Cole Childers – Aurora EP

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Providing an intriguing and seriously captivating blend of hard and alternative rock with also a slight tendency for metal, the Aurora EP is one of those potential soaked treats which catches you by surprise and opens up a certain appetite for more. The debut solo release from Cole Childers, the impressive six track encounter is a bed of drama and evocative enterprise which roars and seduces with equal potency. It is not a proposition to explore new avenues for fiery melodic rock but certainly one making a tasty addition to its ranks whilst marking Childers out as a striking presence to contemplate and keep a keen eye on ahead.

The Bainbridge Island, Washington hailing, now Seattle based musician brings his experiences from being a member of the United States Navy since 2000, as well as other personal moments and insights into his songwriting, lyrically and in sound songs gaining a dark and often challenging texture to their incitement. Returning from a six month deployment in 2006, Childers formed rock band Chasing Corona which released the critically acclaimed album Black Eye and Candlelight as well as going on to share stages with artists such as Motley Crue, George Clinton, Creed, and Joan Jett. In 2010 he left the band and also since leaving the military, found in his words that “I was able to move back to where it all began, with new purpose and clear direction.”

As soon as the opening track from Aurora embraces ears there is recognition of that passion you sense in the man running through the release in sound and vocal delivery. Save Me straight away casts a wall of demanding riffs and ImageProxy.mvcrhythmic swipes which awaken attention and imagination instantly. It is a feisty entrance by the song which is soon entwining senses in taught grooves before relaxing into a melodic and emotive caress clasped by evocative shadows. It is a fiery relaxation though which is soon aflame as the rigorous chorus erupts with similar vocal causticity from Childers. It all combines for a gloriously magnetic lure aided by the great throaty prowl of the bass and those firm swinging rhythms which punctuate every twist and emotional expulsion of the song. As lyrically gripping as it is in sound, the song is like a mix of Johnny Wore Black and Sick Puppies, and a scintillating start to the release which alone fires up a hungry appetite for more in the passions.

Childers latest single comes next to continue the immense presence of the EP, Fall With Me also entangling the senses in raw and strongly imposing scythes of guitars at first before Childers begins unveiling the emotively striking and stirring premise of the song. It along with an accompanying video, potently tries to portray the turmoil and sacrifice in war which goes unrecognised or certainly felt by those on the outside. It has a metal edge which makes for a predatory essence whilst a 3 Days Grace like angst and expression adds further rich hues to the incendiary and thrilling encounter. There is equally a skill and poise to the musicianship of Childers which hones the emotion and aggressive flavours that drive the heart of the song into a thought sparking proposition.

The evocative balladry of Addict is next, keys and voice making a captivating embrace which flourishes further as Childers explores a flowing harmonious presence whilst embraced by shadow kissed strings. An electronic agitation adds its resonance across the brewing climate of the song, a whisper of Linkin Park spicing up a Pearl Jam/Breaking Benjamin like croon. It is a mesmeric blaze of dramatic enticement which makes way for the tempestuous air and energy of Run Away. Again Sick Puppies comes to mind as hooks sparkle and riffs rub their captivating bait on ears whilst a raw energy colours the song’s emotional bellow. As with all the tracks, there is an inescapable contagion and ferocious beauty which wraps and ignites the imagination whilst forming a lingering lure in the passions.

The EP is completed by firstly the heavy rock fuelled Impossible, a track which lacks the spark of its predecessors yet still has plenty to ensnare and draw back eager attention, especially the potent and increasingly impressing vocals and expression of Childers. It is followed by the title track to being things to a potent close. The acoustically cast track looking at a broken relationship and its twist, is a smouldering caress of a song where vocally Childers again shines and melodically is an evocatively flaming sunset of sonic richness and emotive endeavour. It is an excellent finale to an outstanding release which just gets better with every listen. As mentioned at the start, Aurora is not setting new plateaus to emulate but definitely provides one captivating promise drenched adventure which suggests to expect big things from Cole Childers ahead.

The Aurora EP is available now via Vanity Digital Music on iTunes, Amazon, Google Music and other digital download sites.

colechilders.com

8.5/10

RingMaster 13/08/2014

Copyright RingMaster: MyFreeCopyright

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Wovenwar – Self Titled

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Pic by Ty Watkins

The events around and causing the imprisonment of As I Lay Dying frontman Tim Lambesis is a well-publicised happening which does not need our commentary. It also left the rest of the band with a major decision. No strangers to success and acclaim, the remaining quartet of guitarists Nick Hipa and Phil Sgrosso, bassist Josh Gilbert, and drummer Jordan Mancino had to decide their next step and thankfully chose with music their life and calling, to strike forward with a new project and what a stunning proposition it has turned out to be. Recruiting lifelong friend and ex-lead guitarist/vocalist of Oh, Sleeper, Shane Blay, the quintet emerged as Wovenwar and has just unleashed a monster of a debut, in their fifteen track self-titled album. Exploring with muscular ferocity and passionate tenacity the melodic metal side of their imagination, the band has created a proposition as distinctly different yet equal in quality and temptation to anything their previous triumphs have unveiled.

Recorded with producer Bill Stevenson (Descendents, Rise Against, NOFX, Black Flag) and mixed by Colin Richardson (Slipknot, Machine Head, Trivium), the album also reaps with sinew driven voracity the rich essences of hard rock to create blazes of sound and enterprise which stand astride genres whilst offering recognisable flames within fresh adventures. On top of that there are the, at times breath-taking and always tantalising vocals of Blay, his clean tones which helped shape his previous band given full expansive rein here to excel and show the strength and weight of the man’s power and craft. It is a magnetic and persistently surprising mesh of sound and ideation which courses the album and immediately awakens attention and appetite through All Rise which follows the opening intro of Foreword. A drama instilled prelude to the creative emprise ahead, the opening track makes for a potent coaxing before the second track explodes with a thumping roll of rhythms, agitated riffs, and a sonic shaping of melodic intent. It is a busy entrance soon enhanced by Blay and the heavy throated predation of the bass. The track is swiftly as anthemic as it is technically bewitching, guitars and drums nimble footed yet leaving heavy impressions with their stormy endeavour.

Death to Rights erupts with similarly intensive and rugged energy and adventure next, jagged riffs and demanding rhythms evolving into scorching weaves of melodic passion and sonic intrigue, though that only hints at the fluid Covermovement and invention within the blistering encounter. As the album, every aspect of the song calls out with invigorated energy and refreshing ideation, raw and almost antagonistic power crowding in with sultry melodies and rapacious infectiousness. It is probably unfair to say the members of the band have found a new lease of life with Wovenwar but certainly there is a freedom and elation to the sound and passion behind it which is as magnetic as the songs themselves.

Through Tempest and The Mason, band and album continue to impress with no restraint. The first of the two finds a carnivorous tone to the bass which alone ignites the passions but also makes a shapely blend of that aggression with an elegant melodically tempering countenance to remind of a more ferocious Sick Puppies. The second of the pair digs into a more furious breath in sound and personality, though the rich tones of Blay never allows the primal intent and fury beneath his vocals to have complete reign with their glorious causticity. The same applies to Moving Up and Sight of Shore, though they are more even tempered naturally with easily pleasing and flawlessly accomplished if less imposingly striking presences compared to previous songs on the album. Each leave a greedy appetite well fed nevertheless before Father Son makes its claim for best track notoriety. The song is simply bewitching, its soothing melodic opening caress over a metronomic lure, irresistible coaxing which increases in temptation as soon as Blay opens up his deliciously mesmeric tones. With keys an evocative ambience over the picturesque narrative of the guitars, and both colourful scenery in a mountain range of epic rhythmic enticement, the track is pure poetry as it leads to its mouth-watering climactic crescendo of a finale.

Profane then thrusts ears into a tempestuous exploit with thunderous rhythms and scathing riffery, the track the rawest and anthemically volatile track on the album yet still holding a seduction which wraps around the aggression and vocal roars which Blay unveils within ever formidable delivery. It is a beast of a track which along with its predecessor puts the likes of Archers and Ruined Ends under pressure to deliver. Neither falls at the hurdle though, the first a voracious blaze of entwining sonic rages, passion drenched vocals, and flavour fuelled melodies whilst its successor is a deeply satisfying mix of abrasing textures and contagious designs ridden by earnest and heated vocal expression.

Things take a bit of a breather with Identity, its well sculpted and unquestionably impressive presence also lacking the spark of those leading up to its moment, though again to be fair there is nothing to leave disappointment a chance to breed. Matter of Time is in its own individual way the same, which offers the suggestion that maybe the album was a couple of songs or so too long but with its compact yet weighty intimidation and stormy air leaving senses and thoughts contented, you feel to omit it and other tracks would be to our real loss.

The album is completed by the acoustically opened Prophets, another spellbinding matching of Blay’s voice and melodic guitar enticing as group harmonies float engagingly over the poetic scenery which works into a climactic landscape of equally thrilling provocation, and lastly the cinematic instrumental Onward which gives the imagination one final flight to immerse in. It enjoyably concludes a scintillating proposition which proves that every cloud has…etc. Though its members are no newcomers to creating inspirational metal, Wovenwar has made a debut which definitely is startling and leaves anticipation for their next step afire, and the passions right now basking.

Wovenwar is available via Metal Blade Records now @ http://www.indiemerch.com/metalbladerecords/band/wovenwar

http://wovenwar.com/about

9/10

RingMaster 08/08/2014

Copyright RingMaster: MyFreeCopyright

Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from

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Of Allies – Tempers EP

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It might not set heartbeats racing and get thoughts animatingly blazing, but UK alternative rockers Of Allies provide a potent introduction with their Tempers EP. The debut release from a band still in its infancy after only forming last year, makes a strong and potential drenched statement, gripping attention with a quintet of richly satisfying tracks. With a sound which merges alternative and indie rock with strains of melodic metal, EP and band show plenty to excite the senses whilst raising a keen appetite for their future explorations.

Emerging from the depths of Yorkshire, the Hull based quartet of vocalist/guitarist Rich Nichols, guitarist/vocalist Tom Hewson, bassist Nick Tyldsley, and drummer Danny Barrick has already been drawing keen attention since their emergence a few short months ago. First single and video, Ghosts caught the eye and ears of BBC Introducing whilst their live performances has only recruited more and more eager followers. The Matt Elliss produced Tempers EP is the band’s nationwide entrance and it is hard not to expect seeing Of Allies coming under a much stronger spotlight because of it.

From its first expressive caress of vocals over a lone melody, opener Ghosts intrigues and holds the imagination tight. It is a gentle start which is swiftly enhanced by a rumbling of rhythms and an emerging web of guitar crafted melodic rsz_temperscover2enticement. The potent entrance is soon aflame with sturdier intensity and a sonic blaze whilst a somewhat familiar glaze washes over the brewing drama. Comparisons to the likes of Deaf Havana and Twin Atlantic have been cast over the band but across this outstanding starter, thoughts of Three Days Grace and more so Sick Puppies definitely comes to mind. The song grows in stature within its virulent call and across subsequent listens, its weighty persuasion and the band’s creative tenacity increasingly irresistible bait.

The following Our Decay is less immediate in its entrance, though the early sonic groove and throaty bassline sparks another smacking of lips in an already awoken appetite for the release. Rhythms again ooze sinew built temptation to steer thoughts and emotions skilfully into the emotive heart of the song, a core with a passionate roar and musical ferocity. Across its body the track continues to swarm engagingly over ears with melodic elegance aligned to evocative textures, gliding into those climactic and incendiary crescendos time and time again. Another big highlight of the release, the excellent encounter is followed by In Screens, a track offering scythes of sonic coaxing across a moody almost predatory bass sound at its start. Its subsequent emotively driven presence does not have the strength and potency of its predecessors but still takes ears and thoughts on a stirring ride of passion soaked melodies within a dramatic cloud of restrained crisp rhythms and inviting sonic squalls. It is a pleasing and easy to digest venture providing further evidence of the band’s impressive songwriting and craft, both reinforced by the mellower and sultrily aired In Stasis. Again it is a proposition which does not light fires but immerses the listener in a rich and captivating wash of emotion and creative intensity to leave a flavoursome mark.

The closing Play Dead hugs ears with a beauty clad vocal and guitar elegance, kissing the senses before forging a net of sonic insistence and rhythmic drama to which melodies and fiery guitars expel a strikingly passionate and contagious wind of suasion. It is an outstanding end to the release, a song which out of them all most openly shows the depth and richness of the potential within Of Allies.

The excellent The Tempers EP is not going to set volcanic ripples within British rock but has all the armoury and quality to earn a strong spotlight on its impressive entrance and leave a keen smouldering intrigue for the band’s next move.

The self-released Tempers EP is available now!

http://ofallies.com/

8/10

RingMaster 08/07/2014

Copyright RingMaster: MyFreeCopyright

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Of Us Giants – Nova Scotia

Of Us Giants Photo by Kitten Cabada Photography

Of Us Giants Photo by Kitten Cabada Photography

    You know when you get so excited you drool a little well Nova Scotia is one of those albums which figuratively achieves the same result. The prize offering from California alternative rock band Of Us Giants, the eleven track release is an energy driven vivacious stroll of melodic and expressive rock brought by a band you can only expect to hear much more of in the future. Impressive and infectiously enjoyable from song to potent song, the album strikingly builds on the band’s acclaimed debut release the Stitch EP, a record which has drawn comparisons to the likes of Balance and Composure, Manchester Orchestra, and Brand New to the Of Us Giants sound.

   Formed in 2012, the Turlock hailing trio of vocalist/guitarist Dustin Andrews, bassist/vocalist Jonathan Jennings, and drummer Sam Battista has found a healthy buzz around themselves, in no small part because of the aforementioned EP. Anticipation for their debut full-length has been eager to say the least and now with its digital and vinyl release via numerous labels and exclusively here in the UK by Close To Home Records, feeds and transcends all expectations.

     Opener Liar takes a mere second to entrap attention and an instantly brewed appetite, its rhythmic enticement a potent ofusgiants_novascotiabeckoning soon enhanced by rich guitar bred hooks and bass spawned throaty temptation. Once the excellent expressive tones of Andrews add their presence the song makes a strong suasion which only increases its power and heights with an anthemic spiral of dual vocals and fiery melodics at its heart. It is a song which you just do not realise how much it has infected the imagination and memory until it has passed by, it an irresistible weave of sinews, rhythmic and emotionally, with evocative melodies and soaring sonics.

     The immense start is not quite equalled by the next up Sycamore Tomb, certainly initially but again it is a devious little treat which just grips and lingers longer in the psyche the more you initially embrace it. Whereas its predecessor had a touch of Placebo to it, the second song with choppy scythes of guitar and intensive bass prompting shows where those Brand New references emerge from. Agreeably anthemic in all the right places, no note of breath wasted without a full dose of temptation, it is succeeded by Iron Boat. The first of two songs featuring the vocals of Lindsey Pavao, a semi-finalist in the US version of The Voice apparently, the song saunters with a swing to its rhythmic hips and fire to its sonic invention. It is a relatively straight forward slice of melodic rock without any startling element or dramatic hook to its gait to be honest but still offers a vocally varied and pleasing piece of refreshment before the album raises its game again with Take It Home. Sultry melodic guitar coaxing first leads thoughts into its emotive hug with the dual vocals of Andrews and Jennings impressing. Soon though passionate arms lyrically and musically open up to release flames of resourceful melodic rock with a rawer muscular trait which makes the band a potential attraction across all of the general genre’s sub sections.

     The smouldering persuasion of Dying and the mesmeric enchantment of All of My Daughters brings another absorbing variation to Nova Scotia, the first a passion fuelled slowly building tower of intensity which plays like a blend of Three Days Grace and Sick Puppies whilst its successor with a ridiculously addictive hook to its first few seconds against another dark bassline, casts a spellbinding shadow wrapped irresistible beauty over ears and heart. There is a familiarity to the song which equally niggles and excites, as it is hard to exactly define its source, but it cannot derail the potency and quality of the encounter, it and the previous song virulently infectious pleasures.

  Around the Furline is sculpted with the same kind of irrepressible incitement and bait without losing any individuality against the other songs around it, a Skids like riffing and sonic bait a major toxicity within that trap, whilst the following A Beam Offshore whilst stalking a similar groove to its foregoer flirts further with the passions through strong vocals and eloquent melodic endeavour.

     The more restrained and arguably richer in emotional intrigue presence of Stone Hands is the first moment where the album struggles to raise the same strength in hunger and attention, though it is impossible to deny it is a superbly crafted and musically exposed presence. Its successor Machine Heart also takes time to convince; that is until it expels a punk infused rampancy and bruising to its pop laden adventure where it moves into being another strong proposition.

    The title track completes Nova Scotia and invites Lindsey Pavao for the second time into its midst. An acoustically honed country touched stretch explodes into a fire borne furnace of emotion and intensive sonic design in a song which catches the imagination though again maybe not the passions as forcibly as elsewhere. It does provide a richly satisfying end to an openly outstanding release all the same, an album which declares Of Us Giants as one rather exciting and impressive rock proposal destined to bright horizons.

 

http://ofusgiants.bandcamp.com/

https://www.facebook.com/ofusgiants

9/10

RingMaster 27/01/2104

 Copyright RingMaster: MyFreeCopyright

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Black Tie Vendetta‏ – Length Of An Ocean

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    Length Of An Ocean is an album which is as intriguing as it is pleasing, a release which without breaking down new musical doors still plays with and denies expectations with a collection of songs oozing diversity and imagination. Unleashed by Dallas rock band Black Tie Vendetta, the album shifts continually from heavy and thunderous to melodic and seductive, often combining the two for engaging and riotous experiences, and though it does not completely maintain the fiercest fire of a response to its offerings the flames do burn brightly with each magnetic track.

Consisting of vocalist Brandon Callies, guitarists Dustin Morrison and Dustin Baugh, bassist Joe Bandy, and Johnny Sillers on drums, Black Tie Vendetta has over the years forged a strong name and presence across their local scene and further afield. Latest release Length of an Ocean has energised that stature with its invigorating enterprise and sounds, and though it has still not quite found a place in the widest array of ears yet, listening to its deeply satisfying songs you can only feel the promise of the band is close to the fullest awareness, if not for this album for future creativity.

The album explodes into view with the bulging rhythms and rampaging energy of Armed And Ready. Immediately the song is 73239_151504728227422_8131457_ncarving up the senses with carnivorous riffs and firmly punching drums whilst the vocals of Callies ride the track with expression and potency. With the infectiousness of a Foo Fighters and the sinews of a Hell Yeah, the track ignites the passions with ease and sets the adrenaline firing for the rest of the album, its uncompromising yet familiar stance a virulent persuasion for release and band.

From the heavy rock charge of the opener the band switch to an alternative rock voice for the following Carries Me Away, though again the bass snarls and rhythms cage with the same intensity and power. The immense force of beats from Sillers and the growling resonance of Bandy’s bass offer intimidation and predatory hunger whilst the heavy duty riffs add their own formidable menace for a stirring and impacting encounter but alongside them the melodic coaxing of the vocals and guitar imagination tempers the onslaught with inviting and inventive caresses. The song continues the impressive start with ease, but things stall slightly with next up Under The Same Sky. The potently crafted song is a melodic ballad with the vocals of Callies emotive and passionate to warm the ear alongside equally impassioned sounds and there is no doubting the quality and appeal of the song, but it does break the charge of the album and feel a little out of place despite its fine voice.

Things are back in swing with the likes of Through A Whisper and In The Eyes, the first another melodic rock song with a core of heavy duty temptation and an aggressive prowl within the resourceful and melodic textures of the song. The additional female vocals bring a sirenesque charm to the warm atmosphere of its quietest moment to further stretch the vision and magnetic lure of the track. The second of the pair again fuses the rugged side of the band with its mesmeric melodic entrapment for a fury of a song with accomplished restraint and barbed hooks as loud as the contemptuous aural tones, the excellent result akin to a cross between Green Day and Sick Puppies.

Alongside the first track another two of the album’s greatest pinnacles come with the hypnotic The Burning Sea and the riotous Caught In A Crowd. The first is another emotive piece of ingenuity, the flaming ambience with a slightly destructive whisper a sweltering embrace to wrap the outstanding vocal display from not only Callies but the re-appearance of the female vocals. Whereas the earlier ballad felt lost amidst the other songs as does in some ways the following Keeps Me There, this stands tall, potent and vibrant, its addition an instinctive instigator to the evolving sound and flavour of the album. It is an excellent and lingering treat which along with many other songs gives rise to anticipation as to how great this band could be. Caught In A Crowd is a punk infused storm of caustic guitar strokes, greedy rhythms, and ferocious energy all led by the again impressive vocals alongside flames of melodic venom and vindictive insistence from the might guitars of Bough and Morrison. An anthem for the passions as well as the voice, the track is another thrilling slab of variety from album and band.

The release closes on the acoustic ballad The Raging Storm, another which is well devised and presented but for personal tastes an anti-climax after what came before. Length Of An Ocean is a very appetising and exciting album overall though and Black Tie Vendetta a band sure to enthral a great many given the chance.

https://www.facebook.com/pages/Black-Tie-Vendetta/151500488227846

8/10

RingMaster 13/04/2013

Copyright RingMaster: MyFreeCopyright

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Farley: A Good Problem To Have

Farley

Sometimes a real juicy pleasure comes out of the blue and such is the case with A Good Problem To Have the debut EP from Pennsylvanian alternative rock band Farley. Arguably it should not have been an unexpected joy as the band is the creation of singer/songwriter Tim Farley who was a member of the acclaimed hard rock band Pan.a.ce.a, but this is a completely different beast and sound to his former band. Farley combines rock and pop teased sounds to create songs which simply light up the ear and excite the heart with creative and intelligent and irresistible craft.

Tim Farley began writing songs for a solo album last year whilst Pan.a.ce.a was still seemingly going strong with plans ahead. It was a shock to him when the band disbanded but it spurred him on to dive into recording his first solo release. For the release which was written and produced by Bret Alexander and Tim Farley, guitarists Pat Flynn (Underground Saints) and Dustin Drevitch (Lemongelli), drummer Zhach Kelsch (Dive, Ajar), bassist Matt Jaffin (Pan.a.ce.a), and keyboardist Adam Tarin (Royal Benson), were brought in for the recording of the Kickstarter funded project. The result is a release in A Good Problem To Have, which just hits the sweet spot.

The rock pop contagion Hindsight starts things off and takes the heart and senses immediately into a soak of satisfying energetic FARLEYenthusiasm. It is impossibly catchy which just gets more infectious the further into its heart you get so that by its end you have nothing less than addiction for its melodic caresses and boisterous enterprise. It is an undemanding but fully giving song littered with hooks and sonic guitar kisses which leave excited rapture in its wake, especially with its anthemic climax.

The EP shows variety and distinct flavours across its songs with the following Today the first example. Moving from the danceable enthusiasm of the first track the band turns to mellow textures and warm whispers for the second song. It is a gentle yet feisty sun which wraps tender hot arms around the senses whilst offering passionate caresses and hearty energies to ignite the pulse rate. Like the first it is not an over complicated song but one which meshes layers of emotion and sound with consummate skill. It does not quite reach the heights of its predecessor but such the quality of the opener it was on a losing wicket and easily leaves a real joy behind nevertheless.

Unforgettable pulls greater emotive powers out of its heart to be one of the biggest highlights on the superb release. Sounding like a hybrid of 3 Days Grace, Kingsize, and Sick Puppies, the song is a masterful fusion of sizzling melodies, addictive hooks, and delicious grace. The vocals of Tim Farley continue to shine and draw one deeper in to the songs and it is fair to say the EP shows him at his best and is his finest moment to date.

The best track on the EP comes with Fuel The Fire, a stomping rock n roll beast with a snarl to the vocals and intensity as well as an incendiary breath to the impressive guitar work and solo. With essences of Starving for Gravity and Volbeat with a splash of Calabrese, the track grabs the passions by the hand and takes them on a captivating cruise down heated rock roads lined with flaming melodic scenery. It is a song which you feel you know right away but only offers fresh and new magnetic pleasures to enjoy.

The release is completed by the country rock flavoured Waiting On Me, and the delightful Tiger Lily. The last is a sensational ballad which bewitches from first note to last musically and vocally and echoes the early songwriting triumphs of Elvis Costello. It is a brilliant end to an equally immense EP.

We may have lost Pan.a.ce.a, but the world has gained Farley, a completely different and on the evidence of A Good Problem To Have, greater proposition now and for the future. The band is working on their debut album and it just cannot come soon enough.

www.facebook.com/farleyband

RingMaster 13/12/2012

Copyright RingMaster: MyFreeCopyright

 

Feud: The Singles

Since having the pleasure of reviewing their first album Waterdog, rock band Feud has held a captivation for us ensuring a constant    engagement with their fine release and earlier EP, Out From The Inside. So there was great anticipation and excitement when the band approached with a release of three new singles to check out. Released together mere days ago, the songs retain all the essences and qualities which make the band one of the more thrilling in the UK right now but elevates them into a stronger punching storm of muscular and infectious sounds. If you thought Feud could capture the imagination and heart with the best of them before they have returned to show previous outings were mere teasings and that now they have the ammunition to succumb any rock n roll heart.

Originally founded by South African brothers Greg (vocals/guitar) and Guy (drums/vocals) Combrinck, the band truly became a forceful entity with the relocation of the men to the UK and the joining up with Ian Harper (guitars/vocals) and Tom Syrett (bass/vocals). As well as the aforementioned acclaim releases the High Wycombe based quarter has matched the likes of Cancer Bats, Young Guns, Jettblack and Days In December whilst sharing stages with them, getting stronger and more inventive with every moment of their four years of existence. The band has always brewed a feisty mix of rock with heavy grunge essences and the new songs are no different though all explore new and even more incendiary aspects of their sound and songwriting making for three original and stirring slabs of essential music.

Floater opens with a crystalline tangle of sharply noted guitar coaxing, the lure an immediate tingle which takes one back initially to the likes of Mighty Lemon Drops and House Of Love. The track though as expected was not going to tenderly stroke the ear for long and soon brings in thumping rhythms and a delicious velvety deep bass sound. There is still a controlled restraint to the track even with its elevated pace and intensity but eventually it cannot stop fiery crescendos of sound and chorus from breaking out. It is a staggering track which plays like an emotive riot within the heart and raging fire in the ear brought from a union of Nirvana, Foo Fighters, and Sick Puppies. From the pulsating bass and incisive drums through to the enthralling melodic flames of guitars and vocals, the track is immense and declares alone that Feud is back, bigger and, better than ever.

With instantly infectious drums laying a hypnotic cage for an unleashing of its adrenaline soaked energy, Medicine stomps through the ear for a meaty thrill of punk n roll. With rampant intent and a Green Day like soaking of the ear, the track chews and romps with classy sonic enterprise and bruising urgency for an irresistible punk rock classic. Though the American trio is unmistakable as a spice to the song, there are elements which would grace any Stone Sour or Gruntruck track but distinct only to Feud and impossible not to devour with greed. Again every member of the band brings a contagious breath to their skilled and imaginative contributions, which only goes to make for a song which leaves the heart raging in ardour.

The final single is the less intense Miles Away, though that is in its attack and not passion, the heart of the song as insatiable and unrelenting as the other pair of triumphs. From another strolling start of rhythms and guitar behind the expressive vocals, the song hits its stride to create a furnace of scorching sonic riffing and barbed hungry hooks. With its arguably less tenacious assault the song offers a diversity of sound to the other two which touches on the likes of Seether, Stone Temple Pilots, and Bush. It is another tasty bite which enflames the appetite for much more from the band which will evolve into no doubt impatience the longer the wait for more new impressive tempests of excellence is.

If this foursome has yet to spark up your passion than any if not all of these wonderful singles will leave you a breathless and exhilarated bundle of fully satisfied energy. Feud creates high energy quality rock music and as Floater, Medicine, and Miles away show, this is a band which just get better and better.

Get the singles @ http://www.feudmusic.com

RingMaster 19/11/2012

Copyright RingMaster: MyFreeCopyright