alice In Zombieland it was immediate that the band was one which was bold in its exploration and pushing of the ever evolving boundaries within what we will loosely call industrial music and equally imaginative. Drawing post-apocalyptic soundscapes ruled by the soulless carcasses of the living dead Virus Cycle create inventive and intrusive experiences to ignite and consume the senses. Needing to find out more about the band and their sounds we had the pleasure to fire questions at band founder and multi instrumentalist/vocalist Johnny Virum.
Hello and welcome to The Ringmaster Review
How are things in the world of Johnny Virum?
In one word: BUSY! We have so much going on in the world of Virus Cycle. We’re working on the post-production of our new album, playing dates on our …The Dead Are Among Us! Tour 2012, and working on bringing Bluntface Records to the forefront of the industrial music scene.
Tell us about you the man.
Not much to tell really, just a guy who loves horror movies and writes music about it. My music runs the gamut from industrial all the way to classical music. I also like to think of myself as a history buff – I like it so much I got a bachelors degree in it (which has absolutely nothing to do with the music business, lol).
What are the origins of the band?
Virus Cycle started in 2011 after the dissolution of my previous project back in 2009.
What was the inspiration or stimulus which brought Virus Cycle into reality?
I had been out of the music scene for around two years and wanted to start a project that was pure in its originality, but at the same time, something that would be able to stand toe-to-toe with the sound that has evolved into what is now the norm of the industrial scene today. I created what could be considered a branch off that sound: Post-Apocalyptic Industrial Zombie Tech. It falls somewhere between industrial, aggrotech and metal.
You have been creating music long before Virus Cycle, has it always been in the same general genre as now?
Virus Cycle is much more experimental and more industrial than my past projects. Before Virus Cycle, my projects had a lot of programming but were more towards the genre of goth-metal. I feel I can take more chances in this new project and not be as worried about something not “fitting” into the genre norm.
What are the major influences which have had an influence on your music and invention?
There are many influences when it comes to Virus Cycle’s sound. When it comes to guitar, it’s very similar to bands like Orgy, The Birthday Massacre and White Zombie. I use a nasty fuzz pedal with a ring modulator in it from the 90’s. I love the sound of the ring modulation. When it comes to vocals, I have many influences but I try to make it my own as much as I can because today everyone sounds the same when it comes to industrial music. On the new album Skinny Puppy, The Smashing Pumpkins and Cradle of Filth were influences. When it comes to programming synths and drums, I go for my own sound all the way around. However a big influence for programming is John Ruszin from Carfax Abbey, Collinwood 13 and Sys2matik 0vrl0ad. In every project he does he is consistent to his own sound. I love that.
The band name comes from the movie 28 Days Later and you use many samples and film influences to shape and flavour your songs and overall themes. Does one come before the other when creating a song, i.e. do you bring the film imagery and sounds into already composed music?
Yes, that’s what we do. I write all the music first and when I’m done with that, then it’s time to relax for a week or two and watch horror movies while picking out sound clips and writing lyrics.
What is your way of working when writing music?
First I start with the programming. It usually goes drums, synths, guitar, vocals, then sound clips. After that, I usually go back and forth changing and tweaking things until it works for me.
Last year saw the release of firstly Alice in Zombieland and in the latter part of 2011 Return to Zombieland. Tell us first about Alice in Zombieland and its overall premise.
The premise of the album revolves around Alice, who is lost in a post-apocalyptic land overrun with flesh-eaters. The album is really a journey of human survival in a world of the undead.
How long was the album in the making?
The album was in the making for about a year, which was great because I could go back and nitpick as much as I wanted.
We felt the songs within it had some eighties to early nineties flavouring, would you agree with that?
Alice in Zombieland was sort of an experimental album. For many years I have been a fan of old industrial bands like Skinny Puppy, KMFDM, White Zombie, Throbbing Gristle and old NIN so I felt compelled to record an album that sounded like it was done in 1990. I wanted to get a realistic feel so I recorded it on a four-track Tascam tape recorder and didn’t over-master it.
Return to Zombieland was a collection of re-mixes from notable artists as well as two new Virus Cycle tracks. Let us first talk about that pair of songs Bring You Down (Forever) and City Of The Dead which with no disrespect to the other people and tracks involved were the highlight of the album. Are the songs representatives of what we will find on the new album you are currently working on?
Yes and no. The recording of those two songs was a learning experience for me and Otto Kinzel. This was the first time we worked together in a studio setting, so we got to know how the other worked as well as what worked for us both in the collaboration process. We came up with many cool tricks in those sessions that will become Virus Cycle staples such as the guitar texture and layering process. The drum programming is going to be totally different on the new album. Instead of just using a simple 4-4 type drum machine sound, I am using both electronic and acoustic drum kits and more “technically complicated patterns” (as Otto describes them) that are going to be nice and layered.
How would you say the songs have evolved from those on your first album?
The songs are a lot more organized, the sound quality is much better, and I feel that it’s a much more cohesive product.
As many of your tracks they both create a thick and enveloping atmosphere, is that aspect carefully crafted or something which organically evolves as your bring your songs to life?
The songs for the most part evolve into a shape all their own. I like to layer and incorporate many different sounds that contrast one another. Before the song is ready, it’s pulled apart and changed so many times before the final product is complete.
The rest of the album as mentioned is cover versions of songs from your debut. What inspired the album in the first place?
I have met a lot of awesome musicians while doing this new project, and I really love their sounds. I thought that if I could do a remix album, I could introduce some of these bands that I have grown to love to my fan base and show them how much more these artists could contribute to my work. In many cases, some of the remixes on Return to Zombieland I enjoyed just as much as the originals.
Did you go to people or they come to you about re-mixing your music?
It was a combination of both, actually.
Our favourites were a couple from Lykquydyzer, friends of the site Ghost In The Static, and Otto Kinzel, who as you mentioned has since become a full contributor to Virus Cycle. We know him from his great work with Chemical Distance, how did you two meet and what led to the full creative union?
Otto had played in many bands throughout the New England area for many years. I never actually met him, but I knew of him from being in the same scene and having mutual acquaintances. I was working on the remix album and he ended up doing a remix of White Zombie that blew me away. So when I recorded the two new songs for Return to Zombieland, I asked him if he wanted to produce them. He did and ended up adding some programming and played bass as well. On the new album, he is producing and playing bass. He has been working just as hard on this new album as I have. He is a pro and it works out so well because it’s such a relaxed atmosphere between the both of us since we both understand what needs to be done and we don’t get too hung up on timeframes so we can get the best product we can, which takes time.
The band has also joined Bluntface Records, what difference if any has that made to the new album you are working on?
I am so ecstatic to be a member of Bluntface Records. The label works very hard to promote their musicians and projects all over the world. It’s truly an international label with some artists not even based in the US. The main difference with working with a label versus being independent is that before, you only had yourself to rely on; now it’s more of a team effort which is a lot of help because it expands your reach. It’s also cool to be able to believe in the label that you are on. So the easy answer is musically it didn’t change the album but it is going to change how it is marketed.
Could you give as any idea about the new album and is it a continuation of your Post-Apocalyptic /Zombie theme?
It definitely is. There are a few songs that deal with topics such as human emotion and witchcraft, which is a little different from the past two albums. However, the new album lyrically as a whole is what you would come to expect from a Virus Cycle album: a very catchy chorus and verses that tell a story.
Do you have a date in mind for its release?
The new album will probably be released this fall on Bluntface Records (shameless label plug). Right now, the album doesn’t have a title as of yet.
The past months have also seen the band sharing stages with The Ludovico Technique and Mindless Self Indulgence. Both must have been great opportunities to spread ‘the virus’, haha sorry couldn’t resist.
It was haha. I was so happy to share the stage with both bands. The Ludovico Technique is a very hard-working band. One of their major attributes is that they have a very unique sound and don’t try to conform to every other aggrotech schtick out there. And what can I say about MSI – they are legends! We were so ecstatic to get the news that we would be sharing the main stage with them. They have one of the most devoted fan bases in music today. There was about 400- 600 people at that show!
How does the live aspect differ to the studio for you in creating your atmospheric soundscapes?
Whenever I start writing, I make at a major point to only create stuff that will transfer over well in a live environment. I hate to say it, but sometimes the more simpler something is, the better it sounds live.
We both have a mutual love of zombies themes and zombie movies I feel, so before we go what is your feeling about the TV show The Walking Dead, is it dark enough for you?
I have only seen the first season of the show, but it’s really cool so far. It reminds me a lot of Romero’s movies.
Thank you for sparing time to talk with us, very much appreciated.
Would you like to leave with some final words and maybe your favourite movie or line from a movie, or even one of your songs?
I’m not going to tell you what movie it’s from since everyone should know. I have seen this move a million times since the age of 5, and I still get chills when Ken Foree says, “When there is no more room in hell the dead will walk the earth.”
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mix of punchy rhythms and fiery guitar caresses around the ear, the air soon heated and thick from the sonic and passionate endeavour. As the again impressive tones of Osman stand astride the creative sounds with rich expression and emotive potency aided with the equally notable backing vocals of Cogher, the song wraps its sinewy intensity and melodic flames tightly around thoughts and passions. With only the disjointed break midway a minor niggle the song leaves a starting to stir ardour smouldering in its wash though it takes the following pair of songs to truly ignite its hunger.
Signs Point To Yes, the first full track immediately soaks the ear in strong vocals and fiery melodic enterprise from the guitars, their touch acidic around the great vocal delivery of Morrison a strong appealing blaze veined by the rhythmic sinews of Foy who in turn is aided by the throaty prowl of Savage. As the song proceeds and the progressive flames of Morrison and Monks explore the air you feel loud whispers of Mars Volta amidst the impressive venture being craved out. Not the most instant and infectious of the tracks making up the EP but it is nevertheless a strong and inviting start.
