Surviving The Charade – We’re Never Coming Home

Surviving The Charade Online Promo Shot

First impressions of We’re Never Coming Home, the debut album from Swedish melodic metallers Surviving The Charade, went from being slightly underwhelmed to inexcusably captivated as it revealed more about the qualities and imagination of the band with each and every track. Given numerous excursions through the ears, the ten track encounter has become a rigorously impressive and exciting proposition for imagination and emotions. Certainly it still has thoughts questioning and succumbing to occasional reservations, but with the voracious inventiveness and surging potential which soaks the band both Surviving The Charade and We’re Never Coming Home have emerged as incitements to get increasingly excited about.

Formed in 2008, the Stockholm sextet took little time in awakening a potent fanbase and attention with first EP Your Breath Smells Like Ben & Jerry’s. Its strong presence was more than matched by the band’s live performances which continued to draw eager followers towards their striking emergence. The following We Refuse To Stand In EP continued their rising success as did the band’s appearances at prominent festivals and supporting metalcore greats Adept. 2013 saw Surviving The Charade drop in on England to record We’re Never Coming Home with producer John Mitchell at Outhouse Studios (Architects, Enter Shikari, You Me At Six, etc.). Infusing inspirations from the likes of Asking Alexandria and Architects into their sound, Surviving The Charade provide an intriguing weave of textures and flavours within their first album, a web which as mentioned impresses and at times has you wondering but persistently leaves ears and attention captivated.

The title track starts things off and this is where that initial felling of being underwhelmed initiated. Certainly the opening of crystalline DVDAXXX2XX.pdfkey cast melodies set before vocals squalls from a distant ledge is an enticing lead into the accomplished and skilfully crafted song but subsequently it is a formulaic encounter which barely hints at the real adventure to come. Nevertheless with punchy rhythms from drummer Sebastian Brydniak framing the evocative narrative impressively led by the clean vocals of Simon Brantklev, the track is an imposing introduction which with its brief length is the right way to look at it even though it kind of gives the wrong impression of the album ahead.

Classically bred keys grasp the ears first as Shout, Walls, Shout! erupts, a startling unexpected grab of the imagination which soars over the hostile raw squalls of the band’s other vocalist Daniel Rotstam. It is a pungently dramatic and creative entrance to the song though some of that potency is lost as it then relaxes into a more straight forward melodic metal stride. To temper that though the bass of Fredric Fji Johansson gnaws at the senses whilst the guitars of Fredrik Brollin and Viktor Lundberg grind, whine, and croon with acute devilry. It is a formidable suasion which leaves its predecessor quite pale in comparison, though as skilled and commanding as the music is, it is the vocals which steal the show, the clean tones of Brantklev a transfixing caress and the roars in great variety from Rotstam carnivorously appealing if not always fully successful.

The following Above The Skyline stomps and seduces with a blend of classically bred elegance and ferocious antagonism vocally and musically, hooks and melodies in as much abundance and strength as heavily swiping rhythms and savage riffs. It is a riveting encounter which lurches at and romps with the senses in an evolving gait but lacks the spark which lit up its predecessor. It does give another flavoursome taste to an already established appetite for the release though which is soon enriched by the outstanding Shotgun Wedding Bride. From its first breath the song is ripping at the jugular with sinewed sculpted riffs and rhythms courted by caustic vocals whilst a haunting melody teases above the ravenous persuasion. The body of the track has a post hardcore hostility to its rabidity which takes on another depth of angst and ferociousness behind the clean seducing of Brantklev which in also seems to inspire a creative rapaciousness from the stabs of Brydniak and the varied snarls from Rotstam. It is a tremendous brawl which reveals the rich promise of the band ahead and their quality now.

The initial voracious intensity and Meshuggah like blaze The Diary Of Frosty Jack keeps ears and passions feverish with its truculent sonic and rhythmic intent, though the cleaner passages whilst adding further poetic toxicity defuse the breath-taking intimidation a tad. It is another immensely satisfying onslaught though, which as across the album, for every moment where things lack certain potency or success in their twists there is a horde of highly inventive, captivating sounds and ideation to enthral thoughts and emotions.

The vivaciously anthemic Here We Stand where emotive melodies and fiery harmonies stake their lingering claim on the imagination within a maelstrom of predacious intensity leaves imagination and attention exhausted next. Of. It is a tremendous fire enticing creative thought with a dramatic presence which leaves the next up Broken Glass a real test to emulate, which it almost does with its robust and blistering contagion within a continually shifting storm of emotive melodic grace and adversarial spite.

The predatory metalcore spawned sound of Dance For Messiah brings another inventive tempest to explore though it fails to enslave the passions with either the lingering vitriol or infectiousness of other songs. It is full of great and skilfully executed twists and turns but feels too familiar in its overall body of sound ultimately, thus feeding expectations somewhat. It also suffers lying between the previous pair of songs and Like Animals. Virulently infectious and strikingly inventive, the track is a relentlessly evolving dervish of argumentative seduction and amicable ingenuity, a song which if human would be classed as schizophrenic for many thrilling reasons. It is an outstanding slab of captivation, everything about it sensational and the best thing on the album.

The closing The Night We All Forgot is a song which may be should not work but does. Its opening chorus of vocals and throaty basslines is so obvious that you feel the band is just going for an easy exit, but then things turn into a threatening stretch of savagery vocally and musically that you swiftly reassess. The song continues to change and bewilder, its melodic almost pop infused moments an unsure success and its vicious inhospitable pillaging irresistible, whilst combined they ebb and flow in persuasion. It is whole though the song is a fixture in mind and emotions long after its departure so that like the album no matter any doubts it is an undeniable triumph.

It is hard not to get excited about the future of Surviving The Charade and to cast a keen anticipation for their next releases on the back of We’re Never Coming Home, a reaction we expect a great many to find through this gripping encounter.

We’re Never Coming Home is available from Monday 2nd June through all digital stores.

http://survivingthecharade.com/

8.5/10

RingMaster 01/06/2014

Copyright RingMaster: MyFreeCopyright

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Icons – Lifesigns EP

Icons band

Crafting their own very appetising take on metalcore, UK band Icons certainly on the evidence of their latest EP Lifesigns, has a potentially rich and potent future ahead of them. Consisting of four tracks which rage at, coax in, and invigorate the senses, the release is a sizeable introduction to the Leicester hailing metallers. It is fair to say that there is not a major expulsion of genre shaking invention or sounds from band on the release but plenty to suggest that the quintet is capable of such feats in the future as they evolve and hone their songwriting.

Formed in 2011, Icons has earned a strong reputation with their live performances alongside bands such as Bleed From Within, Hacktivist, Martyr Defiled, Continents, Giants and Napoleon. With a collective blend of inspirations from the likes of The Ghost Inside, Architects, Parkway Drive, Periphery, Northlane, Bleed From Within and Heart of a Coward, the five piece conjure up propositions which certainly do not slip past ears and attention easily. Their songs provide a skilfully layered alignment of sounds and textures; hooks and rhythms spearing the creative landscape with equal purpose and passion to the voracious vocals. It is a raw and uncompromising endeavour but one with a wealth of enticements to seduce and transfix the imagination.

Opener Cataclysm strides into view with jack booted rhythms and a caustic sonic haze, its infectious enticing soon permeating ears and Icons Lifesigns EP Covereagers thoughts. Taking a breath to establish its intent, the track then winds its sinewed riffs around the senses as the beats of Alan Forrest punch with a sure antagonistic touch. It is fiery bait which is soon under the squalling vocals attack of Neil Vernon, his coarse roars a scathing incitement within the emergence of sonic enterprise cast by guitarists Nick Toutjiaris and Joe Newman. Clean vocals join the picture next to bring a warm temperance to the still blustery gruff narrative, the union of both within the creative tempest of sound stalked by the great throaty bass provocation of bassist Chris Riley, magnetic in the least and thrilling in its strongest moments. As proven across the whole release though the ‘weakest’ elements are those vocals, both clean and raw deliveries undeniably potent instigators of the lyrical climate but at times landing wide of the levels musically the track elevates to.

Though the next up Fall of Avarice offers a similar scenario, it is not as big an issue as it might suggest with both styles working well enough but a further honing to rest easier within the maelstrom of inventive sound whilst still achieving their intensive aims would seem a wise move. The second track twists and flirts with the senses through intensive riffs, muscular rhythms, and a rigorously designed entanglement of sonic enterprise which holds the imagination capture from its opening play. The cleaner group vocal calls work perfectly it has to be said providing an anthemic pull which further entices the appetite to reconfirm that those vocal nags are minor for the main.

The latest single, Helios steps up next with viciously shaped grooves and melodic shards of adventure, the combination another easily accessible lure to immerse bravely within. The track creates scenery of emotive reserve and ravenous spite, both evocative propositions which merge fluidly together as the sounds expand their resourceful premises. It is not as striking and imposing as the previous songs with the vocals again raising small questions but still a song sparking keen attention and a lingering success for itself and band which is very easy to often return to.

The closing Hitch 22 opens on a rugged storm of strictly invasive riffs, deeply barbed hooks, and a contagious rabidity which instantly secures focus and hunger. Stretching its muscle flexing arms around the ears, the song proceeds to jab and scythe its way into the passions whilst simultaneously lighting the imagination with gentle but evocative short melodies and again superb group vocals, something they should definitely employ much more. The best track on the EP, it is a skilled cantankerous maelstrom which engrosses from start to finish and almost alone reveals all the promise within Icons to indicate that they are a real prospect as an emerging force.

There is plenty more within Icons to come, a continued evolution needed to see the band find a spotlight outside of the crowd but Lifesigns indicates that all the weaponry and craft is there waiting to be bred into something unique as it provides a very satisfying and enjoyable base to start from.

The Lifesigns EP is available now @ http://iconsuk.bandcamp.com/ as a buy now name your price download.

http://www.facebook.com/Iconsmetal

8/10

RingMaster 15/05/2014

Copyright RingMaster: MyFreeCopyright

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Giving In To Ghosts – Chasing Waves

Giving Into Ghosts Press Shots 22/10/13

Bursting out from South Wales, post hardcore band Giving In To Ghosts have given a very solid promise drenched introduction to themselves with their Chasing Waves EP. The band’s debut is a vibrant and engaging, as well as pleasingly aggressive, entrance by the Cardiff quartet. It is an accomplished and imaginative proposition which without the spark to really light up the passions certainly leaves a hungry appetite in place for the band ahead. Its sound and the band’s presence is not as unique amongst other similarly fuelled bands as you feel both will become in the future, but again still feeds an intrigue and attention for the foursome which cannot be underestimated.

Formed only last year, Giving In To Ghosts have taken little time to trigger a keen and passionate fanbase around their region which is now starting to spread further afield with equal success. Pulling in inspirations from the likes of Funeral For A Friend, Architects, and Reuben their sound certainly has a wide appeal as proven by their successful support slots to bands such as Continents, The Browning, Acoda, and Beneath My Feet. Recorded at Not In Pill Studios in Wales with Martyn ‘Ginge’ Ford and Matt Bond (Slipknot, Trivium, Bullet For My Valentine), Chasing Waves is a potent first persuasion to hit the whole of the country, as said a tremendously solid attention grabbing declaration revealing the open potential within the band.

Rapture starts things off and immediately has ears under the cosh of the raw squalling tones of bassist James Hardiman, his vocals Giving In To Ghost Cover Artworkabrasing the senses and lyrical intent within firm rhythms and a sonic coaxing from the guitars. It is not a dramatic explosion but one with strong grooves and melodic designs from lead guitarist Julian Thomas alongside the equally welcoming riffs of Michael Thomas making an appealing start. The clean vocals of Michael Thomas equally impress; his delivery gentle and a good temper to the gruffness of Hardiman though you feel placing them side by side rather than alternatively could work better. The punchy beats of drummer Alex Bargh and solo casting of Julian complete the expressive forceful colour of the song and arguably stand out on the track most but all aspects skilfully unite for a strong first strike from the release.

The following Sirens makes a less forceful appearance but certainly is as fiery as its predecessor, going on to build a magnetic canvas for the switching extremes of vocals to unleash their narratives. The bass offers a mean growl to the rapacious riffs and antagonistic rhythms as do his scowls, but there is a less potent element to the song against the last which means the track fully satisfies but does not linger. Nevertheless with a pleasing sonic temptation and a belligerent intensity the song proves its worth and reinforces the potency of the band.

The title track opens with a riveting melodic caress instantly joined by the equally warm clean vocals. The bass adds tempering shadows to this embrace to expand the depth and pull of the initial coaxing before the sinews and passionate bruising within the song makes a loud shout. Evolving through both sceneries the best song on the EP provides an evocative adventure which reveals much more about the strength and depth of the band’s songwriting and sound whilst stretching the quality of the encounter. Employing emotively powered keys and a mesmeric spiral of sonic enterprise within a growing snarling dark side, the song is a formidable indication of the creative heart within the band and again its undeniable promise.

Final song To The Sun veers into the more brutal side of the band certainly compared to the reflective warmth of the previous song, it ravishing the senses with grouchy rhythms and caustic vocal spite whilst still drawing on the melodic craft and expression of the band. It is an intimidating and highly alluring end to a very satisfying release, one which maybe suggests more than it delivers but only in the quality you feel is there in the band waiting to evolve. Chasing Waves does not make claims as the new best thing in post hardcore but it certainly provides more than enough to suggest Giving In To Ghosts has the ability and sound to be a loud voice in the UK scene.

http://www.facebook.com/GivingInToGhosts

8/10

RingMaster 29/03/2014

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GIVING IN TO GHOSTS to unveil ‘Chasing Waves’, on 31st March‏

Giving Into Ghosts Press Shots 22/10/13
DEBUT EP DROPS THIS SPRING!
 
South Wales Post-Hardcore outfit Giving In To Ghosts drop their ball-busting debut EP Chasing Waves on Monday 31st March through all stores.
Blending emotive drive with defiant belligerence, Giving In To Ghosts wear their hearts on their sleeves, producing a sound that deftly merges genres. By extracting influence from everyone from fellow South-Wales icons Funeral For A Friend, to Brit bruisers Architects and cult heroes Reuben, the band’s reach and output is notably diverse.
Since their inception in 2013, Cardiff hardcore beasts ‘Giving In To Ghosts’ have already destroyed a host of fleapit venues throughout Wales and England with their boundless energy and impassionate blend of melodic hardcore. Now, after supports with Continents, The Browning, Acoda and Beneath My Feet, ‘Giving In To Ghosts’ are primed to step up with the national release of their explosive debut EP ‘Chasing Waves’.
To record ‘Chasing Waves’, the ascending four piece laid siege at Not In Pill Studios in Wales with Martyn ‘Ginge’ Ford and Matt Bond (who’s past credits include Slipknot, Trivium and Bullet For My Valentine) behind the desk. The record was completed by the end of 2013 and the result is highly impressive.
‘Chasing Waves’ is loaded with slamming guitar parts, colossal drumming, and engrossing dual vocal lines that twist and contort. The opening track on the EP ‘Rapture’ is quite simply massive and an ideal sampler for the shape of things to come. ‘Sirens’ bursts with unbridled vigour and a soaring refrain, while the record’s namesake ‘Chasing Waves’ displays the quartet’s cunning knack for stripping back the elements to deliver an engaging cut that will lodge itself in your brain for ages. As ‘To The Sun’ rounds off their striking debut with its edgy riffs and brutal drive, its clear that this record is sure to elevate the fiery tune chiefs to a national level.
= GIVING IN TO GHOSTS RELEASE ‘CHASING WAVES’ ON MONDAY 31st MARCH THROUGH ALL OUTLETS =
 Giving In To Ghost Cover Artwork

 

Lifelines – In Presents Wake EP

Lifelines Online Promo Shot

If there is one thing which In Presents Wake, the debut EP from Scottish metallers Lifelines suggests it is that this is a band you need to see live. The intensity and aggressive energy of the six track release is a formidable hint to what you imagine their stage attack is like, though you suspect it still only touches the edges of their intensive stage presentation. The release is a fiery slab of metalcore rife with strong melodic flames and a voracious blend of rhythmic antagonism and ferocious riffery. The EP does not present Lifelines as the finished article but certainly as a band on a rapid and intensive rise with a sound to match their hunger.

The Glasgow quintet was formed in 2011 by vocalist Paul Bone, guitarist Sean Young, and drummer Jonny Macintyre. After going through multiple guitarists the line-up was completed by guitarist Adam Cosgrove and bassist Murray Paton and by the end of last year had built a strong growing reputation for their live shows which has seen them alongside bands such as Bleed From Within and Palm Reader. With In Presents Wake, the band makes its widest and strongest declaration to date, one you can easily see leading to strong acclaim and a much larger fan base for the explosive unit.

Opener Skyscrapers is an immediate pressure of rigid rhythms and eager riffing ridden by the coarse vocal attack of Bone. A Lifelines Cover Artworktimid but open groove tempts within the intensive atmosphere, the guitars crafting inviting lures into the song’s muscular body. There is a sense of Architects to the track which gives extra texture to the evocative conflict if also showing a distinct presence is still evolving for the band. With an intrigue and invention which is happy to ignore expectations the starter is a riveting entrance into band and EP.

The following Limitless is equally as magnetic without completely waking up the passions, the guitars and bass casting a web of enticing imagination and craft whilst the rhythmic enterprise of Macintyre is a bruising treat driving the track and ultimately release forward. The vocal delivery is a caustic grazing on the senses, a strong and passionate one but with a lack of diversity to Bone’s delivery it does diminish the potency of the track a little, though the incendiary guitar play and group vocal harmonies brief though they are, keep attention and thoughts captivated.

The Protagonist is an uncompromising confrontation from the start, bulging rhythms and a predacious bass prowl increasing the already eager appetite for the release whilst the sinew clad guitar invention without breaking boundaries weaves a cage around the senses and emotions which is lasting and satisfying. The EP from its strong opening does get better and more impressive song by song with this a definite marker to note, though after the brief and accomplished torrent of passion Better Left Unsaid, it is surpassed as the EP unleashes its finest moments with firstly Undertow. It is a heavily intensive tempest of enjoyment and incitement, riffs and rhythms a rapacious courting of the senses whilst the melodic endeavour paints their canvas with creative hues which ignite the imagination. The employment of cleaner vocals alongside the harsh scowls adds the extra exciting finish to the track; the earlier slightly wanted variety here alive and proving how well it works to help make the song the best and most potent encounter.

The closing triumph Silver Screen Synthetic is equally as inventive and exploratory to leave the promise and strengths of the band a raging and wholly persuasive lasting impression. Adventurous without losing sight of its intent and eager to mix things up rhythmically, melodically, and vocally, it is a contagious addiction breeding slice of brutality to complete an impressive debut.

It is fair to say that In Presents Wake does not offer anything new and that Lifelines have yet to stand out from the other strong elements of the crowd but equally it is easy to suggest that it will come, especially on the evidence of the final two tracks of the release. Though even these songs cannot hook a lingering connection once departed, in their and the band’s company they make a convincing and attention grabbing persuasion to make Lifelines a band to keep an eager eye on and definitely to catch live.

www.facebook.com/wearelifelines

7.5/10

RingMaster 16/11/2013

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Shouting Signals: Stand Your Ground EP

Shouting Signals Promo 2

    The Stand Your Ground EP from British post-hardcore band Shouting Signals is one of the more accomplished and fresh sounding releases to come out of the genre in recent times The debut five track feast is a blaze of fiery melodics, sturdy rhythms, and passionate vocals brought with honed craft and thoughtful enterprise, with only the fact it has not quite a distinct enough voice yet to rip the band wide apart from other genre related contenders as the only slight dent in its impressive armour.

The Essex quintet of vocalist Bertie Scott, guitarists Rikk Malice and Scott Baker, bassist Tom Clare, and Jay Wilding on drums, has been on a steady rise since forming in 2011. Constantly working on their sound, unrelentingly honing it and their craft, the band has inspired a growing loyal fanbase through their energetic live performances which has seen them gigging with a hunger around the south east and London. The band has been compared to the likes of You Me at Six, Architects, and 30 Seconds To Mars, and their first release certainly does nothing to dispel those potent references. Stand Your Ground is their first strike in to the larger national awareness, a release which easily reflects the time and effort which the band put into it to make sure every surface, note, and emotion it offers was of their finest imagination and skill.

Opener Never Run Away tells you all you need to know about the band, rich melodic guitars sounds with a sonic fire and Shouting Signals - Stand Your Ground EP Coverthumping rhythms taking mere seconds to persuade and entertain the ear with an urgent energy and feisty passion. Carrying a jangle to their touch and acute textures to their voice the guitars of Malice and Baker flame and snake around the senses with inventive imagination to secure strong attention, whilst the bass and rhythmic enticements of Clare and Wilding respectively cage and drive it with not exactly unbridled aggression but with a firm intent. The vocals of Scott though stand with their own rich stance, his tones and delivery openly impressive and a big factor which along with their instinctive ability to create invigorating sounds to see the band in a clear spotlight of their own in the future.

The following Breathe In, Breathe Out and One Forty continue the strong and engaging start, the first unveiling brazen melodic enticement and again, what is to be a constant across the release, fire to its passionate appetite to excite and provoke the listener in their emotions. The guitars and vocals dominate with quality and power with the rhythm section pulling it all together with excellent ability but production wise it would have been nice to have the bass especially finding a stronger clarity and presence in the mix. The second of the pair opens with its sinews rippling within bulging riffs and crisp punchy drum beats alongside more shards of guitar sonics, which niggle and agitate the ear enjoyably, and the now expected great vocals of Scott. Though neither song matches up to the strength of their predecessor, both further the brewing magnetised hunger for their creative encounters.

All My Answers is an excellent slice of acidic and inciting melodic rock with a strong whisper of Lost Prophets to its impacting presence, the choppy riffs and suggestive bass groan showing the depth of the invention within songwriting and how to wring every idea of its purest essences. The best track on the EP, it hustles and bustles the ear with a raucous breath and seemingly untamed energy all keenly sculpted by the skilled talents of the band.

Closing song The Penitence is another major highlight of the release, a song which shifts its stance constantly with a fluid and strikingly impressive mastery. With the bass finding its deepest growl and allowed to share it with more openness and great vocal harmonies employed alongside the rich expression of Scott, the track is a powerful and thrilling end to an equally enjoyable release.

Shouting Signals is a band to watch very closely and, as the Stand Your Ground EP proves, enjoy along every inch of their certain rise.

http://www.shoutingsignals.com

8/10

RingMaster 30/03/2013

Copyright RingMaster: MyFreeCopyright

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Promethee: Nothing Happens. Nobody Comes, Nobody Goes

Promethee - Photo    Last year the single Sickness Unto Death from Swiss metallers Promethee whipped up a strong wind of excitement and expectation for their debut album, its intrusive and enveloping storm of imagination and destructive craft a formidable step on from their earlier impressive self-titled EP. The song also made a suggestion of something remarkable in the future mists of time. Now Nothing Happens. Nobody Comes, Nobody Goes has stepped forward to answer those hopeful and eager expectations.

      The album is a staggering brute of a release, an immense tower of venom, intensity, and creative imagination. It satisfies all wishes and expectant thoughts before exceeding their limits with further ingenuity. It is fair to say the album does not rip open new avenues for melodic and progressive metal/metalcore but brings a new and invigorating interpretation of prevalent sounds from within the existing inventive sphere. In fact the album ignites real passion for its ferocious might and inventive annihilation whilst its technical skill and unpredictability has the senses dizzy whilst within a numbed state from all the malevolent abuse.  Since forming in 2008, the band has earned and garnered a deserved wealth of acclaim of which an elevation due to this outstanding album will not be a surprise, in fact is expected.

Released through Bad Moon Records, Nothing Happens. Nobody Comes, Nobody Goes is a ten track leviathan of intrusive Promethee Cover Artworkand towering sounds coated in an understanding and deeply rewarding craft. As soon as opener The Great Deception sidles up to the ear on an atmospheric raw breeze, the senses are engaged and then thrown into willing turmoil by the brawl of gnawing riffs and corrosive energy permeated by a sonic enterprise which leaves one drooling. Wanton grooves and teasing melodic shards of light shower from within the intense breath of the song to further the already brewing rapture erupting out for only the first track of the release. The guitar craft and imagination of Ludovic Lacroix and Elric Doswald is as mesmeric and captivating as it is intimidating whilst the squalling abrasion of vocalist Joshua Orsi trawls the emotions off of a spine of irresistible rhythms from bassist Mathieu Tappolet and drummer Nils Haldi to incite the primal and emotive heart.

It is a sensational combination and start continued as powerfully by the following Banner Of Lies and Buried. Both tracks rip the synapses asunder through djent spikes and merciless sonic violation, the first a malicious onslaught of devastating inventive chaos leading into the emotive tempest of the second. The latter of the pair smoulders and burns within the ear and though brief in stature lingers long after its departure though the hellacious presence of the excellent Of Loss And Disgust soon after dominates as if the only thing in the world. One of the biggest pinnacles on the album, the track throws the listener into a bedlamic fury of twisted grooves and sonic mania driven by a fierce energy and rhythmic hunger which resonates long after its last violent gasp. A perpetual wash of progressive ingenuity and melodic urgency the song also caresses and kisses the ear as tenderly if forcibly as it erodes and consumes fearsomely elsewhere.

The Geneva quintet continue the blistering confrontation through the equally immense Life/Less, a track with a depth and character dripped in turmoil and vengeance, the brief and masterful Genesis with its hybrid whispers of Korn, and The New Face Of Mankind, another varied assault of innovational expertise. All three send flames of thrilled emotion through the body only to be exceeded by the brilliant Thus Spoke and the previously mentioned single Sickness Unto Death. Thus Spoke is a muscular furnace of hypnotic sonic malice and rib cracking rhythmic tension. As with all the songs and especially the biggest triumphs on the album, the track is a continually evolving exploration of light and dark, passion and shadows which is reported through a magnitude of ingenuity and invention.

     Nothing Happens. Nobody Comes, Nobody Goes is a colossal album which offers a richer and deeper experience as well as a more impressive one the more time spent within its corruptive squall. Fusing essences marked in the likes of The Faceless, Cryptopsy, and Architects, Promethee has made the first towering statement of the year for extreme and metal in general.

www.facebook.com/prometheemusic

RingMaster 22/01/2013

Copyright RingMaster: MyFreeCopyright

The Shallow – Hope In Hell

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Consisting of torrents of passion and explosive sounds, Hope In Hell the debut EP from UK metallers The Shallow is an impressive and fiery introduction to a new and accomplished group of musicians. Creating a tempest of energy and sonic disruption through a brew of technical metal, hardcore, and unpredictability, the quintet from King’s Lynn, Norfolk has unleashed a furnace of emotive intensity with musical endeavour to match.

It is a release which is not quite flawless which only adds to the immense stature of the release but leaves one in no doubt that the band has all the weaponry and imagination to be a big force ahead. There is a touch of similarity across the four tracks which makes up the release, reoccurring melodies and structures whilst occasionally the release takes roads worn by other bands but such the compelling sound and strength of the EP there is no issue with these things, just signs the band is evolving all the time with anticipation of even greater things ahead. Since forming in early 2012, the band has honed their aggressive and inventive sound through their live performances and it shows on their debut. They have been earning acclaim for their shows and sound, drawing comparisons to the likes of Gwen Stacy and Architects. The EP is set to continue and further that enthused response to their music and set 2013 up as a big year for the band.

The release opens with Twin Peaks, the piece an immediate haunting and chilling of senses and emotions as it heralds in the hopeinhellrelease. Barely touching two minutes the track offers an epic breath and bedlam tainted vocals in heavy emotive skies,  the voice of Christopher Wells a squall of part outrage and part emotive fire whilst the keys and sonic manipulations throughout unsettle and score amidst the thumping rhythms of drummer James Allen and grouchy lines of bassist Michael Knowles. It is an unnerving start further scarred by the abrasive guitar caresses of Stephen Barrett and Matthew Brand, the combination of all elements a challenging and startling beginning which the rest of the EP soon expands upon.

     Father thunders in at the demise of the opening track with vocals, guitars, and drums scorching and pummelling the senses. It is a caustic rub on the ear with a grinding grooves and magnetic yet chaotic discordant flurries of melodic flames erupting within the dense intensity. It is also quite irresistible, the gait and breath of the agitated track a fury of inventive aggression and imaginative intrusion brought with skill and enterprise. The clean vocals midway add an extra pleasing wash to the storm to offer slight ‘calm’ to the maelstrom of sounds and ideas at work. A track which reveals more and gets better with every listen, something which applies to the whole release, the song is an outstanding assault and just one marker for the band now and in the future.

The release is completed by the even more impressive Death of a Thin Skinned Animal and the first single from the release, Diamond Wretch. The first of the two starts on a contagious groove before within seconds whipping it up into a chaotic hardcore brawl of sonic teasing and vicious vocals. As with all the songs you get the feel of a kind of improvisation going on such their continually shifting and unexpected journeys though it is all carefully and intently crafted. It is only ever compelling though weirdly it is also where the band in brief moments do remind of other artists despite the persistently evolving presence of songs, though with each track an unrelenting crusade upon the ear moments where they can be compared to others are a fleeting breeze in the unbridled winds of the tracks. The final song continues the devastation of the ear and thrilling of the passions. It is a merciless and wholly rewarding breach of the senses with a sonic stripping and intense barracking of the defences making a stirring finish to the EP.

Hope In Hell is an excellent release from a band which leaves one breathless and excited for their and our musical futures. Released as a name your price proposition this is one violation you do not want to miss.

http://theshallow.bandcamp.com/

https://www.facebook.com/TheShallowUK

RingMaster 09/01/2013

Copyright RingMaster: MyFreeCopyright

Dead Harts: Born Into Rags To Die No Richer

Listening to Born Into Rags To Die No Richer, the new album from UK corrupters Dead Harts, is like being lashed until your synapses bleed and shrivel up then being given a sonic salt enema to those same open wounds. It is painful, it is blistering, it is maybe for some a violation too far, but it is equally fulfilling. Not for the faint hearted and where anger and spite are as devastating as a raging fire, the release just throws one into a tempest of malice and aggression driven by pleasure and satisfaction, for them and the listener.

The Sheffield based quintet certainly takes no prisoners or deals in elements of mercy, their mix of hardcore/punk/metal vehemence permeating every syllable and note for the deepest abrasive intrusion.  Founded in late 2009 and influenced by the likes of The Chariot, Norma Jean, and Gwen Stacy, the band has continually left a lingering mark in its wake, whether from playing alongside bands such as The Rhino, Heights, and While She Sleeps, recently taking Red Bull Jam apart and being the first of three finalists voted through to the live final this year, or their just completed highly successful tour of Russia. This is a band which musically refuses to take no for an answer, their sounds demand and receive, whether that is in kind or adulation.

Released through Transcend Music, the album rips the jugular apart from the off with the excellent All Washed Up. It is a relatively gentle first 10 seconds, a piece of misdirection before a sonic hand tears the barriers down and violently ignites the passions with venomous intent and caustic endeavour. Guitarists Josh Ward and Matt Pask manipulate and finger the senses with twisted riffs and scorched melodic incursions whilst vocalist Matthew Baxendale smoulders in his own acidic bile to unleash destructive squalls upon the ear. It is harsh and it is nasty but it only leaves a glowing grateful victim. Musically the band, song, and album come over as a sort of cross between Architects, While She Sleeps, and Gacys Thread, not necessarily something to rip the same size of hole in invention like it does in the ear, but certainly it is one of the freshest and ultimately enjoyable devastations to come along this year.

Smoke Wagons, the already recipient of acclaim through its video, storms with rage and intensity next. The drums of John Timson disorientate with craft and malice whilst bassist Zach McAdam prowls with all the belligerence of a wounded bear behind the again hypnotic and incendiary guitar strikes. It makes for a welcome yet vicious combat, a confrontation as wholly gratifying as it is corrosive and dehabilitating. As the song proves, Dead Harts do not create songs just with the intent of punishing and bringing the world to its knees either sonically or lyrically, they are also conjurations of songwriting which twist and turn with invention and enterprise, something which again makes the band feel different and fresh compared to many others of the same intention.

CTRL ALT Defeat and Perm Back And Sides both impressively rampage with riffs to send one staggering backwards before their sonic winds buckle the knees, both arguably less intensive in their open aggression but as extreme in passion and its deliverance, whilst Crooks is outrage given a mighty aural form. The track is raw energy and just as unpolished emotion, a crushing indictment to leave deep scars.

After the instrumental Interlude, Headhunter bears down on the senses from a great sonic height, its oppressive tone and insatiable hunger a sonic rape upon the ear but again most welcome and fully rewarding. It is a furnace of malicious invention which leaves the body shaking, ears ringing, and thoughts splattered against the remains of a skull crushed by the intensity. It is a brilliant challenge which leaves the closing track Caesar some task to follow. It does with ease of course, its disruptive array of undulating riffs and waspish sonics an unpredictable and mesmeric erosion to fall before with pleasure.

Born Into Rags To Die No Richer is a testing and wearing release but also one which leaves an undeniably pleasing smarting behind, a feeding sore glow from a band in Dead Harts, who show no reserve in letting out all their pent up anger and creative spite for our pleasure.

https://www.facebook.com/deadharts

RingMaster 26/10/2012

Copyright RingMaster: MyFreeCopyright

The First – Take It Back

Loud, energetic, and wholly infectious the new single from UK melodic rock band The First is an ear grabbing treat which further concretes the band as one of the most vibrant and thrilling to have emerged in the past few years. Take It Back brings a feisty ride of high octane energy, jaw shaking heavy riffs and melodic enterprise to light any heart.  Fusing rock n roll with punk rock and slithers of post hardcore the track is a stirring riot of contagious hooks and hard rock power moulded into an explosion of pulse racing pleasure.

The Cambridgeshire quintet ignited great critical acclaim with their 2010 debut album Swimming With Sharks, a release which easily set The First as a band primed to become a major part of British rock. Their energetic live shows too only went to bring a growth in the stock and reputation of the band with shared stages with the likes of Deaf Havana, Gallows, Architects, Bring Me The Horizon Mallory Knox and Lower Than Atlantis and their impressive appearance at Hevy festival last year only leaving eager and swelled attention in their wake.

Released August 13th through Another., the single shows the band has moved to higher levels as it evolves further into a distinctly refreshing and powerful force. The track sees the band return heavier and more energetic whilst their melodic imagination is tightly crafted into a sharper impressive weave. From the first note the song slams into the ear with towering riffs and face slapping rhythms. The instant groove pulls the senses right up to stare the song in the face as the excellent vocals and their harmonies heat up the air alongside the emerging heart igniting melodic invention from the guitars. The chorus is sheer contagion which recruits passions and voices from its recipients with ease. To be honest the whole song is an infection which cannot be denied or dismissed and as it rampages it explores incendiary melodic rock flavours and hardcore aggression vocally to great effect. It is a multi coloured palette the band work from in sound and intensity and they with Take It Back have created a masterpiece which fires up an impatient anticipation for more.

British melodic rock is in safe hands with the tightest and most powerful grip coming from The First.

https://www.facebook.com/thefirstuk

RingMaster 07/08/2012

Copyright RingMaster: MyFreeCopyright

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