From good impressions on the first couple of listens, In Theory the debut album of UK alternative rock band Religion Of Tomorrow emerges as a rather impressive and absorbing confrontation which is hard not to develop a healthy appetite for. Created with craft and accomplishment the release does need a little bit of work attention wise to unveil some of the more potent differences between songs but it rewards with a growing depth of shadows and melodic skill which leaves satisfaction full and contented.
Formed in Whitehaven, Cumbria in 2011, Religion Of Tomorrow went through like so many bands line-up changes before the settled line-up of vocalist Karl Christian, guitarist Jordan Charters, and bassist Richard Gill began to intensely develop their sound into a finely sculpted encounter with a lyrical companion which leaves the stark reality of today and the future under scrutiny. Already having gained a strong reputation for their live presence, Religion Of Tomorrow unleashed their first album earlier in the year to not surprisingly warm and eager responses.
The Fleeting Hope Music released In Theory steps from a chilling ambience with sinew crafted riffs and firm rhythms closing in on the ear before the vocals of Christian and melodic flames of guitar wrap their narratives around thoughts on opener The World. There is a reserved groove which lines the surface of the song to act as a potent lure whilst alongside its intensive breath and attitude ensures the track leaves vibrant impressions without lighting fires. The same applies to next up Feed the Lies, another track with skilfully sculpted textures and magnetic charm, especially from the vocals which step up from its predecessor with a pleasing varied delivery, and the more intensive and muscular guitar colour which would find a place in any Avenged Sevenfold track.
Half Sick of Shadows instantly ignites a hunger with its ravenous prowl of rapacious riffing and bass predation. It is an excellent temptation which steps ahead of anything found on the album to that point, the vocals and sonic hues equally as incendiary upon the darker compelling canvas. A drop into an emotive aside with melancholic strings opens up thoughts and imagination further whilst showing the invention of the band and their songwriting, though the return to the more pushy and demanding side of the track is welcomed back with eager arms. It is an outstanding venture which gives Glass a hard task to emulate straight after, which it valiantly attempts without a matching success, it’s too familiar offering and flatter vocal delivery leaving it bravely in the shadows.
From this point In Theory begins another rise in quality and persuasion, the excellent Better Off Dead with its military two step rhythmic enticement leading the way into the impressive heart of the release starting with Barren Skies. The bass prods initially before being joined by the guitars as well as tempting percussion and steel clad beats. Within moments the song is venturing into fresh avenues upon the album, an intriguing mystique wrapping around the great vocals of Christian before the song erupts into blazes of guitar enterprise and veering on pop rock tantalisation. At times hypnotic and in others seemingly ready to brawl with the world, the song is an exceptional provocation leaving a lingering pleasure though that is soon submerged within the might of the next pair Pretty Little Pictures and Uninvited. The first of the two stalks the ear with a teasing sonic temptation and vocal suggestiveness backed up by drums and bass, though they seem content to stay in the background for most of the track just cementing the stature of what is before them. It is not a song to leap at the passions like its predecessor but one which earns its acclaim through subtle and understated suasion, a slow burner much like the album. Its successor is an impacting strike on self-pity and jealousy which could apply to all from music to ambition. It is another which grows and brews up a real appetite for its body over time, from a strong first engagement it stands as one more highlight of the album.
The likes of Soldier and the thrilling Silent Scream add additional emotive imagination to the experience, both evocative aural sculptures inspiring mind and emotions whilst the closing stimulation, The End provides a memorable rousing finale for thoughts and passions. It closes up an album which is a great mix of intoxicating potency and equally rich promise. A little too much ebbing and flowing in the originality department prevents the album reaching its full potential but nevertheless Religion Of Tomorrow has presented one appealing impressive introduction which will see them under future close scrutiny.
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