Braddock Station Garrison – High Water

Braddock Station Garrison

    Merging evocative Americana with feisty rock ‘n’ roll, US band Braddock Station Garrison make a very pleasing and richly promising introduction with their debut EP High Water. Six tracks which ignite the imagination and appetite for instinctive melodic rock, the release is an adventurous endeavour which at its heights ignites the passions and in its quieter moments of persuasion provides a vibrant and absorbing charm draped with drifting emotive shadows. It is not an explosive invitation into the band but one of compelling substance and lingering persuasion.

     Hailing from Washington DC, Braddock Station Garrison’s seeds began when vocalist/guitarist Steve Schillinger and guitarist Tom Soha, who had known each other for years, started to jam together. Officially formed in 2011, the band was soon expanded with the addition of drummer Michael Chapman and original bassist Patrick, who left the band last December to be replaced by Jim Bledsoe. Taking influences from artists such as Tom Petty, Neil Young & Crazy Horse, Cheap Trick, Aerosmith, Johnny Cash, and The Smithereens, the band has evolved a sound which grabs attention whilst suggesting, certainly on the EP, that it is still a work in progress with greater potent things to come.

    High Water has its major highlights topping and tailing the release but in between offers an equally magnetic clutch of dark coveredged melodic enticements. Opener Into Your Arms is a dramatically infectious treat setting things off in immense style. From its first breath thumping muscle bound drum beats hypnotise the ear soon joined by a gloriously throaty bass lure making even greater bait for the imagination. Once the excellent expressive vocals of Schillinger cast a sultry lure over proceedings the track melts the passions and steals their allegiance. At this point the song reminds of the Orson Family track Heartbeat, evolving as flames of caustic guitar ignite the atmosphere alongside rasping riffs into a more Chris Issak seeded encounter with essences of Roy Orbison to its almost rockabilly lilted temptation. It is a masterful and virulently contagious stomp with a melodic acidity which brings garage rock rawness to its beauty.

     The impressive start provides a tall order for the following songs to complete and though for the main they run in the openers wake, all starting with A Lot to Ask offer a pleasing and accomplished endeavour to immerse in. The second song is a straight forward melodic rock stroll but with, vocally and musically, a distinctive enterprise to give it a unique if not ground-breaking character. Thoroughly enjoyable and deceptively infectious the song passes the ears over to Fall, which with a similarly cast blend of riffs and melodies continues the expressive pull of the EP. No aspect of the song stands out with striking brilliance but everything slots in and unites for a skilled and mature invention which treads existing paths with invigorating energy and enterprise.

    The following Maria With Child with a stronger country twang to its presence is the least persuasive song on the EP though there is little to dismiss about its melodic elegance and rhythmic convincing. There is certainly a close similarity to the song with the previous pair of tracks and if there is any sobering thought to temper the enthusiasm for the release it is that you wonder if they bring enough variety in their songs yet. As the pleasing guitar craft and quality shows backed by all other elements, skill and imagination is not lacking.

    California Specific gently coaxes in the listener with a singular guitar and vocal beckoning before expanding with a fuzz kissed blaze of sonic temptation and crisp rhythms which sculpts a smouldering rock pop contagion blending seventies psychedelic radiance with modern alternative rock adventure. Without ever exploding into the fire you expect, the track is a riveting and thrilling proposition which answers in some ways that question about bold variety to the band’s songs, a reminder immediately reaffirmed by the excellent closing track, Girl Gotta Gun. A scuzz fuelled garage rock built romp with garage punk bred abrasiveness and caustic guitar flaming, the track is different in every aspect to what came before but still fits effortlessly within the release and easily at home with the previous Americana coated songs.

   Without doubt the first and last songs are the pinnacles of the EP, and hopefully the direction that Braddock Station Garrison explore further but such the strength and appeal of the rest of High Water, you suspect only good and enthralling things will come from the band as they spring forward from this impressive start.

Get the High Water EP as a Buy now name your price download @ http://braddockstationgarrison.bandcamp.com/

https://www.facebook.com/BraddockStationGarrison

8/10

RingMaster 28/01/2014

Copyright RingMaster: MyFreeCopyright

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Fallen Fate – Into The Black

 

FallenFatePromoImage

    With enough issues at times to temper an overall enthused appetite for its intensive brew of death and thrash metal, Into The Black the new album from UK metallers Fallen Fate is a striking encounter reaffirming and stretching the already formidable emergence of the band. Hailing from the North East, the quartet sculpts a sound which merges a diverse array of metal bred influences into one squalling furnace of intensity and sonic imagination. Soaked in this attention grabbing mix, the band’s second full-length release forges a provocation which given deep attention provides a mouthwatering design and narrative but with that comes limiting aspects which suggest that Fallen Fate is still a project in evolution but one with a very potent future.

    Consisting of vocalist/guitarist Lee Skinner, guitarist Piers Donno-Fuller, bassist Peter Hodgson, and drummer John Wright, Fallen Fate formed in 2005 and was soon honing a sound and presence which brought strong responses critically and from fans to their debut EP Revengance three years later. Soon their live presence enhanced their reputation with the band playing the pre-show of the prestigious Download Festival in 2010 to be followed a year later by a return to the Festival to play an invite only event on the 3rd Stage, Fallen Fate becoming the first unsigned band to play Donington 2 years in a row. Their first album The Virus Has Spread was released in 2011, again to critical acclaim, and soon followed by a UK tour in its support with Onslaught and Gama Bomb. Two more British tours came the next year as well as a taking to the stage at Bloodstock and the first Beermageddon Festival before the four-piece settled down to write their sophomore album.

    The highly anticipated and again self-released Into The Black is a concept album providing a horror movie themed tale which vocalist Skinners reveals is about a girl called Vespa, going on to say “She [Vespa] chose a life without faith and over time became possessed by a demon. The demon slowly took over her body and ultimately led her to kill herself and her family. The drive behind the concept is to empower the listener to decide whether she was possessed by the Devil, as she has no saviour in her life, or if she was possessed by God, punishing her for her lack of faith.” It is a dark and tortuous decline with a creative weave of sounds creating a provocative soundscape and drama to the dark events unfolding within the narrative. A marked move on in craft and maturity from their first album, Fallen Fate creates in Into The Black, an absorbing evocative canvas of textures and emotions to wrap the inner story and keep the imagination fired up and hungry.

     The Rise opens up the album, a brief emotive scene setter with haunting voices and melodic enticement gently surfacing within IntoTheBlack-AlbumCovera building rapacious intensity. It brings the danger and dark tones soon to drench its successor, to a head just before Blackened Within explodes with an insidious breath and predacious intent, energy and sonic endeavour not far behind in malevolence and attractiveness. Immediately thoughts of Lamb Of God come to mind as the exciting guitar craft and rhythmic bombardment make a compelling persuasion whilst keys add potent evocative hues to the rampaging drama and the serpentine squalling vocals of Skinner scar and scavenge the senses.

   It is a powerful entry into the black tale soon backed up admirably by the voraciously gaited Until The Final Hour and the transfixing title track. The first of the pair has a pestilential feel to its persistence and savage riffing but a savagery held in check by magnetic and resourceful melodic enterprise and sonic temptation. Its successor is a twisted annihilistic dance of intrigue and imagination which never sits still in rhythmic antagonism and melodic acidity. Like the previous pair it is a thoroughly pleasing and riveting track but also with the other two, beginning to reveal some of the ‘flaws’ of the album. Vocally Skinner again provides a causticity which matches the lyrical demons but his good delivery never deviates from what is overall a one dimensional assault which despite valiant backing vocals elsewhere impressing and helping add some tempering, over whelms the senses and at times appreciation as the release progresses. Equally there is a resemblance between many tracks which sees them flow into each other if not given careful attention. Musically the band certainly never fails the passions but that surface similarity does defuse the creative strength raging within songs in certain moments.

     The imaginative Possession does provide plenty to break up that seeming lack of individualism if not to quite fire up the passions, though the following I Welcome The Dead and Rituals soon sort that out. With heavy handed rhythmic artillery punishing the ears from the off and soon entwined in a sonic weave of scorching medic tempting, the first of the two takes little time to launch a demanding and insatiable attack whilst continuing to vein it with  bewitching sonic imagination and melodic incitement. Its successor opens with a demonic visitation within an emotive embrace before expanding a melodramatic grandeur around an enraged emerging scourge of intensity and technical rabidity. It is a ravenous confrontation with a persistent groove and hypnotic rhythmic bait.

    The excellent Last Rites offers its own bordering on vicious technicality and imagination with again great backing vocals which are not heard enough on the album, before from its intro The Demise, final track Vespa provides a closing exhausting and lingering finale come epilogue to the encounter. It is a powerful conclusion to a fine album though one you also feel is a missed opportunity in some ways considering how magnificent the release is at its heights but fails to sustain it. Nevertheless Into The Black is easy to recommend to all melodic and extreme metal enthusiasts as an enthralling promise soaked release from a band in Fallen Fate which has the potential to be a sizeable creative force ahead.

http://www.fallenfate.co.uk/

8/10

RingMaster 28/01/2014

 Copyright RingMaster: MyFreeCopyright

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The Reverse – Kind Words For Cruel Times

The reverse pic

     Released in the closing weeks of 2013, Kind Words For Cruel Times is an album you may have missed but is deserving of some of your attention. Brought to life by UK indie band The Reverse, the release is a gentle and persuasive collection of songs bred with a merger of folk and alternative rock intent. A little undulating in its convincing at times and more a work in progress sound wise than the finished article, the album nevertheless provides an attractive way to spend your time.

     The Reverse began with vocalist/guitarist Nathan Loughran and drummer Jason Moran, its idea and seeds growing out of pub conversations between the two, through late night recording sessions, and rehearsals. Initially the band’s sound engineer, guitarist/backing vocalist Sam Hartley was added to the band before a bassist called Joe completed the line-up,  his departure leading the trio to linking up with bass/backing vocalist James McKeown (ex-lead singer of The Great Divide and The Colours). A trio of EPs also emerged to good reactions starting with the debut release A Clean Incision in 2006. The following year saw the release of the Shutterspeed and in 2008 the My Lifelong Psychological Experiment EP, all three as the album recorded with and mixed by Graham Dominy (The Rifles, Razorlight, Ray Davies, Supergrass). Onstage the band has built a reputation to match their records, performances alongside bands such as Klaxons, The Wave Pictures, Lupen Crook, Sgt Buzfuz, and Carina Round enhancing their stature. Kind Words For Cruel Times makes the next step forward for the North London quartet with its unveiling on Under The Influence Records, the label an offshoot of one of London’s premier music nights Under the Influence, a monthly showcase for new songwriters/bands at the Boogaloo in London. Whether it will make an indelible mark on the awareness of UK’s indie scene is hard to tell but certainly given the chance it is an album to wake up some eager attention for the band.

     The release opens with Encore a well-crafted slice of folk pop which makes a positive if underwhelming start to the album. 131125kindwords2With keen melodies and crisp rhythms around the mellow tones of Loughran, the song certainly provides a pleasing encounter but something feels missing, a spark to ignite the imagination. There is a Dire Straits lilt to the melodic design cast by the guitars whilst vocal harmonies embrace their lure with an appealing tempting of their own but there is a low key energy or maybe unoriginality to the track which prevents it taking as much attention as its design deserves.

    All the same the album makes a decent first touch which is immediately built upon by the provocative Atoms and the following Then They Came For Us. The first of the two from a smouldering start develops a swagger and energy to its stride which infects the imagination, guitars cradling the more urgent stance of the song in an engaging melodic web. Again the vocals work best when the trio of singers combine even with Loughran’s delivery a strong focal point; though as the album progresses you yearn for a snarl to his tone occasionally. With a great rhythmic dance in its latter surge, the track is a compelling suasion setting a high level for its successor to match. Evocative and melodically caressing the second of the pair is an absorbing ballad with potent sinews which grows and grows on the emotions over time to provide another sultry high point of the release.

    With a healthy resonance to the opening bassline, a rhythmic tantalising, and melodic enticement to its heart the title track makes a pleasant but slightly underwhelming offering before making way for a song which still offers doubts and irresistible bait. Myleene is a whimsical reflection of a maybe rocky relationship, a song with a creative tonic which simply infests the imagination but one with a poor lyrical presence which at times just niggles. Despite that the song never leaves thoughts and senses alone, the song an addictive sort it is impossible not to embrace and join in with.

     The highly emotive encounter, The Longest Day has thoughts working eagerly next whilst the heated breath and melodic radiance of Ghosts incites a warm appreciation, but it is the excellent revelry of The Third Party which has things blazing again mentally and emotionally. Another song to start with a slow and tender coaxing it soon washes the ears with a bluesy guitar enterprise alongside a stirring prompting from the drums and bass, both elements constantly impresses across the album. With a contagious charm and magnetism to its chorus and energetic heart, the song fights feistily for the best track award.

     Both Mary and Lucy make strong and captivating enticements, the first an especially bewitching treat with its punchy rhythms aligned to virulently addictive hooks and melodies giving the previous track a run for its money. Their lofty heights put next up Dynamite & Gunpowder a little in the shade but it is another to take its time in convincing before succeeding, even if the vocals flounder a few times along the way though redeemed by the backing harmonies and sixties folk pop air.

   Closing with No More Encores, the track completing a top and tail union with the opener on the album, Kind Words For Cruel Times gives a great deal to find strong satisfaction with. It is not without flaws but comes with a potent promise, its accomplished slice of indie folk/pop suggesting The Reverse is a proposition to watch out for.

www.thereverse.co.uk

7/10

RingMaster 28/01/2014

 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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