Archers And Arrows: Alone Together

Archers & Arrows pic

    Alone Together is a rather intriguing and thrilling album from Swiss band Archers and Arrows, a release which as much as it pleases and excites equally instils further immense promise for the band ahead as it evolves and explores a truly unique voice to its already quite distinct invention. Though it does not quite continually ignite the fiercest fires inside the album nevertheless thrills with its peaks and engages fully in its less individual moments.

Bringing influences of the likes of The Lawrences Arms, Further Seems Forever, Hot Water Music, Mae, and Thrice to their sound, the 2009 formed quartet of Sebastien, Nicolas, Bunty, and Yves conjure a stirring mix of punk, melodic hardcore, and indie. The band first drew strong attention in their homeland with their self-titled debut EP of 2010 which earned Archers And Arrows good radio play on Swiss national radio satiation, Couleur 3. Since then the foursome has furthered their reputation with impressive shows alongside bands such as The Gaslight Anthem, The Bouncing Souls, The Get Up Kids, The Chariot, Polar Bear Club, and Roger Miret (Agnostic Front). Their debut album one suspects is set to trigger a wider enthused awareness and from much farther afield such its impressive and evolving strength.

Opening track Innocence takes no time in scything through the ear with tight sonic grooves and melodic teasing before the excellent vocals take their place in the already captivating song. With every note and syllable the track has a fresh and crispness to its engagement which startles and warms the appetite. Arguably it provokes and suggests more than it delivers in uniqueness but all the time there is the feeling and expectation of greater things waiting to emerge from the appealing start and constantly it offers enough to keep one captivated whilst brewing a hunger for more.

The following Numb/Dumb steps from the closing strains of its predecessor with a delicious bass twang and indie hook persuasion beneath group vocal harmonies. Settling in to its stride there is a dissipation of that initial seduction into something more expected but the band are in control and twist the song with various asides and unexpected detours within the purposeful destination of the track. Again great vocals and accomplished imaginative guitar play leaves flavoursome rewards whilst the energy and agitation of the rhythms and passion brings an intensity which settles nicely alongside the melodic beauty.

     My Own God, Sing To The Wind, and the hard-core veined Self-Made Man continue the strongly convincing invitation of the album, all again offering inspired imagination and skilled enterprise which has one irresistibly focused to each swerve of the songs within their triumphant mix of styles but each also not quite going through with all their ideas to leave one a little dissatisfied as they also involve familiar essences well-worn elsewhere.

The second half of the album though is where things creatively explode as the band is at its most riveting and inspired; songs where they step aside into their own distinct spotlight. Danse Macabre offers a gentle hand at first though its rhythms are biting at the bit to involve an eager gait. Soon they get their way as the track opens up its presence with a dual emotive weave of expressive vocals, senses jangling guitars, and anthemic rhythms. The song is a delicious stroll of a band freeing up its imagination and heart, a contagious and emotive recruitment which leaves a heated ardour in its wake.

The title track and Dirty Hands both rise to the challenge and stand side by side in quality and stature to the first of the three. Alone Together merges a coarser vocal delivery with melodic flames which singe the ear with passion but tempers the acidic touch with addictive anthemic choruses and precise seductive hooks. It is pure pop with punk intensity and raw emotion, an inciting and thrilling piece of triumph. The third of the trio also carries a raw breath to its sonic victory and further inspires, with its co-conspirators, thoughts of how immense the band could and should become on the evidence of they and the album as a whole.

The closing Emergency offers one last treat in excellent female vocals which assist its lasting firm caress, the song completing an album which grows and impresses more and more with each sharing of its companionship. Archers And Arrows is a band to watch very carefully and Alone Together is the perfect starting point.

https://www.facebook.com/archersandarrows

8/10

RingMaster 13/03/2013

 

Copyright RingMaster: MyFreeCopyright

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

www.audioburger.com

The Lost Souls Club: High Noon EP

The Lost Souls Club pic

    UK rock band The Lost Souls Club has earned a strong reputation and acclaim for their commanding shadowed rock n roll but as yet has not ignited the awareness they deserve. Whether their new EP High Noon will be the trigger only time will tell but it will not be for the want of quality and compelling invention. The release is a fiery and bruising encounter which offers no pretence nor makes demands but provides fuel for a raging fire of pleasure for its impressive offerings.

The Southampton quartet of Jon Tufnell, Simon Jackson, James Freemantle, and Jon Lamont, merge heated essences of varied rock flavours from alternative and psychedelic to melodic and indie with extra spicery from shoegaze and garage rock. Formed in 2010 the band takes influences from the likes of Led Zeppelin, The Jesus And Mary Chain, Placebo, Nick Cave and The Bad Seeds, and Black Rebel Motorcycle Club, to name a few, into their own distinct recipe of scuzzy rock n roll. Musically the band carry heavy whispers of the aforementioned bands so at any point a reference easily springs to mind but it sculpts it into an inspiring and raw gift of its own.

The release opens with the irresistible Romeo, a track which immediately feels like an old returning friend in new and inspirational The LSC - High Noon EP coverclothing. The initial rich guitar lure is soon joined by ripe rampant beats and expressive earnest vocals, the combination as the bass offers its darkened menace, a compelling and inciting intensity upon the ear. The prime riff persists with its addictive resonating grip to fire up the passions the longer its feeds on their hunger and once the track breaks in to a punk rock storm of coarse energy and insidious seduction, the track needs persuade no longer to the calibre of its impressive presence.

The following Kiss Away The Sun caresses with a blistered enveloping ambience, its wrap veined by raucous guitar provocation and again emotive vocals which tell their own unique tale. The bass and drums bring a sinewy frame to the song and its dreamy if intimidating atmosphere, the union leaving a mesmeric invitation which is hard to refuse. A mix of The Jesus And Mary Chain, House Of Love, and The Mouth Of Ghosts with the raw edges of Birdland, the track induces another belt of rapture with its diverse and equally delicious enterprise and monochrome light.

Shoot Me Down bristles with menace and confrontation, the fuzzy guitar resonance and devouring bass evocation a charred encounter which is in no rush to claim its victory. Though brief the track commands attention and soaks the senses with a brooding and ravenous intent whilst musically the equally grave emotive wash lights a Nine Inch Nails/Queen Of The Stone Age smouldering in its sententious heart. Lyrically song and EP is themed by conflict between opposites within oneself and like the music creates evocative and seducing connections to the listener.

The release is completed by We Are All Gonna Die Anyway and I Know I Spoke Too Soon, the first another energised romp for the senses, its familiar tone and devices refusing to reveal their sources but vibrant with recognisable irresistibility. It is a punchy anthemic slab of feistiness which contrasts and introduces perfectly the closing simmering glories of I Know I Spoke Too Soon. Mellow and emotively magnetic the track is a psyched melodic dream which pervades the ear and beyond with elegance and flames of passion which sear at the touch.

High Noon is an excellent release which deserves to set the band on the path to the widest recognition. If it will time will of course reveal but The Lost Souls Club can hardly do much more to sway the listener.

https://www.facebook.com/thelostsoulsclub

8/10

RingMaster 13/03/2013

Copyright RingMaster: MyFreeCopyright

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

www.audioburger.com

White Pigeon: Property Of White Pigeon

White Pigeon

    Take the classic metal essences of Whitesnake and Iron Maiden, infuse it into the melodic prowess of Europe, and then wrap it in the mischief of Tenacious D. as well as the glam rascality of Steel Panther and The Darkness…the result White Pigeon, a band who take all of the above as influences and create their own form of accomplished rioting. The UK band is just about to release their debut album, a record which hits the ear with relish to cause devilment whilst treating it to tightly crafted inventive sounds.

Hailing from Guildford, White Pigeon was formed in 2009 by Chris Nugent a drummer who in his own words said he spent his earlier musical exploits “trying to be uber cool for many years and playing music that was ‘fashionable’.” After ten years of this he decided to start his own project, moving forward to take on the role of vocalist and guitarist with the intent to play music which lit his own personal fires. Finding the best musicians his hometown had to offer Nugent recruited guitarist Jon Antony and drummer Joe Yoshida plus the twin melodic charms of Nathalia and Natascah Sohl. Soon completed by bassist Eoghan Logue, the band released their debut EP to strong responses as well as earning a great reputation for their insatiably energetic live shows locally and in notable London venues which included the sharing of stages with the likes of New Device, Sons of Icarus and The Treatment. The band also received acclaim for their festival performances at Weyfest and Guilfest where they shared a stage with 10cc and Mungo Jerry and have been by squash fans for song Don’t Get Too Close (Squash Song) which has led the band to being invited to and performing at the Squash Championships in Manchester earlier this year.

First album Property Of White Pigeon is the next step on the way to igniting national recognition for White Pigeon and a 300formidable persuasion it is.  Featuring revisited, re-mixed, and re-mastered tracks of their now rare first EP as well as five brand new tracks, the release seizes the ear from first note to last to provide an energetic brawl of fun and music, its first track Party the perfect title for the feisty and enjoyable encounter. The opener takes no time in feeding the ear hot guitar melodies and primes riffs driven by infectious vocals and warm inviting keys. The vocals from Nugent and the twins ignites hunger to join the revelry whilst the sounds control the feet and directs their responses to the anthemic lures eagerly at play with masterful efficiency. As the album, the song is a keen and rebellious slice of rock n roll with an honesty of trying not to be anything more than what it is, energetic and cheekily voracious.

The following Sea Devil is a stomp of fiery riffs and firm tidy rhythms which like its predecessor has a magnetic hold on the senses within the first pleasing moments of its stroll. The vocals again send harmonic flames through the track whilst the guitar solo and enterprise is burningly glorious and uncompromisingly mesmeric. Though a rock track, there is a rock pop breath to the song which makes its contagious and easy to climb on board its cruise of sea borne wantonness.

The likes of The Hunt which is more of the same as the first encounters and the following Southern rock seduction Kentucky Pie continue the strong allure of the album whilst Rock Me explores its intense sinews to bring a heavier and rampant taunt upon the passions. One of the biggest highlights of the album it again offers nothing new but has a freshness and persuasion which any refusal to join its thumping cause would be rude let alone impossible.

Occasionally the album slips below its already high levels though it is more personal taste not finding the connection than a problem with the album, but both Ladies and Get Me Outta Here are pale engagements against the richer and ebullient tracks elsewhere, the songs struggling to emerge from too recognisable and impotent ideas. It is just rare moments though as further tracks like the compelling Don’t Get Too Close (Squash Song) and the intoxicating Gladiator, its metallic muscular stance and varied gait inventive and exhilarating to earn strongest track on the release status, leave greater rewards and satisfaction.

The songs on Property of White Pigeon are all delivered with a tongue entrenched in cheeks which reminds often of US band The Tubes, but there is also no denying the quality of the musicianship with the guitars sculpting terrific fires and the bass prowling with hunger and resourcefulness, whilst the drums frame it all with skill and clear determination. Also featuring guest appearances from Markus Flaherty (Without Grace, Spotlight Cannibal), Erika Richardson (iMMa, Mika), Ed Forbes (Black Iris) and Ben Travers (Gypsy Fire), the album is a richly satisfying heavy metal binge from a band with a promise to head up British glam/metal in the future.

http://whitepigeonrocks.com/

8/10

RingMaster 13/03/2013

Copyright RingMaster: MyFreeCopyright

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

www.audioburger.com

In Vain: Ænigma

In Vain 2013

    It has always been known or certainly suggested through their previous albums that Norwegians In Vain were masters at merging conflicting extremes, the release of third album Ænigma is the undisputed truth of that thought and declaration. The album is a compelling and invigorating tempest of opposites, beauty and destruction, peace and overwhelming sonic consumption, simplicity and inciting creative ingenuity. The release is arguably not stretching new boundaries but instead honing the already explored and distinct reaches of the band into their most impressive and intrusive piece of grandeur yet.

From their debut album The Latter Rain in 2007 which saw a rich and expansive blend of guest musicians and vocalists adding to the creative shock to the system for progressive metal, the band has reaped strong critical acclaim. Its successor Mantra three years later made an equal impact though for some was a mixed bag of tracks within what was still an ultimately thrilling and provocative release. The album confirmed the creativity and sound of the band as something apart from most other bands with similar musical intent and placed In Vain amongst the most respected melodic extreme metal conjurors. The Jens Bogren (Opeth, Soilwork, Borknagar, etc) produced Ænigma focuses all the already impressive elements and invention of the band into a towering and imaginative maelstrom of uncompromising pleasure, the album in many ways summing up of all that came before and was seeded in the earlier albums and expanding it into a new exhilarating and inspiring canvas of fresh and sharpened ideas.

As their previous albums, Ænigma is released via Indie Recordings and takes mere moments to awaken and perk up thoughts and Invain_front_highressenses. Against the Grain emerges from a sonic provocation with instinctively pervading intensity from the rampaging riffs and ravenous rhythms soon consuming the ear whilst the individual vocals squalls of Andreas Frigstad and bassist K. Wikstøl, the first venomously serpentine and the latter a hardcore bruising, ignite further primal pleasure through their impressive union. Once the clean vocals of Sindre Nedland join the now magnetic lure of the song, submission to its invitation is complete, the beauty and the beast persona of the track irresistible and incendiary for the passions. The expressive voice of the guitars of Johnar Haaland and Kjetil D. Pedersen soak the senses in courting and intimidating mastery, evoking and provoking reactions from emotions and thoughts throughout the continual senses searching imagination of the song.

The track as soon to be the whole album, has precise intentions with its  thought leading sounds and songwriting, which holds an inviting lyrical poise, but allows and invites the listener to spark their own unique feelings and visions to feel fully involved and part of the whole process of Ænigma. As progressive winds swarm through and around the ear within the often predatory extremes within tracks such as Image of Time and Culmination of the Enigma the band secures an addiction from offering inspiring and unpredictable variations within the also impossible to predict harsh torrents of annihilatory storms. Individually songs like the sublime instrumental Southern Shores or the elegantly malicious Rise Against offer an inspiring and emotionally inflammatory experience unique to themselves but part of the full album become another beast and encounter to devour and thoughtfully respond to, something which arguably may have been missing on previous releases, a consistency which brings a different fulfilment to taking songs as singular pleasures.

The pinnacles of the album come through Times of Yore and To the Core, the first an almost rabid yet reserved prowl of the listeners psyche with drummer Stig Reinhardtsen opening the gates to his most vicious rhythms and energy and vocals preying on the damage with spite and greed. With contagious acidic grooves and almost questioning melodies the track is immense, a furnace of passion and craft employing the richest essences of the band and their invention from its deepest most intrusive shadows whilst employing an infectiousness of melodic temptation. The second just gnaws on bone, senses, and emotions with yet untapped vehemence and an unrelenting savagery of riffs, rhythms, and vocals. Bestial and primitively violent, the track is a mighty lasting sonic pyre with glorious melodic flames of vocals and guitar enterprise.

Ænigma also impressively finds extra irresistible persuasion with each visit, from being impressively invigorating it reaches a higher stature over every encounter to become one of the essential hungers for the passions. In Vain have left a bench mark for all progressive extreme metallers to aspire to, we wish them luck.

https://www.facebook.com/pages/In-Vain/65782594989

9/10

RingMaster 13/03/2013

Copyright RingMaster: MyFreeCopyright

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

www.audioburger.com