Immension: Self Titled EP

For some reason there seems to be a bit of negativity going round towards the debut self-titled EP from UK melodic metal band Immension, not that it has been a slating upon the release but an apparent to our minds anyway misguided lack of appreciation of what is on offer from the Sheffield quartet. Now certainly the release does not forge new avenues for metal or unleash a storm of originality but at the same time it makes for a satisfying and reasonably thrilling encounter for the ear. For their introduction it has to be said the EP is an impressive enough slab of creativity offering plenty of promise for the band in the future and enjoyment right now.

The main accusation towards Immension is their closeness in sound to Bullet For My Valentine on the release, something you cannot dispute but is hardly a bad thing when mixed with a brewing independence of sound from the band though that is arguably not as realised on the record as you would wish. Nevertheless accomplished in musicianship, thoughtful in structure, and stirring in intensity there are more things right than ‘wrong’ with their introduction to the world.

Formed by vocalist/guitarist Jake Kearsley and lead guitarist Tim Dolan from jamming together five years ago, the band reached a stable line-up with the addition of bassist Hasan Ahmed and drummer Jonni Sowter. From there the band played a torrent of shows stretching from London to Leeds building a fine reputation and loyal fan base along the way. The EP is the first twist of the key to wider recognition and something which certainly amongst metal listeners if not the media seemingly, will stir up plenty more interest their way.

The release opens with the emerging power of Shadow Of Yourself, a track which initially stands tall with flaring riffs and rhythms speared by sonic dazzling wrapping around its bulk. Soon it erupts into a charging fury of pummelling beats and scything barbed hooks and hungry riffs. It is not exactly formula stuff but using tested structures skilfully and to great effect. It is with the clean vocals of Kearsley that one is initially a little taken aback. Expecting the scowling squalls of malice and menace most bands employ the clean delivery is a refreshing variation with growling spite the additive rather than the other way round. Thoughts of In Flames and Avenged Sevenfold emerge from the muscular presence of the track as well as the previously mentioned band of course to make the song a familiar friend for the ear and an enterprising experience for thoughts and senses.

Like the opener the following Lost & Forgotten offers plenty of asides and unexpected ideas amongst the overall bluster of riffs and intense rhythmic assaults, the second song elevating things to a stronger aggressive level. The track is a raging tempest of spite and passion with again the dual vocal attack, and especially the sung vocals, quite compelling. Overall the song is treading the harsher territory of a Killswitch Engage or As I Lay Dying musically and is the best track and the biggest instigator of real promise from the band on the release.

The slowly brooding In Vain closes things off with a more adventurous gait than before on the EP. The initial mellow tones of atmosphere and vocals is a warm caress against the heated sonic play of the guitars, the infectious chorus merging it all into a brief fire with commanding drums to frame their flames. Soon it is another charged frenzy of energy and aggression which switches between full flame to simmer with seamless craft and ease. It is a song which takes time to make its persuasion but emerges as a dramatic and intelligent song, and again another showing the scope and promise of the band in songwriting and its realisation in the future.

Immension has arrived with an EP which deserves attention: it is not going to ignite the biggest ardour within most but certainly will be a pleasing and gratifying companion during its presence.

www.facebook.com/immension

RingMaster 03/01/2013

Copyright RingMaster: MyFreeCopyright

Fates Upon Us: Self Titled EP

In a year of what seems like a flood of emerging metalcore type bands, to truly standout from the masses a release needs to be exceptional and instantly inventive. Whether the debut self titled EP from Yorkshire band Fates Upon Us is such a release is debatable but the five track EP certainly marks the band as one full of obvious promise and refreshing imagination. The finding of their distinct voice is an assumption you can only see the band fulfilling ahead whilst their first release certainly elevates them enough within the ranks of similarly fuelled bands, to make them ones to watch closely.

Formed in August of last year, the Sheffield quintet took no time in finding a keenly receptive local audience to their live performances and sounds, a repeating occurrence as they slowly ventured out into the whole county and beyond. Good success in heats of the Corporation Battle Of The Bands competition has followed their strong beginning as well as a UK tour with Gold Skies Ahead. With comparisons to the likes of Asking Alexandria, A Day To Remember, and Bullet For My Valentine placed upon them, the band now unleash their debut release with a destined national awareness and fervour on their horizon.

Don’t Hate The Player, Hate The Game starts off the storm with resonating and intimidating riffs matched by towering rhythms and oppressive intensity. It is not a ferocious entrance but one which ensures instant focus in its direction. The vocals of Danny Costello send squalls of vehemence across the landscape of the song  whilst the guitars of Carl Tyler and Danny Hattersley fire flames of accomplished sonics and blistering melodic shards upon the senses. As a scowling predator the track is excellent but does suffer a little with the inclusion of clean vocals and an accompanying dip in intensity. It is not enough to unsettle the track but hindsight, after the others songs have stated their claim and disrupted the air, does offer a little surprise as to why certainly the vocals do not work as strongly as elsewhere where the cleaner tones are easily as impressive as the growling consumptions.

Nevertheless it is a  great start which is immediately elevated with the full steam stomp of Have Fun Storming The Castle, a track as unbridled in its passion and energy as it is in rifling the ear with sharp riffs and contagious ideas. The vocals are spot on in both extremes of delivery to put previous slight wrongs in context whilst the rhythms of Carl Jackson thump and barrack the ear with little restraint or mercy. As mentioned earlier whether the track is distinct enough like the release as a whole to garner the full praise it maybe deserves is arguable but as a feisty companion it leaves one wanting very little more.

The third track If Cats Had Opposable Thumbs brings another flaw, this time in its production levels which are too low so the track sounds like it is playing from a room away. It is a shame as the track itself is great but the drop does override the enjoyment somewhat. The track itself is a brawling confrontation merged with expressive melodic imagination and stirring energies. By this point though that similarity to other bands is strong, Fates Upon Us offer plenty to suggest their future sound will see them rise from the pack. The immersive mellow and enveloping weaves from keys and vocals sink seamlessly into the harsher heart of the song to show skilled craft and thoughtful endeavour to the songwriting, not something which can always be applied to other bands.

Back at full levels, Boys, We’ve Struck Gold is an instant winner, its expressive warm gentle initial tones erupting into a furnace of demanding yet rewarding aggressive and inventive ventures. The track barges one to the ground, leaving you a bruised victim to its intense anger but just as easily and passionately stretches out revitalising and reassuring melodic hands to steady and expand the heart to its imagination. Arguably for really the first time bassist Danny O’Keefe can step from the aural shadows to show his hunter skills as well as the continual depth he brings all songs. It is another exciting and captivating track offering great futures.

Closing with the relatively straight forward Hobo With A Shotgun, the EP is one which is impossible to lose in the pack whilst still within its stirring ranks.. Fates Upon Us though inspire expectations of great promise and a clear escape in the future to set them well apart from the throng.

http://www.facebook.com/FatesUponUs

RingMaster 25/10/2012

Copyright RingMaster: MyFreeCopyright

Cry Havoc: New Life EP

Some band names just invite intrigue and eagerness to learn more. Such is the case with British metal band Cry Havoc, their name inspiring thoughts and impressions which one only hoped their sounds could live up to. Their debut release the New Life EP easily matched and exceeded those wishes, its muscular presence standing tall with music to fire up deep enthusiasm and satisfaction.

A band still in it informative years, Cry Havoc has been exploding stages with high octane live shows which has seen performances alongside the likes of Malefice, Revoker, The Defiled, Voodoo Six, Jettblack, Romeo Must Die, The Dirty Youth, and Guns 2 Roses as well as their own gigs and festival appearances such as Hammerfest III in 2011. They were also invited to contribute to the Ozzy Osbourne tribute CD No More Tears alongside artists such as Vince Neil from Motley Crue, Alice Cooper, and Kiss. Things were definitely on a rapid rise as the band entered Nott-In-Pill studio in the closing weeks of last year to record New Life alongside producer Martyn “Ginge” Ford and Matthew Bond, who have previously worked with the likes of Bullet For My Valentine, Slipknot, Trivium, Skindred, The Dirty Youth and Revoker. With its release this September one can only assume a full and eager hunger for the band and their furious blend of thrash and hard/classic rock, or as they call it thrash n roll, will follow.

Losing Everything is the first rampage through the ear, a ferocious and hungry fury of crippling artillery driven rhythms and ravenous riffs. The song is an immediate thrust of pleasure and power to ignite all the demands of a great metal song, the passion and energy as resourceful and striking as the outstanding guitar imagination alongside openly impressive vocals. It would be wrong to say the song, and EP as a whole has anything new to say or bring to the mosh pit but undoubtedly it sparks all the fires one could wish from a release of immense quality. The track has a Mudvayne flavour to its sound to add another spice and depth to its crushing presence and by its end the result is an explosive and outstanding start to the EP.

The following Ignition starts mesmerising the senses within seconds with a tightly woven groove and again unrelenting rhythms. Into its stride the song is a charged and thrilling ride, the riffs squeezing the ear tightly so that groove and the flaming guitar solos which strike can singe its flesh. Like the opener it is an infectious and highly memorable rampant slab of metal, originality compromised for a stirring and magnetic Metallica/Slayer/American Death Charge like mix.

The malevolent Alone swamps the ear next with further thrash and metal barracking to devour greedily. Thumping drums bludgeon the senses whilst the guitars continue their skilful and inventive pursuit of the heart, whether a riff or melodic enterprise there is only imaginative and greatly crafted play.

The release closes with the title track and of course again it is a uncompromising assault of thrash n roll, a raw and abrasive sound which leaves one wanting more by its final note. The song shifts its pace from top gear aggression to melodic ‘catch a breather’ asides at times but all is seamless and sculpted to leave a lingering burn of satisfaction behind.

The New Life EP is not the most unique in sound but one of the most enjoyable and riotous thrash driven releases sure to pass your way. Cry Havoc is a band with a big horizon ahead of them and sooner rather than later one suspects.

www.facebook.com/cryhavocuk

RingMaster 18/09/2012

Copyright RingMaster: MyFreeCopyright

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Beyond Betrayal: Money Can’t Save You Now EP

Barbaric and venomously twisting the new Money Can’t Save You Now EP from UK melodic metalcore band Beyond Betrayal is a stirring and impressive brute which leaves one bulging with satisfaction and anticipating even greater things ahead. There have been plenty of emerging metalcore bands over recent months, many offering a melodic element, but the quintet from Barrow in Furness easily stand at the fore. Arguably the band has still to define and unleash their own uniquely distinctive breath but they already sound apart from and head most of the new bands which makes the future for them and us very exciting.

Formed in 2009, the band has worked hard to shape and evolve their heavy inciteful sound through live shows, relentless practice and their well received self titled debut EP a year later. 2011 saw the band with a line-up change and arguably a new focus and strength to their sound, the metalcore heart energised with elements of death and progressive metal brought with a sure and keen touch. To this there is a sharp melodic enterprise which wraps around the intensity with intelligence whilst the grooves which rear up at times are borne from the wanton side of infectious. Released August 27^th, Money Can’t Save You Now is the thrilling evidence of the depth and power which has emerged within the music of Beyond Betrayal, the release a mighty step on their accelerated ascent. As mentioned one feels their sound is still in progress towards its full identity but still leaves one deeply impressed whilst setting a level for others to aim for.

The Shane Frisby (Bury Your Dead, The Ghost Inside) mastered release opens up with the November, a track which goes for the jugular with aggression and fine craft. Within moments riffs are stripping and scarring flesh with expert sonic artistry whilst the vocals of Vinnie Dickinson seize ears to take them through a storm of guttural spite and sprawling serpentine malice. Driven by a sadistically manipulative groove the track is a maelstrom of energies and rhythms which only ignites the fullest fires. The guitars of Tom Fisher and Scott Shields are perpetually shifting the presence of the song, assaulting the senses with tight vindictive riffs or taunting them with insatiable and golden melodies. The song is an outstanding start elevated into something extra special by the seamless and unexpected progressive aside. Dropping into a tingling caustic whisper the track gives one time to step back and take it all in before surging back with intent and power for a towering climax.

With a distant drum n bass kiss to herald its presence the following Scott’s Got A Time Machine (He Told Me Tomorrow) crawls all over the senses and licking its lips over the onslaught and violation to be delivered. As with the opener the beats of drummer Jake Newton are crippling at the very least whilst bassist Arron Twinney drools rhythms like a ravenous not to be denied predator. As the track expands its grip and flexes muscles it whips up niggling persistent grooves to swarm around the corrupting tempest of undulating riffs and consistently shifting dynamics. The track is outstanding and asks for many returns to take in all on offer, though that can be applied to most of the five songs.

The following Tear Me Apart has a progressive soundscape and offers an air of Bullet For My Valentine to its sound whilst its successor What Lies Inside strikes with a violent purpose and incendiary melodic imagination. The second of the pair scampers all over the senses with intricate craft and disorientating intensity to again leave one unprepared and satisfied at the multi directional turns of the track. Neither song quite lives up to the first two tracks but still leave a deep and welcome mark in their wake, their sounds a sure pleasure for an fans of bands like I Killed The Prom Queen or Bring Me The Horizon.

The EP ends with the best song, the title track. It is a rampaging hungry bruising of energies which rages like an inferno at times and bewitches with dribbling melodic teases in other moments. It is a tremendous song which unveils the full expressive and inventive scope of the songwriting and accomplished skill of the band whilst triggering the imagination of what the band should and will create as they grow. The Money Can’t Save You Now EP is one of the best metalcore releases to be let loose this year and marks Beyond Betrayal as a band to stretch and take the genre into new and expansive places.

http://www.beyondbetrayalofficial.co.uk/

RingMaster 22/08/2012

Copyright RingMaster: MyFreeCopyright

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A Silent Escape: Self Titled

From a good but underwhelming start the self titled debut album from Swedish band A Silent Escape digs deep to unleash a series of diverse and imaginative tracks. It is a release which one can argue about in regard to its originality and uniqueness with at times some songs merging into the sea of similar fuelled and sounding songs elsewhere. What is not in doubt is the promise offered up and the skilled and intense imagination deployed when the band expresses and extends itself.

The band formed in 2010 though the seeds of the band can be said to have been planted further back in a band Union Square where A Silent Escape vocalist/bassist Patrick Stenborg, vocalist/guitarist Joel Nilsson, and drummer Nic Antoni Londqvist played together. On the demise of that band the trio linked up with guitarist and friend Eddie Hansala and A Silent Escape was born. June 4^th sees the release of their debut as the band look to waking up the UK and beyond to their Comeback Kid/ In Flames/ Millencolin influenced and blended sounds.

The band slaps the senses around from the off with Blackhole Gravity a song of thumping rhythms and insurgent riffs. The track is punchy with a striking melodic grip upon the ear whilst being openly infectious and proudly eager. It does everything right especially with the reserved enterprising moment mid song but just misses lighting up the fires with any distinct individuality. The following Final Chapter is the same, though another good song which is impossible to feel anything but pleasure from it just does not inspire anything stronger, nevertheless both tracks unveil striking elements to ignite sure promise whilst easily entertaining whilst the senses in their presence.

Things truly lift though when From Words to Beating steps forward to ignite the senses. A melodic warmth permeates from it making a smooth yet bristling experience for the ear, the Avenged Sevenfold toned vocals a fine companion for the expressive sounds. From this definite lift to the album things truly explode with best track God’s A Liar(feat. Richard Sjunnesson from The Unguided). From the opening taunting and intimidating riff breakouts on the ear alongside punchy rhythms the track takes a hypnotic hold. Melodic wraps cover the metallic spine and contrasting venomous growls explore and illuminate the song alongside a great clean vocal delivery bringing the most compelling contrasts and startling interplay. The track is mighty and easily the major highlight of the album.

The album is in full flow now unleashing a series of undeniably impressive tunes as the following melodic metal Ticket Back and catchy hook luring Can’t Be The End show. The second of the two is almost like Bullet For My Valentine does pop punk but is not only far better than it sounds but is a captivating slice of infection.  Both songs are powerful and easily accessible without resorting to easy tricks and avenues. Again one could not claim they were breaking into new directions with truly unique sounds but one can easily state not many other releases bring as much fully appreciated pleasure.

The blistering attack of Bullets takes the album down another detour, its electronic spicery a great twist to the growing intensity, whilst Smalltown Outcast peers into the creative well of the likes of Silent Descent with great effect. Ending on another slab of intensity in Goodbye Mr Pig the album is an enjoyable creature with possibly more promise than realisation still upon its breath. The signs are all there and only time will tell if they can cultivate their own distinctive and even more striking sound but right now A Silent Escape, album and band leaves one more than merely pleased and satisfied.

RingMaster 31/05/2012

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