Brooklyn Vegan calls it "futuristic synth punk at its finest: Harsh and cold, yet melodic and inviting." "The 'Furies' are the ancient Greek Gods of vengeance and violence," says Mark Ryan of the title of his latest album. "The Furies were tamed," he continues, "but in my story, they are waking up and the ancient chaotic ways are resurfacing."
Ryan (the Marked Men, High Tension Wires, Radioactivity), alongside Peter Salisbury (Baptist Generals) on synth and Mike Throneberry (Marked Men) on drums, lead this modernistic, machine-like and cinematic version of the story of the Furies and have churned out something furious in return; Furies is their most electronic album, yet. Gone are any notions of Ryan's former project the Marked Men and its style of winningly bombastic garage-pop. It's a sound for the new dark ages, emboldened by urgency and sped along by some good old fashioned panic.
Listening to Furies scrapes the inside of your skull and fills it with cold television fuzz. Ryan got that sound by design. "I bashed out the demos quickly to find the right feel," he shares, "but then it took a long time to find the best way to record. Finally I figured out how to record the drums using drum pads and an old Yamaha drum machine. It worked really well. They sound artificial and harsh and electronic, but still have the feel of Mike's playing. It set the right tone. After that, it all came together easily." As most great stories often do.
Ryan (the Marked Men, High Tension Wires, Radioactivity), alongside Peter Salisbury (Baptist Generals) on synth and Mike Throneberry (Marked Men) on drums, lead this modernistic, machine-like and cinematic version of the story of the Furies and have churned out something furious in return; Furies is their most electronic album, yet. Gone are any notions of Ryan's former project the Marked Men and its style of winningly bombastic garage-pop. It's a sound for the new dark ages, emboldened by urgency and sped along by some good old fashioned panic.
Listening to Furies scrapes the inside of your skull and fills it with cold television fuzz. Ryan got that sound by design. "I bashed out the demos quickly to find the right feel," he shares, "but then it took a long time to find the best way to record. Finally I figured out how to record the drums using drum pads and an old Yamaha drum machine. It worked really well. They sound artificial and harsh and electronic, but still have the feel of Mike's playing. It set the right tone. After that, it all came together easily." As most great stories often do.