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 timid 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.
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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 thumping 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.
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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 and 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.
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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 release. 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.
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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.
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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.
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As the windows and doors to your thoughts, emotions, and soul are blasted and virtually shaken off their hinges by Empathy the new EP from Belgian post hardcore band Campus, you know this is one release you are not going to forget in a hurry, or want to. Empathy is immense, a sonic wind tunnel of intensity and aggression veined with inspired invention and melodic enterprise. The enormity of the EP is clear as one lies on the floor grasping for a new breath to chase off the numbness that pervades every sinew as the release signs off from its deeply satisfying four track obliteration of safety.
Released May 28th via Small Town Records, Empathy is destined to ignite passions within a great many more than ever before. With a sound which has traces of bands like Architects, Underoath, and While She Sleeps to its formidable and imaginative creation, the release is the next step on the quest to conquer far afield from their already worshipping homeland. The EP follows their thoroughly acclaimed 2009 album Oh, Comely! which itself followed a well received debut two years before in We Are The Silence. That initial release led them to opening up the Belgian leg of the Taste of Chaos tour of the same year and saw them share stages with the likes of The Used, Rise Against, Aiden and Gallows. Since then they have not looked back as shows and tours with the might of bands like Alexisonfire, Cancer Bats, Parkway Drive, Bring Me The Horizon, Underoath, and Architects filled subsequent years as well as numerous festival appearances.
It is probably fair to say outside of Belgian the band has still to find the heights their music deserves but with an impressive appearance at the Hit The Deck Festival in the UK this year, slots at the Burnout Festival, Hevy Festival, and Skatefest upcoming and most of all with Empathy this feels like the point the rest of the world takes notice.
The release opens up with the title track and within seconds has the senses reeling. As the rhythms of Josse Wijckmans pummel the ear hungry growling riffs prowl with a predatory intensity and overwhelming energy. Vocalist Martijn Leenaerts scowls and unleashes pure venom to match the tumultuous attack. His delivery is persistently varied and an example to many other same genre frontmen that mixing up things is a mighty tool. The guitars of Tijs Mondelaers and Fabrice Parent strip flesh with the sharpest of harsh riffs and energy whilst mesmerising with a melodic invention that leaves blisters seething within the ear. They are openly impressive and again show that thought and diversity can be a weapon of the greatest devastation.
From an impressive start the band raise the bar with Lone Wolf, another track to fly from first note with rampaging energy and dehabilitating effect. As with the first song bassist Tuur Geeraerts is a growling vehement presence bringing the darkest shadows and depth to the songs. Abrasive and provocative the track riles up more than the ear and leaves the first search for air an urgent need.
Downtime is a lumbering brute of a song, its heart, pace, and towering muscle the heaviest on Empathy. It does not neglect the other elements the band does so well neither, offering an impatient groove to wind around the ear with a grip borne of spite and melodic craft to light up the skies of the song like meteor shards, white hot and violently incisive.
The EP closes with the best song within its angry walls in Young Bastard. All the great things that preceded it return in greater heart and intensity. Vindictive, the aggression is lifted to its greatest heights leaving the senses ringing out for mercy and relief but wanting more and more of the same. Within this synapse melting the song explodes with the most infectious groove and clean vocals to ignite flames of primal energy. The track reminds of Red Tape with a twist of Ghost Of A Thousand at times and is easily one of the best tracks heard this year.
If Campus does not breakout to infect the world with their great sounds then justice has never had a place in music but with Empathy the feeling is their time is just shifting up multiple gears. https://www.facebook.com/CAMPUSBE
Just released is one of the most explosive and destructive yet impressively creative with deep melodies and thoughtful craft. The new EP from UK metalers What The Night Brings is an ever evolving mix of hardcore, deathcore, groove and melodic metal, each song within Bound By Apathy is an abusive treat that leaves one breathless and fully satisfied. We had the pleasure to ask the band about the release, their music and themselves in general.
Welcome and many thanks for taking time to answer our questions.
Firstly could you introduce the members of What The Night Brings?
Hi! we are:
Adrian Noone – Vocals
Pete Bright– Drums
Scott Rand– Guitar
Tom Brooks- Bass
Darren Tunaley – Guitar
How and when did What The Night Brings begin?
The Band as WTNB formed officially in early 2008, from an amalgamation of bands that used to be from around the Buckinghamshire area. The majority of that was our current guitarists Scott and Darren and our original bass player Luke. Pete joined in Oct 2008 and Adrian joined January 2010. More recently we are very happy to welcome our new bass player Tom to the fold (Feb 2012).
Do you have musical histories before the band?
Adrian and Pete both played in other bands prior to joining the band – Ade being in hardcore bands and Pete playing punk and metal bands. Scott and Darren have played together since they both started playing Guitar. Our latest edition on bass, Tom used to guitar for another bands but switched to bass prior to joining WTNB.
What were your initial intentions sound wise when starting the band and how has that changed or evolved up to this point?
When we first started out we knew we wanted a hardcore and metal sound as well as having melodic influences, but had no real intentions on sound, just that we wanted to draw on our musical influences. But as we have evolved, we have developed and refined our sound a bit more, and we have more of an idea of the sound we are going for. Even with the writing of the album we are still pushing for a better sound, and looking to challenge ourselves even more.
What are the influences that made the biggest impression on your music and the band?
I think bands like Parkway Drive, Sepultura, Johnny Truant, Norma Jean, and Architects all definitely had a major influence as well as bands like Crawlspace, Pantera, August Burns Red, The Chariot, Cro-Mags and Darkest Hour etc.
You can expect to hear some heavy songs infused with some indirect melody and touch of tech, some brutal breakdowns and Pissed off lyrics.
How does it differ to your debut release Tides in sound and songwriting?
To begin with, the line up when we wrote Tides was different, and I think we were still discovering and honing our sound, where as with Bound by Apathy, we worked really hard to develop and capture the sound we were looking for. Adrian joining the band prior to us starting to writing had a significant effect on this also. Bound by apathy is much heavier sound, the songs are constructed better and overall I think there is a much better sound.
Bound by Apathy contains a quartet of tracks that take aggression and intensity to lofty heights but still offer well crafted impressive melodic strokes and grooves, how hard is it to keep both aspects as open and distinct, something many other bands try but do not find the balance you do.
We tried especially hard on this record to aim for that sound, we all draw on different influences and it was important to maintain that throughout the writing process. We never wanted to follow the trend and we worked really hard to make a heavy collection of songs with a sense of melody that didn’t sound clichéd in the modern heavy music environment. That can be challenging.
Which part of Bound by Apathy are you most proud of?
Overall we are really happy with the outcome and each of us has parts of the record that they are proud of. Collectively I think are all really especially proud of the construction of the songs – especially in “Front Towards Enemy”.
The EP also brings forth the intensity one imagines is a feature of your live shows, how did you achieve that to such good effect?
When began writing the EP, we knew we wanted to bring some devastating songs and originally we wrote 5 tracks for it, but dropped a track as we thought it didn’t fit in with how heavy the EP was, or that it fit in with the overall feel of the record. We were very particular about the song tracking order, as we wanted to keep the intensity throughout the EP.
How does the songwriting process work within the band?
For us, it can happen a number of ways, sometimes it can be very organic, when we want to jam out some ideas in the rehearsal room, however, for the most part it starts off with a riff idea- Darren and Scott usually get together and collate ideas and work out the riffs and bring them to the rehearsal space where as a band we start refining them down, seeing what works best etc. It’s an important aspect to the writing process that we work as a band to achieve the sound we want.
There is a defiance and aggression to your lyrics on the EP what inspires you the most that flavours your lyrics?
Adrian (vox): I attempt to not be entirely self-obsessed when writing lyrics. I grew up listening to a lot of socially aware music and that’s pretty much embedded itself on how I think and express myself. That’s not to say I’m solely political in my lyrics, or that I don’t sing anything personal, I just tend to think there’s a lot more to be concerned/angry with than just my corner of the world.
You have shared stages with the likes of Protest The Hero, Your Demise and Lower Than Atlantis. What has been the highlight so far and what have you gained as a band from appearing alongside these more established bands?
I would say definitely playing with the bands mentioned above as highlight, absolutely incredible shows, and an honour to share the stage with them. More recently also playing with H2O – a band that Adrian has been going to see since he was 15! You gain a lot of experience in terms of stage presence when you play with bands of that calibre and it certainly gets you fired up to keep doing what you’re doing.
Is there a different feel or buzz for you from headlining your own intimate shows to opening up and supporting in bigger arenas with these kind of bands?
There is definitely a different feel – when opening up for bands like Protest the Hero, not only are you playing to usually a much bigger crowd but also you have to work that much harder to win over the crowd as a opener band, so there is a lot more pressure. For intimate headline shows though there is more a relaxed party feel, and you know that you can go and out there and have a great time as they are there to see you.
What are your hopes or aims for the rest of 2012?
So we are currently in the middle of writing our debut album, so we will be looking to start pre-production soon with an aim to start recording towards the later part of this year. On the touring front, we are looking to head over to Europe for the first time and tour out there, before coming back and doing another UK tour. We are also starting to book up some weekenders up and down the country. We are aiming to play as much as possible this year.
With the impressive quality within Bound By Apathy and what must be great acclaim coming its way over the weeks ahead are you relishing the pressure and expectations for even more from your future releases from media and fans alike?
Absolutely! It will certainly be a challenge and we are pushing ourselves to write even better songs for the album, hopefully it will gain even bigger success than this EP.
Again a great thanks for talking with us and good luck with Bound By Apathy.
No worries, thank you.
Thank you for your continued support for the band, without you guys it wouldn’t really mean much. Keep up the support, and expect to see a new music video very soon and then the debut album! Come party at a show with us!
And finally give us some personal sounds that have inspired you as your EP will so many others.
Check out bands like August Burns Red, Parkway Drive, Protest the Hero, Cold Hard Truth, Integrity, Minus the bear –there are a lot of great bands out there, and some really good up and coming UK bands as well .
Read the review of Bound By Apathy @ http://ringmasterreviewintroduces.wordpress.com/2012/03/31/what-the-night-brings-bound-by-apathy/
The Ringmaster Review 18/04/2012