Ghost In The Static: Fallout

Pic – Wicked Boy Photography

Already having garnered a strong and eager fan base as well as strong acclaim for their previous album and EPs, it is not pushing the realms of credibility to predict Ghost In The Static will put it all in the shade once their new album Fallout hits the world on September 1st. The album is quite simply immense, a magnificent explosion of electro industrial metal  which takes the senses on a massive thrilling ride. If you were impressed by their previous work and who could not be with its vibrancy and cutting energy, Fallout will leave you in rapture.

Formed in 2009 by frontman Steve Fearon, Ghost In The Static explored, experimented with, and evolved an evocative and stirring sound which was impossible not to connect with. Their Open Eyed Dreamer Part I: Revelation debut album of 2011 fully impressed as it showed a band still evolving but already creating compulsive inciteful sounds. Earlier this year two EPs The Infection Vol. 1 and Vol. 2 gave a teaser to what was to come and certainly ignited great anticipation though neither gave real warning of the incendiary levels of invention and  imagination to come. The new album has more muscle and intensity thrusting through its sound though the band has not neglected their electronic and melodic side. They have evolved it all into a striking consumption of emotional blistering and concussive energy. Think Celldweller and Suicide Commando in a riotous union with Nine Inch Nails and most of all Pitchshifter and you get a sense of the storm of creativity which envelops and brings climactic pleasure to a head.

Still within the world of post-apocalyptic struggle which themes their music, the new album is not so much a united series of songs as on the last album though all are linked by an overall  vibe to stand powerfully individually or as part of Fallout. This gives it a better balance than its predecessor in many ways but no less expansive in its atmosphere and depth. It is also more direct and intrusive, the attack a perpetual and sustained insistence from the first full track to the last lingering note of the release.

Starting with Armageddon, a brief intro setting the landscape the album is set in, the release slams into the ear with the title track, a stirring electrified rub of energy upon the senses. There is an immediate hunger to the song which takes no for an answer as the guitars of  Gareth Stapleton and Lewis Collins score the senses with sharp and impactful riffs and melodic surges. The synths of Collins sizzle like acid on flesh across the air of the track to disrupt the already riled energy pervading every pore, whilst the edgy basslines of Mike Fearon simply leaves one looking over their shoulder. A step into a graceful melodic aside gives brief respite though even there the tinge of destruction is whispering in the ear. The track is openly infectious and bustles thoughts and emotions in to a sense of something even more special to come.

      Another Day builds on the excellent start to raise the temperature even higher. It is a provocative and challenging slice of invention which straight away evokes imagery and emotions. A distressed ambience opens the song with the fear and desperation of someone lost calling through the sonic distortion. The plea is smothered as the track erupts into a boiling maelstrom of energies and aural disruption. The rhythms of drummer Martin Rogers echo and pulsate within bone as the song ignites the caustic air with its contagious tarnished melodic enterprise and insistent niggling synths. It is the triumphant brassy jazz sounds though which provide the match to full rapture which lingers long after the closing return to the lonely voice.

The muscular and venomous IWTMT  brings a fluid union of metal and electronic craft to keep things stewing perfectly whilst the ferocious stomp of Saviour and the corrosive breath of Rapture just give further abrasive charges of electrified pleasure. Each and every track leaves nothing but awe in their wake but when it comes to Not Enough and Fallen Gods it becomes something almost illicit. The first is simply infection gone wild, the rampaging energies and hooks barbed with addiction making melodic poison as it sweeps limbs and senses up into a brawling and insatiable tornado of sound and passion. Once bitten the song remains within forever, a companion in sleep, thought, and those intimate moments though its rhythms make a great pace maker. Fallen Gods is the same, a song which refuses to leave without an exorcism. Like a rampant Rabbit Junk, the band teases and molests with more of their adoration baiting melodies and inspirational imagination and both confirm what a strong vocalist Steve has become. Both carry a more electronic gait in contrast to the harder earlier songs though all are perfectly unruly and powerful.

With two vocal guests in MiXE1 on Lost and Cease2Xist  in Everyone, a couple of emerging industrial/electro powers, and the closing dark elegance of Judgement Day, the album is the fullest feast of experimentation, imagination, and irresistible energy. The pleasure does not stop there though as the CD version alone contains the brilliant and slightly punky YDNTL plus the equally stunning Nihilism III, which to our mind makes the download redundant such their greatness, but do not tell the band we said that.

Fallout is one of the best albums to come out this year and within electro industrial metal possibly the very best so far. Ghost In The Static has come a long way since those early days and just keep getting better and better. Whilst you mark that release date  off on your calendars we are off for a cold shower, phew!

To find out more, pre-orders etc go to http://staticdistortionrecords.co.uk

Listen to Ghost In The Static tracks from Fall Out on The Bone Orchard podcast from The Reputation Radio Show

RingMaster 16/08/2012

Copyright RingMaster: MyFreeCopyright

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Always The Quiet Ones: Drought / Ghost In The Filament

Though only in August, our list of certain singles of the year has meant shoes and socks have had to be removed to keep a tally of our claims so far. Obviously it is too early to really make declarations though here we have a single which possibly leaves all in the shade. It comes from UK rock band Always The Quiet Ones and is formed of two tracks, Drought and Ghost In The Filament. Quite simply it is one of the most exciting and exhilarating things to come along in recent months and though we will keep a rein on claims it is hard to think to date of many singles which rival it.

Always The Quiet Ones first drew a wave of feverish attention with their debut EP Freakshow from not only us but from media and fans countrywide. It was a release which once it took hold led to a deep connection and near adoration of their sound though the new songs have ignited things to an even  higher intensity. Formed in 2010, the Liverpool quintet of vocalist Blas Barragan Jr., guitarists Joe Danher and Adam Lucas, bassist Chris Nicholls, and drummer James Lorenzo, took no time in owning audiences through their live performances which saw them sharing stages with the likes of Deaf Havana, Mojo Fury, The Safety Fire Axis Of, Turbogeist and Fighting With Wire. As mentioned their EP drew strong responses upon its release earlier this year with the band seeing heavy play on Total Rock Radio, XFM and Kerrang! Radio, as well as extensive press coverage. Already the new single has been eagerly featured on The Reputation Radio Show and upon its release August 20th is sure to fire a real acceleration of acclaim upon the band.

The promo for the release opens with the line ‘Pounding on your front door like the bastard love child of Tool and early Biffy Clyro…’, and you can definitely apply that to the song Drought though the swapping of Biffy Clyro for The Manic Street Preachers would be more accurate. The track opens with slapping beats on the senses from Lorenzo brought with the eagerness of kids playing the old classic prank though there is no running away involved. Group shouts bring the hairs on the back of the neck to attention as they scorch ears with tribal intensity, before things erupt in to a storm of feisty riffs and melodic incision to further rile up the passions. Things take a breath as the band settle into an emotive vein, the bass of Nicholls throbbing with a deep resonance amidst the sharp enticing play of Danher and Lucas. The vocals of Barragan Jr. are immense continuing on from their strong showing on Peepshow but with even greater expansive expression and control.  There is a definite James Dean Bradfield feel to his tone and delivery, the emotive feel and expressive power he brings to the songs immensely striking and impressive.  The track expands with angular strides in sound and energy as it explores its limits, its muscles and invention sprawling over the senses. The track ends as it begins to leave one breathless and fully agitated in the very best way.

Ghost In The Filament makes its introduction in a less dramatic way but with just as much infectious force with the guitars twisting and immersing the ear in sonic imagination. Again it takes a step back in intensity to let the bass stomp with its hungry breath whilst the vocals hungrily prowl and growl over the senses. Distinctly different from its companion but equally as mighty the track is a fiery captivation, its flames of imagination and intelligence igniting the deepest satisfaction. There is great rock music and there is the place where Always The Quiet Ones goes where the word brilliance seems the only appropriate one. The song as does Drought , leaves one on the edge of exhaustion and urgently eager to hear more.

Both songs show a band improving at a gallop and set to explode UK rock music into places it has not graced in a long time. Always The Quiet Ones really are that good and getting better all the time.

www.facebook.com/alwaysthequietones

Listen to Always The Quiet Ones on The Bone Orchard podcast from The Reputation Radio Show .

RingMaster 16/08/2012

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Apache Gunship: Unleash

If you read that Apache Gunship is a thrash metal band then take it with a pinch of salt. Well to be fair they do have an aggressive core to their sound which is pure thrash but with an insatiable progressive heart to their music as well as an apparent exploratory hunger, the band and their debut single Unleash, only leaves one thoroughly impressed.

The quartet from Larne in Northern Ireland, take their influences from the likes of Metallica, Slayer, Anthrax, Testament, Exodus, Dream Theater, and Children of Bodom, to name a few. A band for only six months and making their debut live appearance on August 17th, Unleash makes an instant declaration of a band with enormous potential and promise. The fact that just one song can inspire such strong feeling shows just how impressive it really is.

Unleash announces its arrival with celestial harmonies and a melodic stroking of the guitar before exploding into an inferno of destructive riffs and guttural growls. It is immediately mouth watering, guitarist Aaron Gowdy churning treacle thick riffs over with an intensity which is near crippling whilst bassist Jamie Mills ravenously chews on the ear with deep predatory basslines. It is powerful and concussive especially with the rhythms of drummer Scott Rodd knocking ten bells out of the senses with precision and venom. If this was all the song had to offer one would be satisfied but the band do not deal in the same stock as most other thrash bands and soon vocalist Warren Boyd from his rabid growls produces an excellent clean delivery to temper the persistent onslaught. It is unpredicted and welcomingly enterprising as is the seamless turn into a progressive aspect. With guitar and bass skilfully expressive and teasing every facet out of their notes it is a jaw dropping and inciteful twist, enhanced by the vocals of Boyd finding yet another distinct approach to impress with as do the great harmonies behind. The track emerges into its rampaging corruption again to add a climax as immense as its introduction to the ear. Once the final concussive note has smashed against flesh, feeling breathless and glowing with respect is the order of the hour.

The intent from the band is to try and release a one track a month until they assemble an album which makes the anticipation already feverish and impatient for their next imaginative assault. With a band like Apache Gunship there is no option or decision to take other than to go check them out and with Unleash being a free download the only surprise is you are still here.

https://www.facebook.com/apachegunship

Ringmaster 16/08/2012

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Evokateur: Chime Hours

Chime Hours from London based electro pop outfit Evokateur is the second of a trilogy of EPs from the duo which began earlier in the year with the soulful delights of Crow’s Wedding. The first brought an atmospheric elegance bound within sophisticated electronic sounds whilst an undercurrent of shadows whispered eloquently. Chime Hours continues in the same emotive vein with five tracks which switch on thoughts and emotions with ease whilst caressing the senses with magnetic warmth.

      Evokateur is made up of producer /composer Hector Villaraus and songwriter/lyricist Sarah Villaraus, who from the release of their debut single Wolf Girl last year which included an industrial remix by legend Gary Numan, and its successor Same As You, has garnered perpetually growing praise and acclaim. From their releases and live performances the husband and wife duo has ignited forceful waves of attention from media and fans which the new release can only bring acceleration upon its release on August 20th.

The release opens with the glowing presence of 1684, a song which immediately mesmerises through the wonderful voice of Sarah and the enveloping and triumphant sounds of Hector. The song shows the release is a continuation to the music of the previous release, its body offering further impressive examples of their combined imagination and expressive craft. The song has a reserved entrance with the music keeping the shadows company as the voice of Sarah heats the skies with her dazzling and hypnotic tones. There is a gentle shoegaze feel initially which reminds of artists like Strobegirl which soon expands into a full electronic weave brought with an early Depeche Mode breath. The music fills every pore igniting heated energies and though the song never erupts into a gallop it certainly excites the passions into a pleasurable agitated state.

Whereas the first song was a vibrant pop driven treat the following Post is a deeper emotive embrace upon the ear which opens up more thoughts and feelings before its incisive touch. Melodically enticing and sonically inciteful, the heart of the song reigns as it seals the listener into a cinematic soundscape of passion and reflection. One of the great things about Evokateur is the contrasting yet understanding companionship of sounds and vocals. Perfectly wrapped in harmonic beauty and melodic elegance there is a crystalline element to the compositions of Hector, their surface often sharp and slightly coarse working alongside and against the perpetually warm and teasing kisses of the vocals from Sarah wonderfully.

The single from the release White Horses is quite magnificent, arguably the best song the pair have created to date. The track is a sizzling mix of energies and sirenesque sounds which ebb and flow like the sea with just as much power and grandeur. At times the song teeters on a stomp upon the senses and in others it gives a touching embrace whilst leaving the air slightly blistered. As with all the songs there is a dark side or element at play, on this song it disturbs the whispers with a refined caustic rub to add tension and electricity behind the vocal enchantment.

The release is completed by How Long and a remix of White Horses from Fear Of Tigers. The first has a wonderful crunchy ambience throughout, a crispness to the sound for a musical equivalent to walking though early frost bitten grass on an autumn morning. It is a fresh and provocative texture alongside the equally evocative words and vocals. As much as we can wax lyrical about the music, the composition of and power of the words are just as marked and impressive. The remix gives the single a poppier yet feistier charm, removing much of the underlying darkness and turning it into a more riled energy than on the original. It is a great interpretation and evolution of a great song though still comes second best.

Evokateur is seemingly tagged more as an electro goth band which not really the truth though from the pervading shadows within their music it is a reasonable label in part. The band creates electronic music which draws on and delivers passion within inciteful expression to set them apart from most. They like Chime Hours are outstanding and getting better release by release.

http://www.evokateur.co.uk

RingMaster 16/08/2012

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Monument: Rock The Night EP

Heavy metal especially the old school classic kind and The RR has never really seen eye to eye, the likes of Iron Maiden, Def Leppard, and Saxon igniting more discontent than pleasure. It is personal taste of course and as open to all as we are it is makes it rare for the genre to offer something up for us to find appetizing. One of those rarities comes in the shape of the Rock The Night EP from British classic heavy metal rockers Monument, a little treat which without any chance of making our end of year best of lists left more than a pleasing impression and satisfaction behind it.

Formed by vocalist Peter Ellis (ex- White Wizzard, The More I See), the London based quintet do not hide their influences and inspirations, combining all into a riotous and compulsive sound of their own. Their new release does not break into new avenues or rip up the rule book but simply brings the feistiest heavy metal party you can wish for right to your door. Completed by guitarists Lewis Stephens and David del Cid, bassist Jim Ramses, and Matt C on drums, the band seem intent on giving a new life and freshness to the near corpse like state of NWOBHM, something which would normally give nothing but chills this way but Rock The Night EP actually manages to make it almost seem an appealing prospect.

The title track erupts in the ear with an immediate intent to excite and fire up the senses, soaring screams and raging riffs instantly taking over the ear. The song is an insatiable charge of energy and metal passion which leaves no pore or synapse devoid of melodic enterprise and charging intensity. The guitars reign on the track leaving one glowing from their fiery display of forceful riffs and enticing invention whilst the solos leave one drooling, which maybe is not surprising as the song features a guest spot from Judas Priest guitarist Richie Faulkner. The vocals are as expected from Ellis, expansive and highly charged with strong group harmonies adding their enthusiast companionship. Arguably the song offers nothing new except fully energising sounds which have not been this enthusiastic in the genre in a long time, then again not being fans we may have missed plenty of similar moments?

Whereas the opener leaves only hi octane energy and enthusiasm in its wake the following Carry On is a more expected composition. It is hard to call it predictable as again the guitars and vocals are nothing less than impressive whilst the rhythms of Matt C take instant charge of the ear with their powerful and commanding tight grip, but it fails to excite quite as openly. With surging riffs and plenty of chugging ready to link the scorching melodic play, the song is enjoyable without stoking too many fires something which cannot be said about Midnight Queen.

Best song on the EP, the track is addictive from first note to last, the Ozzie like vocals playing well amongst the brew of sinister melodic enterprise and menacing sprawling energy. From the vocal and additional harmonies through to the expressive guitar work the song captivates but it is the bass of Ramses which steals the thunder. Steely with the hunger of a predator it brings a dark shadow and breath all of its own, surely a pact with the devil at play which spoils over in the following Fatal Attack. There is a plethora of good things on the release but his presence is the highlight.

As said the bass continues to ignite greater heights on Fatal Attack, it is as if Ramses has been unleashed and he is making every moment count but the song as a whole is nothing less than thoroughly pleasing. It has a snarl and bite which is distinct from the other songs on the release to make it alongside its predecessor and the title track. One of the strongest moments on Rock The Night.

The closing Blood Red Sky continues the strong and gratifying pleasure surprisingly incited from the release and though it slips a little against the previous duo of songs still holds the imagination and ear with ease.

     Monument with the Rock The Night EP laid waste to expectations to replace them with surprised pleasure. If this is the new state of heavy metal maybe there is a home here for it after all.

Facebook – www.facebook.com/monumentuk

RingMaster 16/08/2012

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