Tides of change: Talking Currents with In Vain

Photo by Jørn Veberg

There have already been some truly striking releases in 2018 and maybe no more so than the new album from Norwegian metallers In Vain. Currents is a progressive metal adventure which surprises at every twist and enthrals at every turn. With big thanks to him, we recently had the pleasure to explore the album closely with guitarist/songwriter Johnar Håland and the band, getting to its heart, its journey to release and much more….

Hi Guys, many thanks for sparring your time to talk with us.

It is fair to say that it is a busy time for the band with the recent release of your new album, Currents. Have you had time to sit back and reflect on its initial success and plaudits yet?

Hi! Thanks for your review and for taking the time to do this interview. Things are quieting down a bit now and as you say, the feedback has been really good. However, I am not really a person who looks back. My thoughts are more focused on the next album.

It seems that you have spent a long time in its creation, that time certainly reflected and heard in all its honed intricacies and bold adventures. What is the time scale for its creation?

Our previous album, Ænigma, was released in 2013 and there seems to be people who think we spent five years writing this album. That is not the case. There are several reasons for why this album was delayed. Personal issues forced me to put composing on halt for almost a year, and with me being the only songwriter in the band that forced the whole process to a standstill. In addition, I was working on the debut album of my other band, From Strength to Strength, which is a hardcore band that will release its debut album some time during 2018. On top of that I spent the majority of my spare time reading for the CFA (Chartered Financial Analyst), which is a self-study in finance I have been doing the last three years besides my full-time job. The album was actually finished in June 2017, but we could not set a release date until we had a proper tour booked to support the release. So there are many reasons for this long delay. Hopefully it will not take five years until the next album!

I am sure you will not disagree with us when we say it is your biggest, boldest, and most imaginative release. Did you have any specific aims when writing and creating Currents or it just organically evolved into what we hear?

I am not really sure to be honest. Our debut album The Latter Rain (2007) was also quite bold. Back then we were a totally new and unknown band who released an album of one hour with grandiose and complex music supported by 20 guest musicians. So that was definitely a brave musical undertaking.

In all aspects, we feel Currents eclipses its acclaimed and also richly enjoyable predecessor, Ænigma. Where do you see the biggest evolution?

To be honest, I am not a fan of comparing music. In my opinion, Currents is another strong album in our catalogue. It is a very diverse album full of contrasts and has high-quality music with longevity. I take it as a sign of quality that there are different opinions with regards to which of our albums people enjoy the most. I do not believe Currents is that much different from our previous work, but there are some changes. The production is more organic, there are some shorter songs and it is less black metal compared with our previous releases.

Currents embraces the widest array of flavours and styles in your sound yet, a truly expansive landscape weaved around bold yet often delicate contrasts but it still has that signature In Vain breath. Did you have to concentrate on keeping that character or it again just naturally evolved as indeed that broad tapestry of sound?

I think it is just a natural evolution to be honest. I do not really think that the music is that much different from our previous releases, however there are some new elements. For instance we have one song, Soul Adventurer, with mainly clean vocals. We also have a song with acapella choirs, Blood We Shed, and that is something we have not done before.

You linked up, as for the previous album, with producer Jens Bogren. It is fair to say he gets your sound and imagination but what does he especially bring to the mix which you feel adds to the realisation of your ideas?

We were very pleased with Jens’ work on Ænigma. We did not really have any other alternatives at hand and decided to go back to him. We wanted a much more organic sound this time around though, and I think we achieved that. Jens usually knows what we want and I think we have the same views on what sounds good and not.

Give us some insight into the recording of the album.

All the guitars and bass were recorded in my home studio, except for some lead guitar solos that Kjetil recorded at his home. Vocals and other instruments were recorded in Strand Studio in Oslo. Everything was re-amped by Jens Bogren and he also did the whole mixing and mastering of the album. However, we were never present in his studio and only communicated with him via email and phone.

We have had the real pleasure of having an insight into the lyrical side of the album ahead of its emergence. Can you share some of the themes and inspirations to the songs?

Currents is not a concept album in the traditional sense, however there is a topic and a red line in the music, lyrics and artwork. Currents, reflects on the colossal shifts and changes of our time. The present world is characterized by continental flows of people, traditions and cultures. Migration of people across continents and borders…Cultures merging. Dramatic shifts in lifestyle from one generation to the next. This topic exists in both the lyrics and the music however we only touch upon it in an abstract way with a top-down view. It is important for me to clarify that we do not have any direct political views on this matter reflected in our lyrics.  Besides that, the lyrical themes are varied, ranging from personal experiences and struggles, to contemplations on nature, philosophy and the historical and political development of this twisted world we´re living in.

Was there a particular process to the writing of songs for Currents?

The process was the same as previously. I write the songs alone and present complete compositions to the rest of the band. Later on I involve Sindre in the preproduction, as he also lives in Oslo. All members are free to add their personal touch to the songs and to give suggestions, but as the songwriter I have the final word.

It also sees a few guests such as drummer Baard Kolstad (Leprous, Borknagar), vocalist and former band member Kristian Wikstøl (From Strength to Strength), and vocalist Matthew Kiichi Heafy (Trivium). Were these happy happenings or thought of early on in the album’s creation?

This was something we decided on during the preproduction process. All the guests added their personal touch to the album and we are very pleased with their performance.

I know as for so many bands finances make a major part in decisions and possibilities in keeping going let alone forging ahead with releases, tours etc. for In Vain. How did this put restraints on Currents and do you see crowd funding as a feasible way forward?

We are fortunate to be able to record albums of the quality we prefer. The total budget for this album is around 50 000 EUR I guess, so hopefully people understand that they need to support us financially if they want to hear more In Vain albums in the future. We have not paid anything out of our own pockets. The label pays and we are also fortunate to get some financial support from various grants in Norway. However, the label obviously needs to get in break-even before we will get any part of the potential profit. Touring is more challenging and a tour costs a lot of money. Financing definitely puts a limit on how many tours we are able to do.

As with your previous albums, Currents is available through Indie Recordings. How have they helped, apart from the obvious, in bringing the album to our ears?

We have been with Indie Recordings since 2005 and we are actually the first band they ever signed. We have a good relationship with them. Obviously there are things that could be better, but that is always the case.

For those new to In Vain can you tell them about the beginnings of the band…the early days?

In Vain is a Norwegian band that plays progressive extreme metal and was formed in 2003. Andreas (vocals), Sindre (vocals) and myself (guitar) are the founding members, while Kjetil (guitar) joined the band in 2009 during the recording of our second album Mantra. Our bassist Alex has been around since 2013 and our drummer Tobias joined us recently. So far we have released four albums and two EPs, and we signed with Indie Recordings after releasing our second EP Wounds in 2005. Our latest album Currents was released on 26 January 2018 and we just came back from a European tour with Orphaned Land, Subterranean Masquerade and Aevum.

What is next for In Vain, shows etc. and once the dust of its triumph settles ahead?

We just came back from a European tour with Orphaned Land, Subterranean Masquerade and Aevum. We covered London, France, Spain, Arnhem and Essen. Our hope is to do another tour later in the year where we cover the countries we did not have the chance to go to on this tour. Besides that we will play some shows in Norway and some festivals.

Once again big thanks for giving us your time. Any last words you would like to share?

Thank you very much for your support, we appreciate it! To the readers; keep supporting great music, have a go at our new album Currents, and stop by our FB page at https://www.facebook.com/InVainOfficial/ for news, music, tour dates and other stuff.

Check out the review of Currents @ https://ringmasterreviewintroduces.wordpress.com/2018/02/04/in-vain-currents/

http://www.invain.org/     https://twitter.com/invainofficial

Pete RingMaster

The RingMaster Review 07/04/2018

Copyright RingMaster: MyFreeCopyright

In Vain – Currents

Just a handful of weeks short of five years back, Norwegian metallers In Vain released the ear gripping Ænigma. It was a release which brought and honed all the potential and impressive attributes of its two predecessors to one seriously striking head. That triumphant encounter has now been swept away in the creative eddy of the band’s fourth album Currents, a proposal which lustily roars In Vain as being one of metal’s finest and most exciting propositions.

Since emerging in 2003, In Vain has grown within and persistently ascended the European metal scene with their adventurously imaginative progressive extreme metal. Their 2007 debut album, The Latter Rain, swiftly stirred keen attention and critical praise, and a reputation for craft and sound which the more variable Mantra nevertheless only reinforced.  The Jens Bogren (Opeth, Dimmu Borgir, Katatonia, Devin Townsend, Kreator) produced Ænigma simply sparked the imagination as it built upon and pushed the traits of those before. It all pales though before the majesty of Currents, a release which surprises at every twist and enthrals at every turn. Intricately woven yet as organic as the passion which drives it, Ænigma not only takes the In Vain sound to a whole new level, it brings progressive metal a fresh landscape shaping breath.

Seeing Bogren united with the band once again, Currents contemplates “the colossal shifts and changes of our time” looking at the currents behind major events and changes across the modern world from “Migration of people across continents and borders, cultures merging and the dramatic shifts in lifestyle from one generation to the next.” It also features guest appearances from the likes of drummer Baard Kolstad (Leprous, Borknagar), vocalist and former band member Kristian Wikstøl (From Strength to Strength), and vocalist Matthew Kiichi Heafy (Trivium) among various more.

Currents opens with Seekers of the Truth and immediately entwines ears in steely vines of guitar as beats bite. Andreas Frigstad’s raw throated vocals soon prowl the engaging lure, rhythms and melodies colluding in a web of threat and intrigue around him with the song’s climate imposingly bracing but equally infectious  as the guitars of Johnar Håland and Kjetil Domaas Petersen almost dance on the ear. The progressive nature of the band’s sound subsequently infuses the track’s aggressive intent, varied strains of extreme metal merging with melodic enterprise for a captivating trespass.

Even so it’s potent and ear grabbing entrance into the album is soon eclipsed by next up Soul Adventurer. Within its first breath as keys rise, grooves are writhing around the imagination, their earnest exploits matched by the superb clean vocals of keyboardist Sindre Nedland. It is instantly compelling, increasingly so as the song gets right under the skin with resourceful harmonies and rolling rhythms only adding to the richness as the guitars spin a web of creative temptation. It is the superb vocal blend across the band though which brings it all together for easily one of the best tracks ever spawned by the imagination of In Vain.

That is a height though regularly equalled from hereon in staring with Blood We Shed, the track a wall of predacious intent and tone led by Frigstad’s vocal threat. Riffs and grooves soon collude in their own menacing enterprise, the bass of Alexander Bøe a thick grumbling incitement but from within their dark nature a ripple of melodic suggestion becomes a heated, harmonic serenade. There is plenty more going on too as keys and voices take the stage before falling under the incoming rumble of those earlier imposing textures, an array of imaginative moments which seem to reveal more with every listen.

Currents comes in two editions, the Special Edition offering two additional tracks with And Quiet Flows the Scheldt the first. Like a developing landscape, the song grows by the second as vocals and guitars shape an atmospheric flight through suggestive sonic scenery. The track does not have the snap of its predecessor but infuses a drama which draws the imagination right into its heart, vocals again as stirring as the music with the flames of sax a captivating heat in its evocative climate.

The funkier tapestry of Origin and the inviting mystery of En Forgangen Tid (Times of Yore Pt. II) bring their own enthralling reflections to ears and thoughts next, the first a robust yet considerate confrontation masterfully blending contrasts in power, aggression, and tone not forgetting flavours. This is an ability In Vain have never been lacking but as so many other things it has breached a new pinnacle within Currents as the second of the two confirms. Sung in the band’s native tongue, the song is glorious. In no time melodies vein a portentous air, dark and light wrapping round each other as a kaleidoscope of vocal and atmospheric intimation entices from within the magnetically tempestuous vortex.

Ghost Path is the second song found only on the larger edition of the album, the track sharing its own mysterious shadow haunted realm. The imagination is taking on a stroll through an underworld of fear, despair, and increasing creative ill-intent which comes to a head in a rhythmically driven, rapaciously fuelled predation of sound and intensity. The song is pure creative theatre, and reason alone to go grab the bigger version of the album as you really do not want to miss out.

The album concludes with firstly the similarly enthralling infestation of As the Black Horde Storms. Its blackened assault has a folkish tinge to its melodic undercurrent, death bred traits soon as prevalent as the track consumes the senses and begins spinning another web of striking imagination and sound where, as throughout the release, every moment brings surprise and invention to absorb and impress. Its successor, Standing on the Ground of Mammoths, smothers ears with its dark air and slightly corrosive texture whilst again gripping attention with is aural enticement and vocal dexterity. More a song with its creative tenacity and enterprise understated compared with other tracks within Currents; every dive into it brings them closer to the surface though its slip in a thoughtful melodic seduction mid-way is a beguiling caress from the first moment.

It provides an end to an album which simply excites from start to finish. Setting a new marker for not only the band but extreme progressive metal, In Vain has become one of the most fascinating and enjoyable propositions within world metal.

Currents is available now through Indie Recordings digitally and as a normal and special edition on CD and Vinyl.

http://www.invain.org/    https://www.facebook.com/InVainOfficial/    https://twitter.com/invainofficial

Pete RingMaster 04/02/2018

Copyright RingMaster: MyFreeCopyright

Chronos – Pallid Reflection

chronos-pic duncan everton

chronos-pic duncan everton

Coming from the combined areas of Bath and Bristol, UK metallers Chronos recently released their debut album Pallid Reflection. It is a seriously intriguing encounter unleashing an imaginative blend of death and progressive metal with plenty more flavours, many inspired by influences such as Metallica, Trivium, Opeth, Iron Maiden, and In Flames, embroiled in its imposing and resourceful challenge.

Formed in 2014, the quartet of vocalist/guitarist James Rideout, guitarist Joshua Boniface, bassist Tom Chapman, and drummer Jack Camp swiftly made a potent impact on their local and the south of England metal scene. First EP Hour Atonement was released in 2015 to eager reactions, whilst live the band soon found itself playing with the likes of Biohazard and Abhorrent Decimation. Pallid Reflection is the next step in the band’s emergence within the national metal landscape, an encounter which will certainly put their name on the map.

Produced and mixed by Ben Turner and mastered by Joe Caithness, the album opens up with Blood River and a sonic strand of guitar luring ears into the waiting predacious jaws of the track. In no time sturdy rhythms and hungry riffs collude before the quickly impressing skills of the band’s guitarists weave a captivating web of melodic enterprise. It is a feature which lights up the album throughout, as too the contrasts of clean and guttural vocals which give further colour and temptation to the song, especially the former. Though uniqueness is less open there is a great unpredictability to the track which just grips and impresses.

It is a strong and increasingly potent start to the release soon outshone by the following Sea Of Guilt, a hungry tempest of nagging grooves and rapier like rhythms in between passages of stalking riffs bound in restrained energy as clean vocals paint the creative canvas of the song. Again moments of unexpected imagination thrill, helping turn a great song into something even more striking and enjoyable, all offered with instinctively flowing coherency.

art_RingMasterReviewThe epic Thuribles Veil Part 1 is next, ten minutes of carnivorous riffs and grooves courted by just as predacious rhythms as throat raw vocals merge with harmonic beauty and melodic suggestiveness. The track is a cauldron of perpetual intensity, mercurial aggression, and compelling imagination, a playground for ears and thoughts even without the direction of lyric and voice. To be honest, that pretty much sums up the whole of Pallid Reflection and though familiar elements still emerge it would be fair to say they  are treated with an invention and flair which defuses familiarity.

Through the snarling ravenously nagging exploits of Lobotomised and the glorious melodically haunting Shiver, the album continues its trend of each track building on its predecessor and impressing just that little bit more while Awake displaces the elegance of the last track with a bestial swamp of waspish grooves and irritable riffs around more of the predatory rhythms which Chapman and Camp so effortlessly engineer. Arguably the least adventurous track of the album it still leaves the appetite greedy and ensures praise is easily given before Emerald Soul cradles the senses in its melodic arms, they additionally caressed by Rideout’s clean delivery and accompanying harmonies. There is a feel of KingBathmat to the outstanding track, its progressive nature given a clear climate to entrance within.

Crossover is a brutally feral encounter but again one prone to melodic radiance within its primal trespass, superbly crafted switches within a perpetually volatile atmosphere and grievous sonic intent shared with an ability and invention that constantly rises throughout Pallid Reflection and the calmer but no less sonically carnal of the song’s resourceful successor Shadow Of The Sun.

The album is concluded by almost twelve minutes of creative drama and volcanic ferocity courtesy of Thuribles Veil Part 2, a stormy incitement equipped with fiery melodies and scorching grooves around pungent contrasts musically and vocally. It is a fine rousing end to a release which reveals and offers more to greedily devour with every listen. Pallid Reflection is a mighty first step by Chronos and one of the best debuts heard this year with the potential and suggestion in its imagination of bigger and bolder things to come.

Pallid Reflection is out now though https://chronos1.bandcamp.com/releases or http://chronosofficial.bigcartel.com/

https://www.facebook.com/ChronosOfficial   https://twitter.com/OfficialChronos

Pete RingMaster 14/12/2016

Copyright RingMaster: MyFreeCopyright

Anti-Clone – The Root Of Man

Anti-Clone_RingMasterReview

If asked at the start of the year which was the one release we were most anticipating in 2016 there would have been no pause of thought involved in saying the debut album from UK metallers Anti-Clone. They had us addictively hooked into their own distinct nu-metal bred, psyche twisting sound from the outstanding Hands Sewn Together EP, which had its highly successful national release back in 2014. Its tracks were a regular part of our podcasts too, finding the same eagerness across a horde of other shows and stations with the mainstream media soon waking up to the band’s emergence in turn. Now two years on and quickly following reputation cementing and pushing performances supporting Mushroomhead and Sanguine on certain dates of their recent UK tour, the Boston hailing quintet are poised to unleash The Root Of Man.

The question was never going to be would the album live up to expectations seeded in the last EP and the hefty fuss around the band, that just seemed to be a given in thoughts, but would their music have grown and evolved enough to make them a real contender to stir up the metal scene beyond the UK as earlier songs suggested. Well, the answer is found within the first few tracks of the eleven song incitement alone. Together they give a rousing confirmation with their creative roar, only being forcibly backed by the rest of an album which in some ways continues where the Hands Sewn Together EP left off but immediately shows a craftier and imaginatively more exhilarating, not forgetting broader, weave of styles and flavours in its boldly sculpted songs. The Root Of Man is Anti-Clone on a new mature imagination drenched plateau from songwriting to sound to presentation. There is inventive confidence and fierce adventure at every turn as the scent of inspirations from the forefathers of the nu-metal scene are again embraced, twisted, and honed into openly fresh textures within the band’s own fascinating experimentation.

art_RingMasterReviewFormed in 2011 but really finding its creative mojo once the current line-up was in place a couple or so years later, the Lincolnshire band soon sparked a hungry and swiftly growing fan base for their dramatically addictive sound which reached its first pinnacle in the Hands Sewn Together EP. Live too, the band has grown to be one of Britain’s prime incitements, sharing stages with the likes of American Head Charge, Kindred, ESO, Breed 77, Sworn Amongst, Maplerun, Evil Scarecrow, and Bloodshot Dawn amongst many along the way. Linking up with EP producer Matt Hyde (Machine Head, Trivium, Fightstar, As I Lay Dying and Slipknot) again for The Root Of Man, the quintet of brothers Drew (drums/ programming) and Peter ‘Mr Clone’ Moore (vocals), Conor (guitar) and Liam Richardson (guitar), and Mike Bradbury (bass) are seemingly poised to set their place at the head table of the UK and indeed European metal scene.

Dually looking at “the beginning of the human race, starting with Eve committing original sin which resulted in us being cast out of Eden” and symbolising the band’s beginning as a band; “These are the roots that we are planting to fully establish ourselves as our own entity, to establish ourselves as Anti-Clone“, the pledge music funded The Root of Man immediately grips ears and imagination with its title track. It is a brief but inescapable lure into the album, an as expected apocalyptically ambience clouded scene setter which is soon crawling portentously over the senses as steely bass and toxic grooves wrap the enjoyably familiar tones of Mr Clone. Its dark tempest rolls straight in to Deracinated which seamlessly draws ears into its own animus of intent and creative rapacity. Straight away an industrial toning merges with the schizophrenic nu-metal prowess which flows from the band, Society 1 meets Mudvayne like essences adding to the imposing character and trespass of the fearsome magnetism on offer. Ebbing and flowing in raw confrontation, the track bewitches ears and stirs up the appetite, setting them in an unfamiliar and disorientating yet welcoming blend of old school aired modern imagination for a seriously rousing slab of predacious incitement.

SwitchBlade growls at and brawls with the senses next, vocals from Mr Clone and the Richardson brothers almost pestilential in their psyche invading animosity as the sounds around them rise and fall with constant inhospitable adventure. Melodic calms and percussive invention are just as potent lures in the agitated imagination and landscape of the song; all colluding to savage and spellbind before A Sight For Sewn Eyes prowls ears with Fear Factory/Spineshank tinged ingenuity. As replicated across the whole of the album, every moment of the song brings greed breeding drama to the listener, Mr Clone showing his clean melodic tones are as fiercely agreeable as the rawer psychosis fuelled side of his vocal character. The song persistently twists and turns from the start before reaching a bedlamic crescendo that never truly departs once erupting as the song leaves on a groove bound web of suggestiveness.

With a constant range of peaks across its landscape as momentous and memorable as the Alps, B9 adds another with its Manson-esque textured slice of predatory heavy metal whilst Twisted Neck entangles ears in the intoxicating vines of toxic grooves which wrap a calmer melody hued serenade beneath a thickly tempestuous and predatory climate of sound and personality. Both tracks present a tapestry of styles and textures, the first also flirting with steampunk like elements where, not for the last time, Anti-Clone have a touch of the now sadly demised Shanklin Freak Show to them. Its successor flirts with a colouring which is more 6:33 meets Dog Fashion Disco though as always, it is hard to pin down a flavour such the Anti-clone ingenuity as they align spices to their own enthralling ideation.

A great punk metal hue seeps into the riveting and mercurial soundscape of Mechanical Heart, the track as welcoming as it is fearsome with sinister keys and avant-garde devilry lining another almost rabid mix of nu and industrial metal carrying at times more than a whisper of death metal to it. Compelling to the extreme, the track simply wants an apocalypse based Hellraiser movie to grace to see its majesty totally fulfilled, though fair to say there is no time to linger in thought with any song during the album as here Feed The Machine steals attention instantly with its vocally anthemic and physically bracing proposal. Repetition in word and sound within the track is a glorious igniting of instincts; that simplicity employed in another rich weave of roving grooves and a cantankerous rhythms skilfully sewn into an irresistibly unpredictable but dramatically galvanic onslaught. Like early Korn in some ways and Slipknot in others, the track still stands distinctively tall as another unique Anti-Clone ravaging of the senses and passions.

ComaSpace brings a moment of relative calm and the chance to catch breath next though unsurprisingly it too has irritability to its tone and dark imposing edge to its atmosphere. Vocally Mr Clone entices ears with a clean delivery as melodies merge acoustic and more aggravated hues into the Deftones spiced offering. Again the band has ears and appetite enthralled, though even being another impressive moment within The Root Of Man, it gets overshadowed a little by Astaroth. The band’s new upcoming single, the song is sonic slavery; the reason mosh pits and lustful reactions were bred into life. As barbarous as anything on the release and the most virulently contagious assault too, the track has everything you need to know about Anti-Clone and whether they are the tonic to your personal musical passions.

Completed by the grisly presence and voice of Sentinel, a sonic inferno of psyche burrowing riffs and grooves amidst an insatiable and concussive tempest of sound and attitude, The Root Of Man is the declaration of a new major force in UK and undoubtedly European metal. Anti-Clone is set to be one of those guiding their journeys over the following years whilst with this superb release, the band has placed themselves right there in stature alongside a great many of those who have inspired their adventure to date.

The Root Of Man is released 29th April  via PHD (Plastic Head Distribution) with more information @ http://www.anticlonehq.com

https://www.facebook.com/AnticloneHQ/   https://twitter.com/AnticloneHQ

Pete RingMaster 04/04/2016

Copyright RingMaster: MyFreeCopyright

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The art of choosing…talking with The Dreamer Within

The Dreamer Within_RingMasterReviewPromo Shot

Hailing from Exeter in the UK, The Dreamer Within is a band beginning to lure very potent attention with their compelling metalcore bred sound. Young as an outfit, they have already shown themselves a fresh presence and roar on the British metal scene with a stage presence that has audiences swinging s evidence by acclaimed shows with the likes of I Divide, Glamour of the Kill, Skindred, and Palisades. Recently the quintet unveiled a new video for the song Purge for another big poke at broad attention. It had us wanting to know more, so with thanks to the guys we explored the beginnings of The Dreamer Within, their new video, an impending EP, and more besides…

Hello and many thanks for taking time to talk with us.

That’s kewl 😀

Can you first introduce the band and give us some background to how it all started?

Alex and Charlie started writing stuff when they were at Uni many years ago…like 7 years ago (they’re both well old). They both knew each other played guitar from school but Charlie didn’t like Alex because he had better hair and knew how to play more Metallica solos than him. However they ended up jamming together in a covers band and started writing their own stuff just for fun. They’d send each other random riffs and ideas and eventually ended up putting drums to some stuff so things sounded a bit more legit. One day though, Alex decided to put some synth over one of the riffs for a joke, however there was actually no laughing matter – it sounded genius. Well actually it sounded terrible but it started to influence some other things they wrote and eventually synth became a must for any song ideas. To cut a longer story shorter: they eventually got in touch with some people who they thought might be interested in actually playing some stuff live, including Alex’s dear cousin Josh who loves to play a bit of bass. After a few years of practice, writing and re-writing everything and a couple of line-up changes we eventually managed to play a show in July 2014. Ultimately, our love of metalcore probably brought us together, plus we all really like wearing vests. We all have pretty similar music tastes though, ranging from more straight up metal to trance/EDM so going down the contemporary metalcore route was a pretty natural thing for us.

What sparked the decision to form the band and the direction it was to take?

It’s always been quite a natural development, we all love our music heavy and full of synth! As mentioned above, the original conception of the band happened years ago (you can probably still find the original version of Recovery on the internet without having to look too hard) and the direction of the band really just came from a culmination of the things we love about music, minus Taylor Swift’s voice though unfortunately.

The Dreamer Within_RingMasterReviewIs there any specific meaning behind the name?

Choosing our name was a stressful time. We all had terrible ideas and it got pretty frustrating as all the super cool names were taken according to numerous Google searches.  We agonized over so many until one day at practice, Charlie lost it and said “right, I’m going to my car to get my mountain dew and packet of cashews, I want a name by the time I return…” and sure enough, Eliott came up with The Dreamer Within. It probably reminds us most of Charlie being furious and eating cashew nuts, although on a more serious note, we liked it as it vibed well with our style as a lot of our lyrics relate to recognising what’s important within oneself and looking at the world outside the box if you catch our drift. At the core of it, the name refers to the part of yourself that is dormant inside that aspires for greater experiences.

Tell us about your early days as a band; the unforeseen surprises and difficulties which you came up against that maybe musicians do not expect or realise will show themselves.

It’s still pretty early days really! I think one thing we never really considered was just how much effort (and equipment) has to go into creating the kind of sound that we have to manipulate live. I’d say one of the biggest surprises was probably when we played our first show after releasing our debut single Heart of Mine as originally we just wanted to release some music and play a live gig to say that we’d done it; the feedback was so overwhelming that we decided to keep going and never really looked back. In hindsight we could have probably done a far better job at getting ourselves shows at the start – we ended up waiting to be asked by other bands a lot which was awesome when it happened but it did mean we struggled to keep ourselves booked up. Ultimately, we realised that everyone in the local Exeter scene was super nice and talking to people/other bands was the best way to get about. Typically, no one ever has any batteries and we use A LOT of batteries for all the wireless stuff etc. The amount of times we’ve had to do an emergency battery run before a show is ridiculous – we never learn! Josh is the worst for this and also equipment in general. One show we played in Plymouth had him kneeling on the floor playing after his strap broke mid set. Obviously he didn’t have any sort of backup plan so the drummer from The Core of IO had to duct-tape it up for him while he was playing…we looked really awesome…

As you say, it has been a relatively short time that The Dreamer Within has been around; how would you say your sound has evolved in that time?

To be honest not that much – the first two songs we released in 2014: Heart of Mine and Recovery 2.0 are songs that were written alongside a few others that we actually had in mind for our up and coming EP so we’re still very much influenced by our original ideas. We guess that people can probably expect a far heavier EDM presence in some of our more recent compositions but essentially we want to get better at what we started doing rather than change our sound loads of times before people really get to know us.

Do you write and create as a unit?

Alex and Charlie often lay down the primary structure for most of the tunes as they’re both guitarists. They also have the responsibility of recording, mixing and mastering everything so it makes sense for them to take the lead on that side of things. However overall the songs come together from everyone’s ideas as Eliott is a keen synth composer and Matt handles pretty much all the lyrical side of things. As much as we make fun of him, Josh is a sick bass player and he rarely has to be taught anything and is happy to write his own bass parts rather than mimic the guitars…All pretty harmonious really.

 You recently released the video for new track Purge. Tell us about the song’s theme first of all.

Purge is primarily about recognising agents of deception and control in everyday life and “Purging” the feeling that you need to conform to believing what’s force fed to you or allow yourself to be easily influenced by common sources of information. Essentially the message is ‘don’t believe everything you read/see, don’t just sit there letting the world carry you along, get out there and find your own truth.’ We hope we don’t sound too cliché and political!

The press release with its announcement suggested that your new tracks, as well as being more creatively imposing and inventive, have “a darker lyrical tone.” Can you elaborate upon that and The Dreamer Within2_RingMasterReviewdoes Purge epitomise that evolution or are there further dark depths to be discovered?

We think the darker elements come from the overall feel of the songs themselves rather than the lyrics. We find it impossible to write anything in a major key! However regardless of what the song is about, lyrically we always try and put a positive spin on things to inspire a more uplifting feel.

What kind of things most inspires the band’s lyrical side?

We like writing about mankind’s place in the Universe, why we’re all here, what we should be doing while we are here etc. We are all really into space and all that cool stuff so we’d like to think our songs have a really big epic feel to them. We also like writing about some supernatural/potentially supernatural stuff as we think that a lot of potential answers to the world’s great mysteries could lie in thinking a bit more radically than the norm. Our first single, Heart of Mine is actually about Final Fantasy 7 which is one of our favourite video games. Video games are a theme we’d like to explore more in the future. All of us are also massive Star Wars fans so you can probably expect to hear a song in the future that mentions about how Rey from the new film is the greatest female ever.

Back to the video; who did you film it with?

An ace gent who goes by the name of Ben Lumber; the frontman of Acres who are currently killing it in Europe.

Did you, as a band, have a particular idea for it in mind or left it to the director etc. to come up with the basis for what is certainly an eye catching, ear pleasing proposal.

We scouted out what we thought was a pretty cool location for a first video. To be perfectly honest we took a lot of influence from videos that came out in the golden 2008 – 2012 metalcore/(dare we say it) crabcore era. It’s not a big surprise to hear that we love all that stuff. Because it was all performance based, it was up to us to choreograph our moves and group shots. We tried to throw in as much energy from our live shows as possible so what you see in the video is pretty close to what we pull off live, although that can be dependent on the size of the venue! Ben had some great ideas for angles and solo shots etc. but we had a lot of input in the visual side of things and Ben was great at listening to our ideas and working with us.

I believe the band is working on a new EP? Can you give us some insight and spoilers to that?

Cheeky 😉 I think we can probably let slip that the EP is going to be called This Is Not Our Home and will be out at the end of May. It will be made up of 5 tracks including Purge and another new song we’re doing a video for very soon. After listening all the way through, you should end up feeling like you’ve just danced with the Incredible Hulk at a rave until 6am.

Apart from the EP, what is in store for The Dreamer Within fans from hereon in across 2016?

We’ve got some really cool festival announcements coming up over the next few months including Massacre Fest in Gloucester. We also have our first tour booked from June 1st to 5th with High Rise, Follow the Wolf, and Last Hounds which we’re stupidly excited for. It will be our first time playing most of the venues on the schedule including dates in Leeds, Leamington Spa, and London so we’re really looking forward to seeing how we go down in places that aren’t near the South West.

Many thanks again for chatting with us. Anything you would like to add?

Thanks for having us! And to those of you coming to our hometown show of the tour on June 2nd – keep your eyes open for a ripped and kewl announcement about that 😉

And finally, give us an insight into the records and artists which could be claimed to have most inspired your own life and creativity.

We’re inspired by a lot of the bands that people wouldn’t be surprised by like Asking Alexandria, Abandon All Ships and Enter Shikari etc. Although collectively, it’s not unusual to see us listening to artists/bands like Steve Vai, Joe Satriani, Yngwie Malmsteen, Bullet for my Valentine, Trivium, Black Sabbath, Whitesnake, Erra, Funeral for a Friend, Paramore, and The Lonely Island to name a few.

Check out The Dreamer Within further @ https://www.facebook.com/thedreamerwithin

Pete RingMaster

The Ringmaster Review 23/03/2016

Copyright RingMaster: MyFreeCopyright

For more exploration of the independent and promotional services check out http://www.zykotika.com/

Anti-Clone recording debut album with Matt Hyde (Slipknot, Machine Head)

New_AC1-ringmasterreview

Following a highly successful tour with Skindred and the release of their EP ‘Hands Sewn Together’ – Lincolnshire, UK nu-metal band ANTI-CLONE have announced they are now back in the studio recording their debut album.
Working with acclaimed producer Matt Hyde (Slipknot ‘All Hope Is Gone’ Machine Head ‘The Blackening’) Anti-Clone’s next release is set to be a big evolution for the band.
“This debut album will be our first official footprint on the music industry. The EP was an early test, an experiment and we’ve learnt so much from the whole process. As soon as we started writing for the album earlier this year, we knew immediately we wanted Matt Hyde involved” said frontman Peter Moore.
 “The step up in musicianship and song writing is immense” said Hyde “and as a producer you can’t ask for anymore than the band to be willing and open to trying new ideas.
Anti-Clone pushes themselves and it’s no surprise that they have gained a lot of fans along the way. I can’t wait to have the record completed, there is no doubt in my mind that 2016 is going to be a big year for them.” 
Big words to live up to? Not really when you look at Matt Hyde’s work to date, which includes Slipknot, Machine Head, Bullet For My Valentine and Trivium.
And he’s not the only one to see the potential in Anti-Clone. Skindred frontman Benji Webbe praises the band for their live shows “Anti-Clone have the full package! After having them support Skindred for 2 weeks, I saw them deliver an amazing performance night after night. I believe with the right direction they could be a ruling force in British metal!” 

“Expect the unexpected” says Moore “This album WILL be the birth of Anti-Clone.” 

The debut album is set for release in 2016 (date tbc) via Pledge Music and PHD (Plastic Head Distribution).

Anti-Clone’s Pledge Music project:

Suffer No Fools – Songs For The Restless Youth

suffer no fools_RingMaster Review

Suffer No Fools is a name you will be getting used to if they fulfil the promise running through debut EP Songs For The Restless Youth. The British metallers are merely months into their emergence after forming earlier this year but offer a sizeable introduction and potential loaded first collection of fiery, groove lined incitements suggesting there is experience in the ranks of their creators. Whether that is so or not, it is a highly accomplished encounter leaving a definite appetite for more from the London based quintet.

Roaring out of Ealing, Suffer No Fools draw on inspirations from the likes of Metallica, Rammstein, Killswitch Engage, and Trivium for their aggressive melody rich sound, influences which do not hide in the shadows within songs but tone rather than direct their direction. As mentioned the band only formed a few months back but have quickly got down to creating strong persuasions as shown in Songs For The Restless Youth. Led by the strong tones of Ali Khan and driven by the rousing rhythms of bassist Alex Bain and drummer Mike Taylor, music and songs take little time in luring ears and attention. Once entwined in the skilled and imaginative enterprise, whether in stirring riffs, imagination inciting grooves, or evocative melodies, of guitarists Jamie Newdeck and Jack Kirby, the EP is a magnetic fire of potential and thick inventive craft. Recently Kirby has left the band to pursue other musical ventures but leaves his potent part in the first steps of a band surely heading to bigger and stronger things.

albumart_RingMaster Review   Opener Acheron is a one minute atmospheric introduction washing the senses in intrigue and sonic radiance; calm before the storm of The Bombing Campaign which is already brewing its potency and tempest in the closing ambience of the first track before striding purposefully into ears with military like rhythms. As riffs and beats welcome the voice of Khan there is no escaping the Metallica spicing, a hue also lining the subsequent melodic and grooved exploits of the song. It is an ear pleasing, emotion stirring encounter, a sturdy anthem to set the EP off properly but one also unafraid to switch into contrasting provocative flavours and textures.

Prey continues the strong start to Songs For The Restless Youth in equally rousing fashion, pushing the accelerator down a touch more and creating an aggressively urgent and compelling proposition at the same time. Again fluidly emerging spicy melodies and vocal harmonies provide a temper to a stormy landscape whilst some of those other inspirations come to mind across the song. Equally though Suffer No Fools, if not dramatically, still offer their own character as shown by the growling Forgiven Or Forgotten. Here guitars further flirt with sonic imagination and ear wrapping grooves but in a climate more hostile and dirty than in its predecessors; its riffs a snarling confrontation and rhythms a fierce barracking. As all tracks and the EP itself, it makes a more than decent first impression but just grows in stature and persuasion over time.

Both the resourceful almost progressive scenery of Abyss and the scorching prowl and anthemic enterprise of Dirge Of The Old Gods make enjoyable times, even if without finding the same heights of those before them and certainly the EP’s best track which brings Songs For The Restless Youth to a mighty close. Into The Breach is the jewel in the crown of the EP, a treat of a song equipped with striking imagination and ear enriching melodic enticement lined with glorious hooks. The song takes a little while to get going but when in full flight and flow, is a riveting beast simultaneously antagonistic and bewitchingly seductive. Alone it makes Suffer No Fools worth keeping an eye on and with its companions in tow encourages thoughts of a band with the tools to make a big impact.

It is probably fair to say that Songs For The Restless Youth has open embers of originality but apart from its final offering, lacks the spark of the unpredictable, to yet truly leap away of the crowd. Suffer No Fools though is a band with individual skills and a united craft that demands attention, rewarding that with a strongly satisfying first look; so again make a note of the name as you enjoy the quality and potential.

Songs For The Restless Youth is available now from the Suffer No Fools Bandcamp.

Pete RingMaster 01/09/2015

Copyright RingMaster: MyFreeCopyright

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