Kickstarter Ritual: Davide – Interceptor Beyond Podcast EP03

Kickstarter Ritual is a three-piece rock band from Northern Italy. Their style is acid, sharp, fast. They are strongly influenced by blues, 70’ glam, stoner, and a pinch of punk.

The early KR were a trio by necessity: at the beginning, the band had Davide, founder of the project, at the drums, Pini at the bass and Goran at the guitar.

In these inception months, important songs such as Alive, Black Mama and Cooperate were born.

While they were looking for a vocalist, drummer Davide was temporarily covering that role. The power-trio played a few gigs and people loved it. A decision was made: no singer was needed, as they already had one. 

In the following months, KR managed to launch their first EP, Black Mama. This gave them the chance to play in the most influential venues in northern Italy. 

In 2016 bassist Pini left the band for personal reasons. He was replaced by Juliusz. The same year, KR released their first LP, Ready To Take a Ride: 14 tracks that combined catchy riffs and acid voices, distorted, squeaky guitars and a galloping rhythm. We hear strong stoner influences, a bluesy bass and high pitch choruses. The single is the singalong Too Old (‘cause you are getting too old, motherfucker!).

KR embarked on their first Euro tour in late ‘16, playing in some of East Europe and Austria’s most influential underground venues. 

Despite the very good feedback on the album, Goran decided to move to Austria, quitting KR at the beginning of 2017. 

With an album to promote and gigs already booked, KR had to reinvent themselves. Bassist Gaby just moved back to Italy. He knew Davide since back in the early 2000’s, when they played together in Houston!, a short-lived, yet intense metal-glam project. 

Gaby become the bassist of KR, and Juliusz embraced the role of a guitar player. After a few months of assessment, they finally found their balance. They shot the long overdue video for Too Old and resumed playing live regularly.


In spring ‘18 Drifting By a Protostar was released: a 4 tracks concept EP that shows an evolution in style. Heavier low frequencies, a distinctive guitar, and more complex songs structures. The main track of the EP is the whistly Ulysses. Throughout 2018 they played in Austria, England, and Germany. 

KR is working on their next LP as we speak. The band confirms that there will be huge changes to the whole concept: a new music style, and new dynamics within the band, but nothing more has been disclosed so far. The thing that the band stresses is that, after these incredibly harsh years for KR and for the whole music industry, their priorities changed and the message they want to deliver is deeper and more meaningful. 

They confirm that the new LP will be released in 2022, followed by a promotional European tour. Stay tuned! 







Episode Transcript

The transcript is done automatically and is not 100% accurate. There were some corrections done by a human so that the right words are there, but mistakes can still occur. Forget about punctuation.

Arthur   0:00  

Welcome to Interceptor Beyond podcast. My name is Arthur. And today our guest is David from the Italian hardrock band Kickstarter Ritual. We’re gonna talk about his vinyl production experience going on tour with cool bands and other awesome stuff.

We had a glitch in the system during the recording so my sound was recorded from my webcam. Sorry about that. David’s audio was fine though. If you dig this episode, don’t forget to subscribe and make sure to rate the show everywhere you listen to podcasts, including Spotify. And now onto the show

Hey man, how you doing?

David  0:47  

I’m fine and you.

Arthur   0:48  

I’m good. Yeah, introduce yourself to our listeners, please.

David  0:51  

Yeah, I’m David I’m singer and drummer of Kickstarter Ritual, an Italian hardrock band and we are a three piece band we played a we played quite a lot in Austria before the this fucking COVID situation so we had the pleasure to met Arthur and Interceptor Beyond. And as always,

Arthur   1:13  

I wanted to start with a quote and I wonder if you remember this. So I will read it now from my good notes. hot shit. Guys are jealous. Girls are wet. The ratio is good. If we want to burn the world, I’m with you.

David  1:27  

Yes, of course. I remember we played in Arena Wien. And you put this sentence on on Instagram story, I think with our back patch on a picture something like that. And we yeah, we really appreciate it. 

Arthur   1:43  

This is just a taster that we’ll discuss it a bit later. You know, for the people you know how we met. We’ll discuss it later but now I want to go back to the roots of how Kickstarter Ritual began. And I wanted to first ask you to explain to people what is Kickstarter Ritual, the name, because I was surprised to find out

David  2:02  

okay, so Kickstarter Ritual came out from a passion of mine for vintage motorcycle in particular. But I like you know, I’m Italian I came from Emilia Romagna you know the region of Valentino Rossi for Ferrari everything so of course I’m passionate in engines and cars and bikes and the Kickstarter Ritual in my mind it was like a ritual you have to do to turn on an old motorcycle. So like the one that I have, you need like 20 minutes minimum to start 

Arthur   2:38  

which motorcycle Do you have? 

David  2:39  

I have an old Honda 4 from 1974. It both have the Kickstarter and the electronic starter, but it doesn’t work. So you have to kickstart it every time. It’s not even the most difficult motorcycle around to put it running. Yeah. So the name came out from that thing, but then I have to say we kindly part away from that motorcycle imaginarium and stereotype and whatever. So as like, right now. It’s just a name. 

Arthur   3:15  

Yeah, that’s what I thought because in the beginning with the first album, I think it was like an EP like Black Mama?

David  3:23  

Yeah, right. 

Arthur   3:24  

It was your first official album, as I understand. 

David  3:27  

Yes. And that was all about motorcycle and riding and engines and rust and iron and everything like that.

Arthur   3:35  

Yeah, that’s I even wrote in my notes motorcycle feel. Yeah, yeah. So that you wrote somewhere that your stoner rock inspired band and I can see that in the first album in black mama in the beginning it was a different lineup, right?

David  3:50  

Yeah, I’m the I’m the only original Kickstarter remained. And yeah, but we we’ve been power trio since the very beginning. But then both the bass player and the guitar player has changed a couple of times, at least and with them. Also, the style of the band changed a bit. 

Arthur   4:09  

When was the moment when you start to sing?

David  4:11  

I was not a vocalist. At the beginning, I was just a drummer. But then I had a bunch of songs in this motorcycle, Stoner blah, blah, blah style. And I wanted to put them on try them with some people and I couldn’t find a singer. That’s why I easily I started to sing the songs that I already had. And then I’ve never found a singer and I kept singing myself then I’m not very technical, and yet is very hard to play drums and sing at the same time. But yeah, I’m taking some classes and lessons and I’m studying a bit. So I’m improving that thing, let’s say 

Arthur   4:51  

and is there’s some technique? I mean, there of course there are many techniques, but there’s some way how you can improve singing and drumming because I’m not a musician. And I can imagine that being a drummer, and thing is really, really hard. 

David  5:05  

Yeah, what I’m trying to do is I’m trying to studying vocals as it was a part of the drumset. And I’m trying to study drums as it is a melodic instrument. So what I would like to do is to completely mix the two things together. And you know, so maybe I do some exercises, and they’re … but I don’t only do it with the ends, but I also use the voice so … I don’t know, I use the voice as a part of the drumset. And this helps me a bit into being more free to take other rhythmics or melody is not always depending on what I’m playing with my hands and feet. But this is some something that I’m researching right now is I have to say, I’m not done with this kind of work.

Arthur   5:57  

I don’t think anyone will be ever done with this kind of work. That’s the beauty of it. 

David  6:02  

Yeah, it is. 

Arthur   6:02  

There are not so many musicians in the world that we know in the famous bands that actually do singing and drumming right. I know who was there the Eagles thing?

David  6:11  

Eagles Yeah. Also, yeah, there are some, for example, KISS. They were all singing and the drummer had some like three or four songs that he sings completely. Yes, I think is not that rare. I don’t know if I have to compare myself to Phil Collins or stuff like that. But in pop music is more usual, let’s say but there are like there was like a thrash metal band Exciter or no, it was another one where the drummer was singing and that new modern drummer and singer.

Editor’s note  6:46  

The name of the drummer is Anderson Paak

Arthur   6:48  

What are the unexpected benefits of being a singer and a drummer? Is there some something unusual that people don’t even think about?

David  6:57  

Benefits? I don’t think there are a lot Yeah, it’s easier than you know when you have to deal with a singer there you know how they are. So we don’t have it. Actually, we don’t have a singer so like a bunch of problems are already solved. Yeah, I’m a drummer. I love my bass player and get to play we are both we are the three of us. We are humble persons if we had to deal with a singer like you know very VIP person and blah blah blah that I think that’s the only good part of it for everything else is quite hard but it it allow us to have some simplicity in the arrangements and in the compositions of the songs Yeah, it is hard and easy at the same time

Arthur   7:49  

does it make it more pop you know when you talk about simplicity is it some kind of like opener music pop music

David  7:57  

Yes. And this let’s say this open the topic of where are we going? Because we are kindly just just slightly changing a bit in the sound and music we are going to play where right now we’re working on a new album and it’s going to be more more bluesy and soul and r&b and less metal definitely not metal still hardrock still stoner let’s say still still rock rock and roll but more more more bluesy and

Arthur   8:34  

but i never got a feeling that the metal feel  when maybe maybe in the earliest the first album The Black Mama

David  8:42  

Yeah, maybe 

Arthur   8:43  

that one was like really down to earth. Rust motorcycle sound.

David  8:49  

 Yeah, you’re right. 

Arthur   8:50  

But then when you what was the next one next one was ready to take a ride?

David  8:55  


Arthur   8:56  

And this was your first official album isn’t this

David  8:59  

yeah full length it was an LP like 11 songs or 12 I don’t remember

Arthur   9:04  

and and the previous EP you self produced right?

David  9:07  

Yeah, all of them were all self produced also videos and records

Arthur   9:13  

and everything is done at your place. I mean, at your location somewhere in the near in a studio or is it like a studio in the town or something like this?

David  9:23  

No, we have a good friend that is a quite good sound engineer, a professional one and we don’t record record our stuff in a proper studio. We record it in our rehearsal room in our studio and this sound engineer came with the with all the computer and microphones and stuff and prepare the room. So we can play in a comfortable room we are used to that acoustic and we especially we can play all together because this is the in the first one Black mama we played all together in the same room. The second one ready to take a ride. We recorded it in a proper studio with a sound engineer with all separated instrument with the click and everything. And I’m not satisfied at all, it sounds a bit more, a bit less powerful real. In my, in my ears, you know, it’s always different when you listen to your own stuff is always different, of course. So that’s why this the third one Drifting by Protostar, we came back to the first technique, we recorded it in our rehearsal room with some you know, panels that divide the separates a bit the vibration from the bass, and guitar and everything, but is played in the same room like we are rehearsing, of course, the vocals are made after,

Arthur   10:55  

that’s what I also noticed, because with black mama, yes, I could see it was your first EP trying with the news with a sound that you can get with being real… And then with Ready to Take a Ride, it was more polished, but it was a little bit. Maybe not stiff. I don’t want to say take

David  11:12  


Arthur   11:13  

I wrote in my notes, more polished, different flavour proper album.

David  11:17  

yes, it is a proper album. But yeah, as you just said, is a bit more stiff. Yes. It doesn’t have that feeling. You know, we’re not very technical musicians. We are punk musicians, let’s say. So we need that live concert feeling

Arthur   11:34  

somewhere during the ready to take a ride. You have a new logo, right? You know, that you have now, which looks amazing. And I have it as a patch on my coat. When you did the album you also recorded recorded the music video. And I really liked it. They for the one, Too Old. 

David  11:53  


Arthur   11:53  

So how was the shoot? Just tell me a little bit more about the production of the music video.

David  11:58  

I was about to leave Italy for five months to do. Yeah, for whatever is not important. We wanted to to have a video clip for the upcoming album. Yeah, it was my idea because I met a girl from roller derby team in Bologna, Italy, and they wanted to be in our video. And they are like quite huge fans of us and everything. So we set it up. And I just found a video maker. Usually he’s a wedding video maker, you know, but he is good. And he has this running, you know, the running machine. So I kinda directed it, him. And he recorded it with this professional gear and everything. And then I edited the video in like, Yeah, a couple of days. And it was really quite simple. If you think about it, it’s not that complex video clip.

Arthur   13:03  

It looks cool. You know, it looks better than videos from other bands. 

David  13:07  


Arthur   13:08  

And also you did the idea that I also wanted to do I wanted to do with skaters or roller derby people, you know, but once I saw your videos like, Ah, alright,

David  13:17  

already done. I mean, there’s no one no one create anything anymore. So I think you can do whatever with your own flavour and it’s going to be different.

Arthur   13:29  

Did you promote the video somehow?

David  13:32  

Yeah, we we are self produced. And we I always try but I’m, I have to admit that is I’m not I’m not very good at it. So we promoted the video clip on blank TV premiere is like, yeah, something you had a YouTube channel that promotes your stuff and everything. And yeah, I quite I’m quite content with it. But yeah, we did a head big numbers or stuff, honestly.

Arthur   14:01  

Did you Did you pay because I sold that they have options when you pay to get promoted. 

David  14:06  

sì  , but it was something ridiculous, like 20 euros, not more than that. 25 Let’s say it was something like that.

Arthur   14:14  

And they just probably put you at the top of the list. Probably

David  14:17  

yeah. For for let’s say for the first week for for two weeks. You’re there and then you you’re not there anymore. Something like that. 

Arthur   14:26  

Are you planning to do more music videos?

David  14:28  

Yeah, yeah, definitely. But yes, this is not easy if you don’t have money and blah, blah, blah. But yeah, of course, we didn’t produce a proper video for “drifting by protostar” because we didn’t have the time we start playing live and then it was too late for that. But for the upcoming album, of course, we’re going to to come up with some singles with music videos, let’s say a couple of singles before the Proper album.

Arthur   15:01  

How you going to release the new material?

David  15:04  

Okay, so this is this is a hard topic because there are so many options. And as I say them, I’m not very smart, and I’m not very good at it. But what I wanted to do is to, yeah, come out with a single and a video and promote that one, then the second single, and the second video, maybe. And then the full album, I still want to do the old school full 11 track album, I know is not the time anymore, maybe with Spotify and everything you can do 12 singles instead of an album and you should be better, but I don’t know. I’m gonna try some of them and digging into this Spotify thing and playlists and yeah, I follow the couple of Interceptor Beyond tutorials, but I I haven’t. Honestly. I don’t know, maybe because I’m over 30 But it’s not that easy for me. Not that immediate for me to understand. And it’s boring. I don’t like that stuff. It is boring. Like, like,

Arthur   16:18  

it is boring. Because it’s, it’s the business part of the music industry. It’s music.

David  16:23  


Arthur   16:24  

It’s absolutely soulless and horrible. But you need to know how to do it.

David  16:31  

Yeah, of course. Of course. I’m not the I’m not all the way critics. I mean, I know we’re the word works like that. If you want to, you have to take the compromise. I understand this. But at the same time, I am critic, I don’t like it. I don’t. I don’t. Honestly, I really I don’t really like social media exposition and everything. There is no music in it. And, and it’s not for everyone. It’s, I think is a big lie that if you find the good way to communicate your true self to people, you’re gonna win. But if I’m, if I’m, if I’m a lone wolf, if I’m ugly, if I don’t want to appear if I don’t want an image, I’m cut out. I’m not for the Instagram, that I’m not talking about me. I’m talking in general. How can you express that you’re very timid or how is it? You’re very shy? How do you express that you’re very shy on an Instagram page where you want to reach 12,000 million people. It’s it’s fake, you know, I look fake at least.

Arthur   17:51  

The main idea is just to find to find inside of you. What do you want to express? How do you how do you how do you want to express it to the outer world 

David  18:02  

to express what myself or my music

Arthur   18:05  

something interesting that people would dig So it doesn’t have to be true you may be you know, many musicians are completely different offstage and being onstage is a different personality. So you decide if you want to show your real personality or your stage personality depends on you. Social media is it’s we don’t decide the algorithm decides. 

David  18:32  


Arthur   18:32  

what is good. And we start to think about everything like a computer.

David  18:37  

That’s true that the big the big problem with it because they told us that finally with internet we could have pick our own favourite content. We don’t have to eat it from from the television like this, you know, but at the end is not like that. Internet still give you stuff that he decide that somebody has decided. So it is like that. But yeah, I’m not all the way critics on internet, social media and everything. I mean, I’m still quite young and

Arthur   19:12  

you can still do a promotion analogue way. Not necessarily social media. Of course, it’s the fastest one but you can you always start with small things with your local community. Yeah, well, for example, my favourite question that they ask everybody these days is like, what do you think about audio cassettes?

David  19:31  

I do like them. I own some of them. I still have a Hi Fi that has cassette and everything. I decided not to produce them for like “drifting by a protostar” because I think that is a plastic support that probably no one is going to actually listen. And so only for sustainable reasons. I decided not to to produce them, but I really liked them. It’s like a a card with your name on it and a good touchable 

Arthur   20:08  

Yeah. tactile feel 

David  20:10  

tactile feel. Yeah, that’s very good.

Arthur   20:13  

And how was your experience with producing a vinyl for the latest album “drifting by protestar” 

David  20:19  

Yeah, not very good. Because as I said, we are all self produced and everything. So I had to do all the researches, find a service, find somebody who print the stuff and everything. And I don’t know why. But we didn’t had a test press, we didn’t have all the proper stuff that usually when you have a label, and you’re good, and you print record, a vinyl record, with a label, a proper label, usually you have all these things, the option to pick between different stuff. And in this case, I just found this one, they had to send me the test press. And then they didn’t send it to me. And I asked for it. And they answered. Yeah, we keep it. So if you need some more copies, we already have it. That’s weird. This, it was the first vinyl record I ever produced. But I know usually it not. It doesn’t work like that. Am I right?

Arthur   21:23  

Yeah. You need a test pressing that you need

David  21:26  


Arthur   21:27  

And where was it work? This was company in Italy or somewhere else? 

David  21:30  

Yeah, this company was in Italy. And I wanted to pick a company that was in Italy, or at least inbetween Europe, and not, let’s say China or stuff, because I don’t really like that kind of cheap stuff. But the concept I don’t like the concept. Sorry. It’s not that I don’t like the cheap stuff. Of course, I like cheap stuff. But I don’t like the Yes, I wanted to produce the vinyl record into some proper place and not just look after the money, but also look after quality and professionals and everything. So that’s why I picked an Italian company. But at the end, I kindly find out. I find out that they were just producing our record somewhere in Eastern Europe. And then they got they send it directly from that Eastern Europe. Factory to my place. 

Arthur   22:30  


David  22:31  

it was just like some somebody in between the process. Alright, not nothing actually was made in Italy at the end, so

Arthur   22:42  

that was a that was a bad experience in a way. I mean, it’s still you got your vinyl as I understand.

David  22:48  

Yeah. And it’s nice. It has a nice colour and shades and it sounds very good because the the sound engineer prepared a proper master, especially for the analogue version and a proper master especially for the digital version. So it is professionally made.

Arthur   23:08  

Let’s so you knew from the beginning that you will do a vinyl 

David  23:12  

Yes it was my intent

Arthur   23:14  

so and did somehow the process of recording change on the on the master was different?

David  23:20  

Only the master.

Arthur   23:21  

Alright, yeah. 

David  23:21  

And yeah, we recorded it. And we passed it through an analogue tape. Mixer tape stuff. So yes, we had some analogue feel.

Arthur   23:33  

How many copies did you make? ordered?

David  23:36  


Arthur   23:37  

Yeah, classic. 

David  23:37  

Yes. The minimum amount you can order usually

Arthur   23:41  

well, that’s why I like the idea of cassettes. If that you can get the minimal amount of the round 50

David  23:47  

Oh, cool. Yeah, so definitely going to do Yeah, 50 copies will be nice for the next album,

Arthur   23:54  

when you recorded the previous album, “The ready to take a ride”. You went on a tour, and I went through your Facebook page from the very beginning of the page to check out how you’re doing you know, and I saw that you toured a lot with whom did you play? I mean, with whom did you share a stage there are some cool bands.

David  24:15  

We played a lot in, in Eastern Europe, like Czech Republic and Slovak. Yeah, all around there. We played with always in a bit more metal situation a bit more metal than what we are. But we always played with great bands. I mean, when we played in Wien we played with Dusk

Arthur   24:40  


David  24:40  

I think yes. And then other cool bands.

Arthur   24:43  

Well, for example, what I saw from the from the posts, you played with Mustasch.

David  24:49  

Oh, yeah, that was in Italy in Milan. You played was Grant Royale? Yes, as well in Italy. We went with them through five days, five gigs mini tour in Italy. Italy doesn’t have a lot to offer to rock bands, especially underground rock bands. But yes, we managed to stay around out for a week around Italy and played some good gigs

Arthur   25:16  

when you meet now not much to offer. You mean not many venues in city? 

David  25:21  

Yes. Not many venues. 

Arthur   25:23  

So what are the main cities?

David  25:25  

Yes, Milan is a good place. But there is not the same rock culture. We saw beyond the alps. Honestly, Bologna is a bit more alive for live music and stuff like that. And yes, with this pandemic, most of the clubs have closed, we recently played in Milan, at Rock and Roll. It’s a very famous rock pub, that the classic European style Northern European style rock pub with the bar upstairs, and then you go downstairs and there’s like a cellar, and with the stage. And that’s what I like, really, what I really like, I love to play in that kind of places, and there are just a few in Italy,

Arthur   26:13  

probably the sound for you should be a bit different. Like for you to play, you know, because usually the drummer is somewhere in the back. 

David  26:21  

That’s hard. 

Arthur   26:22  


David  26:22  

that’s that’s the hard part. Because, yeah, when you play in little stages and little situations with no, no super professional staff, and everything is always hard. Because you’re in the back. The loudspeakers where your voice come out are in front of the stage. And in between there are the bass amplifier, the guitar amplifier, you can’t hear anything. But as I was, yeah, again, I’m improving that part. And I’m trying to listen to myself from from the inside. So I don’t need to I don’t care about PA or monitors and stuff.

Arthur   27:06  

Have you thought about putting the drums in the front? I know, it’s like a silly question. Because I’m not a musician, you know? 

David  27:12  

No, no, it is not. It is not it is a very good question. And I always thought about it. And actually, that’s what we do when we are headliner or when we play by our by ourselves. But when we play like in festivals, or with other bands and stuff like that, we just adapt ourselves to the situation where easy, really, we can play everywhere else and care if we can, if we have the possibility, we always put the drum set in between the guitars and bass with just a tiny space in front of the drums. So the bass player can go and interact with the guitar player.

Arthur   27:55  

Do you practice your show routine on stage?

David  28:00  

No, not very, let’s say yeah, of course we we really I do and people that plays with me as well. We we really think that is really important. The way you move and everything. Yeah, so we always care about it. But we don’t actually try it like choreography, we move quite freely and 

Arthur   28:23  

Do you have parts when you just sing?

David  28:25  

we have a couple of songs with no drums, only, you know, playing guitar and like, sing along like choruses that we sing with the people at the end, let’s say when Yeah, like at the third part. Yet, almost at the end of the show, we have this couple of acoustic songs. And I take the microphone and I go to the front. We don’t always do that. It depends on the situation. Of course, if we have just 20-25 minutes set, we go boo, boo, boom, boom and ciao. If we have more time, like one more than one hour set. Usually we do that.

Arthur   29:08  

What do you do during the dead space? If you have that space between the songs do you do talk?

David  29:14  

I we try to not have that space in between songs. Because I don’t like it. I when I go to concerts when I go to rock concerts. I love when they when the songs are one right after the other and no talking and no bullshit. But of course I have to say who we are. Thank you for being here. And so I I say this stuff. And if we have some inconvenience, let’s say someone has to tune, someone broke a string, I don’t know whatever. And so I have to feel this pace. Because I’m the singer. I usually sing some classic delta blues stuff, you know only with vocals and, and clapping hands and everybody clap the ends. And when I see that the guitar player is right and is ready. I just finished the song and we start.

Arthur   30:13  

Do you practice the talking? Do you make jokes that you have prepared or just experience? 

David  30:19  


Arthur   30:19  

just experience? 

David  30:21  

Yes. I am not very good. As I said, being behind the drum, it is a banner somehow, but is like it’s a safe place for me. I don’t know why I am protected. I feel I can. Yeah, it’s hard. I’m not I’m I’m not born frontman as a frontman. So it’s not my place. I like I feel the anxiety. Oh, my God. But yeah, when I’m behind the drumset I’m, I am truly myself when I have to go on front. I still can dance and do some stupid moves and everything. But yeah, definitely. I don’t do like jokes or,

Arthur   31:05  

you know, you toured with some cool bands. For example, one one of those is Mammoth Mammoth, and other cool band. And I want to ask in general, like, have you seen how they do it? You know, have you learned something from playing with those bands?

David  31:20  

very, very, because you you see how professionals take it, you know, in you, it’s just some sometimes it’s just tiny, tiny things, that maybe you you’ve never thought about it? And then you see

Arthur   31:36  

can you remember something?

David  31:38  

Yeah, but stuff. We learn everything from other bands like never, never look down. Keep your eyes on the look this look the audience into the eyes. Or yes, stuff like that.

Arthur   31:53  

Yeah. But it’s, it might be a small thing. But it’s actually a big one. It’s pretty hard to look in the eyes of the audience.

David  32:00  

Yes, it is. I mean, it looks like a little thing, but it’s not I agree with you

Arthur   32:06  

do you practice this thing? Because looking I mean, you need practice and also,

David  32:11  

I practice it when I when I play just when I play or maybe with friends and everything I look, I look crazy sometimes because yeah, this

Arthur   32:22  

when you did your tour, you did all the booking yourself probably right? 

David  32:26  


Arthur   32:26  

Did you find out something unexpected? You know, they could I mean, you learn a lot each time with experience. But if there’s some tips,

David  32:34  

yes. What I recently think about all this underground promotion and connection and everything is that you have to build real connections. Real friend, you can’t think that band from Helsinki, you played with two years ago, and you’ve never, never never check on them, are you always good, then you text them and they call you and they pick you up for two. It doesn’t work like that. And in my opinion, pay for play doesn’t work as well. So what we try to do, as long as we meet, for example, with Mustasch, we try to become friend. But then we separate and we never hear each other again, with Mammoth Mammoth, the bass player. He is an original. Originally he is Italian, even though he lives in Berlin, and I became a good friend of him. And so we collaborate because we are good friends, not just because you pay or you do this or you do that. That the thing I understood recently, especially after the COVID situation, if you build strong and real connection, if you don’t like him, you can’t pretend you’re your friends. You know, but if you make good friends around, then it’s easier. That’s how we’re trying to do. We were trying to build up a community here in northern Italy, because there’s not many chances. As you as you may see all the underground bands that are touring. They tour everywhere except Italy. Or maybe they do a couple of shows in Italy. 

Arthur   34:31  

No, I know what you mean. Yes, I know what you mean 

David  34:34  

one in Milan, one in Bologna and then ciao back to Switzerland, Austria and everything where there is a proper scene and venues and everything. So we’re trying to do like a collective or a group of people that helps each other. So you come from Vienna and you have to play on Saturday, but you didn’t find found an accommodation and a gig for Friday. Maybe you can come to our rehearsal room we can record I call a little live show to put online and then we host you for the night and we give you food and then tomorrow you go to play to your concert. That’s what I want to do right now, we’re not properly doing it because of the COVID and blah, blah, blah. But as long as this situation ends, I want to build strong and true connection between musicians all over the world. I think this is the most important thing. 

Arthur   35:27  

That’s what I heard from other musicians from more experienced, I mean, older musicians say like this is that you need to build your own scene, your local scene, have some friends couple of bands, and try to move together 

David  35:43  

It is something we are doing lately. We are promoting other bands stuff on our Instagram, with apparently no connection with our stuff. But it has a connection because if this band from Italy, get famous and go on tour, maybe we go with them. If we go on tour, maybe our you know, the scene.

Arthur   36:09  

Exactly. It’s it should be one big, nice community, hopefully.

David  36:14  

Yeah. And if one makes it it, all the others after it after him.

Arthur   36:22  

And you met, you mentioned pay for play. So it means that in your scene at your local, there’s like a lot of pay for play stuff.

David  36:31  

Yes, it is. 

Arthur   36:33  

No, I hate that shit.

David  36:34  

Yeah, especially for cover bands or tribute bands, but also sometime booking agency or stuff like that. Asking money to play in Italy. I mean, if you helps me manage all the shit in Slovak, I’m happy to give you money because it’s very hard. But to book me a concert in a pub 20 kilometres from my home, I don’t need that. For money, you know, can go by myself. So yes, there is a lot of pay for play. There is a lot of people, there is a lot of musicians that things that if you are not pushed by the right people, you’re not gonna make it. I don’t think that I don’t want to make it. I don’t want to do anything I just want to do my stuff with and have fun. And yes, I don’t I don’t think that if you pay somebody, all of a sudden, you go on stage and there are 100,000 people. And if you don’t pay there are 10 in the same club. No, I don’t know. Those booking agency. Maybe they they build club clubs for you? Because there are none. Well know what I mean. When they offer you like they offer you 15 Days Tour in northern Italy. There aren’t 15 venues out in Italy. What are you talking about? You’re going to make me play at the Beer Fest. No Beer Fest would be good. At the tortelino fest. I don’t know,

Arthur   38:12  

if you were to choose a booking agent. If there’s something that you immediately see that this agent is bad, or this agency is bad. Or you just say fuck all of it. I’m just doing everything myself.

David  38:25  

No, I would like to have some help. I would love to find a booking agency, a CEO, just one. Not someone that that promise you everything and then gives you nothing and just take money but someone that as we said before, someone that collaborates with you someone that believes in your music, you know, someone that takes a percentage or or stuff like that.

Arthur   38:48  

Yeah, percentage is the classic way of how you do it. Yeah, that that should be super fine. And you were touring for a long time, right in after the second album, right? 

David  38:59  


Arthur   39:00  

I couldn’t find the information of all the shows that you did. That’s what they wanted to tell you is that you should maybe I don’t think you have a website, right? 

David  39:08  


Arthur   39:09  

you need to put on your website all your shows. Because I wanted to talk about if you want to be signed by a label,

David  39:17  

I would like to of course it is not. It’s not fundamental. I mean, it’s not what I’m looking for. But if it comes up of course, it should be super cool. I want to play festivals.

Arthur   39:31  

why I’m asking is because these days my mind completely switch to the business side of the music. So now I look at bands from the practical commercial point of view. And I see like, for example, with Kickstarter Ritual, I would advise you to make a website, put the list of shows to show that that you have a lot of experience touring, because you tour a lot. It’s really cool before COVID Of course, but it shows that you are reliable. Okay. Plus you have three albums, two EPs and one album. So it means that you are serious about music, I would recommend you opening a simple website, putting music, their list of shows, make it an EPK. Basically use your website doesn’t eat quickly. But listing all the shows, I think it’s really important.

David  40:21  

Thanks for this advice. I really going to improve that part. And you think like a simple WordPress site. 

Arthur   40:29  

Yeah, yeah, 

David  40:30  

be fine. Should be enough.

Arthur   40:33  

I mean, you start something simple, just have the information there. And when you know exactly, like what you want for the next release, you can change everything and make the website look like your album, yeah, something like that. So, but at the beginning, it should be just something basic, doesn’t have to just have to be convenient for the a&r person to check your music, who you are, how you look like your experience, and that you’re that you’re active on social media? That’s a big one. That’s hard. That’s hard to make. Because they look at you as I mean, they look at you as a product. It’s horrible. 

David  41:14  

But no, no. 

Arthur   41:16  

They’ve they think, like, Okay, how many people can you bring to a show? How many people can buy your album? Is it worth it or not? So social media, for them are some way to prove that you can get a lot of people. It doesn’t have to be social media, it can be some, you know, it can have to say yeah, it can be actually the sales records of vinyls or something, that’s how many vinyls you sold or something like that, for example, it also proves that you have some people,

David  41:49  

some fan base, and yeah, that’s cool, we’re definitely going to improve that. A new thing, something you probably don’t expect from us is that marketing concerning the marketing part. So I don’t like marketing, but I do my thinking and everything. What I wanted to do for this next new album is to have a new image, and appearance and logo, even though you really liked the old one, we’re going to make a new one and new colours, new styles new, as I told you, and we’re going to do some more bluesy soul, r&b stuff, don’t don’t try to understand that we’re still the same band, and we’re still going to play the old songs. So we’re going a bit more in that direction. And I want to make also a visual change. So what I wanted to do was right before the right before the publishing the new songs, to like, put all the social media down for like for one night, and then you sick for Kickstarter Ritual, and they’re disappeared. And then the next day, boom, new graphics, new pictures, new logo, new video, new music. In this case, we’re going to make finally a website with all the shows and everything that you said to me, definitely.

Arthur   43:21  

How do you know when you when is the new new releases coming out?

David  43:25  

No, we, I think we are already working on the new songs. We have like eight or nine songs, new songs finished. But we will be ready with the music in late spring, beginning of the summer, we’re going to have the record recorded. But then there is all there is all the promotion stuff and blah, blah, blah, release. Stuff and I haven’t thought about that already. The only thing I know is that this time, I want to record the songs with no stress. And once I’m done with the recordings, and I’m satisfied with it, start to promote it because it happened on “drifting by protostar” that we already set up a release date before finishing the recordings then there was something in the recordings I would have changed and I didn’t have the time because it was all scheduled there was even the release tour gig in Vienna already booked and so if I would if I would have changed and record a game that part we wouldn’t made it to print the records and everything. So as long as we are underground, nobody paid us ever paid us and we do all by ourselves.  this time, I want to do things separately. Once I’m done with the recordings and I’m happy and content with it, I start the marketing strategy

Arthur   45:10  

for marketing. You need to start thinking about it. Six months, at least before the release of the official 

David  45:16  


Arthur   45:17  

Because it takes are you going to do vinyls? 

David  45:20  


Arthur   45:20  

So considering the vinyl problem that we have the situation with vinyls, everything is 

David  45:26  


Arthur   45:27  

delayed. So, you know, you need to think about those. But, I mean, you just need to more time just think about the delay. In you haven’t tried to like the band haven’t tried doing live streams right into 2020 2021. It’s not as though it’s not your thing. Your life that?

David  45:48  

Yeah, I mean, I tried to look some live streams from bands I like from the rehearsal room, and, except from the very professional ones. The other things is just awkward and under no, almost ridiculous. The audio sucks. The video sucks. This band is not actually it’s just rehearsing and is nice to see a venue like rehearsing, but then they they’re all They’re checking how many people is watching? Okay, it is working. No way is not working. I don’t want to do that. And I don’t like it. 

Arthur   46:28  

Well, it’s not your thing. I remember. Like, the first time I saw you, you were in Vienna, you were in Arena Beisl. And as soon as you started playing, I could hear the energy the rock’n’roll the pure rock’n’roll. And man, you would totally destroyed me because I think it was the first time I heard you, I saw you live. And it was like a, it was like fresh air for me. Because it was so classic, the feel of how the rock’n’roll should be, you know? 

David  46:59  


Arthur   47:00  

And then I was confused, because like, Who the fuck is singing? You know? And then it was singing us? Holy shit. so cool. And then the audience reacted so cool. Like, everybody were dancing. I got super wasted. But what I remember is, like, all the good stuff, you know, like you’re playing like, my head is like a music video. You know, like, you know, I remember like, people going nuts. You like playing amazingly, you know, I’m buying like the patch from you know, that I wear still it’s part of my working uniform jacket. Yeah, yeah. I call it uniform jacket. Yeah, it was super amazing. 

David  47:41  

Definitely. We’re definitely a little stage band. pubs and stuff like that.

Arthur   47:48  

Your kind of show is where you need to physical touch with people.

David  47:52  

Yes, exactly. Exactly. The bass player, especially. Remember?

Arthur   47:58  

And where can people follow Kickstarter Ritual?

David  48:02  

For now, you can follow us on Instagram and Facebook. But yeah, we’re not. We’re not

Arthur   48:08  

are you planning? You’re planning to do TikTok?

David  48:11  

No, not really. I checked it.

Arthur   48:14  

It’s completely different beast. No, it works. It works. Yes. But you need to find your way. For example, I can tell you two examples. Good ones. There is a I discovered a band which is a pop American band called Kitten. And I discovered Kitten because of TikTok because the main the because the singer is so charismatic. It’s a girl dancing around whatever, you know, and because of that I discovered, but if we talk about a rock band, there is a band called, I think, Holy Death Trio, what they do in their TikTok videos, they put a camera on top of the guitar. And the guy is going around the crowd. 

David  48:57  


Arthur   48:58  

So this was a cool idea. So it’s still possible. I don’t know how it works for them what they get from it. But as a visual thing, it’s pretty cool. So yes, it’s still possible and highly likely, if you have to do it at some point. You just we don’t know how

David  49:18  

and probably it is exactly what you’re saying. Let me say probably with the next album before the promotional tour for that album, we’re going to open a TikTok account and I don’t know do some stupid stuff on tour.

Arthur   49:34  

But at least you have a name of Kickstarter Ritual on TikTok right? You should. Well you should I don’t know. But you should. You should open it. You should open TikTok not on the TikTok but all social media websites your name before somebody takes it. 

David  49:49  

Okay, right. That’s right. 

Arthur   49:51  

Otherwise, you’re gonna be KickstarterRitual1

David  49:55  

Yeah, exactly. Rock it’s such a ritual rock. 

All right. And we’re almost done. And What song do you want me to put at the end of the podcast?

Oh one from “drifting by protostar” 

Arthur   50:07  

Actually we didn’t discuss the “drifting by protostar” like that much. This is the album that I listened to a lot. That’s why That’s my main album. Because it’s completely different sound. It’s more. Spacey 

David  50:23  


Arthur   50:24  

What’s what’s cool about the band is that your voice is unusual. You know, your vocals are unusual. And with this in a good way, of course, and with this album, I kind of feel there is some Swedish influence, you know, like, 

David  50:40  

in vocals or in general?

Arthur   50:42  

in general. It’s more like spacey I mean, like, like in space like in universal out there, you know? Feels like Helacopters, for example. Yeah. Something like that. I don’t know if it was on purpose or not was there a concept?

David  50:58  

I’ve always been a huge fan of Helacopters and Swedish scene. Both the glamorous Swedish scene, the garage Swedish scene. I like I dig, very dig, everything comes from there. Except ABBA, I hate them. But everything else. I love it. And so yes, I think honestly, I think you can hear Helacopters influence from the very first album from “black mama” to “drifting by Protostar”. Talking about “drifting by protostar”, the concept, as you said, and I liked and I’m really glad that you said that because it was our intent. We want it Yeah, the the cover suggested the title suggested. We want it to give that sense of emptiness. of space of void of, yeah, the songs are all about. Not not all. But the songs talk about being lost, and, and never found. And if you think about it, the first the second album, “ready to take a ride”. The concept was this mammoth way there you can see it on the cover this mammoth that is, it’s not extinct. It’s just still walking, trying to find his place his own place, and he never found his own place. He is He has been on Earth looking for his place. He didn’t find it. And now he’s on some other weird planet out there looking for his own place in the universe, but there is no place for him in the universe. And “drifting by Protostar” is like an evolution of this topic, let’s say and on the on the cover, there is a a woman that looks almost like a ghost tending tried to tend to the infinite to the unknown, you know, this is the usual human need to discover the unknown to seek for something higher than the ground you’re living on. But on if you turn the record on the other side, there is a demon keeping this girl from the ankle and trying to bring her down and keep it keep her on Earth. And yeah, that’s the topic one of the songs talks about a space and an astronaut out in space and he ran out of fuel so he doesn’t know if to self destruct himself right now and end it or just yeah drifting forever in the universe through nowhere to nowhere facing whatever one day He will end up food and water and he will die anyway, so should be better to press the button right now that that’s the concept more or less

Arthur   54:11  

Oh, that’s cool, because I felt something there you know that there is a I call it space you know, I feel that it sounds like it should be somewhere out there and just even how you sing You know, it’s it’s more from for outside kind of 

David  54:28  


Arthur   54:31  

Are you going to do something with a with a new material is it going to be also like a concept like this one? I may not like this one but is there like a concept that you already like? No.

David  54:41  

Yeah, yeah. What I know for sure is that the next one we will dig more into inner feelings and personal stories and feelings. So yes, in in some extent, it will be more down to earth Then up in the space, but yeah, it’s gonna be Yeah. Space travel as well. Because we have some as I told you, we have so, so many different tunes and songs from from the most stonerish to the most Helacopterish to the most modern pop soul r&b Black Heritage stuff, let’s say but of course in our own style, so I don’t know yet the let’s say the concept will be inner feelings. 

Arthur   55:39  

All right. So that’s why it’s more bluesy. 

David  55:41  


Arthur   55:42  

All right, all right, 

David  55:43  


Arthur   55:44  

Super exciting.

David  55:45  

As a band, we’ve never really expressed that kind of songs and thematics and stuff,

Arthur   55:55  

actually, what changed?

David  55:56  

the need of being my true self. That’s what changes until “ready to take a ride”. Let’s say there was my stage personality and my off the off the stage personality. Now, as a communication need, I really need to bring my real true self on the stage. communicated to people and let it go out because I’ve been through Yeah, this pandemic, let’s say or personal situations. I lived. Yes, I need I need to. I need some therapy. And I’m going to have it through rock and roll this time.

Arthur   56:39  

Yeah, the old school rock and roll. 

David  56:41  


Arthur   56:42  

No fakeness shit. 

David  56:44  

No shit. Yeah, we have we’ve always been real shit, you know? Yeah, this time is going to be a bit more you’re going to cry this time. Let’s say,

Arthur   56:54  

I want to cry. Yeah. I want to have the full experience. I want to I want to go to the concert. I want to I want to have be happy and then cry. And then on the floor, by the way. Also on the website, don’t forget to put the lyrics to your songs because I couldn’t find any lyrics to the songs and because now we have to said that concept is important. Lyrics are really important.

David  57:19  

Yes, I’m Italian. So my, my pronunciation is not always on point. So we definitely need lyrics on websites and everything so people can read them. Yes, you’re right.

Arthur   57:32  

Are there any vinyls left that people can buy on? Bandcamp? 

David  57:36  


Arthur   57:36  


David  57:37  

on Bandcamp you can find “drifting by protostar”on vinyl. Ready to take a ride on CD. And also a split now it’s not a split. It’s like a compilation of bands. Each one recording one song. Totally live at a festival we played in Italy a couple of years ago. A lot of others other Italian bands. All of them are the Helacopter stuff. Yeah. Sound like they sound like that.

Arthur   58:09  

Great. So what are we listening to now?

David  58:13  

The last so breeze breeze from from drifting by Protostar. Which one is your favourite song?

Arthur   58:20  

What’s the second one?

David  58:22  

Stardust? Yes, Stardust. That’s the that that’s the one with the space travel. Yeah, that is going to die and everything. Yeah, put that one if you want it. I really I like every of them. So

Arthur   58:37  

well. I mean, put the one that you think represents the best the most or

David  58:41  

Yeah, right now for in this particular moment. I think the the last one of drifting by protostar should be the better one.

Arthur   58:49  

Breeze. David, thank you very much. It was a pleasure.

David  58:53  

Thank you, Arthur. Nice to see you again. Really, after a long time. 

Arthur   1:02:51  

Thank you so much for listening to Interceptor Beyond podcast. If you want to go to the show you can find the transcribed version of this episode at the website interceptor Don’t forget to subscribe and if you like what you’re hearing, make sure you rate the show everywhere you listen to podcasts.