Doomed from Day One – The Wasted World

From the warning sounds and impending sense of obliteration that is laid down in the opening instrumental piece ‘Dfdo’ on the new EP from UK metalers Doomed from Day One, the senses are primed and then demolished, the blistering power within the band and their release The Wasted World stripping aside all niceties to deliver core metal and angry aggression. This is no one trick pony though as within the muscle flexing riffs, incessant addictive hooks and pulses that vein the beast there is a compelling progressive creative creature stirring and revealing her wanton delights.

Guildford based Doomed from Day One release their debut EP on 14th November via indie imprint Noise Control Records, consisting of six slabs of progressive death metal to devour, satisfy and inspire. Already renowned for their unstoppable live shows the quintet have transferred that energy and ferocious attack very successfully to The Wasted World and shown why they are rapidly ascending the ranks of UK metal. Formed in the dying weeks of 2009 the band has shared and impressed in support slots with the likes of Malefice, Martyr Defiled, The Defiled and Gallows as well as ‘laying waste’ this year to Guilfest and intend to further bring damage to audiences in support of the EP with a tour in November.

After the opening aggressive song the first full track in ‘Pretending’ places its intrusive claws into the ears. It’s uncompromising and intimidating attack shows there is no pretence going on here, the band give everything from the first heart rendering note to the last. The fearsome pummels from the sticks of Jamie Elsey and the dark intent in the bass of Eifion Sweet fuel the drive of the track. Their uncomplicated and unrelenting frame of rhythm allowing the guitars of Charlie Griffiths and Charlie Frederick to attack and create some exiting melodic play with equal power. Riding all of this are the immense growls and scathing vocals of Sean Scott, his guttural delivery from the darkest pit within himself.

Depths Of Imagination’ brazenly takes over next with even more rushing riffs and aural truculence. As with all the tracks there is a combativeness  feel that borders on belligerence and the song is all the more impressive for it. The addictive hook within the heavy sound is a hypnotic beckoning beacon that lures one in even deeper as the track unveils a melodic slow soulful break, the guitars full of expression and passion. The aggression cannot be denied though and soon the band is back at the throat. There is so much going on in the song but all is controlled and blended seamlessly.

Thoughts of the likes of The Browning appear as ‘From Here On Out’ breaks out with an electronica layered opening seconds. Soon the mountain of aggression and scything guitars repels all thoughts. The song once more is intelligently varied with progressive jazz sounds and emotive melodies amongst the imposing noise. The same can be applied to ‘You Were Meant To Suffer’, another defiant colossus of aggressive sounds permeated with progressive meanderings that add to the overall effect perfectly. Though maybe not the best track compared to others it perfectly shows the skill the band have in their songwriting and ability to bring it to realisation.

The title track closes off the EP with Doomed From Day One’s explosive energy, power and creativity to the fore; a last reminder as if one needed it that the band and their brutal skilful sound is the new force in metal’s town. The track is stunning and the best on the release though all the songs are never less than impressive. Recorded with Andy Hayball (Bring Me The Horizon) The Wasted World is a mighty release and just the beginning of the dominance of Doomed From Day One.

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RingMaster 02/10/2011

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Kelly Paige – Hurt Like Me

All us men folk know to fear a woman scorned something Kelly Paige and her debut single Hurt Like Me reminds with sweetly innocent venom. The song is a vengeful anthem delivered with an infectious smile and the knowing glint in the eye that there is payback coming. A few steps short of ‘bunny boiler’ menace and wicked intent oozes from the song, even more so if listening and watching the video. The emotive but steely tone that delivers the song makes one wonder if a certain lady is coming with her first distinct and impressive recording from personal experience.

Kelly Paige began playing guitar and writing songs at 13, her songwriting influenced and shaped from a childhood spent in an almost nomadic way. Her early years were spent in South African before moving to various parts of the USA, music being her companion and the flavours from each new experience absorbed into her music’s evolution. Though just her first release, the track alone reveals an eclectic blend and glittering strands of pop-punk, rock and soulful pop within. Away from the theme of the song there is a sense of personal interest and passion to her music that many never manage to get across and a quote from Kelly reveals “When I was a kid, I used to sit in my room listening to my CDs for hours just reading along with the lyrics in the CD insert. Partially because I was grounded all of the time and there was nothing else I could do, but mostly because I was just obsessed with it. It was my escape. I want my music to be that for other people”.

Her time in Nashville was especially fruitful winning a songwriting competition judged by the publishing company Big Yellow Dog Music whilst attending Belmont University as well as grabbing the attention of and getting a fan in Willie Nelson’s bass player, Bee Spears who later played in Kelly’s band in Nashville. Kelly is currently experiencing and playing in the UK pleasuring the ears of London with her band “The Players”, stirring up even more acclaim and attention, something Hurt Like Me will surely escalate upon its release October 31st through Playgun Music. 

Taken from her forthcoming album and produced by Ben Mason (Arctic Monkeys, The Kooks, Razorlight) and Glen Nicholls (Snow Patrol, I Blame Coco, Everything Everything), Hurt Like Me is a darkly tinged engaging and welcoming pop song. With an unassuming and almost low key opening it sneakily keeps secret the tour-de-force of impassioned bitterness and wicked revenge within. With beckoning keys, pulsing bass probing and the glorious vocals of Paige the track resonates on many levels sending tingles down every male spine as it expands to unveil its ‘poison’. The lyrics come with a great dark humour, the wicked glint always twinkling and epitomised by a quote from the singer about the rumour the song is spawned from a relationship with her band’s guitarist. “If it were about my guitarist, wouldn’t making him play the song at our gigs just be the ultimate act of revenge?”

The song brings hints of the likes of Amy Winehouse, Asa, and Imelda May at times but there is a different freshness to Paige that is invigorating. The song brings smiles, thoughts and tingles as it plays, and no doubt knowing nods from the woman of the world and fearful shivers in the men. Maybe Kelly Paige has set in motion a wave of avenging angels with her stunning single, only time will tell but for sure she has given the year one of the best debuts and songs.

RingMaster 02/10/2011

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