The Black Maria by Attrition

 

The Black Maria by British Darkwave pioneer group ATTRITION, is a haunting and immersive album that takes listeners on a journey through the shadows of the human experience. With a diverse range of styles, from industrial to gothic to dark ambient and a hint of nostalgia the album showcases the band’s versatility and depth.  The first track “The Promise” is an atmospheric track that lyrically delves into the themes of surrender and silence with whispered vocals adding to the overall sense of foreboding expectation.  “The Great Derailer” intertwines, snippets of political speech and the voices of disillusioned and concerned citizens. The juxtaposition of the dark, ambient melodies with the harsh industrial beats mirrors the conflict between hope and despair that often accompanies political discourse.  Delving deep into the intricate dynamics of human relationships “The Switch“ has a  hypnotic beat with seductive and provocative vocals.  “Pillars II” is an enthralling track that has melodic female vocals weaving beautifully with the layered ambient acoustic panorama.  The dreamlike mood and undulating soundscape of the song create a sense of introspection.    “The Alibi” is a daring and unconventional musical journey that defies expectations at every turn. The song begins with a childlike, almost off-kilter rendition of "Here Comes the Bride," setting the stage for what unfolds as a cacophony of sounds and delicious chaos.  The listener is swept up in a frenetic and confusing carnival-like atmosphere. The song, that is a riot of sounds, takes yet another unexpected turn, as a cacophony of vocals joins the mix, adding to the sense of chaos and confusion. The result is a wild and exhilarating musical ride that leaves the listener both exhilarated and slightly disoriented.  From the moment “The Reprisal” begins you get the sense of something lurking just beyond sight, something watching and waiting.  As the song unfolds, strange sounds and voices interject, adding to the sense of unease and paranoia evoking the notion of  the presence of something just out of reach.  The song builds creating a palpable sense of tension and suspense that is as thrilling as it is unnerving.  “The Zero Hour” hauntingly blends Darkwave ambience and industrial sounds with beautiful menacing  piano melodies and an enigmatic spoken soliloquy.  The mysterious ambience and vocals of the song  blur the lines between past, present, and future hinting at something just beyond the listener’s grasp.  The title track of the album “The Black Maria”  begins with chilling muffled industrial sounds creating a  sense of unease and foreboding.  Haunting high-pitched vocal floats eerily around the listener, creating a sense of disorientation and uncertainty. The gritty and dark male vocals seem to be giving a desolate sermon giving the sense of something lurking just beyond reach that is dark and malevolent.

The album The Black Maria sees ATTRITION founder Martin Bowes working with female vocalists including Emke from Black Nail Cabaret, Yvette from Vaselyne, Joanne Wolf and most notably the return of original ATTRITION vocalist Julia.  The album also includes special guest appearances from Alia Miroshichenko (Subterranea) Annie Hogan (Marc and the Mambas etc) on Grand Piano, Vancorvid and Marietta Fox on Violins, Ian Arkley (My Silent Wake, Guillotine Dream) on Guitar, Steve Clarke (Futumche/Octogoth) on additional guitar/bass, and Kris Force on Cello. 

The Black Maria is dedicated  to the Memory of Kerri Bowes (1982 - 2022)

The album The Black Maria  traverses the depths of the human soul and is sure to resonate with anyone  who has loved, lost and found beauty in the darkness. 

Links :

https://attritionuk.bandcamp.com/album/the-black-maria

https://open.spotify.com/album/0txU2xDGOrY8uyDcHQdPFV?si=n4uFT6PVT-iVpmh0htDNig

https://www.thecagestudios.co.uk/

Attrition

 

Martin, as one of the founding members of Attrition, how do you feel the band's sound has evolved since its inception in 1980, and what inspires the direction of your music today?

Well we started life messing around on guitar, bass drums and vocals... and played our first 4 shows as an anarchist post punk band in 1980/81... we soon discovered synths and electronics and disappeared for a while to learn how to use this new technology... we came back in 1982 with our own small studio with synths and drum machines... that was the birth of ATTRITION proper... we released a very experimental first few albums in This Death House (82) and The Attrition of Reason (84)... gradually taking in newer digital technology, and then bringing in guest instruments as we progressed... guitar (again) and Violin, Cello, Piano from time to time... I was inspired by some of the new electronic music... techno, drum and bass etc... so we incorporated some of that as much as we incorporated more classical music influences along the way... today it remains the same... I love to collaborate with external sources...people and machines. I cant see that ever changing.

Julia, as a classically trained pianist and violinist, how does your background influence Attrition's unique blend of dark ambient and neoclassical music?

Sadly, I can’t take credit for the wonderful piano and violin/viola pieces as I’m not classically trained. Martin has some wonderful guest artists that take the music to new heights. I can play keyboards and bass guitar a little, and read music, but it’s all mainly by ear. I have recently been studying music theory and have found it both interesting and helpful.

 

Attrition has been described as integral to the original UK industrial and post-punk music scenes. How do you see the band's role in shaping these genres, and what sets Attrition apart from other bands of that era?

When we started we didn't have a genre to fit into really... as much as we were influenced, first by punk, and then by the early electronic music of bands like the early Human league, Cabaret Voltaire and what is now called post punk (Magazine, Siouxsie and The Banshees, Wire etc)
The term Darkwave is often used to describe ATTRITION now, although it didn't exist when we started...i wouldn't claim anything at all but i think we may have had a hand in it's creation.
I think the difference in ATTRITION is the male/female aspect of the band, i've always felt that was very important...and I think there are a  range of influences. We use anything we want to.

 

Martin, Attrition has played early shows with iconic bands like Coil, The Legendary Pink Dots, and In the Nursery. How did these experiences influence the band's musical journey and sound?

When we first began there was no scene at all for the kind of music we did... it was hard to play anywhere, so as other more experimental bands emerged it was so good to meet them and to play with them... I think we all learned from each other back then...it felt like we were all exploring the same musical frontiers, in our own unique ways.

 

Julia, your lyrics often explore themes of darkness, psychology, and the human condition. What inspires your songwriting, and how do you approach weaving these themes into Attrition's music?

I’ve always been interested in psychology and various belief systems that explore how we as humans deal with finding a meaning and purpose in life. Sometimes lyrics come on their own often triggered by life experiences, but at other times they are inspired by pieces of music or they wrap around lyrics that Martin has already written. I have a deep respect for the profound lyrics that Martin produces as they are so unique. One tactic I sometimes employ when generating lyrics is to think of using another language rather than English, which can avoid clichés or sometimes they just fit better with the overall feel of a song. Regarding weaving the lyrics into a song, the dark and deep lyrics always seem to fit well with the minor keys and atmospheric rhythms that make up the music.

 

Martin, Attrition has released music through various international underground labels over the years. How has the band navigated the ever-changing landscape of the music industry, and what advice would you give to aspiring musicians?

Well its definitely been a learning curve! I started out running a music fanzine here in Coventry in 1979 (until 1981) and that did create some inroads into the industry... contacts in particular...i released a couple of cassettes as well so I started to get the idea. We did a lot of recordings in our small 4 track studio in the early 80's and appeared on a lot of cassette compilations.. and then vinyl compilations... and I would send out demo tapes every week to labels, gig promoters and magazines/fanzines... eventually we were offered our first record deal (With UK based Third Mind Records)...the debut album came out on vinyl in 1984. It went from there ?I think the best advice is to always be involved with the industry  networking and promotion and work as hard as you can... to this day I spend hours most days still doing that... if you can afford  a team of people to help out thats great... but there is no-one better than yourself.

 

Julia, Attrition's music seamlessly combines elements of dark ambient, neoclassical, and dark industrial music. How do you approach blending these different styles to create a cohesive sound?

Much of the credit must go to Martin who is an expert at production and mastering in The Cage studio. He has a great ear for detail, and an expansive knowledge of music software and analogue synths. But, I think you need to take a germ of an idea, whoever that comes from, and let it breathe in the mix whilst still adding other layers around it that compliment it. I have fairly eclectic and broad tastes in music but I definitely have favourite genres that I never tire of, especially interesting electronic music. It can take quite a bit of experimentation to develop the different textures and sounds until you find something that fits and this can apply to the vocals as well.

Attrition's music has been described as ranging "from dream to dancefloor." How do you balance the atmospheric, introspective elements of your music with its more danceable, energetic aspects?

It’s always been like that... as originally an art student I always draw? music...i still do... and I love working on more abstract soundtrack pieces as much as I do songs... We've written music for some short films over the years and had songs included in a lot of films... but I also love songs and performing them on stage is an important part of what I do. The albums often balance the two sides of ATTRITION's work. I like it like that.

 

Martin, as Attrition continues to evolve and create, what are some of the key influences shaping the band's music today?

The biggest influence is always my and our life. From everyday things to world events that shape us. The reflections and personal exploration and expression of that is what doing music has always been about for me. Technically I have my studio here (The Cage) and the technology has improved so much over the years, as our skills in using them have. I work with other bands too in production/mixing/mastering so I pick up things along the way.
The next record is always the most exciting adventure...

 

Finally, for both Martin and Julia: Attrition has toured the world extensively. What have been some of the most memorable moments from your tours, and how does performing live influence the band's creative process?

Julia: I tend to remember visual and/or audio snippets from across the years, such as long endless drives across the German autobahn with Kraftwerk playing on an 8-track in my parents car that we had borrowed with my brother driving. Sometimes touring can feel like yo are living in an alternate reality where days and places do blur into one, so it can be difficult to pick out distinct events and the tour tends to have an overall atmosphere of its own with its inevitable highs and low. There are also funny moments such as when you are trying to guide a rather drunk keyboard player with his gear to the flight home, and hoping he appears more sober than he is so we do make the flight! I do remember moments when everything comes together on stage, the sound is great and up with a slightly different version to the recorded version. It can be like you are almost hearing the song afresh for the first time and it gives you ideas for different arrangements. Before the live performance you also go over the song repeatedly, sometimes more than when it was recorded or if it’s an older song that you are bringing into the set. There are often a lot of discussion in rehearsals about what does and doesn’t work, and so that process helps us to learn how to work together creatively and build on each other our strengths.

Martin: We have played all over the world...i counted 5 continents... and i'm happy about that.... of course live performance and the adventure of travel and new experiences will always influence what we do. Its weird whenever people ask about tour stories I tend to go blank... I think its not knowing where to start... when I do start you need to shut me up .
Everything has been wonderful... even the horror shows have some silver linings.
In 2018 we performed a horror film score we wrote for a US film... at a festival in the mountains of Transylvania. I wish I could have gone back and told the 14 year old Martin that was reading Bram Stoker's Dracula that I was going to do that... he would have been pleased!

Thank you for the interview!
If people would like to check out more of ATTRITION please look up out various websites...

Martin and Julia. Coventry. England. April 2024

Links :

https://attrition.co.uk/

https://www.facebook.com/ATTRITIONMUSIC

https://attritionuk.bandcamp.com/

https://www.youtube.com/user/attrition

https://www.instagram.com/attrition_uk/

https://open.spotify.com/artist/5yAtVvdaWrTxW4GPC18643?si=SkEggxVuQu2C6mhHd5yfjw

https://www.thecagestudios.co.uk/

Divination Scars: among the dead in symmetry,

 

“The record revealed itself to us overtime. some of the pieces existed for some time in one iteration or another and others came together rather quickly. It’s not exactly a concept record but there is a story woven together of someone dealing with Death, grappling with mortality, bargaining for immortality - loss of self, rebirth and the self-actualization that occurs on the other end. Much of this is fiction, however there are moments I found myself recounting my time spent in the death care industry and the questioning of the predatory practices put in place by large corporations masquerading as charitable entities.”

Charles – thePicassos



Divination Scars: among the dead in symmetry, the new album by Midwestern Gothic/Avant Goth band thePicassos is a deliciously dark and eclectic journey through a series of collective stories and experiences that entwines a haunting narrative about death and dying, fear and immortality. The first track “Wicker Casket” weaves an ethereal tapestry that’s hauntingly hollow and jangly with undulating melodies that perfectly blend darkness and transcendence. With an atmosphere of menace and a sense of desperation, “Leather Wings (The Blood Is The Life)” beckons the listener into a dark and mysterious realm. “Thousand Eyes Restrict” creates a visceral experience with urgent rhythms created by a cacophony of gloomy, heavy guitars and atmospheric lyrics and vocals. Having an eerie atmosphere “Children of the Night” has ascending melodies and haunting vocals. “Dolarhyde” (do you see?) is a powerful song that unleashes a blend of heavy guitars and beseeching vocals that result in a gripping exploration of bleak emotional depths. Immersing the listener into a disorientating, yet entrancing soundscape “Sixth Sense” has reverberating vocals that further enhance the mystique of the song. “Weird Sisters” is an alluring blend of Gothic music with a retro 80s sound, that has energetic vocals piercing through the vintage glamour of the song infusing it with power and emotion. A sultry New Orleans sound, with a soulful spirit and the whimsical allure of a spooky carnival “Serious Business” is a mesmerizing fusion of sounds and melodic layers. “Under The Floorboards (With You)” transports the listener to a cinematic futurescape and the dreamy landscapes of the 90s resulting in a nostalgic and spellbinding sound. Propelled by crashing guitars “This is Not Elegance” has ghostly reverberating vocals that ensnare the senses. “Slaughtered Lamb” is enthralling and hypnotic with a rhythmic beat that menacingly drags the listener into a place of shadowy intrigue. Blending exotic Middle Eastern sounds and echoes of the 80s “Go Dark” pays homage to diverse musical traditions while transporting the listener to otherworldly places.

Divination Scars: among the dead in symmetry, has brooding melodies and enigmatic lyrics that immerse the listener into a soundscape that mirrors the complexities of life and the inevitability of death. The albums exploration of existential dread and the rejection of immortality adds a unique twist and creates an unsettling yet captivating atmosphere.


Divination Scars: among the dead in symmetry,
All songs written by Charles Urban


Charles Urban - lead and backing vocals, guitar, tambourine, railroad spikes, shaker, kazoo, claves, snaps, bongos
Dan Lowe - bass guitar
Thorin Murphy-Fahlgren - drums, accordion, banjo, guitar, toy piano, wind chimes, chimes, synthesizer, drum loop programming, tambourine, shaker, snaps
with
Joe Duprey - organ, piano, synthesizer, harpsichord, backing vocals, noise effects
Gerard D’Lor of Second Salem - vocals on “Leather Wings (the blood is the life)”
and “Dolarhyde (do you see?)”
Sarah Rose of Sarah and the Safe Word - vocals on “Weird Sisters”
Taylor Izak - violin on “Under the Floorboards (With You)”
spoken word on “This Is Not Elegance” written and recorded by Shelby Blevins-Lowe

Artwork and graphic design by Charles Urban
CD hand model - Tara Tapert

Produced by Charles Urban, Dan Lowe, and Thorin Murphy-Fahlgren
Recorded and mixed by Thorin Murphy-Fahlgren

Links:

Webpage : Home - thePicassos Séance (thepicassosseance.com)

Beauty In Chaos

Created in late 2017 the music collective Beauty in Chaos was created by Michael Ciravolo of the bands Human Drama and Gene Loves Jezebel and President of Schechter Guitar Research.   With two constant members, Michael Ciravolo and Michael Rozon, Beauty in Chaos is what Michael Ciravolo describes as a “revolving and evolving” entity that he curates. The project has a long list of amazing artists that take part in it and are what Michael Ciravolo defines as the Beauty In Chaos family. Some members of this collective include Wayne Hussey from The Mission, Simon Gallup from The Cure, Ashton Nyte from The Awakening, Robin Zander from Cheap Trick, Al Jorgensen from Ministry, KE-T, from Body Count, Evi Vine and Johnny Indovina from Human Drama. 

 

The band name was a reflection on the crazy times the world was experiencing in 2017 and is still relevant now as the world seems to plunge further into weird and strange times.  “So much chaos is in almost every facet of the world.  When I was searching for a name needed for this project that I was going to curate, I looked to what was good, not only in my life but everywhere around.” Michael Ciravolo explains.  The name Beauty in Chaos is a fitting title and represents a quest for beauty in a chaotic world. Michael Ciravolo says that “the music we create has equal parts of both.  Some beautiful textures with blasts of chaotic sonics, others dark with angelic elements interspersed.” 

 

Growing up Michael Ciravolo was drawn to Rock and Roll by mid seventies Glam.  Bands and musicians such as T-Rex, Slate, David Bowie, The New York Dolls, Johnny Thunders and Mike Ronson were guitar heroes for Michael Ciravolo.  He says “later, I got more into the darker side of music.” He began to enjoy music by bands like The Cure, Sisters of Mercy and The Mission.  He never played in a cover band growing up and didn’t learn records note for note.  MIchael Ciravolo believes that perhaps his guitar playing “was stunted by wanting to play like Thunders,” but now looking back he feels “I know it defined my sound.”

 

One of the strengths of Beauty In Chaos is the fact that it isn’t musically shackled to a stylistic label. Michael Ciravolo believes “I feel we have, at least semi-successfully crossed Dark Wave, Post-Punk, Shoegaze, Alternative, Dream-Pop and whatever other genres that fit, while having our underlying musical thread that binds.”

 

Not being a typical band the creative process for Beauty In Chaos is a little unique.  Having used the same songwriting process as they adopted for their debut album in 2018 Finding Beauty In Chaos, both Michael Ciravolo and Michael Rozon create music. Michael Ciravolo confesses “To me, this music does not become a ‘song’ until the singer adds their lyrics and melody.  Then it has a name.”   He does not direct the singers on what the lyrics should be for the music they write instead he says he “is blessed with the artist to match with the music.”  He explains that the musicians they send music to are always inspired by what they create. Michael Ciravolo says “I look at our process as combining poetry with soundscapes.  It just seems to work and for that I am grateful.”

 

Staying creative is easy for Michael Ciravolo as he loves the joy of “creating, making sounds that turn into something special and the challenge and reward of finding the right artist for the music.” He describes the experience of receiving finished vocals back from an artist that they send music to as a “jolt” and a “Christmas morning feeling”.  Michael Ciravolo describes the whole ongoing creative process “as much work as it is as an indie artist, I love seeing the culmination of the whole album, the concept, the cover, the full experience.  Also, I can’t stress enough the fun element of doing Beauty In Chaos with Michael Rozon.  It isn’t work, its two children with a bunch of weird toys and red wine.”

 

Being the curator of Beauty In Chaos Michael Ciravolo is involved in all aspects of the band.  He does acknowledge that input from fellow musician, Michael Rozon is instrumental to the success of the band.  Michael Ciravolo  describes Michael Rozon as “the man is a wizard in the studio and allows me to bring the sounds ghat I hear in my head to life, all the while we are having a fucking blast doing it!”

 

Not designed initially as a typical stage band Michael Ciravolo, a seasoned performer who loves playing live would someday like the challenge of putting Beauty In Chaos on a stage.  He says “the who, where and how” are the current hurdles faced by Beauty In Chaos when contemplating a live performance.  Michael Ciravolo admits “I have played live a bit over the past few years with my former bands Human Drama and Gene Loves Jezebel.  The latter with my wife Tish and Michael Aston, both who are Beauty In Chaos alumni.” 

 

The band interacts with their fans via social media and streaming.  Michael Ciravolo confesses he is not a fan of either but he knows they are necessary for independent bands to maintain a presence.  

 

“Beauty In Chaos never rests and always has a plan.”  According Michael Ciravolo and what the future holds for the band.  The duo are writing new music which will serve as building blocks towards a new album which they hope to release by the end of 2023 or early 2024.  Michael Ciravolo says that he has a title and a painting for the cover art of the planned album already in mind.  He says that Beauty In Chaos will do what it does best which is “revolve and evolve.”

 

For new listeners to music by Beauty In Chaos Michael Ciravolo has these words, “I would say have fun creating. Use technology, but don’t use it as a crutch.  Be true to yourself and don’t chase anything.  It will come.  And don’t get discouraged by bullshit, especially on social media.  I always ask that our listeners dive into the deep and diverse catalogs of the artists that have graciously given their time, talent and heart to being part of Beauty In Chaos.  I guarantee you will find some new favorite music.  And as always, if you like it, please support the artist by buying their music.”  

Links :

Website : https://www.beautyinchaosmusic.com/

Instagram : https://instagram.com/beautyinchaosofficial?igshid=NTc4MTIwNjQ2YQ==

Facebook : https://www.facebook.com/beautyinchaosmusic

Twitter : https://twitter.com/_BeautyInChaos

Spotify : https://open.spotify.com/artist/2TwN2egUCb7rbS0Bfkdsd0?si=34kXo1ywTpKrrX5M6x5gdQ

 

 

 

 

 

 

 

 

 

Takes A Long Look And Then The Kitchen Sink by The Noise Who Runs

Dark Electronic Rock band The Noise WhoRuns describe their single “Takes A Long Cold Look And Then The Kitchen Sink” from their album Preteretrospetive.

I’m still very happy with that giant title for a single. Commercial suicides R US. It was an old song, from 1996, so the last year of something like 18 years of non-stop Conservative governments, pretty much like there is in the UK now. And sometimes stuff you’ve forgotten about pops into your head and keeps popping up again and again, so I figure it’s happening for a reason and act on it. So I reworked pretty much completely, different chords, everything, but the lyrics to the verses must have been what I was after and they’re exactly what they were 27 years ago. Isn’t it alarming that the same lyrics could sum up the level of dissatisfaction, disgust and contempt with exactly the same problem as three decades ago, in another century? I find it more than alarming. From that point of view, Preteretrospective is kind of like your early warning alarm system kicking in - it’s an exploration in broad-strokes and microcosmic detail of the state of decay and neglect, the betrayal of the very short-lived ideals of the post-war dream and the aspiration to break the eternity of corruption and exploitation, sometimes general, sometimes personal, mostly both all at the same time. And it’s also weighing that in the context of the whole history of humanity and finding that nothing much has changed down the centuries and with the state of things so far this century, it genuinely has to.


With a perfect blend of Electronic and Rock elements while transitioning effortlessly through periods of quiet introspection and swirling hypnotic energy, “Takes A Long Cold Look And Then The Kitchen Sink”, is superbly produced. Nostalgic sounding vocals with emotive and haunting lyrics, the song envelopes the listener into a dark, beautiful and menacing sonic landscape. A thought provoking track “Takes A Long Cold Look And Then The Kitchen Sink, captivates listeners leading them entrancingly into the songs emotional depths. 

Links :

Webpage : https://thenoisewhoruns.com/

 

The Noise Who Runs

Anglo-French Dark Electronic Rock duo Ian Pickering and Felipe Goes make up the band The Noise Who Runs and although in the future they may recruit more members for the band at the moment they perform as a pair. A literal translation of a French phrase, Le bruit qui court, The Noise Who Runs, chose their band name in honor of a restaurant they frequented called O Bruit Qui Court. When band member Ian asked what the restaurant name meant he was told it meant nothing in English. “I’d been trying to find a name for the band for a long time, since before I recorded Left-Handed Tendencies as Ian Pickering in 2014, band names are the hardest thing about music, genuinely, and when I heard that : ‘it means nothing’ - literally, the noise who runs, I was away with it, everything fell into place like a Big bang movement.” admits Ian. On a personal level for Ian the band name also has significance explaining the name “coincides with me moving to France to be with the woman I love, finally getting sober for good, its been six years now, and kind of late in the day as it is, increasingly demonstrating to myself, my fullest potential, artistically.” Although in’ French, the term hints at gossip and rumors the band interpret the meaning of the name as “voices of the unheard growing louder and stronger and demanding in a better way”.

Although Felipe doesn’t recall when he first got interested in music he admits that his mother would listen to music and sing while cooking and cleaning when he was small. When he was a teenager Felipe picked up a guitar and from there his passion for music grew. Ian always had music as a part of his life but when he turned around eleven or twelve he explains “ I first started writing song lyrics and that remains the most satisfying and pleasurable part of the whole process for me. I am easily at my most contented when I’m doing lyrics”. Ian also credits his oldest friend Liam Howe from Sneaker Pimps as being a fundamental influence on his music and style. Ian explains that he and Liam “started working on our own music from an early age, me writing words, him working on music, sound engineering, production, with whatever we had available , notably an upturned plastic bin and a Casio VL-Tone, then a Roland SH101.” As Liam’s father updated his equipment Ian was able to experiment on the older equipment and foster his music writing. This resulted in Ian and Liam making albums with Sneaker Pumps.

Ian has a casual approach to songwriting and he doesn’t force the process. He describes his songwriting as “basically its like Mr Bump, the accident-prone Mister Man, the blue one covered in white bandages. Basically, he has a nightmare doing anything because he’s gonna break something, spill something or hurt himself (I’m also literally like that, sadly), but eventually he gets his ideal job - apple picking. And he just walks around the orchard not even thinking about apples and every so often he crashes into a tree, an apple falls down, he catches it, job well done.”

The process of songwriting begins like this for Ian “All I do is read, listen, watch, talk, discuss and at some point, all those tiny snapshots and fragments coalesce into a bigger picture that I always feel like has been there forever. And once you get that first step out of the way, the only trick to writing, recording and producing is to devote all your time to it. ALL your time. I don’t think about anything else unless someone’s talking to me or I’m teaching.”

In cultivating The Noise Who Runs’ particular style the band can’t really identify how many genres have influenced the bands sound. Felipe explains that he “listens to all sorts of music but I don’t think of one artist or band in particular every time I make music.” He challenges listeners to discover what the band influences may be by listening to their music. For Ian he believes that a pure genre of music is elusive and and he think that the evolving genres are being named in more and more ridiculous ways in attempt to classify music. He likens it to the children born during the pandemic with ludicrous names given to them by parents hoping in some way to make them seem individual. Ian says “I was born in the 1970s, was a teenager in the 80s and was trying to make it in music for most of the 1990s, before Sneakers took off.” He describes The Noise Who Runs as a “kaleidoscope of everything that occurred in those decades that had an impact on me.” Ian believes that the music that influenced him most in his formative years was anything that he could relate to and was relevant to his life. This is why through the music of The Noise Who Runs the duo are trying to convey “the desperately unfair state of play in the world and add a poetic voice to what I believe is now the growing clamour for fundamental changes to save the chances of a decent future.”

To stay inspired musically Ian says “I’ll tell you what I definitely DON’T do to stay inspired and creative and grow artistically. What I don’t do is buy those fucking Brian Eno bastard Constraint cards and get all fucking pretentious about recording a song using only the door of a broken washing machine, a shaved guinea pig and a raspberry ripple while hopping on one leg to record palindromic vocals backwards. What I DO do is care, very sincerely and wholeheartedly - about people, about the state of things, about the thin end of the wedge and the short-end of the stick, about inequality in society, about the lack of political will to enact change. Staying inspired and growing as an artist, these things come as naturally as breathing - and if they don’t, you should really find something else to do. “ Felipe has developed a love for trying new things musically and admits to enjoying learning new concepts, genres and instruments. Felipe says “Doing stuff other then music also feels helpful to stay inspired, just do not as me to share my drawings !” Ian has promised that he will put some of Felipe’s drawings on the band website.

Unintentionally fostering a dark aesthetic, the duo admit to never actually discussing an aesthetic for the band but instead allowed it to grow through osmosis. Ian explains that they do have control over the growing aesthetic through the very personal songwriting. He says that the fundamental thing for the band is “the hand-prints from prehistory on the cave walls, that mark left to posterity, the clear statement ‘We were here’ calling down through the ages like a slower than glacier kind of social media post.” With what Ian says is an optimistic approach “that’s where the aesthetic for all the visual side begins and that’s now evolving on its own, kind of instinctively.” Ian jokes that’s so much happens for the band instinctively that they “really should sit down sometimes and talk about all these things more often”.

An experienced live performer Ian admits “ I absolutely love playing live and I’ve kind of done it at both ends of the scale - big gigs and festivals with Sneakers and pubs the length and breadth of England with transporter. I don’t like impromptu performances, I don’t like jamming. For Felipe, since we got stopped in our tracks with COVID in 2020, just as we were ready to start playing live, now we’re starting to rehearse again and will hopefully gig before the end of the year, just a few small shows to cut our teeth, I think it will be his first time. So the first The Noise Who Runs gig will be the absolutely first time for Felipe. That’s gonna be quite kind of momentous.”

When asked how they engage with and stay connected to their fans Ian amusingly says “What, Felipe’s mum and my mum? They both said you can ask them directly so we’ll give you their email addresses if you like.”

In the future The Noise Who Runs will be attempting to make new and engaging music by adding and removing various elements to and from their sound. They hope to perform live soon.

For new listener to The Noise Who Runs, Felipe wants people to know that he enjoys making the music so hopes people enjoy listening to it. Ian describes their music “there’s always something more to offer each time you hear it. And it’s possible that The Noise Who Runs is the soundtrack for the times. Smoke something, relax, let the album and the songs work their peculiar magic.”

Links : 

Webpage : https://thenoisewhoruns.com/

Facebook : https://www.facebook.com/thenoisewhoruns

Instagram : https://instagram.com/thenoisewhoruns?igshid=NTc4MTIwNjQ2YQ==

Youtube : https://youtube.com/@thenoisewhoruns2291

Bandcamp : https://thenoisewhoruns.bandcamp.com/

 

 

 

A Shoreline Dream

         

With a name that the band describes as “ironic” the Progressive Shoegaze band A Shoreline Dream chose their name in response to what they say is the way “the human race always strives for living and building some sort of fantasy in deceptively dangerous places… only to realize years later their dreams come crashing down from the realities that were always right before their eyes. Our music is that sort of “crashing” that takes place all through our lives.”

A Shoreline Dream has had an evolving lineup, but the core and current members are Ryan Policky and Erik Jeffries. Ryan’s passion for music started when he was a child. He identifies two key moments that contributed to his love of music “seeing Bon Jovi in the “Livin’ On a Prayer” video, which for sure sparked a huge interest in actually becoming a performer, and Iron Maiden’s debut album for wanting to develop and create album recordings. I’m a horror freak and once I realized dark music existed, I was onboard.”

With a simple yet profoundly important approach to song writing Ryan explains “My studio is where I work and live in, and I always find myself utilizing the tools all around me to convey what is really going on inside. I also hope to reach those going through the same emotions and strive to connect.” For Ryan song writing is a necessary component of his life and provides an outlet to express his emotions and feelings.

Citing such bands as Dead Can Dance, Cocteau Twins, Massive Attack, Porcupine Tree, Type O Negative, and even extreme music creators like Skinny Puppy, Death and Carcass as influences on A Shoreline Dream, Ryan is most inspired by bands and music that breaks the barriers and develops their sounds irrespective of external pressures to sell records. A Shoreline Dream says
“Dark, moody, progressive music has been a huge influence, especially once atmospherics and dreamy visuals are brought on by the music in question.”

Working for a self-owned label the members of A Shoreline Dream control the aesthetics of the band completely. Having developed their image carefully Ryan attributes his involvement in the band aesthetics to “Working in a design field (advertising, animation, video production and game design) for many years has brought together a keen eye into what our visuals need to be.”

In terms of creativity and keeping the band and music interesting and engaging Ryan explains “Staying creatively inspired is just staying alive. Day to day the main job is creative. I just worked on the latest pinball machine for John Carpenters Halloween amongst numerous animated pieces for clients across the board, from advertising to video games. I also have developed my own live immersive show that combines Haunted Houses and Pinball Tournaments, which has gone on for a decade now. So if it’s not music or sound design, creativity is constantly flowing.”

Loving live performances, A Shoreline Dream believes that this is when they can truly engage with the audience and establish a connection with other people in the world. They describe the experience of performing live as “Nowhere else can you feel an energy like you do from people that actually connect with what you have created. We’ve played in front of sold-out venues and small rooms, and either way it’s been amazing to experience that feeling with the people before us.”

The band attempts to be engaged in every way possible with their fans. They don’t oversaturate their fans as is the habit now with many bands by over explaining every aspect of their music on social media. Instead, A Shoreline Dream prefer to “strive to keep that mystery alive while still giving the important news when we need to.” In terms of new music, A Shoreline Dream lets the music they create guide the direction the band is heading in. Of their future the band says, “It’s a crazy world as of late, so we plan to keep hanging on to the ride we are on, while exploring everything we’ve always wanted to create while it’s still possible.”

For those interested in listening to the music of A Shoreline Dream the band explains “Our music is meant as a soundtrack to the moments that guide you. Driving, dreaming and guiding along the way. It’s a landscape of tone and sounds that tell the story of a Shoegaze inspired group of people who came together to take those inspirations and make them something you may have never heard before. We hope you dive in and find this out for yourselves.”

Links :

Bandcamp : https://ashorelinedream.bandcamp.com/album/loveblind

Facebook : https://www.facebook.com/ashorelinedreamband

Instagram : https://instagram.com/ashorelinedream?igshid=NTc4MTIwNjQ2YQ==

SoundCloud : https://soundcloud.com/ashorelinedream