Though a name familiar to a great many, attention on the UK side of The Pond did not particularly have Bullets And Octane as a concentrated spot on its radar despite some ear grabbing, appetising inciting releases since the band emerged in 2003. That was until the LA based outfit played a venue ripping tour over here last year with our own fine middle finger raising rockers Hung Like Jack supporting. It has sparked fresh interest and in turn real anticipation for the US rockers’ new album Waking Up Dead which we seriously expect to be embracing rigorous attention upon release. It is a beast of an album, rock ‘n’ roll in its most rapacious and rousing form and without doubt Bullets And Octane in their finest moment.
From the release of their debut EP, One Night Stand Rock N Roll Band in 2003, the St. Louis originating quartet has been on a hungry ride towards acclaim and attention. Their Gilby Clark of Guns And Roses produced first album, The Revelry started the growing appetite for their emergence, each of their subsequent seven albums escalating the temptation, including breakthrough album InThe Mouth Of The Young, alongside a live presence which has seen the sharing of stages at shows and festivals with the likes of Avenged Sevenfold, Korn, Stone Sour, Flyleaf, Deftones, Unwritten Law, Gunfire 76, Social Distortion, Eagles Of Death Metal and many more over the years. Now we would suggest they are facing their biggest year and time yet with the release of the Brent Clawson (Wednesday 13, Hell or Highwater, The Knives) produced, recorded, mixed and mastered Waking Up Dead, a slab of devilry declaring that hard rock spun rock ‘n’ roll has never been healthier or more fun.
As soon as Bad Mother Fucker launches its attitude loaded stomp off of a warning siren, it has to said, ears and appetite were swiftly gripped; a hold tightening as the track almost stalks ears with riffs and grooves whilst stirring up the spirit with its contagious roar. Vocalist Gene Louis hollers at its heart with energy and contempt, the band’s united calls supporting his incitement as the swinging beats of Jonny Udell punch and Zachary Kibbee’s bass magnetically grumbles.
A raucously irresistible start to the album aflame with the wiry tendrils of Felipe Rodrigo’s guitar, the track sets the anthemic template for things to come and is quickly embraced by the album’s following title track. Guitar and mass incitement instantly draws ears into the almost as immediate blaze of the song, its pulsating stroll and fiery sonic flames surging straight to the instincts to rock out. There is a devious craft and imagination to the song though, predacious twists and tenacious clamours uniting in its spirit rousing exploits.
The calmer but no less lusty When We Were Young has the body bouncing again, it’s gripping hard rock nurtured canter almost poppy but all raw bustle and bite while Burning at Both Wicks jabs and snaps at the senses from its first touch, takes the listener on a bold hard rock infested ride thereon in. As the whole of the album, the songs blend the familiar with the boldly fresh in their individual escapades, each nagging to get under the skin riff by hook and hitting their target in swift time. It really was impossible not to offer up one’s own vocal and physical participation across the whole of Waking Up Dead as proven yet again by the simply captivating Fires. As its predecessor, there is a touch of Fall Out Boy meets Grumpynators to the track with a whiff of Turbonegro, a spicing which slipped through our ears like nectar.
All the same, every song within the album is stamped Bullets And Octane through to the core, the likes of the melodically aflame Fuck You Song and Murder Me Baby with its predatory prowl and salacious swing diverse proof. Neither track quite hit the personal spot as those around them actually but the fact they had us rocking and pressing replay with perpetually fresh lust shows the might of the rest of the album.
The final trio of tracks keep the stomping and thick enjoyment flying, Rolling Stone casting a ‘mellow’, in comparison to other songs, incitement which only needed a clutch of seconds to bypass inhibitions before Hostage seduced the body into a subservient sway. Even with its relative composure, the song is an insatiable rocker increasing its boisterousness and the listener’s involvement by the minute.
Heart Attack completes the release, the track maybe the best of the lot though it is hard to choose. Hooks and grooves ensnare as rhythms jab, vocals stoking up devilment and alone further involvement; the four prong rock ‘n’ roll attack as manipulative as it is simply balls swinging revelry. A great album deserves a thunderous end and Waking Up Dead certainly gets that though its whole body is a galvanic storm of rock ‘n’ roll; a tempest of pleasure we can only suggest, wherever you are, you should unleash your rocker instincts upon.
Waking Up Dead is released May 25th through Bad MoFo Records/Cargo Records.
Already embracing a fair wash of attention and acclaim through previous EP This is An Overture and a spirit sparking live presence, UK outfit Orestea have pushed their creative bar on again with their striking new album Elements. Bringing rich essences of melodic rock and alternative metal together in collusion with what can only be described as pop virility, the Guildford hailing band weave a seriously infectious proposition which boils time and time again within an album which has body and imagination bouncing.
Cored around the energy and craft of guitarist Lloyd Wilson, bassist Mike Quinn, and the vocal magnetism of Lisa Avon, a line-up completed by guitarist Johno Madgwick since recording the album, Orestea irrepressibly build on a potent reputation earned through songs and performances alongside the likes of alongside Ashestoangels, Forever Never, ESO, and Wednesday 13 as well as plaudit drawing sets at festivals such as Bloodstock, Download and Guildfest, in swift time upon Elements. As soon as opener Welcome to Surviville comes forth, there is a sense of fresh adventure and assured maturity in songwriting and sound at work. Drama accompanies the approaching sound just as harmony soaks the vocal invitation of Avon whilst imagination instantly infests every twist and turn as the song settles into its rock pop temptation. Driven by the rhythmic web cast by drummer Jack Slade across the release, the song simultaneously rumbles upon and serenades the senses, that adventurousness continuing to fuel guitars, keys, and the heart of an excellent opener setting the creative template and heart of things to come.
The following Here’s The Plan immediately saunters in with a vibrant air, melodies and metallic riffs uniting around Avon’s increasingly potent tones. Her voice is an instinctive roar, as much a seductive flame as it is a steely incitement and as virulent as the sounds around her. Though maybe not quite finding the boldness of its predecessor, the track keeps attention and pleasure burning bright before the album’s title track sizzles on ears. The dancing enterprise of the guitars brings its own raw edge to match the biting and dark temptations of drums and bass, the latter’s grumble especially magnetic in the heated contagious blaze of the song.
References to the likes of Paramore and Don Broco seem to crop up more often than not and it is easy to hear why but as fourth track Ghost of Letting Go steps forward, Orestea only establish their own individual character upon thought and sound. The song is a fiery ballad built on the metallic strains of Quinn’s bass; a song with irritability in its roar and harmonic grace in its calm which only captivates before Alive or Just Existing shows the band is just as adept at kicking up a storm though that attack is unsurprisingly bound in an infectiousness which has the body bouncing and energies rising. It is pure pop rock ‘n’ metal mastery and another pinnacle upon the already praise stamped proposition.
Through the reflective beauty of Getaway, Avon sheer radiance within its warm atmospheric contemplation, and the rowdier stroll of Eggshells, ears are treated to further invention and an enjoyably inescapable persuasion which The Wreckage continues as it burns in ears with emotion and sonic flames like a drama woven sunset. All three leave pleasure and thoughts enamoured before Got Your Back echoes their persuasions with its own enticement if one not quite matching their heights of those but only due to personal preference.
The album is completed by the emotive sigh of Burning Bridges, Avon and music a release of emotive intensity which caps a fine album with a melodic passion hard to not get wrapped up in. It is a fine conclusion to a release which confirms Orestea as one stirring proposition with still the potential of even greater adventures ahead. If being over fussy, there are times within Elements when the band might have pursued its imagination and invention with even braver boldness but it is just a greedy quibble upon something which excites from beginning to end.
Since talking to The Fill Ins last year, the US rockers has dropped one treat of a new album which is really beginning to stir attention the way of the Charlotte, North Carolina outfit. It reinforces their reputation of being a rising force on the rock ‘n’ roll scene earned through previous encounters and a live presence which has seen them share stages with the likes of The Reverend Horton Heat, Koffin Kats, GBH, Total Chaos, Joe Buckyourself, Wednesday 13 and numerous more. We had the pleasure to catch up again with the band to talk about their new release and more…
Hello and thanks for taking time out to talk with us again! When we last spoke, you all were releasing a vinyl 7” and gearing up for a new record. How did it all turn out?
ADAM: Thanks for having us, and it’s going great! The writing and recording process was really easy and fun, and I’m really happy with these tunes.
ALEX: We were so happy to get the Hit The Gas single pressed on vinyl. I personally think it was a hit, at least in my eyes! We’ve finally had a new record come out on June 30th titled The Time Is Now and it’s released through No Profit Records. 6 brand new tracks, plus 2 bonus tracks; Hit The Gas and a remix / re-master of Saturday Night (our other digital single from 2016). It really speaks for itself; it’s just raw rock n roll in many forms.
Taking a recap, was there any specific idea behind the forming of the band and in what you wanted your sound to offer?
ALEX: Pure and simple, I wanted to form the band I wasn’t seeing around town; a straight forward rock n roll band. That town was Roanoke VA and that version of the band didn’t last long only playing about 3 or 4 shows before splitting up. Once I moved to Charlotte NC, it was the same attitude and mind-set; make a killer rock n roll band. It took a while and the right group of musicians by my side, but I think we’ve got something special right now and I’m so grateful to be part of it.
Since its early days, how would you say your sound has evolved?
MIKEY: Our sound is definitely starting to really show what each individual has brought to the table. We have a unique blend of punk rock and rock ‘n’ roll with a little bit of country twang coming from Alex and Capp, with just a touch of metal and aggressiveness coming from Adam and myself. It makes for a unique sound that is fast, loud and powerful.
JAMES: We’ve all gotten better as musicians and we always strive to make our songs better as our creative juices get flowing.
ALEX: The Fill Ins have always had a rock core with a punk edge, especially once reformed in 2013 and started writing the Hipster Killers album. When 5th Time’s The Charm came around, we found a new studio and collectively decided to move forward in a more aggressive rock sound. I think that album has a lot more hooks than Hipster Killers and more thought through song writing. Once we lost our long time drummer, Adam joined us and it was a whole new dynamic sonically; really giving me a window to kick the group into high gear. Out of that came a new logo, sound and Hit The Gas, that was the most well received song yet so I felt we had hit something good. This new record just expands on that.
Do you deliberately go out to push your sound into new areas or let it organically evolve?
ALEX: If I’m being honest, it might be a little of both. Whenever you get a new band member in the fold, things will change. Thankfully it’s so far been for the better! Out of that, naturally you’ll start writing songs with this new member’s strengths and styles in mind. That’s why I say it’s organic and a bit of a deliberate act by nature.
MIKEY: I’d say it’s been a little bit of organic evolution of the band as well as deliberately writing in a different style. I like to push my metal influence over the songs as much as I can until the guys pull me back into “our sound.” We have also acquired new gear over the years. We started out playing single speaker lunch box sized amps and have progressed to 150 watt half stacks. We’ve also grown a lot as musicians, especially myself. There’s always practice to be done, new things to learn and developing a better sense of time, rhythm, phrasing and overall song structure.
JAMES: I’d agree with that! We’ll get in a room and hash out songs relatively quickly, but every now and then, a “what if?” scenario will present itself. Sometimes those work, and sometimes they don’t, but we’re never scared to try different things.
Do the same things still drive the band when it was fresh-faced or have they too evolved over time?
ALEX: Oh for sure, in many aspects even more now than then. It’s never been about money, it’s never been about “making it big”; it’s always been about making an impact with our music. It could be that be the guy that picked up a record and he has a new favorite song, or a live show that made someone forget about work or whatever could be weighing them down. I don’t care if there are 5 or 500, or even 5,000 people in front of me, the passion I have for this band and the music we make pushes me harder and harder to be the best we can be. Whatever comes out of that is the icing on the cake.
JAMES: For me, playing music is always a blessing, but as more opportunities arrive, certain goals occur along the way, but we always approach everything within reason.
MIKEY: can’t speak for everyone as to what moves the band. I just want to have fun and play music with my friends and as many other people as possible. It’s a huge community and family I’d like to think I’m a part of.
Tells us about the inspirations for the members of the band, presumably a wide range with your different backgrounds?
JAMES: We all come from different backgrounds, so where I’m sitting, as far as the creative process goes, I base my creative impulses on something somebody else in the band leads off with, whether it’s a riff or a beat. We’ve gotten so comfortable and reliable as a unit, that knowing what they’re going to do next is pretty inspiring.
ALEX: I wouldn’t say one single artist or group has heavily influenced us more than the other. We really are a blender full of so many different inspirations and influences; I can’t really put a finger on one specifically.
MIKEY: My inspirations for playing and writing change as I get older and more experienced. That’s not to say that my old influences no longer influence me, just that new things pop up that I dive into head first and spend a while deconstructing it and learning from it. Lately I’ve been listening to a lot of video game soundtracks and writing similar sounding riffs and melodies. Mainly from the Dragon Ball Z franchise or old school Megaman and Final Fantasy melodies.
How does the songwriting work within the band?
MIKEY: Usually songs are born from jam sessions or by building off of a riff or tune that someone brings to the table
ALEX: Starting out, I wrote the bulk of the songs to set a baseline of style and form. Songs would be brought up and it would be a great tune, but it just didn’t really fit the rest of the set at all; and not in a cool way either. Once we recorded Hipster Killers, everyone had a better understanding of the style and Mikey started really shining as a songwriter for “5th Time’s The Charm”. With this new record, everyone has had their fingers in the cookie jar in one way or another and it’s really created a cool collection of songs.
How about inspirations for the lyrical side of your songs?
ALEX: I’m one of those people that cannot sit and decide I’m going to write lyrics. I could be sitting at work and all of a sudden think of a cool line and start expanding on it in my head. I have to write it down almost immediately or I’ll forget it later on. Same thing with guitar riffs; I one time was out running errands and a riff popped in my head, so in the middle of the store, I had to do a voice recording of me humming the riff so I could figure it out later. I may start with a concept, a Point A to Point B idea of where I want it to go, but that’s sometimes the most I can get out of it until later. I’ve been known to re-write verses minutes before cutting the track in the studio… haha
I’d say the only lyrical theme I actively try to avoid is politics. Some of my favorite bands made an impact without being preachy, and I want our music to be a release and not have a political message behind it. I think bands should stick to making music and leave the political talk to people that are smarter than us.
Could you give us some background to your latest release; The Time Is Now.
ALEX: The Time Is Now was recorded at Fithman Studios under the guide of Steve Coleman, Jeff Thrice, and Justin Campbell. It was recorded over the span of a week or so and another few weeks of mixing and mastering before it was complete. We actually held on to these recordings for a while before releasing them, mainly because we wanted to make sure we did it right and not just toss it out there for folks to consume and digest. It really is a perfect storm of killer songs at the right time in our musical endeavor.
MIKEY: The Time is Now is also our first full release with our drummer Adam. It’s definitely a powerhouse of songs meant to be louder, crunchier and riffier than our normal tunes. We spent more time on the recording process this time around and came out with a product we’re all pretty stoked about.
How about its themes and premise behind its songs.
MIKEY: Just keeping rock ‘n’ roll alive in a word of Biebers and Kanyes.
ALEX: The same thing that has driven us from the start; it’s just rock n roll baby. We sing about love, hate, fun, troubled times, just no politics as I mentioned before. We rarely have a running “theme” for our records; just pure, punch you in the face hits.
Do you attack the studio with songs pretty much in their final state or prefer to develop them as you record?
ADAM: When writing songs typically there’s a root idea and we just get in the room and start bouncing off ideas and trying stuff. Typically the first couple run-throughs go great and the songs usually 90% done, then we go into the studio with pretty much 98% of the songs ready. We might tweak things a little here and there but we pretty much know what we’re going to do.
JAMES: Normally, we go in with songs complete for the most part, but if there are minor suggestions here and there that make the songs better, we take advantage of that.
MIKEY: Everyone in the band goes into the studio with the motive to get the songs knocked out asap… except for me. It’s annoying for the rest of the guys, but I’m too much of a perfectionist and my own worst critic. I’m never happy with anything I do and eventually settle on a best take. I also enjoy the studio atmosphere much more than writing by myself at home with subpar equipment. We’re very fortunate to have a studio producer who allows us to take as much time as we need to make sure we get what we want out of the song.
ALEX: For me personally, I hate not being prepared heading into the studio. We usually practice our asses off the weeks leading up to it so everyone can have a firm grasp on the songs we’re doing. Though with as much prep as we seem to do, there is always a song or part of a song that ends up making us slow down a bit and really take a look at what we’re doing. Over the years, I’ve become a bit less high-strung when it comes to “get in there and knock it out”, but I also hate wasting time because my favorite part of the process is mixing and mastering…That is the part I don’t mind obsessing over.
Tell us about the live side to the band?
ALEX: I like the fact that we don’t just stand there and play our instruments; we move around and give you a show. We also love audience participation even if it’s just yelling when instructed.. We want to make an impact; what that impact is I’m not sure, but you’ll sure remember us at the end of the night.
MIKEY: We try to be as loud as possible when we play live. Loud enough to get people’s attention without sacrificing tone. We’re used to playing in Charlotte where people would rather pay entry to stand outside the venue, smoke cigarettes and talk. Gotta crank it up so they can hear us out there!
JAMES: It’s just a big party. We have fun playing and encourage our audience to have fun with us while leaving whatever agenda they may or may not have at the door.
ADAM: I would say that live we very energetic, loud good ole in your face high octane rock n roll. We put 100% into our live presence.
We asked you this the last time but interested to see if anything has changed in the opportunities for new bands to make an impact on your local scene let alone nationally and further afield.
JAMES: A lot of factors have provided opportunities that work well for us, but may not for others, so there really are no right answers to that. All I can say is that as long as you have a strong support around you, opportunities will present themselves, no matter where you are.
ALEX: We’re still a “spit and duct tape” band and we’ll probably always be that band in most aspects. The most important thing a band like us can do is market yourselves the best way possible; good graphics, great live show and the music to back it up. It’s not just about writing and playing music, there is so much more to it than that. The odd thing is that people outside our Charlotte NC bubble seem to dig us more than some of the clubs we’ve played since the start. The rock scene in NC and SC seems to be rather exclusive, and we don’t fit in any sort of “category” or specific “genera”, so we kinda float around the different “scenes” until we find the people for us.
The internet and social media is still a big part of pushing The Fill Ins forward?
MIKEY: These days it’s all about the social media outlets and using them as tools to get yourself out there and recognized. That goes for any kind of business, music based or not. You gotta sell not only your music but yourself. People have to want to know you and trust you before they become loyal fans of what you’re doing. It takes time to build that up and you just gotta keep pounding away at it. All of which I have no patience for, I stray away from any screen as much as possible. That’s why Alex handles all that for us.. haha!
ALEX: Social media has been the one thing keeping us alive and going today. I’m always thinking of new stuff we can do online that can set us apart from the rest or to provide something fun for everyone that checks it out. Music doesn’t sell like it once did, so you have to find new ways to reach your audience. We will always make music because we have to, it’s in our blood and I will personally not be the same person if I didn’t have music to play…but for the public, the music is just the soundtrack to the “brand” they support. We’ve sold more shirts this year than we have CDs and that is the first time for us. There is a definite shift in musical consumption and a lot of indie artists like ourselves that do not have money being thrown at us to really promote our music to the world; we have to become a lot more creative in promoting. Part of that is making sure your physical music is packaged and looking great; which is why we opted to get digipacks for the new record since it’s a lot better packaging than the traditional plastic cases. One thing I see people doing is rebelling against streaming services because of the small royalty pay out and to me as a fan; that is a really shitty move. I have a Spotify account and I use it for all my on-the-go music and then my vinyl when I get home, if an artist wants to take their music off the service, more than likely I’m not going to make an effort to go and get it another way, instead they just lose out on people learning the music and sharing it with their friends. In no way do we want people stealing the music from us, but I’d rather 1,000,000 hear it for free than only accept payment for every download. Pick your battles and find new ways to keep the band growing.
Officially breaking out in 2013 after three years in the building, US rockers The Fill Ins is one of those anthemic rock incitements built on an instinctive creative roar. Their journey has been as lively as their sound as they worked towards the line-up which has drawn potent acclaim through recent singles alone. With an explosive live show which has seen them open for the likes of The Reverend Horton Heat, Koffin Kats, GBH, Total Chaos, Joe Buckyourself, and Wednesday 13, The Fill Ins is a coming force and we had the pleasure of getting to the heart of things with the band, exploring its origins and journey to date, those tenacious singles, and much more….
Hello and thanks for taking time out to talk with us.
Can you first introduce the band and give us some background to how it all started?
ALEX: For me personally, I always wanted to create the ultimate Rock n Roll band and I feel with each passing year, we get a little closer to that goal as we find band members that also share that same vision. The band today consists of Mikey Black on lead guitar, James “Captain” Nunn on bass, newcomer Adam Patterson on drums, and myself (Alex Stiff) on lead vocal and rhythm guitar. We’ve come a long way in the 5 or so years we’ve been going at it, but in many ways it still feels like “Day 1” with our new sound and image.
Have you been involved in other bands before and if so has that had any impact on what you are doing now?
ALEX: Alongside of The Fill Ins; I also play bass in a punk band called Biggy Stardust And His Wretched Hive. I’ve always grown up with punk and rock music around me, so that is always my main inspiration. Whenever we have to get a new band member (for whatever reason), it will change the flavor of the band a bit and I think that is a good thing. Though I wouldn’t say the things we do outside the band have much influence; we’re a very driven band and have a clear view of who we are and what we are.
ADAM: I’ve been playing in bands since I was 14 years old but as far as relevant bands go that I’ve played in was a band called HEADSNAP that I played in from 2002-2009, I also play in a band called DEADLOCK with my brother, and I play in another local cover band called The Dead Ins.
JAMES: I had several bands in TN before I moved to Charlotte, and I was always a guitar player. This was my first band that I ever played bass in, and I took what I knew about playing with more than one guitar player and applied it to my bass playing. Since then, I have continued to build my craft as a bass player, and have been recording and performing with another band in Charlotte called No Power No Crown as their bassist when I’m not working with The Fill Ins.
What inspired the band name?
ALEX: The original line-up that started in Roanoke VA consisted of a bunch of different members from bands I had played with up ‘til that time. All of them had been let go by the bands they were a part of and decided we’d start our own band. Someone threw out the comment; “We’re all just a bunch of fill ins, aren’t we?” and it just stuck. Even though (aside from myself) none of those members are in the band today, we still hold true to the “fill in” mentality. We’re a little bit of the black sheep in our town, so we just fill in the missing gaps with our brand of rock-n-roll, and people are starting to pay attention, which is awesome!
Did the band have a specific idea it what you wanted your sound to offer?
ALEX: The 4 of us that started it in Roanoke just wanted to play music, regardless of what it was. Once Jason (ex-vocalist / guitarist) and I started writing more, it became very clear where our heads were at; stripped down hard rock with some punk and metal flair here and there. Over the years and with the addition of Mikey Black on lead guitar really bringing the songs to the next level, the band has only gotten better the longer we do this. I would say we still hold the same mission statement: knock em’ dead.
We’re also not a political band; we’re not going to tell you who to vote for or how you should live your life, we just want you to enjoy the life you have and have great tunes to go along with it.
Are you driven by that same original spark?
ALEX: I still get all happy and excited when I see new plays on Soundcloud or see that someone we don’t know shares our music video; I don’t think that could ever go away. I still get excited when we finish a band practice and we have the workings of a great new song, get photos back from a shoot; regardless of what it is, it all still makes me happy and excited.
JAMES: The drive and the excitement have only gotten stronger for me, because I think we’re getting better and better, and we’re so comfortable with each other as performers as well.
Since your early days, how would you say your sound has evolved?
ALEX: Early on, songs would eventually have more of a punk edge to it because of my songwriting style; and because the VA line-up never officially recorded any demos, I had all the time in the world (about 2 years) to re-work and tweak those songs to my exact liking before bringing them to a new line-up of the band once I relocated to Charlotte NC. All those songs became the groundwork for our 1st album Hipster Killers (released summer 2014) and they really do have a punk edge to them simply because a good 3/4ths of the album was written before that line-up recorded it. That line-up consisted of Mikey, James and long-time drummer Matt McCoy. Shortly after recording that album, we went hard to work writing the follow-up record 5th Time’s The Charm in which Mikey and James had a lot more songwriting contributions due to the fact we were working with a blank slate. Now with our new singles Saturday Night and Hit The Gas, we are a lot more of a collaborative effort and I love where we are right now.
JAMES: We’ve played together for long enough now so we know what skill set works the best for certain parts of songs. But we’re also not scared to throw some curveballs at rehearsals and find out what comes out of it, because more often than not, that’s what leads to some our best material.
Has it been more of an organic movement of sound or more the band deliberately wanting to try new things?
ALEX: I think every band wants to do better than their last release; but you have to want it the correct way. If we were to come out and do a complete 180 of what we have done before, it wouldn’t seem genuine and fans can see right through that. I think a lot of it has to do with the fact that the longer you play in a band, the better you get at your craft at the same time, so if you use that to your advantage smartly, you’ll start doing “new things” that fit in with what you’ve done before, helping you build your craft even more.
Presumably across the band there is a wide range of inspirations; are there any in particular which have impacted not only on the band’s music but your personal ideas to creating music?
ALEX: I take things I hear from artists I admire and find ways to apply them to myself and the band; whether that is in songwriting, how to conduct yourself professionally, how to market yourself and the band, etc. I’d like to think that The Fill Ins are a Frankenstein of all things good about rock n roll and punk rock all rolled into one.
JAMES: Going to live shows for me is always inspiring because sometimes I’ll be impressed with a local show, and it’ll just further my desire to make our band the best live group that it can possibly be.
Is there a particular process to the songwriting?
ALEX: Early on, I wrote a good 90% of the finished product you hear on Hipster Killers; but after that, I had the confidence in the band to hand over songwriting credits to the other guys since we had a good clear-cut path of our sound and attack. One of Mikey’s early contributions eventually turned into our first hit, Spit In My Face which I could have not been more proud of.
Today; the songwriting process isn’t too different than it was before. James could come in with part of a riff that could eventually be used for something, Mikey could bring in a semi-complete demo for us to take and refine a bit…Or we could be riffing on something at practice and by the end of the day have the blueprints for a new song. I prefer it when it happens like that; the more organic, the better.
Where do you draw the inspirations to the lyrical side of your songs?
ALEX: For me, lyrics are the hardest thing for me to write and usually it’s the last thing finalized before hitting the studio (or during recording). It’s easier to write political songs because they just flow, but I almost see that as a cop-out. I’d rather spend months or weeks writing lyrics for something that resonates on a larger platform than spend a few days writing some politically charged message that only a few may get behind. I usually write about what I know; partying, drinking, love, hate, heartbreak, the annoyances of social media, etc.
Would you give us some background to your latest release?
ALEX: Our new singles Hit The Gas and Saturday Night have been a long time coming, making it through setbacks and line-up changes in the process. We started working on new songs shortly after the release of 5th Time’s The Charm in 2015 for a 6 song EP to be released in mid-2016. Going through some old demos we had but never used, I heard this one riff Mikey was playing and I cut just that portion out and sent it to him asking him to refine the riff and see what he can come up with. During that time, James was working on another project with drummer at the time Matt McCoy and our producer for 5th Time’s The Charm (Steve Coleman) and came up with a rough demo cut of Saturday Night. Mikey finished coming up with the groundwork for what would soon be called Hit The Gas and we were off to the races. We started working on a few more new ones and booked studio time in early 2016 to record the 6 songs.
After a few pre-production sessions and some demos, we had to put the band on hold as our drummer’s personal life was eating up his time that would be used to work with the band. After a few months of inactivity and suggested by Matt; we got long-time friend Adam Patterson on drums and abandoned our plans for an EP release this year.
Our main focus with Adam was to make sure he was tight on our old material before trying to write with him so he had a good grasp on our sound and how the song structures work; though I did send him all the demos we had recorded just to make sure he had them and to show we are ready to start writing again. After the 3rd practice, he asked if we wanted to work on any of the new songs we had been writing and suggested we try out Saturday Night. After a few run throughs, we realized this guy picks up on stuff like he had been playing it all his life; so we started working on that and Hit The Gas.
After that, the stars aligned just right and we were able to get both of the songs recorded and released this year just by the skin of our teeth.
Give us some insight to the themes and premise behind the single Hit The Gas in particular.
ALEX: Hit The Gas is a rebirth for us. The band kept with a certain look and sound for the first few years in VA and NC, then once the full band was fully reformed in Charlotte NC in 2014, we redesigned our logo and image to reflect the next chapter unfolding. With the release of Hit The Gas in November of this year and the addition of a new drummer, it was clear that The Fill Ins have matured a lot within the last year and with that, it felt that a new look and logo was needed. This logo is the first one to completely break the usual mould /redesigns we’ve had for the last 4 or so years, but so does the music. Hit The Gas really displays each member’s strengths; full of groovy bass lines, heavy drumming, one of the best solos Mikey has written to date and I feel it’s probably my best vocal performance in a long time recorded. The song has a message everyone can rally behind; “Just turn it up, and get it loud! It doesn’t matter if it’s good or bad, just back it up with attitude, and hit the gas, cause it’s going down!”; everyone loves to have a good time and that’s what we’re all about!
Do you hit the studio with songs pretty much in their final state or prefer to develop them as you record?
ALEX: Up until Hit The Gas, everything was written in full before going to the studio. This time, we had about 90% of it written and just hopped right in the studio and started playing around. We had all the drums, bass and rhythm guitar written but Mikey’s leads and some of my lyrics needed working on. Our producer Jeff Long (TrapDoor Recordings) could tell where we wanted to go with the song and he offered up some great ideas and insights into how we could make the track better; helping guide Mikey in giving the best performance possible and really pushing me on my vocals. I think both have their place in writing music, it just really depends on what works best for the group as a whole (and if you can afford to write in the studio).
Tell us about the live side to the band, presumably the band’s favourite place to be?
ALEX: The stage is my home. If I’m not playing live music, I’ll go crazy. I crave the stage, regardless if 2 people are watching or 2,000. We are also a very high energy band; we don’t stand still when we play, we run around and act a fool and I think that sets us apart a little bit more than most bands we see live locally… No one can put on a live show like THE FILL INS can. During the time earlier this year when The Fill Ins could not perform or practice, James and I started a side project called The Felons which consists of the 2 of us playing old country tunes and a few Fill Ins songs re-worked. It’s a fun way to fill in the gaps when we as a full band can’t play during the week. Anything that gets me playing music is a good thing.
JAMES: This band and my other group that I mentioned, No Power No Crown, are easily the most exhausting groups I’ve ever performed with, but they are also the most rewarding at the same time. With this band, the chemistry and dynamic between all of us that we share on stage is just as fun as anything I have ever experienced.
It is not easy for any new band to make an impact regionally let alone nationally and further afield. How have you found it your neck of the woods?
ALEX: If I’m being completely honest; we’ve had some trouble getting our footing locally, people outside our town seem to have understood us and supported us stronger early on rather than the immediate locals. Mainly because we have very strong personalities and don’t play the political games that other bands can be found guilty of. It may have hindered us a little, but integrity and passion drives this band; and unless we can support it fully, we won’t do it. That’s not to say we don’t have a strong and loyal fan-base, because we do; but I would say we’ve gotten a much slower start in comparison to our peers.
We also have trouble building a fan-base in a town that is more geared towards liking metal and crust punk bands; not many people I know support “rock” anymore… partly spanning the inspiration for the song Save The Rock (Hipster Killers).
JAMES: I am thankful for the support that we have gotten here so far, though while it may not be very huge locally, certain people have mattered the most in our development and have supported us since day one have played a big part in providing some great opportunities here as well.
How has the internet and social media impacted on and helped the band to date? Do you see it as something always destined to become a negative from a positive as the band grows and hopefully gets increasing success or is it more that bands struggling with it are lacking the knowledge and desire to keep it working to their advantage?
ALEX: I think social media as an idea is a fantastic thing; being able to connect with people all around the world at the click of a button, you know the bands of yesteryear would have killed for this sort of technology when booking tours or promoting albums! The problem lies with the programmers and what they feel is best for the platform as a whole, sometimes forgetting that there are people still trying to use places (like Facebook) to promote their own businesses / companies and their algorithms prevent those posts from showing up in people’s timelines unless you pay for the post to be seen; dubbing it as a “Sponsored Post”. I’m not a big fan of stuff like that, but it’s pretty unavoidable at times…
It’s also no mystery that the internet has killed physical album sales tremendously; which does sadden me a bit because I still get excited when a band releases something on vinyl; so maybe groups should re-evaluate their product packaging and find ways to draw in the new generation that prefers a download to a CD. We still love being able to chat with our fans all over the world, so I would say all in all it’s a great thing…At least for right now.
JAMES: It’s definitely a double edged sword, but part of the excitement for me IS the fact that it is the Wild West for new bands like us, which allows us to get very creative with different marketing and promotional ideas.
Once again a big thanks for sharing time with us; anything you would like to add?
ALEX: Just want to pass on a big thank you to The RingMaster Review for having us on! Our new single Hit The Gas can be found on iTunes, Amazon Music, and our online store (http://store.thefillins.com/ ). We’ll be releasing a split 7in vinyl of Hit The Gas sometime in the Spring of 2017 (through No Profit Records) as we lead into getting ready for our next release for late 2017!
Just over a year ago, UK horror metallers The Dead XIII, without majorly startling ears made a potent introduction with their Creatures Of The Night EP. It certainly whetted the appetite and revealed the potential of the band forging out a distinctive presence in the British metal/rock scene. Now the Mancunian quintet unleashes their debut album Catacombs, an encounter which weaves all the promise of its predecessor into a hefty slab of skilled and thrilling enticement. Whether the band has quite found that unique voice can be argued, for us it is still something brewing, but there is no doubting that the album is a potent nudge to awaken national attention and push the band well away from the crowd.
The Dead XIII escaped their crypts in 2013 and was soon breeding an increasing number of loyal fans through a live presence which over time saw them sharing stages with the likes of The Fearless Vampire Killers, William Control, Dead, and Bad Pollyanna. Creatures Of The Night lured new blood to the band with its Wednesday 13 meets Misfits like sound in 2014, a base which The Dead XIII has torn and sculpted into a more mature, inventive, and predatory proposal. Fresh from the British Horror Story Tour with Ashestoangels and Farewell, My Love, vocalist Kurt Blackshard, lead guitarist Ste Mahoney, keyboardist/guitarist Symon Strange, bassist Paul Ryan, and drummer Spike Owen reveal the evolution that has coursed through their songwriting and sound over the past year with Catacombs, and provide a rather tasty offering at the same time.
The album opens with its lead single XIII; guitars instantly weaving a mesh of sonic bait before the song erupts into a cauldron of electronic and guitar driven causticity. The distinctive tones of Blackshard quickly enter the building drama oozing from every aspect of the song, his unpolished and ghoulish dark tones another magnetic lure to an already heftily enticing encounter. There is a whiff of Marilyn Mansion and White Zombie to the track, as well as The Defiled, hues which collude to create a contagious trespass of the senses and a mighty and irresistible start to the album. It is a potent first roar matched by Frostbite and its fiercely aggressive tenacity aligned with a wintery atmosphere cloaking keys and vocals. Whereas the songs on the previous EP rarely strayed from their core design, here as in its predecessor, the song is unafraid to twist further unpredictable and imagination bred flirtations of sound and ideation into its appealing intrusion.
Daemons shows its teeth straight away with thumping beats piecing carnivorous riffery. The keys almost as quickly spread their sinister gothic charm and melodic resourcefulness into the ravenous tempest of the song where again there is an energy and intensity which never relents from badgering, almost bullying the listener. It is a great union, warm inviting textures contrasting the imposing bellow of the song whilst rhythms and the growling vocals temper the provocative tapestry of the keys and melodies. It is fair to say that every track is aural theatre, and each song upon Catacombs a mouth-watering dark escapade perfectly epitomised by the third song on the album.
The album’s title track is its successor, another proposition which gets straight down to the virulent nitty-gritty of its devilish invention and uniting horror metal/punk resources. Once more the grizzled delivery of Blackshard is like the barker or crypt-keeper to dark deeds and deathly delights within the song, and whereas on the last EP his tones occasionally tested with their one dimensional presence, in song and album they reveal, as the music, that they have evolved and discovered their deep potency.
The pair of Be-Were and The Greatest Escape richly catch the imagination next, the first encroaching on ears with stalking riffs and jabbing beats around a demonic fusion of singular and mass anthemic vocals whilst the second, being arguably the most openly Misfits toned song on Catacombs, dances on ears with a voodoo-esque array of hooks and again mass vocal roaring. Both tracks captivate with its slithers of heavy metal seeded enterprise from Mahoney whilst the latter further grips though it’s entwining of intimidating rhythmic and metal textures with melodically searing flames erupting within the song’s smouldering heart.
Not quite living up to those before it, lacking the creative spark which ignites its companions, Haunter with its corrosive metal breeding still leaves appetite and satisfaction content next before making way for the outstanding and ravenous Lay Siege To Hell. The song is unbridled and bruising rock ‘n’ roll but equally bold with sidesteps into electronic/techno adventure and a host of ever changing hooks and scorching guitar imagination adding up to another boisterous rousing of body and psyche within Catacombs.
The closing stretch to the album begins with Can’t Escape The Grave, more highly agreeable rock ‘n’ roll to lose your inhibitions and soul to and ends with Apothesis, a death infused, ambience crafted encounter which is as much post-hardcore and blackened metal as it is horror metal, and quite enthralling. It too does not quite match earlier tracks yet it is the most inventive and increasingly fascinating offering on the album revealing the depth to The Dead XIII invention still brewing and to be explored ahead.
There is no doubting that Catacombs is a must explore treat for horror and gothic metal/punk fans. It is not the perfect offering with some tracks a little too similar in some areas and hues of other genre bands seeping into play, but one impressive leap forward for the band and undeniable impressive romp for ears. As things moved forward between EP and album, evolution will see the same ahead as The Dead XIII progresses and we for one cannot wait whilst continuing to devour Catacombs right now.
Not to be confused with seemingly a handful of metal bands with a matching name, the Prowler unleashing new album From The Shadows, hail from Myrtle Beach, South Carolina and create a rousing onslaught of horror fuelled heavy/thrash metal. Theirs is a sound which is maybe low on major surprises and high on familiarity, one unafraid to wear its inspirations on its blood soaked sleeve, but equally it only provides a compelling and thoroughly enjoyable escapade that hits the undemanding sweet spot time and time again.
Prowler began in 2010, releasing a quartet of EP’s which they subsequently brought together with an additional new track for their debut album After You in 2013. The band’s inspirations seem to stem from early Metallica and Anthrax, taking From The Shadows as an example, and indeed eighties thrash in general, essences twisted into sonic echoes and offshoots from horror movies of the same era. 2013 also saw the release of The New Blood EP, a well-received attention grabber in many ways sowing the accomplished and ravenous seeds for the Roger Lian (Slayer, Overkill, Pantera, Damageplan) mastered From The Shadows. As suggested the band’s new album does not particularly reshape the landscape or scenery of thrash metal but it does join a handful of genre releases this year which simply leave ears and appetite highly satisfied whilst uncaging anthemic fun easily luring limbs, neck muscles, and voice to get fully involved.
The album opens with R.O.T.L.D and the first of the individual film samples bookending each track within the album; here a slither of Return Of the Living Dead triggering a swiftly contagious rhythmic stroll. A riff and groove sculpted swing soon adds to the dynamic theatre and persuasion of the song, whilst vocally with a whiff of Wednesday 13 to his delivery, guitarist Patrick Best opens up the cinematic narrative. It is a raw and magnetic concoction with a horror punk scent brewing up its enmity within a thrash spawned prowl, and a rousing start to the album.
The excellent track makes way for Out Of The Fog, riffs and beats encasing the opening sample just as the theme of the lyrics impose within the cinematic source. Keys soon add spicy colouring to the antagonistic prowl of sound whilst the bass of Shawn Bruce and beats of drummer Jak Sumwalt cast their own sinister and rampant cage. It is a predatory mix with plenty of enjoyable and generally unpredictable twists, and knowing the films seeding each track, as here, only adds to the theatre of it all.
I Am Wolf quickly hunts down the senses and psyche next; the throaty primal tone of the bass and the rapier like beats alone inciting ears and imagination whilst vocally Best is a protagonist with barker like appeal around the continuing samples which puncture the passage of the track. As the first pair of songs, the track is undiluted full-blooded thrash metal, easy to offer comparisons too but hard to dismiss as a pale imitation of anything.
The commanding and stirring beats of Sumwalt make an inspiring impact across the whole of the album, and at the start of the following The Thing Not Seen, simply stalking ears with a tribal come demonic stance and canter. Like the bass tempting offered continually by Bruce, which is just as potent across From The Shadows, there is a primal feel and air to the rhythmic provocation, one emulated in their own raw and spiteful fashion by vocals and searing guitar enterprise of Best.
Prowler next offer a cover of The Ramones track, Pet Sematary, the song given a heavy metal make-over fuelled by another thrash cast tempest of energy and sound. It is a more than decent and pleasing version but lacks something compared to the band’s own songs, which maybe is how it should be with any cover song, always being eclipsed by a band’s own invention as shown immediately by Return To The Lot. Another entwining rabid rapacity and a more stalker like gait to its primeval hell, the Salems Lot inspired ravishing captures ears and imagination with visceral ease, again not splintering into new domains but healthily feeding any wants from a thrash/horror punk fusion.
Death On Wheels carries a similar attack and growl to its predecessor and wears arguably the strongest Metallica/Anthrax sound of any song within the album, and through those aspects does not quite match what has already lit up From The Shadows. There is no denying though that it has ears and pleasure in full swing before leaving Creature Of The Black and its atmospheric entrance to work another enthralling tempting. Eventually the song grows into a muscular and savagely predacious offering with carnivorous rhythms and caustic grooves, and a fine end to a thoroughly enjoyable album.
From The Shadows certainly offers little new but it certainly provides a festival of eighties aural and visual devilry with an attitude and snarl as nasty as the creatures central to each and every song. As mentioned earlier, it is enormous fun and that definitely works when looking for something to simply get the blood rushing through veins and emotions primed to take on the world.
Swedish metallers Sister has built and earned a strong reputation for their raw and voraciously energetic sounds as well as live performances which leave a swarm of other bands in the shade. Creating a mix of punk and sleaze rock with horror punk and metal bred tendencies, it is a contagious and at times anthemic brew which is increasing in potency all the time, as proven by the band’s brand new album Disguised Vultures. The release is an encounter which increases infectiously and addictively the more time you allow its persuasion, proving the Stockholm quartet a band very hard to ignore or not find a sweet spot for. To learn more about the band we had the pleasure of talking with bassist Rikki, at the same time finding out about the new album, the band and horror punk, touring and much more…
Hi Rikki, welcome to the site and thanks for agreeing to talk with us.
What was the spark which brought Sister to life and did you have an immediate direction you wanted to explore?
Sister came to life in early 2006 and I joined one year later. There were a few years with all intentions of being a band reaching high but at the same time making all the mistakes and being all about having a good time all the time. Maybe one year before the debut album Hated, that was released 2011, we felt that we were something to be reckoned with without putting much effort into it and started thinking of what we could do if we make something real out of it. I think it pretty much was at that time all the things fell into the right places.
We called your sound and album in our review of your brand new release Disguised Vultures, ‘Raw and contagious, seducing like Frankenstein Drag Queens from Planet 13 meets Crashdiet in a glam cast pit of degenerate rioting’. How would you describe the Sister incitement to newcomers?
You got the raw and contagious there and I like that he he. I would add a high energetic live act. We are a band that love being on stage and that’s our place in this world.
What are your most potent inspirations as a band and as an individual?
We are all about all kinds of music. From bands like Misfits and Guns n Roses to bands like Lynyrd Skynyrd and Roky Erickson. We get inspirations from everything around us. I find inspiration in everything I like and respect.
We mentioned new album Disguised Vultures earlier, your recently released second album; how were the feelings on the eve of its release and since?
Last album was a big chaotic process since we signed with Metal Blade and had to write songs, record and release an album in a pretty short time period. This time we had a lot of time getting everything done and deciding how to go through with it. Like the first time, we finished in the last second this time as well though. It has to be done that way I have learned by now. The songs were written one year ago so it feels great to finally get them out.
There seemed to be a rather strong anticipation and now a hungry appetite for the album, was this something even with your confidence in its potency you expected?
It’s the way it should be. Would be pretty boring the other way wouldn’t it. We just go for all the stuff we want to achieve with an album or whatever we are doing at the moment. I knew this album would be the perfect follow up to Hated and the new album really feels like a step in the right direction.
How do you see you music and style has evolved between Disguised Vultures and its predecessor?
I loved the fact that we recorded the drums, bass and rhythm guitar live this time. It was a thought that appeared very early, maybe shortly after the last album was released. That next time we’ll do it live in the studio. I think we achieved a more organic sound and it’s a much rawer and heavier sound than the last time. I think also it’s a more diverse album as well. On the debut it was all about fast punk songs. We are exploring more grounds this time.
Did you approach the new album differently to Hated, were there lessons learned first time around you could utilise and build on?
Yeah make sure you have time haha. Actually it could be a good thing to do an album without having the time to think about everything. It becomes very honest. But if problems turn up you are pretty fucked. We’ve learned a few things about being a band and to record the last couple of years as well. Not much but a few hehe.
You may disagreed but it seems like earlier releases, Hated and before that the Deadboys Making Noise EP, certainly lyrically and in sound may be too, embraced expectations with a typical horror punk provocation. Disguised Vultures feels like in both aspects Sister has moved on to try to evolve and sculpt its own identity. Has this been something you have given a focused attention to look at or it has been just an organic progression in your writing?
I actually have no idea when the horror label people put on us even took place. We have never written songs about horror movies or stuff like that. We write music about real life not after life haha. I guess when you look in a certain way people try to put you in the genre that they think is the closest one. We have always considered ourselves being a band that like a lot of different music genres and we have since the EP just decided not to think about genres and just play what we want. It is always different depending who you talk to. Some say we are sleaze, some say horror, some say just pure punk music. I consider us being a bit more confusing genre wise than just being just one of those.
Tell us about the recording of the new album. Did you have a deliberate intent with it and its sound?
Our friend Martin Sweet produced it and Linus Nirbrant did the mix together with him. The mix process took the longest to get right since we really knew from the start what we wanted. We were very much, like always, involved in all parts of the process. We knew what we wanted to do and how to do it and since we have worked with Martin earlier we know each other very well. He got us from the start.
Do you write songs and have them worked out fully before the recording process or a band which likes to create predominantly in the studio environment?
Everything was written half a year before we entered the studio. You always make a few changes in the studio but the main stuff was already written this time. On the first album we changed more while recording than this time.
How does the writing process within Sister play out generally?
Someone has a song which is taken to the rehearsal. Usually there is a melody or a half-finished song and then we pretty much finish the song in there. It can be very different from song to song but usually it’s like that.
Are you more often than not a put the lyrics to music band or vice versa?
It can be either way.
There is a definite anthemic and stand up against the wrongs of society etc. provocation to your songs lyrically which transfers to the music on the album, but how much do personal issues, reflections, or experiences also inspire your songs?
Cari and Jamie have written the lyrics on this album. Some songs are pure angst about things and some more complex. The song Disguised Vultures for example is about the clash between the world on tour and the world back home. On tour playing in front of big crowds and then being back home without any money and all that. It can be two very different worlds.
Disguised Vultures like its predecessor has been unleashed on Metal Blade Records; they seem like a rewarding home for Sister?
Yeah it’s been good. Their reputation and arms reach out over most parts of the world and that can be very good for us of course.
The band has toured and played around Europe extensively over the years, as well as playing at some prestigious festivals; the biggest highlights for you so far?
Playing the big stage right before Mastodon on Sonisphere Madrid 2012 was a highlight of course. I can get used to doing that stuff haha. The tours with Hardcore Superstar, Crashdiet and Wednesday 13 have been really good as well. We have played in northern Europe a lot since the EP (Germany has been like a second home country hehe) so it has been great playing in Italy, Spain and France the last couple of years. Our first two tours in the UK were done last year and were awesome as well. Hope to be back there real soon!
Is there any particular country or nationality of fans which unite and ignite to Sister over all others?
It’s been real good all over Europe the last few years. Northern Italy has always been crazy. Manchester and London on the UK tours have been awesome. Paris was really great, Berlin as well. Hard to pick a favourite.
What does Sister have in store for 2014 now the album is out?
We are in the middle of discussions about some real cool stuff tour wise. We’ll see if it can be done. It would be big! The booked official stuff is a release party here in Stockholm in the middle of February and some shows in Sweden and Finland. We just want to hit the roads soon!
Big thanks for chatting with us; any parting thoughts you would like to leave the readers contemplating?
Likewise! If you haven’t been to a Sister show, make sure that you do when we’re around! And check out our album Disguised Vultures!
As soon as Bad Mother Fucker launches its attitude loaded stomp off of a warning siren, it has to said, ears and appetite were swiftly gripped; a hold tightening as the track almost stalks ears with riffs and grooves whilst stirring up the spirit with its contagious roar. Vocalist Gene Louis hollers at its heart with energy and contempt, the band’s united calls supporting his incitement as the swinging beats of Jonny Udell punch and Zachary Kibbee’s bass magnetically grumbles.
References to the likes of Paramore and Don Broco seem to crop up more often than not and it is easy to hear why but as fourth track Ghost of Letting Go steps forward, Orestea only establish their own individual character upon thought and sound. The song is a fiery ballad built on the metallic strains of Quinn’s bass; a song with irritability in its roar and harmonic grace in its calm which only captivates before Alive or Just Existing shows the band is just as adept at kicking up a storm though that attack is unsurprisingly bound in an infectiousness which has the body bouncing and energies rising. It is pure pop rock ‘n’ metal mastery and another pinnacle upon the already praise stamped proposition.
Do you deliberately go out to push your sound into new areas or let it organically evolve?
We asked you this the last time but interested to see if anything has changed in the opportunities for new bands to make an impact on your local scene let alone nationally and further afield.
Did the band have a specific idea it what you wanted your sound to offer?
Tell us about the live side to the band, presumably the band’s favourite place to be?
The album opens with its lead single XIII; guitars instantly weaving a mesh of sonic bait before the song erupts into a cauldron of electronic and guitar driven causticity. The distinctive tones of Blackshard quickly enter the building drama oozing from every aspect of the song, his unpolished and ghoulish dark tones another magnetic lure to an already heftily enticing encounter. There is a whiff of Marilyn Mansion and White Zombie to the track, as well as The Defiled, hues which collude to create a contagious trespass of the senses and a mighty and irresistible start to the album. It is a potent first roar matched by Frostbite and its fiercely aggressive tenacity aligned with a wintery atmosphere cloaking keys and vocals. Whereas the songs on the previous EP rarely strayed from their core design, here as in its predecessor, the song is unafraid to twist further unpredictable and imagination bred flirtations of sound and ideation into its appealing intrusion.
The excellent track makes way for Out Of The Fog, riffs and beats encasing the opening sample just as the theme of the lyrics impose within the cinematic source. Keys soon add spicy colouring to the antagonistic prowl of sound whilst the bass of Shawn Bruce and beats of drummer Jak Sumwalt cast their own sinister and rampant cage. It is a predatory mix with plenty of enjoyable and generally unpredictable twists, and knowing the films seeding each track, as here, only adds to the theatre of it all.
We called your sound and album in our review of your brand new release Disguised Vultures, ‘Raw and contagious, seducing like Frankenstein Drag Queens from Planet 13 meets Crashdiet in a glam cast pit of degenerate rioting’. How would you describe the Sister incitement to newcomers?
Did you approach the new album differently to Hated, were there lessons learned first time around you could utilise and build on?
the music on the album, but how much do personal issues, reflections, or experiences also inspire your songs?
What does Sister have in store for 2014 now the album is out?