The release of their first EP DeadByFiveOClock, UK progressive trio Black Market Serotonin stirred up the appetite of the online media, fans, and genre, their thoughtful and thought provoking sounds and openly intricate yet smoothly flowing songwriting drawing comparisons to the likes of Tool, Porcupine Tree, and Deftones. It also bred a keen anticipation for their debut album Something From Nothing, which the release easily feeds and satisfies with eleven tracks of evocative and finely cultured invention.
Formed in 2010 by vocalist/guitarist Andrew Pimblott after the demise of the band The Airstrip One, the initial solo project saw the musician record an album’s worth of demos entitled Something From Nothing. The work, a chilling commentary on modern life and philosophy, drew good attention online and with fans leading to Pimblott expanding the band with the addition of drummer Michael Colman, also ex- The Airstrip One, and eventually bassist Lee Campbell (ex-Laeka). After a series of successful shows the Manchester band recorded and unveiled the DeadByFiveOClock EP and lead single of the same name in the September of 2011, as mentioned its reception ad success the breeding ground for a rich appetite for the new album. Released as a Free Download and CD through Superstar Destroyer Records, Something From Nothing is set to fire up further ardour and acclamation, certainly within progressive/post rock circles but also within any melodic atmospheric rock shaped heart.
The yawning caustic shadows of Singularity opens up the album, its initial sinister call soon joined by thumping rhythms with resonating claws which invade the senses as potently as the erupting sonic wave of immediately engaging guitars caresses and firm bass leers. The track is an instrumental which wraps around the ear with persistence sinews as well as dipping into expressive melodic elegance for an intriguing and evocative introduction. The following Deadbyfiveoclock instantly for those new to it shows why the track sparked such hunger when it first appeared, the song a vibrant and fiery instigator to inner energy and greedy satisfaction with sharp and acidic flames of sonic enterprise and passionate vocals coated in fuzzy effect to sizzle as the sounds around them. As with all tracks, the song evolves and moves its stance throughout, its gait and energy shifting with expertise, muscular urgency swapping places with provocative whispers and vice versa, whilst the guitar of Pimblott sears and persuades by intense and thrilling imagination.
The following The End Of History builds on the impressive start, the song emerging from a distressed electro ambience with strong evocative keys carving out an emotive canvas for the following bulging riffs and mutually intensive rhythms to cast their tall walls, before seductive vocals and gentler melodic caresses paint their passionate narrative. The song is dripping consumptive shadows and dramatic emotion, the continuing to lament keys and charged muscle bound pillars of sound combining for an enthralling and inciting confrontation of melancholic light and immense provocation. The outstanding track then makes way for another impacting encounter in Irons In The Fire, its individual blend of light and dark through gentle and intensive sounds equally magnetic and adventurous. As with most tracks and the release as a whole, it takes more than a couple of listens to fully explore and grasp all on offer and the creative intent but rewards fully with each escapade within its stirring hungry embrace.
After the haunting Purity, a piece of music and vocals which wraps dreamy shoegaze whispers around its progressive seduction for a mesmeric if less impacting and thrilling companion as previous tracks, the band unveil the title track, a five part piece of ingenuity which grabs the attention with ease. Admittedly it is a little like the tide, ebbing and flowing in the passions though persistently leaving thoughts and emotions in contemplation and enjoyment. From an emotively descriptive Part I which is akin to the start of the album itself, major highlights come in Part II and IV, their presence igniting greater ardour and involvement within the wonderfully composed and delivered journey. Again the whole of Something From Nothing, the track, offers more and more with each exploration and though pieces can work aside from the others it is a soundscape to only truly appreciate and enjoy in one full movement, over many encounters.
Closing on the acoustic led Hours; a track which settles the senses and emotions after the previous five part intensive excursion, Something From Nothing is an impressive and deeply engaging album which fires up the imagination. Black Market Serotonin will have that earlier acclaim around them roasting now.
Copyright RingMaster: MyFreeCopyright
Listen to the best independent music and artists on The RingMaster Review Radio Show and The Bone Orchard from